Final Project Research

ERIK LEVY

“Creation is an uncontrolled muscle” according to Arik Levy (born 1963).

Artist, technician, photographer, designer, video artist, Levy’s skills are multi–disciplinary and his work can be seen in prestigious galleries and museums worldwide. Best known publicly for his sculptures – such as his signature Rock pieces –, his installations, limited editions and design, Levy nevertheless feels “The world is about people, not objects.”

Hailing originally from Israel and moving to Europe after his first participation in a group sculpture exhibition in Tel–Aviv in 1988, Levy currently works in his studio in Paris.

His formation was unconventional where surfing, as well as his art and graphic design studio, took up much of his time back home. Following studies at the Art Center Europe in Switzerland he gained a distinction in Industrial Design in 1991.

After a stint in Japan where he consolidated his ideas producing products and pieces for exhibitions, Levy returned to Europe where he contributed his artistry to another field – contemporary dance and opera by way of set design.

The creation of his firm then meant a foray back to his first love, art and industrial design, as well as other branches of his talents. Respected for his furniture and light designs on all continents, Levy also creates hi–tech clothing lines and accessories for firms in the Far East.

Considering himself now more of a “feeling” artist, Arik Levy continues to contribute substantially to our interior and exterior milieu, his work including public sculpture, as well as complete environments that can be adapted for multi use. “Life is a system of signs and symbols,” he says, “where nothing is quite as it seems.”

 

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I enjoy his work because the materials he uses distort what you are looking at. I find he uses his materials in different forms whether it being a closed form or a bunch of planes stuck together. I enjoy his pieces outside and love how they change throughout the day due to lighting.

SEBASTIAN MAGNANI

Born 1985 in a small village in Canton Valais, Switzerland, surrounded by mountains, Sebastian Magnani discovered photography whilst training as a media designer in 2006. After 5 years as a creative in an advertising agency, he decided 2011 to turn his passion into a profession. Since then he has been making a living as a photographer, based in Zurich Switzerland. He currently works on various subjects and several free projects, like the «Underdogs» and «Undercats», where got a lot of media attention and been published on many newspapers, magazines, websites and tv-shows around the globe.

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I enjoy his work because it takes one thing (the sky) and puts it somewhere else (the ground) which kind of makes you question what you are looking at and trying to imagine the environment. I feel like it causes a 2D photo experience to be more immersive as you actually what to know what is happening outside the frame.

DENISE RIESEN

Denise Riesen is an award-winning photographer with more then 16 years experience. Her work has varied in style and has evolved as she travels both physically around the world, and through the stages of her own life. Her work expands and alters that of a traditional scene into a complex visual interest. She enjoys the constant challenge of new ways of seeing and the creative output of self expression.

Denise has both studied and photographed extensively throughout the North America and Europe through personal travel and professional involvement. Her work has been shown in a number of galleries within the United States and Mexico. Denise has worked as a photo editor, and curator for a number of exhibits both in Chicago and New York City.

Denise currently works primarily as a freelance photographer and artist based in the Chicago area.

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She gave me the idea of water being a reflective surface or a material to distort the surroundings for my photographs.

Final Thoughts

With ideas from these artists I also want to try working with tin foil, glass, mirrors, water, acetate, and cutlery to create a distorted perception of what the viewer is looking at while also creating a visually beautiful image.

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Photography is not Reality

Erik Johansson:

Conceptual Methodologies

Johansson thinks that traditional photography is not based off of talent, but is about being at the right place at the right time. Anyone can do this. Therefore, he is inspired by creating something where the process of the image starts when you press the trigger. His images have an unexpected twist, but they still retain elements of photographic realism. This is accomplished by creating something that cannot exist in the real world, but appears as it could have been captured as a photograph. These are not photographs that are realistic, but what we think looks realistic. With these, a brief moment is required for the viewer to understand the “trick” in the image; therefore, the importance is more focused on capturing an idea, rather than capturing a moment.

In his TED Talk, he relates his images to optical illusions. This is because they do the same thing as the most important part of his photographs; that is, they combine different realities. Here is the example of the optical illusion that he shows in his TED Talk:

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Technical Methodologies

In order to make his photographic ideas come to life, Johansson uses Photoshop to combine elements from different photographs.  Erik Johansson includes three rules when creating his photographs to achieve a realistic result:

  1. Photographs combined should have the same perspective
  2. Photographs combined should have the same type of light
  3. Seamless photographs: make it impossible to distinguish where the different images begin and end

Johansson matches colour, contrast, and brightness in order to make an image compressed of hundreds of different layers look like one singular image.

Formal Methodologies

In contrast to taking a good photograph by being in the right place at the right time, Johansson’s images require lots of planning. As a result of the heavy Photoshop editing that are contained in his images, the more he plans out the idea, the more realistic his image becomes. He starts this process by beginning with a sketch of an idea. Once he takes the photographs, the next step is combining them with Photoshop.

There is often informal balance in his images. The following are great examples of what I am interested in for my final project:

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“All of the tools are out there, the only thing that limits us is our imagination”. 

–  Erik Johansson

Pol Úbeda Hervàs: I’m Not There (Series)

Conceptual Methodologies

Each image has the same pair of shoes placed perfectly, then a shadow of a man wearing the shoes. These suggest a sort of “ghost-like” quality; similar to the images by Johansson, they are doctored images that appear as if they could exist in reality. They are meant to reference the fact who we are at this moment will disappear, but there will be a trail which remains as evidence of your past existence. This relates to the feeling he has that he is constantly changing. Furthermore, these images focus on photography is often human interaction with its surroundings, while these capture the absence of the human from these surroundings of industrial spaces. These are places that humans have created, enforcing the idea again that even if humans are not inhibiting these spaces, they still leave their mark by creating these spaces in the first place.

Technical Methodologies

I could not find anywhere the photographer explains his process, but I assume he had the help of another person, and a tripod. I’m assuming he took two images here, one where he is standing and wearing the shoes, and one where his shoes were placed in the same position where they were when he was standing. Then, I assume he merges the two images together with Photoshop by copying only his shadow in the image he is in, then dragging and aligning it onto the image of just his shoes.

Formal Methodologies

Each image only contains the shoes, shadow, and an empty background within an man-made space. There are no other powerful elements in the image to distract the viewer. There are often leading lines in these spaces, adding more interest for the viewer to allow further looking into the image.

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More References Images from Other Artists

 

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Photographer: Gustano Terzaghi

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Photographer: Laura Greco

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Photographer: Lee Materazzi

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Collage Maker: Deger Bakir

References

https://www.djdesignerlab.com/2012/06/amazing-photo-manipulation-arts/?:_djdesignerlab_(DJDESIGNERLAB_-_Find_All_Your_Design_Inspirations_From_This_Laboratory)

https://www.flickr.com/photos/degerbakircollage/

https://www.gessato.com/im-not-there-by-pol-ubeda-hervas/

https://www.juxtapoz.com/news/photographs-by-lee-materazzi/

https://petapixel.com/2012/02/15/the-amazing-photo-manipulation-art-of-erik-johansson/

https://trendland.com/im-not-there-photography-by-pol-ubeda-hervas/

https://visualhuesca.wordpress.com/category/laura-greco/

https://500px.com/photo/170936939/paula-by-gustavo-terzaghi?utm_medium=pinterest&utm_campaign=nativeshare&utm_content=web&utm_source=500px

 

Experiment #3: WHAT IS PHOTOGRAPHY

“You feel like the cord to the mother ship has been cut,” she said, “and now you’re floating in space.”

Carol Squiers, curator of the exhibition, What is a Photograph?

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Artie Vierkant’s “Image Object Friday 7 June 2013 4:33PM, 2013.”
Higher Pictures, New York

 

EXHIBITIONS
• What Is A Photograph?
| Exhibition at International Center of Photography.
NYTimes Review

THE NEXT BIG PICTURE: With Cameras Optional, The new directions in photography?  Good slide show with this one!

What are we talking about when we talk about photography?
(with apologies to Raymond Carver and if you don’t know who Raymond Carver is, my heart just broke a little)

A copy of the catalog for WHAT IS A PHOTOGRAPHY is available for browsing in the digital lab.

DUST MAN IS ACTUALLY CALLED: Berndnaut Smilde!

 

BOOKS and ARTISTS from THE EDGE OF VISIONMarco Breuer Untitled (Fuse), gelatin silver paper, burned, 1996
THE EDGE OF VISION

The Edge of Vision, Revisited.
The Edge of Vision VIDEO INTERVIEWS! with most of the artists!!
Lyle Rexer explains the book’s concept


WALEAD BESHTY
|Video at MOMA | Abstract Art or Photography

New Photography (2009) at MOMA | Blog with interviews and video

CARTER MULL
At Marc Foxx gallery

DANIEL GORDON
website | exhibition at New York Hortcultural Society of New York

SARA ANGELUCCI
website | Artist in Residence (2014) at the AGO

ALISON ROSSITER
Article/Interview in BorderCrossings

DRONESTAGRAM |
description of project
TREVOR PAGLEN (the artist who started Dronestragram)

Penelope Umbrico
Article about Penelope Umbrico

JOHN HOUCK

RISA HOROWITZ
| Imaging Saturn (images) | Imaging Saturn blog

CARA BARER
Interview about banal but significant objects  | Talking about her work in FeatureShoot.

THOMAS RUFF
At David Zwirner Gallery

VIK MUNIZ
website | film | At MIT

JESSICA EATON
website | Also search this blog, there are several interviews with her.

MIKKO SINERVO
Helsinki Schoo

ADAM BROOMBERG and OLIVER CHANARIN
| website | The Day Nobody Died | Interview | At MOMA in the New Photography Show

General link for the New Photography Show at MOMA

MARCO BREUER
At Yossi Milo Gallery | Interview in St.Lucy

2013 Le Mois de la Photo a Montreal

 

PENELOPE UMBRICO
Article about Penelope Umbrico

TREVOR PAGLEN

THOMAS RUFF
Photograms for the New Age | At Gagosian Gallery

VIK MUNIZ
Website | Video at ICP

GARY FABIAN MILLER
website | In Camera-less photography at V&A musuem

CAMERA-LESS PHOTOGRAPHY at the Victoria and Albert Musuem
Directory of Artists (videos) |  Camera-less photography techniques

MARTIN KLIMAS
website

SARAH ANNE JOHNSON
At Stephen Bulger | Article in Border Crossings

 

Artists from the powerpoint for Assignment Three: What is Photography?

Guy Fabian Miller
John Pfahl
Liz Deschenes
Uta Barth
Ori Gershl
Martin Klimas
Dean Kessmann
Adam Fuss
Sara Greenberger Rafferty
Mike and Doug Starn (The Starn Twins)
Sarah Anne Johnson

Jason Salavon

Makers:
Robin Rhode | Interview with the artist
Thomas Demand
Holly Roberts
Molly Springfield
Laurie Simmons
Ann Hamilton (sculptor)
Andy Goldsworthy
Thomas Demand
Ruth Thorne Thomsen
Christian Boltanski
Robert Parke Harrison
Dieter Appelt
David Levinthal
Helen Van Meene
Laurie Simmons
Ann Hamilton (sculptor)
Andy Goldsworthy
Thomas Demand
Ruth Thorne Thomsen
Christian Boltanski
Robert Parke Harrison
Dieter Appelt
David Levinthal
Helen Van Meene
Abelardo Morell (amazing camera obscura)
Vik Muniz
Sigmar Polke
Gordon Matta-Clark
Aspen Mays

THE ROOT of Photography and how it relates to painting
Watch: David Hockney’s, A Secret Knowledge, (part 1), (part 2), (part 3).

A contemporary film where a non-artist makes a camera obscura and tries to paint like Vermeer. (It’s great!) TIM’S VERMEER

And finally, thinking about drawing!

Paul Chiappe

These are tiny tiny tiny drawings, based on vintage, found, photographs. Go here (it’s a great site) for more information

 

OTHER RESOURCES
St.Lucy
(Interviews with photographers)

ICP VIDEO ARCHIVE

BORDER CROSSINGS, Issue#119

Go here. It’s an amazing resource of artists.

 

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All Images are from the NPR Picture Show blog. Lawrence with the 49-pound “Captive Airship.” Courtesy of the Lawrence Family

Before drones (and projects like Dronestagram) were used for photographic surveillance, people relied on balloons, kites and pigeons.  The camera in the above image was large enough to shoot large format film and required 9-17 kites to lift it.

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San Francisco Bay, 1906

Read the rest of the article and see more images here.

PIGEON CAM!
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A selection of images and pigeon cams | more about the origins, history and application | uses during war | The Pigeon Spy |

 

 

 

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After our conversation yesterday about the tension between analog and digital/fast and slow, I thought Emma and others would be interested in Bruno Ribeiro’s absurdist interpretation of Instagram.

And while we’re talking about Instagram, it’s worth mentioning, yet again, Dronestagram. And this:  Le Mois de la Photo a Montreal was Drone: The Automated Image. Search the site for better yet, download the program.

 

 

 

 

RETHINKING what is a PORTRAIT? Experiment #2 (part 2)


Student work!


Kids With Santa, from the project, “100 Special Moments

JASON SALAVON
Portraits | Playboy | 100 Special Moments | Short statement

OLAFUR ELIASSON

Ice Watch Paris | The Weather Project at TATE MODERN | Studio Olafur Eliasson

NADAV ASSOR | Lessons On Leaving The Body | Julie M gallery

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Robert Burley
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From the exhibit: The Disappearance of Darkeness.
An entire blog about Photography in a Post-Photographic Age

IAN WILLMS
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Why We Walk (above photo) |

Other projects:
Between Liberties (A project about immigration) |
Look at all of his “longterm projects” they are all poignant and beautifully shot.

NANCY BURSON
| THE HUMAN RACE MACHINE | Early Composites | Early Work, Clamp Art (decently sized images)

 

THOMAS DEMAND
Matthew Marks gallery | MOMA
His Animations at DHC/ART in Montreal.

FELIX GONZALEZ-TORRES
Andrea Rosen |

SOPHIE CALLE
The Hotel Series | Thesis on Hotel Series | At the TATE (full screen images)

GILLIAN WEARING
Whitechapel Gallery (London) | Review in The Guardian

ANA MENDIETA
Review/Essay in FRIEZE | Images |

DAMIEN HIRST
Medicine Cabinets

JANINE ANTONI
Lick and Lather  | Luhring Augustine (gallery) | Art 21 video

LORNA SIMPSON

FRANCIS PICABIA

Machine Drawings

KIKI SMITH
Text at Guggenheim | Game Time

JON RAFMAN
Nine Eyes of Google Street View | Essay

Other artists to consider: Catherine Opie, Annette Messager, Chris Ironside, Cindy Sherman, Yoon Sung Min (Dwelling)

NIKI S. LEE
Museum of Contemporary Photography | The Creator’s Project, overview
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Museum of Contemporary Photography | The Creator’s Project, overview

 

 

 

 

Experiment #1 Implications of Colour

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The Inherent Racism of A Kodak Shirley

Adam Broomberg and Oliver Chanarin, To Photograph the Details of A Dark Horse In Low Light, 2013 [Goodman Gallery]

Is this nonsense still a problem?


Richard Mosse
| Infra |Artist Statement video | Understanding the exhibit |
More info | About Mosse and his new exhibit “Incoming” in The British Journal of Photography

Mosse in Time magazine

 

Experiment #1 Understanding vision and color

 

TEST YOUR COLOUR SENSITIVITY (thanks Alison!)
Test from Pantone

THE SCIENCE OF COLOUR AND LIGHT
Optical illusions show how we see.

Color and Physics

Colour and light, explained by Bill Nye (the science guy).

Light Fantastic 4: Light, The Universe, and Everything.

A BBC video that explores, “the research on the strange relationship between light, the eye and mind, and the development of new technologies such as photography and film”

This is an interesting TED talk about Colour Theory.

 

FOUNDATIONS of VISION: COLOR
Fantastic resource via Stanford University

 

ALTERED PERCEPTION and VISION
Dr. George Stratton

Dr. George Stratton’s original article,
SOME PRELIMINARY EXPERIMENTS ON VISION WITHOUT INVERSION OF THE RETINAL IMAGE.

Summary and explanation of Stratton’s work, courtesy of the staff of San Francisco’s Museum of Science, Art, and Human Perception.

Newer article, based on Stratton’s research.

Great WIRED article about neuroplasticity, vision, and perception.

Video showing inverted vision experiments: Living in a Reversed World.

THE ILLUSION OF COLOUR CONSTANCY | Color Subjectivity | Living in the past
Video.
Is your red my red? No. It isn’t.

The neurological lag between seeing light and understanding/processing light.

What is video, anyway?

“It’s all to do with our cone cells, one of the two types of photoreceptors within our eye’s retina, which are responsible for color vision. We have three types of cones, which are sensitive to blue, green or red wavelengths of light. When we’re exposed to a lot of one color, that particular type of cone gets overstimulated and becomes “tired” and unresponsive. This leaves you temporarily with the use of only your other two types of cone, which show the opposing “complementary” color (i.e red versus green and blue versus yellow). After a few seconds, the cones “recharge” and you’re able to perceive that color again.” – IFLS

 

THE ILLUSION OF COLOUR CONSTANCY | Color Subjectivity | Living in the past
Video.
Is your red my red? No. It isn’t.

The neurological lag between seeing light and understanding/processing light.

What is video, anyway?

 

COLOUR AND LANGUAGE
This video explores the relationship between the development of language and the processing and understanding of colour.

 

 

 

 

Experiment #1 The History of Color Photography

George Eastman House’s photostream on Flickr. Excellent historic images.

Short video about the Autochrome process, from The ImageWorks in Rochester, NY.

Concise History of Color Photography with excellent images and text.

The George Eastman House: Notes on Photographs: An international forum for gathering information that enhances the communal understanding of the photographic print.

A short video about the history of color photography from the Smithsonian Institution (Washington, DC)

History and manufacture of Lantern Slides.

The scandal and possible truth surrounding Levi Hill who claimed to have invented color photography.

 

THE FIRST DIGITAL CAMERA

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(Image from the New York Times Magazine)

This is the first DIGITAL (filmless) camera. 1975!
Wonder why it took so long to be on the consumer market? Read this.

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A list of links about the origins of the digital camera, as well as other connections between photography and technology.

PICTURES OF CATS! (before the Internet)

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Just in case you think cats + social media is new, (mew?) it’s not.

Maker: S.L. Upham & Fowler
Title: Cat / opaque background
Date: ca. 1875
Medium: albumen print
Dimensions: Image: 9.5 x 5.5 cm Mount: 10.1 x 6.2 cm
This image is from the George Eastman House Flickr Feed.

 

MORE ABOUT THE HISTORY OF PHOTOGRAPHY
If you’re interested in more information about the History of Photography, check out this and this.

 

THE ORIGINS OF PHOTOGRAPHY–the CAMERA OBSCURA

In the above posts, you’ll find a brief history of the camera obscura, how many painters such as Vermeer used a camera obscura to aid in his painting, as well as contemporary artists who use the camera obscura.

If you’re interested in the connection between Vermeer and the camera obscura, this is a compelling documentary:

Tim’s Vermeer” a documentary by Penn and Teller (yes, THAT Penn and Teller) about one man’s obsession with discovering Vermeer’s secrets. Hint: camera obscura! Trailer | NY Times article | TIFF summary

 

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Dr. Edwin H. Land.
Photo copyright J.J.Scarpetti.
Image from: The Rowland Institute at Harvard

EDWIN LAND
Video about Edwin Land (the inventor of Polaroid) and his two color process. An article describing the relationship between Edwin Land’s experiments and James Clark Maxwell’s discoveries.

POLAROID NOW: The Impossible Project


CMYK

Short film, creative interpretation of cymk in everyday printing (cereal boxes, etc)

THE HISTORY OF COLOUR MODELS
To augment our class discussion about colour, learn about the history of the colour wheel.

History of Color Models
Color Models
Color: Standford University Encyclopedia of Philosophy

Jason Salavon, pushes boundaries between photography/computer science/video etc.  Here is his interpretation of the Colour Wheel.

 

 

Photography III: Final Project

Idea:
The idea for my final project will stem off of Experiment #1: What is colour. Through this project I identified colour as a tangible object, that I was able to manipulate through photographic digital media. I would like to continue this experiment in order to develop a technical, and conceptual focus through the use of digital, and analogue practices. Inspiration has been identified from the following four artists: Jessica Eaton, Keith Rankin, Holly Roberts, Alex Mcleod. I found that each artist has contributed to my idea appropriately, and operate through a range of different photographic elements. I am interested in creating conflicting environments, subjects, and objects in my composition, which will contradict their physical spaces in their environments.

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These are the images that were produced previously for Experiment #1

Influences:
I hope to create surreal images based off the influences below.

Jessica Eaton

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cfaal 519, 2015. archival pigment print 40 x 32 inches

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Jessica Eaton, cfaal (mb RGB) 18, 2010, archival pigment print, 50 x 40 inches

Capture

cfaal 505, 2015. archival pigment print 40 x 32 inches

images

  • Great technical attention
  • Ability to create and identify conflicting colours, shapes
  • Experimentation with different ways of abstraction
  • Presentation quality

Keith Rankin

Rankin8Orange_Milk_Records_-_Giant_Claw_-_Dark_Web_LP_1180_1200_75igN3NP7g_400x400a3717034932_16download

  • Integration of different gradients through the use of digital media
  • Interesting, compelling, confusing composition
  • Inspiration for the surreal

Holly Roberts

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Horse Resting (2014)

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Boy Barefoot Rider (2013)

Holly-Roberts-8

A Bird I Saw Walking (2007)

  • Use of photographic elements which contribute to its creation
  • Interesting uses of imagery to explain the anatomy of nature
  • Inspiration for the photographic element of the project
  • Difficulty in the surreal

Alex Mcleod

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Distant Lands (2011)

 

  • Environments created from digital media
  • Attention to colour composition, detail in each object
  • Compositions that are grand in detail and size

Julian Schulze

Julian-Schulze-Photography-Top4

Photographer and artist based in Berlin who focuses on geometric abstraction and minimalistic compositions. His shots are often made up of one or two colours or elements and are of every day scenes, mostly architecture.

In his latest series Some Thoughts on Composition he states, “Whereas I think that these “rules” can be a useful guide for the beginner, I think that strictly following them (as suggested by the term “rule”) can seriously impede your success in finding interesting angles, interconnections, and the true character of a picture”. Relates to how I try to come up with new ideas, ignore rules in order to get better sense of certain aspects of a medium.

https://www.julianschulze.com/

Julian-Schulze-Photography-P13-4

Technical:

  • Takes images of geometric shapes with interplay of colors, turns image in order to create further abstraction.
  • Taken in natural setting in daylight.

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Conceptual:

  • Thinking outside the “rules” of photography can expand the possibilities even within the most common subject matter.
  • Giving viewer a different perspective on familiar subjects.

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Methods:

  • Each shot is composed using light, shadow, and color to create the illusion of a 2D scene within a 3D subject.
  • Minimal detail as well as unorthodox lines/angles give different perspective on familiar subjects.
  • Often little content within image in order to emphasis obscurity.
  • Shot frontally to emphasize 2D plane.Julian-Schulze-Photography-P13-6I feel that his work is a prime example of breaking the boundaries of what makes up photograph and creating something new out of familiar subject matter. This is the goal of my final project, to demonstrate a larger subject whist only providing minimal details. 

     

    Photogrist stuff. (2016). Geometric Abstraction and Minimalistic Compositions by Julian Schulze. Retrieved from https://photogrist.com/geometric-structures-julian-schulze/

    DL Cade. (2017). 13 Beautiful Examples of Minimalist Photography by Julian Schulze. Retrieved from https://petapixel.com/2017/04/26/beautiful-examples-minimalist-photography-julian-schulze/

    Julian Schulze. (2017). Julian Schulze Photography. Retrieved from https://www.julianschulze.com/work/