In the ICM shoot some of the photos don't have that blur effect that they are supposed to have and some of them do but what I really like about this shoot is the lighting and how it brings out the contrast in the flowers.
In the shoot I used a DLSR camera and it was set to 1" or 2" for intentional motion. In the shoot I used a plain white background and a spinning action on the camera . This shoot was taken inside due to the lighting being better and brighter for the shoot . However in this shoot I would like to improve my motion of the camera and rather turned the camera more gently to get that more clear spinning effect but overall I'm happy with the pictures I took and the overall result. I now know how to improve this shoot next time . |
|
in short, high-key images are those that have few shadows and have the subject set against a very bright background. High-key images are often set against over-exposed backdrops. In high-key photos, the average of all the pixels in the image is very bright. High-key is the opposite of low-key images that are defined by their darker tones.
For it's flattering benefits simply. The overexposed style of high key can make skin appear smoother and blemishes are harder to see. Though it is most common in portraiture, you can apply high key lighting to still life subjects too. Just take some of the lighting tips we'll talk about and adjust them for your photo |
Why this video?
This video looks at the influences of Karl Blossfeldt and the context behind his growth as an artist. The book: Karl Blossfedlt the complete published work is shown, giving us a comprehensive look at both the development of Blossfedlt's style as well as the extent of his photographic work. |
Why this artist?
Blossfeldt links to our topic of abstract nature, as an artist whose entire repertoire explores botanical subject matter. He has had a large influence on modern photographers, and is considered by some a master of still life. By looking at his work, we can explore natural forms both intended to explore visual satisfaction and beauty, as well as 20th century modernism and unique composition, in macro style. Who is He? Karl Blossfeldt was a German photographer, born 1865, his work spanned both the 19th and 20th century, before he died in 1932. He worked extensively in botanical studies, however he began his career as a sculptor and during his life was primarily known for this and as a teacher. He was not a professional photographer, and in fact, little is known about how he made his camera, and used some sort of magnifying device. Why the quote? These two quotes, explore the two artistic aesthetics influencing Blossfeldt. His work clearly incorporates both the late 19th century enlightenment aesthetics as well as, early 20th century modernism. The second quote epitomises the theory of the enlightenment movement '[looking at the] beauty [of nature] inwardness': relishing in it as a ' source of the most Nobel pleasure. The first quote, however, takes a more compositional and architectural approach to his natural subject matter. Here he thinks more in the 20th century school of thought: looking at design & structure. |
Subject:
Blossfeldt's work primarily features botanical structures, photographed against a plain background (enhancing the subject's form and structure). His work belongs to the genre of still life, however in my opinion it also borders on use of abstraction. His often stiff and arid appearing specimens, challenge typical perceptive boundaries, posing our view of nature as having inherent delicacy and intricacy, with imagery that connotes factitious construction. This is accentuated by the recurring element of macro photography in his work. A majority of his still life images are highly magnetised, making them somewhat unearthly: unrecognisable from the everyday. Elements: Karl Blossfeldt consistently uses space in his photography, although the colour, tone and clarity of his backgrounds vary, the style of minimalistic backgrounds persists in his work. These are free of visual interest, drawing focus towards the subject matter at hand. This simplification allows the viewer's focus to remain on the subject matter, furthermore, contrast between the lights and darks of the background and subject create balance again striking the viewer. His images vary displaying both dynamic and are restful compositions. Although the colours, space in the background and direct approach of the camera show simplification- restful composition. His macro skills and high depth of field mean the images retain a dynamic quality. His work also focuses heavily on form, relying on intrigue being created by the dynamic subject matter he photographs. He creates visual intrigue and satisfaction by frequently using symmetry and the rule of thirds to maintain balance in his images. Balance is also maintained throughout the ever contrasting tones of the subject matter and background. Later in his career he also ventured into use of pattern in creating balance. Some of his images almost reflect the idea of skyscrapers posed against a blank sky. This is especially impacted by the image's being monochromatic and the lack of angled approach on his subject- it appears and evokes emotional starkness. This image in particular photo: Rosette of leaves enlarged 10 times)- looks like a cog in a machine, the incredible but loose symmetry and stark contrast between the pale background and dark object bring a sense linearity: construction and order. This feels confusing as we also see the delicacy and beauty of the rosette. This juxtaposition rouses feelings within the viewer: discomfort in the metaphysical. Media: Little is known about the exacts of the equipment Blossfeldt used; He created his own cameras and utilised some sort of magnification technique to achieve the macro detail present across all his work. His career predates the invention of the digital camera, this is why his work is monochromatic and often features sepia tones. He may have used cropping to aid his compositions: using rule of thirds and centralisation. Blossfeldt's work can be described as high key, he limits contrast between highlights and shadows resulting in a straightforward outcome- reminiscent of scientific photography or photography focusing on archiving. This is achieved through his use of lighting, composition and perspective: his photos likely utilise direct approach or aerial photography- in his work both methods eliminate use of varied angles this means the objects are captured very simply with a restful composition. This unlike what you might expect- due to the directness of the method- create abstractness as we do not normally view these natural forms with a plain man-made background, or simply in a restful image plane. The high key style lighting, as I have previously mentioned, reducing the lighting ratio, allows more focus to be placed on shape and line, perfect for use as a drawing reference. Blossfeldt never looked too far when choosing his subjects, he never bought his subject matter generally using specimens found in his garden. This adds to the unearthly juxtaposition between familiarity, tainted by intense magnification. Intent: Blossfeldt's use of enlargement means his subjects gain an unearthly quality, this in turn with the sepia, smoky and old-worldly tones of his images provide a sense of industrialism and architecture. This is especially exemplified in the almost unambiguous and stark form of the specimens. The unique approach Blossfeldt takes in his use of macro photography is arguably the reason why he has retained significance, so many decades after his death: due to the unearthly quality they attain. He does not photograph specially selected objects but merely objects of nature easily accessible to him. The unique ode to the past he creates in contrast with the futurist quality the botanical subjects gain is simply due to his style of magnification, as it means the objects are not like anything we would see in our everyday. As his career spanned both the late 19th century and early 20th century, we can really see a mixture of influences coming from differing art eras, and schools of aesthetic. In his work Blossfeldt aimed to showcase the beauty of nature- this is typical of the 19th century enlightenment movement: focussed on appreciating beauty and reading into the meanings of the metaphysical in nature. However his approach to composition displays much more 20th century modernism- influences coming from abstract and surrealist movements. His technical approach to photography focussing on cataloguing images for drawing studies- not necessarily simply to photograph interesting subjects- adds to his work's industrial aesthetic. In hindsight aiding the uniqueness of his repository of work. |
|
i have drawn inspiration from Karl Blossfeldt's work due to the level of detail in his high key photography work. I was motivated by his use of texture throughout his work and the unusual composition used. I intend to carry out this shoot indoors (at school, and home).To do this I will use a light box at home and a backdrop and soft box at school. At school I intend to use a white piece of paper for my backdrop, tripod and soft box to hold my subject and camera still and also to adapt the light to my preference. Regarding light I will be indoors, meaning I will have to take windows into consideration to use the best lighting but I will also use a soft box to create a high key image. I will place my subject away from the backdrop to prevent shadows which would ruin the plain background which is known in Karl Blossfeldt's work.
Following the shoot, I plan to digitally edit my images using pixlr-e. This will improve my images and I will be using this software mainly to adapt my composition and remove objects which don't need to be there, for example a stabiliser for my subject. |
Due to this being am indoor shoot but with windows I will be using day-light or cloudy white balance. I intend to shoot with a DSLR Canon 800D and sometimes using a prime lens to prevent any changes to the image. I also intend to use a shutter speed of 1/60 to add intentional motion blur. Additionally I will be using an ISO of 1200 and intend to use a small aperture to create a large depth of field.
|