Photographers using shadows - Paul Strand, Russ and Reyn and Henri Cartier-Bresson

Paul Strand

 

I like how Paul Strand has used the shadows in this photograph because it makes what would otherwise be quite a bland image into something much more interesting with lots of different shapes and angles within it. The lack of colour emphasises these shapes and helps to show what beautiful patterns can naturally be made by blocking out sections of light. I also like how the areas of light and shadow make the image become quite abstract making it unclear what the object is so you focus on the shadows and patterns made.
 

 

 

Russ and Reyn

 

Russ and Reyn's photograph is a much more modern and quirky use of shadows. I think the simplicity of the composition is successful because it is the creative idea of using the shadow in this way which really makes the image effective in my opinion, so there's no need to complicate it with the composition too.

 

 

Henri Cartier-Bresson

 

 This photograph by Henri Cartier-Bresson appeals to me because of the way he has used the shadows. The profile of the person on the chair gives the image a creepy feeling as it seems like someone unknown is watching the chair and waiting. Because you can't see their features it feels more anonymous, like they are hiding their identity. I also think the use of shadows in the background is successful because it just gives the image a few more interesting shapes to look at. Because they make the background slightly darker too, it makes the white chair in the sun stand out even more so it's obviously the main focus of the image.





Photogram Artists - Abelardo Morell, Ethan Jantzer and Adam Fuss

Abelardo Morell

 

I particularly like these photograms by Abelardo Morell because of the tones, lines and shapes created through using the glasses in the images. I think the patterns created through the glass give the images a very delicate feeling which represents the objects well. It gives you more of an idea of how the object looks and feels rather than just creating a silhouette from it. I also think the simple composition of having only the glass in the centre of the frame helps to make these so successful because it means all your focus is on the interesting effects from the light rather than getting distracted by a complicated composition too.

 Ethan Jantzer

 

This photogram appeals to me because of the different strengths of the lines. The contrast between the sharp lines at the front and the softer edges from the dandelion behind gives this photogram more layers to it and makes it feel more three-dimensional and real to me. The different tones also help you to realise which pieces are in front of which with the stronger silhouettes being nearer the front. Often with photograms if two objects are overlapping you can't distinguish between the two because they just come out as one colour but the fact that you can tell where each piece is in this image makes it much more effective and interesting to look at.

 

 

Adam Fuss

 

I prefer Adam Fuss' more abstract photograms because I think he manages to create such interesting textures and shapes, it isn't necessary to know exactly what the object is as that may sometimes take away from the mystery of the shapes. I particularly like this piece because in one simple photogram, there are so many different sections that make the piece so exciting and unusual to look at. For example, the bottom left corner looks very smooth and peaceful, then it goes into quite a rough speckled section before transforming into the middle section which looks smoky and ghostly.



Experimental drawing - Jennifer West, Rebecca Horn and Elizabeth Hoak-Doering

 



 Jennifer West

 

Jennifer West creates these pieces by hand manipulating her film using a variety of methods such as dye, deodorant or skateboard wheels. I think it's a really interesting method of adding marks onto the images because she won't have much control and won't be able to replicate the same patterns again which makes each piece more original and unusual in my opinion. The vibrant, unnatural colours created are eye-catching and give the photos a more modern and futuristic feeling. It makes me think about how old photographs weather with age but with technology developments, in the future this is how they may look when they've been left alone for a long time. I also like the photos as a set in the big strip as I think they work well with the continuous manipulation running through them.



Rebecca Horn

 

'Pencil Mask' by Rebecca Horn was created in 1972. It is strapped around the face to 'transform the wearer's head into an instrument for drawing'. The pencils are approximately 2 inches long and Horn has described how she 'moves her body rhythmically from left to right infront of a white wall. The pencils make marks on the wall the image of which corresponds to the rhythm of the movements.’ This piece interests me as the actual mask itself is as much a piece of art as the drawings created from wearing it. I think it may be particularly successful in creating impressions of landscapes as the drawings themselves won't be very detailed yet I think you would still be able to create an effective impression of soft light areas such as the sky compared to maybe darker and denser areas such as woods possibly. However, Horn may have used the mask to create more personal pieces because as she said the marks correspond to her movements, she may have moved in a way which reflects her emotions or feelings to create a piece reflecting that rather than something which she can see.

Elizabeth Hoak-Doering

 

This drawing is from the series 'things, witnesses!' where Elizabeth hung objects such as an office chair, a bedframe, a kitchen table and a hat rack from the ceiling of a building. Motor sensors were attached so when people walked past, the object moved and created part of the drawing. This means that when the exhibition was initially set up, there was no drawing but as people came in and visited the pieces, the drawings gradually developed. I quite like the technical aspect of these drawings because even though you don't know how they will turn out because it depends on how many people walk past and when, they make interesting shapes and patterns on the paper. I also like the way that in the exhibition, although it's Elizabeth's work as it was her idea, she has no control over how the drawings will turn out. In some ways it makes them quite neutral as they are free from any pre-conceived ideas about what makes something look successful and appealing as it's all automatic.