Monday, 11 August 2014

Artists: week 4 one

I have looked at the work of László Moholy-Nagy he was born in Hungary,  and began to study law before joining the Austro-Hungarian army at the outbreak of World War 1. Although he had already begun to draw, it was during the war that  he turned to it in a serious manner producing hundreds of sketches in 1917 he was wounded and had a long convalescence he then began thinking seriously about becoming an artist. He worked with many different techniques and media, such as painting, photography, sculpture, film and graphics and explored the relationships between light and colour  In his abstract paintings,  gaining his inspiration  from the Russian avant-garde: Constructivism, the Suprematists Malevich and Lissitzky. Moholy-Nagy became  interested in photography after meeting Lucia Schultz, a talented photographer who he later married. 
He was interested in painting with light, and the techniques used to create an image. He was one of the first artists to experiment with photograms, these were images made without using a camera. He placed every day objects between a sheet of light-sensitive paper and a light source to create abstract shadow images. He also worked with photomontage,  cutting images out of  newspapers and magazines to create a new picture. He would draw and paint  these montages, and then photograph them joining the components into an image that could be reproduced from a negative. He called these photomontages “photoplastics”* to emphasise that it is the light that shaped the image. 

Moholy-Nagy  used a portable miniature camera to explore how photography through its ability to record forms can change and renew our perception of the everyday. Lines, patterns and shapes dominate his black-and-white photographs of the world and make us perceive reality afresh. He liked to use unusual camera angles – often taking the pictures from a bird’s or a worm’s eye view – as well as shadows and negative photos – in which the photographic negative is itself presented as the photograph.He made a number of documentary films between 1930 and 1946 giving life and movement to his photography.he died i 1946  at the age of 51


Here  is some of the work by Moholy-Nagy that I enjoyed viewing
 I love the angle of view along with the angles and lines, that has a great use of light and shape shown in the reflection.
 
I have spent the past couple of weeks looking for lines and curves as part of my assignment, so was fascinated to see the amount of detail in this image with all the lines, curves and added atmosphere created by the use of light

Sunday, 10 August 2014

DT1 Week 4 ecercise

Pull the texture photo on the photo shooting last week. and create a layer mask and use the brush tool make the texture photo only on her face.
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 1/80
Using the B&W adjustment layer make this image B&W, create a layer mask and choose an area of my photo to pull back in.
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 1/80

Saturday, 9 August 2014

Week 3 exercise

  • Aperture:  ƒ/22.0
  • Camera: Canon 5Diii
  • Taken: 09 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 30's

  • Aperture:  ƒ/22.0
  • Camera: Canon 5Diii
  • Taken: 09 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 1000
  • Shutter speed: 30's
  • Aperture:  ƒ/22.0
  • Camera: Canon 5Diii
  • Taken: 09 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 30's

Week 3 shooting outside school

  • Aperture:  ƒ/8.0
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 500
  • Shutter speed: 1/40
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 1/50
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 200
  • Shutter speed: 1/80
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 200
  • Shutter speed: 1/80

Tuesday, 5 August 2014

DT 1 Week 3 exercise


  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 28 July, 2014
  • Focal length: 24mm-70mm
  • ISO: 400
  • Shutter speed: 1/8000
Resize and save as jpg



  • Aperture:  ƒ/13
  • Camera: Canon 5Diii
  • Taken: 31 July, 2014
  • Focal length: 24mm-70mm
  • ISO: 2500
  • Shutter speed: 1/100
 Vantage point, fore/mid/background and leading lines.
colour correct and sharpen using camera raw 
convert this image to B&W using Camera Rw
Resize to a small jpg

  • Aperture:  ƒ/13
  • Camera: Canon 5Diii
  • Taken: 31 July, 2014
  • Focal length: 24mm-70mm
  • ISO: 2500
  • Shutter speed: 1/100
Vantage point
B&W
Resize to a small jpg

Artists: week 3 two







Today one of those rarest of creatures from the olden days: a female photographer. The name Cunningham is well known and at first I believed I would yet again be reviewing the work of a man – until I saw the actual images. The softness and elegance are unmistingly femine and the dreamlike nature of some of her florals and nudes are refreshing and sensitive.
Imogen Cunningham was born on the 12th of April, 1883 in Portland, Oregon as one of ten children. In 1901, at the age of 18, Cunningham bought her first camera, a 4×5 inch view camera. She soon lost interest and sold the camera to a friend. It wasn't until 1906, while studying at the University of Washington in Seattle, that she was inspired by an encounter with the work of Gertrude kasebier to take up photography again. With the help of her chemistry professor, Dr. Horace Byers, she began to study the chemistry behind photography; she subsidized her tuition by photographing plants for the botany department.
After graduating in 1907 she went to work with Edward S. Curtis in his Seattle studio. This gave Cunningham the valuable opportunity to learn about the portrait business and the practical side of photography. In 1909, Cunningham won a scholarship from her sorority (Pi Beta Phi) for foreign study and, on advice from her chemistry professor, applied to study with Professor Robert Luther at the Technische Hochschule in Dresden, Germany. In Dresden she concentrated on her studies and didn’t take many photos. In May 1910 she finished her paper, “About the Direct Development of Platinum Paper for Brown Tones”, describing her process to increase printing speed, improve clarity of highlights tones and produce sepia tones.
Once back in Seattle she opened her own studio and won acclaim for portraiture and pictorial work. Most of her studio work of this time consisted of sitters in their own homes, in her living room, or in the woods surrounding Cunningham’s cottage. She became a sought after photographer and exhibited at the Brooklyn Academy of Arts and Sciences in 1913. Her portraits were shown at “An International Exhibition of Pictorial Photography” in New York and a portfolio of her work was published in Wilson’s Photographic Magazine.
The next year she married Roi Partridge, an etcher and artist, who she would come to divorce in 1934. He posed for a series of nude photographs, which were shown by the Seattle Fine Arts Society. They had three children (Gryffyd, Rondal, and Padraic) and in 1920 they left Seattle for San Francisco. There, Cunningham refined her style, taking a greater interest in pattern and detail as seen in her works of bark textures, trees, and zebras. Cunningham became increasingly interested in botanical photography, especially flowers, and between 1923 and 1925 carried out an in-depth study of the magnolia flower. Later in the decade she turned her attention towards industry, creating several series of industrial landscapes throughout Los Angeles and Oakland.
In 1929, Edward Weston nominated 10 of Cunningham’s photos (8 botanical, 1 industrial and 1 nude) for inclusion in the “Film und Foto” exhibition in Stuttgart. Cunningham once again changed direction to become more interested in the human form, particularly hands (and a further fascination with the hands of artists and musicians) which led to her employment by Vanity Fair, photographing stars without make-up or false glamour. In 1932, with this unsentimental, straightforward approach in mind, Cunningham became one of the co-founders of the group f 64, which aimed to “define photography as an art form by a simple and direct presentation through purely photographic methods”.
In the 1940s Cunningham turned to documentary street photography which she did as a side project while supporting herself with her commercial and studio photography. In 1945, Cunningham was invited by Ansel Adams to accept a position as faculty at the first fine art photography department at the California School of Fine Arts (CSFA).

Monday, 4 August 2014

Artists: week 3 one




Why I am choice the photos, because the layout is great, and i find out when we look one subject, that will be so many deference view, and make us have many feeling of the subject. now we are look from this photos,there are like deference building, but there all from one building. this photographer are using lines to play on the photo.    
Bernd Becher was born in Siegen. He studied painting at the Staatliche Akademie der Bildenden Künste Stuttgart from 1953 to 1956, then typography under Karl Rössing at the Dusseldorfer Kunstakademie from 1959 to 1961. Hilla Becher was born in Potsdam. Prior to Hilla's time studying photography at the Dusseldorfer Kunstakademie from 1958 to 1961, she had completed an apprenticeship as a photographer in her native Potsdam. Both began working as freelance photographers for the Troost Advertising Agency in Düsseldorf, concentrating on product photography.
The couple married in 1961.