My own Berenice Abbott

This is my own image inspired by Berenice Abbott photography.  I’ve taken 20 photographs in black and white at interesting, and different angles. I chose he the best ones and photo shopped them by using curves and level tools whiten parts and darken parts to produce these photos

 

Berenice Abbott artist research

Abbott's first major photographic project, documenting New York City, began in 1929, shortly after she returned from Paris. Her documentation of this growing and changing but ultimately timeless city is one of Abbott's finest accomplishments. There is little doubt it is the best known. Abbott’s earliest photographs were simply notes, taken with a small camera for future reference. The size of her negatives and scope of her project increased until finally, by 1932, all were made with her 8" x 10" Century Universal. Many of her well known New York images were produced under the auspices of The Federal Art Project from 1935 to 1939. However she continued to photograph New York City through 1956.

Hockney Joiner my example II

This is my own image inspired by Hockney Joiner images. I chose to zoom in to the eyes in the images as these are the most prominent and make an interesting subject. When taking the photographs I tried turning the camera in different angles and asking the model to move her head and her facial expressions to make the image more interesting and different. To create the collage affect I imported the best images into Photoshop and began to move them round to create the best composition possible. I like the finished final result and I would like to try more of this style of image.

Panorama my example

This is a panorama shot of Kenton School that I used for my Dan Arkle inspired project: Planet Kenton. I achieved this result by attaching the camera to a tripod and turned the camera 360 degrees in order to capture the whole of the school. When moving the camera I made sure to overlap the images so when I imported them into Photoshop, it would be easier for the program to stitch them together.

Hockney Joiner my example I

This is my photograph inspired by Daivid Hockney Joiner's photography. Simply, a joiner is a collection of individual photos which when ‘joined’ together with its brethren forms the whole. What this means is when you’re looking at my joiners, and you see it’s made up of lots of rectangles, well, each of those rectangles is one single photo showing just a small portion of the whole subject matter.

Hockney's 'Joiner' artist research

In the early 1980's, Hockney began to produce photo collages, which he called "joiners".

This is probably a closer description of how we see the world - from multiple viewpoints that are then pieced together by our mind. In this joiner by David Hockney he has tried to create this effect out of 24 Polaroid prints. He did this because he was interested in how we see and depict space and time. His is interested in how we turn a 3 dimensional world into a 2 dimensional image, how perspective is used in western art and how space is treated differently in non-western art. He did not particularly make joiners because he liked the novel effect of using photographs in this way. However, he did like the way this technique allowed the viewer to read space. He sometimes laid the images out in a neat grid.

Dan Arkle artist research

Dan Arkle

 

In the Fargate shopping district, with the town hall to the right.

 These panoramic photographs that look like little planets were taken by photographer Dan Arkle, 34, from Sheffield. He said: "On a sharp summit, you feel literally on top of the world, with dramatic views in all directions, including straight down. I tried using conventional photography to capture this feeling, but even with a wide angle lens I couldn't get all the view in the image."

Dan Arkle planet example

This is my image inspired by Dan Arkle panoramic photographs. I did this by using tripod to ensure that the camera rotates around a fixed spot and that it stays level. Then I cropped the image so that the two sides of the image line up with each other on Photoshop. Finally, I rotated the image 180 degrees, and then wrapped my image into a sphere shape by using the tool 'polar Coordinates'.

Lighting example

LIGHTING
 

This is my example of hard and soft light that i have taken.

Hard light (right) and soft light (left). The differences are striking. The soft light "wraps" around the ball because the source is so much larger. The hard light has a more dramatic effect on the surface texture.

Whether light falling on a subject is hard or soft depends on one thing, the relative sizes of the light source and subject. A large source will wrap light around a small subject filling shadows and lowering contrast. A small source will direct light onto a large subject creating hard shadows and high contrast.

Depth of field

This is my example of depth of filed have tried to change the depth of field by adjusting the aperture settings.( top: set at f 3.5 bottom: set at f 22). Although print size and viewing distance influence how large the circle of confusion appears to our eyes, aperture and focal distance are the two main factors that determine how big the circle of confusion will be on your camera's sensor. Larger apertures (smaller F-stop number) and closer focusing distances produce a shallower depth of field. The following test maintains the same focus distance, but changes the aperture setting.

Action example

Action

This is my example of an action shot using a fast shutter speed to ensure that it captures the movement of the hair. The camera was on a tripod to make sure that the image is steady and not shaking. The background is white to make the subject that is moving the main point.

Stephanie Jung artist research

Stephanie Jung

Stephanie Jung is from Schifferstadt, a small town in South-West Germany, but she spends a lot of time in Berlin during the year. In 2010 she finished her studies in Visual Communications, where she discovered her passion for experimental photography. Since then she is working as a freelance photographer, focusing on her personal projects. She loves to travel all over the world, especially to big cities, to capture the vibrant and hectic mood of a place. But her work is not just about city life, it's about time and causticity, about capturing special moments getting lost in time. Some of her work has been published in different magazines as well as exhibited in art galleries.

STEPHANE JUNG

This is my photograph inspired by Stephane Jung. I accomplished this photograph by choosing one location of my school, and token 20 images and made slight alterations by changing the angle of the camera and zooming in and out by a small amount. I also layered the images together on photo-shoot to be able to make them into one layered photo.

aperture=F16

aperture= F 5.6

The two images above uses a range of  long and shallow depth of field. I will  be explaining how these images use depth of field and when you might want to use them.

Often photographers are after a shallow depth of field. This is shown in the photo above by the "f5.6" photo. The key thing about a shallow depth of field is that, because only a small area of the photo is in focus, it concentrates the viewer's eyes on that part of the photo. It isolates the subject from its surroundings. Because a shallow depth of field isolates the subject from its surroundings, it is really useful in portrait photography. And because a lot of the photos we take are of people, it helps to know how to separate them from the background in this way.

The other photo shows a long depth of field – pretty much everything in the photo is in focus. This is useful too, for those times when you really do want everything in focus. Landscape photographers often want to use this effect because they want to get the whole scene in focus – from the flowers in the foreground to the lighthouse in the background.

In the photos above. The camera lens in the bottom right shows how large or small the aperture was when the photo was taken. When the aperture is wide open – f5.6 – we get a shallow depth of field. And when the aperture is almost closed – f16 – we get a long depth of field.

The image taken by Nick Ut on June 8th, 1972, shows crying children running away from their village after a Napalm aerial attack by South Vietnamese Forces.It’s a disturbing image; one that shakes us to our core. The main subject in the shot is nine year old Kim Phuc; running, , wailing the words “Too hot, too hot”, crying and naked. As she was hit by the burning Napalm, it raced up her body and incinerated her clothing on contact. It burnt through the layers of her skin all over her back, leaving her heavily scarred to this day. I chose this photo by Nick Ut to analyse becuse i think it shows action very well.  It only took a second for  the photographer Huynh Cong Ut to snap the iconic black-and-white image 40 years ago. I  think  It communicated with the horrors of the Vietnam War in a way words could never describe, helping to end one of the most divisive wars in American history. Amazingly, he toke the photo at the perfect time conveying the perfect emotions instantly. Looking at the shocked and terrified faces of the children running away from their village that in on fire in the background of the photo really makes me emotionally sad because the expressions they show in the image makes me imagin what tough and terrifying experience they had to go through at such a young age.

 

  
This is my photograph and it's an example of composition and follows the rule of thirds because the sea shell sits at the intersection of two lines, sometimes called a power point or a crash point.

The photograph demonstrates the application of the rule of thirds. The horizon sits at the horizontal line dividing the lower third of the photo from the upper two-thirds. The tree sits at the intersection of two lines, sometimes called a power point or a crash point. Points of interest in the photo don't have to actually touch one of these lines to take advantage of the rule of thirds. For example, the brightest part of the sky near the horizon where the sun recently set does not fall directly on one of the lines, but does fall near the intersection of two of the lines, close enough to take advantage of the rule.
Applying the Rule of Thirds makes an interesting composition out of what could be a very boring subject.

Hi, I am Lina Almehrej, studying photography at Kenton school. This blog will have a collection of photographs that will be my first project which will be based on the theme of  'Environment'. I like portrait and landscape photographs and i enjoy Wilma Hurshainen work.