Abstract Photography - Unit 3 Digital Assignment

Abstract Photography

Abstract art and photography has interested for me as long as I can remember, however I have not always been entirely sure what the defining factor that classes an image as abstract is.  It is perhaps a little strange that I seek clarification on a subject, which is by all accounts not clear, which is supported by Rossbach (2011) who states ‘Abstract photography is the photographic art that is not a standard representation of a traditional scene, or real or known objects in the natural world’. Abstract photography, alongside drawings and paintings, concentrates on shape, form, colour, pattern and texture. We are quite often unable to view the whole object and the focus, if indeed there is any, will quite often only be a small part of the image.

Looking at, and learning from art history, it is easy to witness how the Impressionism art movement (1860-1920) influenced photography and vice versa at the end of the 19^th and early 20^th century. Photographers strived to achieve an artistic result in their captured images and some painters visibly changed their composition rules, which, were originally exclusive to photography. At this time, it was an exclusive group of Artists, and access to these works would have been through galleries and exhibitions aimed at the affluent society, rich enough to buy them. As we move forward in time, access to art work and learning new techniques has become a much simpler affair. The era of digital cameras and easy access to the internet has enabled a wide audience the chance to learn these skills due to online written tutorials and video instructions on websites such as ‘youtube’.

For this assignment I wish to explore some of the different techniques that are used to create abstraction in photography as well as examine the diverse effects that have been created using the various techniques. As described by Guy (2012), ‘the subject tends to come second to seeing…

·       Patterns.

·       Textures.

·       Angles.

·       Proximity (closeness and distance from the subject).

·       Crop (especially of segments or parts of the whole).

·       Colour variation.

·       Tonal variation.

·       Hard or soft light rendering of the subject.

·       Shape (2D).

·       Form (3D).

·       Curves.

·       Geometry.

·       Focus and depth of field.

·       Blur.

·       Expression of movement’.

This has led me to research photographers who specialise in the area of abstract photography and how they have achieved the results they produce.

One of the photographers we have discussed in class and I have come to greatly appreciate is ‘Chris Friel’. The following is an example of his work and one of the techniques he uses known as ‘multiple exposure photography’:

‘Lake 8’, Friel, C. (2014)

In this image, to achieve abstraction, Friel has used eight multiple long exposures ‘in camera’.  This is a function available on certain digital camera models which, as the name suggests, takes more than one exposure on a single frame. This is a long standing feature of film cameras, whereby the film would not be advanced following releasing the shutter, capturing multiple images on one area of film. This can be achieved digitally, post shooting in Photoshop, however when it is enabled in the camera settings, it is possible to assess the result you have attained straight away. With this method and indeed all methods, the camera can be either, used free hand or mounted on a tripod depending on the effect you wish to achieve. Using the camera free hand will result in much more blurred image and is less controllable but ultimately more creative, as is claimed by Chinnery (2013) ‘each image is truly unique and with that comes a certain level of creative satisfaction’. I find this image strangely relaxing even though the dark tones have been accentuated due to the technique and it makes me think of solitude.

‘Shibuya’, Jung, S. (2010)

A very different result and effect using multiple exposures, ‘Jung’ has captured and accentuated the bustling streets of Japan with the method. My eyes are not sure where to look first and discover something new every time I view this image. This is not something I would mount on my wall, however I do appreciate it.

The next method I am going to explore is ‘intentional camera movement’ or ICM. This technique is described by Stephens (2012) as ‘Intentional Camera Movement is when the camera is moved in horizontal, vertical, diagonal or random directions while the shutter is open. The resulting image is deliberately blurred and often abstract’.  I have made a few attempts at this technique myself and found it requires a long or slow shutter speed of anything from 1/20 to 5 seconds to achieve a satisfactory result. Consequently low light is an advantage to ICM or acquiring a neutral density filter to restrict the amount of light entering the lens during shooting is needed to avoid over exposure. I also find it best to move the camera in line with the subject and keep the movement as smooth as possible.

‘Fall Tree Carousel’, Roth, J. (2008)

I particularly appreciate this image as it conjures up thoughts of Autumn wind in my mind and the photographer, Juergen Roth (2012) reveals his thoughts on his technique by saying, ‘The right combination of shutter speed, aperture setting, and ISO setting in combination with the actual camera movement will produce the desired blur and an artistic abstraction of the scenery’.

Abstract photography can also be achieved through macro or close-up work as described by Humphries (2013, p7) ‘Viewed through the close-up lens, the world reveals detail, pattern and beauty that otherwise go unnoticed’. Getting in very close to a subject and only revealing a small part of its existence takes our attention away from what it is supposed to be and lets us concentrate on the colours and form before us.

‘Iris’, Davis, H. (2009)

In this image by photographer and author, Davis (2009, p46), he explains it by saying, ‘When I framed this composition, I was struck by the intense colours and abstract shapes. Davis (2009, p38) had also stated, ‘By completely divorcing the image from its subject matter, the viewer is compelled to respond to the colours and composition of the abstraction’.  The image invokes a warm happy feeling, making me think of summer.

Conclusion/Evaluation

My research into abstract photography has led me to understand there are many different methods to achieve a satisfactory image and it is personal choice as to which one is utilised. Ultimately it takes a lot of practice and patience to master any specialised genre as is claimed by Friel (2010, p4) quoting Frank Grisdale, during an interview with Parkin (2010, p4) quoting ‘I think Frank Grisdale has quoted the 10000 hour rule in the past - the idea that if you spend 10000 hours practicing anything you will eventually achieve some sort of success in that field’.

This assignment research has also enlightened me to the fact my own DSLR camera has the capability of taking multiple exposures which I had no idea about prior to this. I am also quite fortunate enough to have access to a Macro lens and plan to experiment with close-up work to create my own abstract imagery. Mood and feelings can affect the outcome of your image, which is quite often the case but is even more pronounced when trying to create an abstract image, something to bear in mind with my own practice. I am most interested in the multiple exposure method and feel that exploration into this area of photography has been of great worth. Experimentation seems to be the key factor in getting to know this area of expression along with taking inspiration and advice from those who have mastered the technique. I now feel better equipped with knowledge to further my exploration into the abstract genre and remain greatly inspired by Friel and the results he has produced.

Following on from my own experimentation and continuing research, concentrating on intentional camera movement and producing satisfactory results with this technique, will be the key emphasis of my plan for unit 4.

Bibliography

Chinnery, D. (2013). Multiple Exposure Photography. On Landscape. 63 (September), p1-20. Last accessed 17th Feb 2014.

Davis, H. (2009). Creative Close-Ups: Digital Photography Tips and Techniques. 10th ed. Indianapolis: Wiley Publishing Inc. p46.

Guy, D. (2012). Definition: Abstract Photography. Available: http://www.photokonnexion.com/?s=definition+abstract+photography. Last accessed 14th Feb 2014. 

Humphries, J (2013). Close-Up and Macro Photography: Art and Techniques. Marlborough: Crowood Press Ltd. p7.

Jung, S. (2014). Stephanie Jung Photography. Available: http://portfolio122826.4ormat.com/japan. Last accessed 10th May 2014.

Parkin, T. (2010). Chris Friel - Featured Photographer. On Landscape. 5 (December), p4. Last accessed 17th Feb 2014.

Rossbach, J. (2011). The Art of Abstract Photography. Photographic Society of America, Inc. 77 (6), p26.

Roth, J. (2012). Mastering the Art of Intentional Camera Movement. Available: http://www.apogeephoto.com/sept2011/jroth92011.shtml. Last accessed 16th Mar 2014.

Stephens, H. A. (2012). Painting With Light: Intentional Camera Movement. Available: http://www.picturecorrect.com/tips/painting-with-light-intentional-camera-movement/. Last accessed 14th Mar 2013.