Available Light

Available Light Imogen Cunningham Natural light Low angle light Jan Groover Flash Light Bill Brandt Available light Brassai Spotlight Artists Type of light White light Matthew Hart Back light Candle light Lukas Kozmus High angle light Coloured light Projected light No light Light bulbs: Old or modern Available Light Photo-shoot Ideas Artificial light Projection Cello tape Shadows Light bulbs Candles and wax Pressed Glow Sticks Water Rubber bands Portraits Holding Light Close up Reflection Glow Paint Headlights Natural Light on skin Distortion Covered Bend Fire Body parts Smoke Torch Writing Twist Paint Wavy Scratches Curves Mood board Natural Light - Reflections Andre Kertesz André Kertész was a Hungarian-born photographer known for his ground- breaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism. Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success. His career is generally divided into four periods, based on where he was working and his work was most prominently known. They are called the Hungarian period; he photographed the local peasants, gypsies, and landscape of the surrounding Hungarian Plains., the French period, the American period and, toward the end of his life, the International period. This later period of his life is often referred to as the "International period", when he gained worldwide recognition and his photos were exhibited in many countries. In 1962 his work was exhibited in Venice; there and he was awarded a gold medal for his dedication to the photographic industry Kertész experimented with colour photographs, but only produced a few. Jan Groover Jan Groover was an American photographer known for her formal inquisitions into still life, portraiture, and landscape, using both colour and black-and-white. Originally trained as a painter, Groover was an heir to Conceptual Art, European painter’s like Giorgio Morandi, as well as Edward Weston’s photography. The curator Susan Kismaric once said of Groover’s work, “By using photography instead of painting, Groover complicates the notion of representation, and emphasizes the capacity of photography to make works of the imagination. The drama in Groover’s pictures arises from the tension between the form of the picture and the things we know to exist in the world.” Born on April 24, 1943 in Plainfield, NJ, she studied at Pratt Institute in New York before receiving a fellowship to attend Ohio State University in Columbus. The artist’s work first came to prominence in the late 1970s with her still-life motifs. In 1987, she was the subject of a mid-career retrospective at The Museum of Modern Art in New York. Moving to France with her husband the painter Bruce Boice in 1991, she continued her formal experiments using a variety of printing methods including platinum-palladium. Groover died on January 1, 2012 in Montpon-Ménestérol, France. Today, her works are held in the collections of the Art Institute of Chicago, the Smithsonian American Art Museum in Washington, D.C., and the Los Angeles County Museum of Art, among others. Groover received a Bachelor of Fine Arts degree in 1965 from Pratt Institute, and a Master of Arts in 1970 from Ohio State University. Groover was noted for her use of emerging colour technologies. In 1979, Groover began to use platinum prints for portraits and still life's, transforming everyday items into beautiful, formal still life's. In 1987, critic Andy Grundberg noted in The New York Times, “In 1978 an exhibition of her dramatic still-life photographs of objects in her kitchen sink caused a sensation. When one appeared on the cover of Art forum magazine, it was a signal that photography had arrived in the art world - complete with a marketplace to support it.” Groover also used early 20th century camera technology, such as the banquet camera, for elongated, horizontal presentations of otherwise pedestrian items. In a New York Times review of Groover's work exhibited at Janet Borden Inc., New York, in 1997, critic Roberta Miller called Groover’s work “beautiful and masterly in the extreme.” Jan Groover Style Photography Shoot Edit One –Style of Jan Groover In this edit I have changed the whole colour scale to black and white, the reason for this was because it made each piece of cutlery stand out against the others and due to the positioning if the light to the left as well as above it therefore highlighting the reflective pieces. When completing this photoshoot, similar to Jan Groover, I placed the cutlery in the sink and this similar toned base, makes the details in the objects more visible as well as sharper. To make the photo more dynamic I went on to add water over the cutlery which helps include a new element to the image as well as incorporate even more detail, this Jan Groover Photography being a large part of Grover's style. To create the image I have used Photoshop to enhance the contrast as well as exposure. This was done because it increased the light and captures the effect it has on a varied material. I also used the sharpen tool in order to showcase the pattern that is over the pieces, due to the different direction of the metal work, in which the shadows work with the varied heights in the cutlery, giving a range of reflections. My Own Edit Edit Two and Three The image on the left I have used a different perspective, in order to give an interesting aspect to the photo. I have used the close up setting on the DCLR camera and this has allowed the closer images to become blurred and other areas such as the descending cutlery ends to be in extreme detail. The cutlery that I have used also has scratches in it as well as dust and I believe this gives another element to the image context. Edit Four In this edit I have used a black and white filter this was in order to showcase, once again, the range of tones in this particular material, with just one source of light and how it refracts and reflects this. I have also used the reflective material to my advantage, as it focuses in on it above surrounding it also bends what is shown, in this case a sink handle, and gives an abstract impression to the whole photo. I feel as though this type of photography works best in the black and white scale and this is because of the simplicity to the whole image as will as the clear differences in tone. The grey scale of the image also helps to enhance extra detail and in this case the scratches on the silver wear which gives the photo a more personal touch due to the use of the objects. In some areas the image looks slightly painted and this adds another element to the picture. I have once again increased the exposure to the image as it emphasises the lighter areas and makes the whole picture clear for the viewer. This image gives of the impression of contrasting views, this being who owns the cutlery? It raises this question as the objects used appear to be vintage as well as pristine. Yet the scratches and location give a sense of roughness and only needed for practical use rather then decorative. Edit Five Due to the vast amount of black and white edits that I have created with this photo shoot, I decided to explore the use of saturation and colour within this edit. To start the image I use the desaturation tool to remove any excess colour that was reflected by the surroundings, by doing this meant that one constant colour was seen through and this was a light blue, cyan colour. This was an appropriate colour due to the reflection that can be gained off the glass vase as well as the sky from outside being shown in the cutlery. To produce this I first increased the brightness throughout all aspects of the image as it made the context of the image clear and easier to understand, however by doing this meant that all the tone soon became similar to exposure was increased to separate the tones and the offset was lower to further improve this. The image gives a rabbit hole type illusion due to the angle in which it is captured. This over head shot causes the viewer to focus on the middle descending section and this is abstract look is given due to the varied direction of the cutlery. Edit Six + Invert Edit Seven For these pictures I have used and extreme close up shot and this was made successful with the use of the clos up setting on the camera which captured every detail in the metal work. I took the image at a direct angle in order to see the different elements of light that were given off due to the direction in which it was looked at, this meant that as the light came in from the left, areas of the right of facing the opposite direction from the light where also highlighted due to the reflective material.

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