Lee Friedlander

Lee Friedlander was born 1934 in Aberdeen. He then moved to New York and since 1948 he has been taking images of the American social landscape. This is where he would organise lots of information from his surroundings to create dynamic composition out of the chaos of city life. Friedlander has had his work displayed in the in the influential 1967 New Documents exhibition at the Museum of Modern Art. He then had his work in the 2005 Museum of Modern Art catalogue. He has had his work exhibited all over America, especially New York where he had the whole body of work from ‘America by Car’ exhibited. Friedlander also produced a group of self portraits started in the 60’s and revisited in the 90’s.

This image is taken in the style of a documentary in Las Vegas, Nevada, 2002. As if Friedlander is documenting his memories across the roads of America. Friedlander has spent a lot of his life on the road travelling and he was able to capture some of the wonders through his travels. With his incredible eye for extreme composition and wit he could fit huge amounts of detail into the frame of the rental cars he used. The use of light, dynamic lines, reflection and distance is incredible. The whole image is in full detail and every part of the image has something that compliments the other. The contrast from the inside of the car and the city of Las Vegas is huge; this makes the buildings, statues and the frame of the wing mirror stand out. Dynamic lines find themselves shooting all over the image. The bottom window frame goes from one side to the other. The other part of the window frame connects with the line where the door and car interior meet. The traffic light pole splits the cityscape in two where the top of the buildings are in one section and the middle to ground is in the other. Then the reflection in the mirror gives the audience a new perspective, it shows what’s behind the image, where it has come from. There is also a focal point where the window frame, traffic pole and the top of a building meets; this automatically draws the audience’s eyes to it.

The series of 192 images have been displayed in an exhibition with several on one wall and very close together. They were then grouped based on content and not where or when it was taken. Friedlander’s influence for this body of work was due to his own humour and his own view of the world over the steering wheel of a rental car.

This image is titled New York City, 1963. There is a hybrid of the socially engaged documentary style photography to make this image; Friedlander has also incorporated the spontaneous nature of post war street photography. This image was taken in order to document the American social landscape. In his work he refrains himself from making strong social statements in order for his image to simply be an accurate document of the time period.

In this image Friedlander has made some ‘amateur’ mistakes. The models are hidden by the columns and his own reflection is in the glass window. Yet I think that he has taken it at that moment for a reason, to show inequality of men and women and how they should be the same. This is because they are walking towards each other into the unknown space in the middle, even he doesn’t know what would happen in the middle. The clothing of the models also explains the social class of them both. The setting has also framed the models which puts them into their own space, making them defined. The dark clothing is the only thing the two models share. The lighting is all natural and is shown by the shadows by the models feet and the reflection. The clear reflection of himself and the man behind him shows the difference of the intensity in and out of the sun because the man behind him is far more defined.

Unlike other practitioners I have researched so far Friedlander used mostly black and white. This adds a sense of professionalism to his work considering the 'mistakes' that he has made. I think that this is what allowed him to gain some credit for his work easier than others like Eggleston. Eggleston was one of the first to use colour in fine art photography and this documented everything that he saw infront of him. However black and white is an illusion because the world is not B&W; therefore it is not a true documentation. This has convinced me that colour images is the way that I should take my own work.

Trent Parke

Trent Parke was born in Newcastle, Australia in 1971. He is the only Australian photographer to be in the prestigious Magnum group. Parke has gained awards for his photography nearly every year 1996 to 2005. He won the prestigious W Eugene Smith Award for humanistic photography in 2003 because of his journey around Australia. 



This image was taken in Australia in 2006. It looks like this image was taken in a car park to a shop. I think this because of the large number of trolleys, the model in this image is dressed quite formally suggesting that it is her uniform, also there is the car in the foreground. Parke has used the brown fence to split the image in half and make the main subjects stand out because of their light tones. A brown tone is constant through the image from the car, dirt on the ground, the fence, the house and the tree. Blue sky helps the tree and the house define itself against the rest of the brown and grey. On the boot of the vehicle there is a reflection of above the fence creating another distance to the image. I think that this factor may explain why Parke has used a small aperture so that he can get all the detail. The sky looks fairly clear suggesting that only natural light was used. I think that the sun was positioned to the left due to the shadow across the fence and behind the model. Nearly all the trolleys point towards the model which isolates her as the main subject.

This image was also taken in 2006 in west Australia. Parke has used a dynamic contrast of the shadows primarily on the left however there is some under the canopies down the street. This shadow is made by natural light and large buildings that are out of frame. Several colours have been used especially tones of blue and red. A large amount of this image is in focus suggesting that Parke would have had to use a small aperture.

Josef Sudek

Sudek was born in 1896 and died 1976. He started photographing when he was a bookbinders apprentice at the age of 15. In WWI Sudek photographed the war, however suffered a serious injury resulting in the amputation of his right arm. Since as he couldn't continue witht the bookbinding he focused more on his photography; which later on he received awards and was a founder of the Prague photographic society. 

The location of this image looks like it is inside a working class family home. All the light in this image looks like it is coming from the window behind the main subject. Shadows from the chair, candle, plate and fruit are projected towards the camera and the deep contrast shows that there was no light from behind the camera or either side of the frame. The table, window and chair are all square or have very strong definite straight lines. However the main subjects are very circular and have an effect on the light that has contact with it. Looking through the bottle you can see that the strong lines have now been bent and warped because of the shape of the glass. The use of a family home may reflect Sudek's upbringing and what he may remember from before the war. This may suggest that he was trying to make the audience feel quite nostalgic. These items are the simple necessities that was available at the time however now we would have very different opinions. This is what intensifies it's artistic value to a modern audience.

This looks like a workshop shelf. The items look like they would be inspiration items. A small aperture has been used and this can be seen by the blurred backgrounds behind the glass. Since as the glass is also fogged I imagine that Sudek doesn't want the detail from the background in the image. I wonder if the main subject; the flowers are special to Sudek. Maybe his wife/partner has given them to him and he just placed them there because it's where they would survive the best. The amount of moisture on the window has caused it to start dripping, this could represent the crying of someone. Maybe someone who died gave him the flowers and the crying is a form of mourning. The White rose that is in the centre is also the brightest which suggests that it's the spirit of the person is there. The window is the only source of light which is shown by the dark shadows behind the frame. 

My First Roll of Film

In previous assignments I finished all the research before I started to take images after I had finished all the research so this time I am starting to take images very early and do artist researches alongside.

I feel that the circled images are the best computationally so I may consider using them.

  

This image shows how nature is around us and how it is constantly trying to be in our lives even though we live an urban lifestyle, represented by the large amount of grey. I really like how the brightness of the green really stands out. It seems to attract you to the image and towards that area specifically. This is kind of like nature is trying to get the audiences attention.

  

This image uses the rule of thirds to separate the image into two halves and it uses similar colours; which are man made and natural together to in essence hold the two worlds together. One world of bricks and the other of metal.

  

I feel that this image used colour very effectively because the main colours are both warm and the wall behind the grit bin has green fungi growing up it. This contrasts with the warm colours and makes them stand out even more. Maybe I could also use this image to enhance other images as well making both images stronger.

 

I find that the angle I have used in this image quite strange because we don't usually look at cars like this, usually it is more of a flat angle. This gives the viewer a new perspective looking at their own cars as well as this image. The hand prints also create a pattern which might lead the viewer through the image. The fact that this car was so dirty also sparks the viewers imagination about the owner of the vehicle; adding humour to the image because I always imagine him/her walking away from the car with black hands.

 

I took this image because of the contrasting colour bands on the beer containers. however I feel that the entrance of the stairs is more interesting. This is because as you follow it up the angle changes so your perspective changes. The containers then create a texture behind it making a new depth to the image.

I found these shoes just lying in the position here however they look as if they have been placed there. They look almost delicate because of the angle they are at. They seem to be positioned as if they would be in a magazine however they were here in a back alley; making this image surreal.

 

This image shows the decay of the world around us and how things change but are never forgotten. The maroon shade is abviously the original colour and damp has gotten under the paint, peeling it away.

  

I have used this image because of the individual colour against the dull browns and greys surrounding the pink. I also chose this angle so that I could capture the reflection of the tree in the water which would add more texture to the image.

  

I feel like the two walls are fighting each other because of their different patterns. They seam like they are protecting there territory and the blue pipe is the boundry line. The containers are quite timid and stay away from the old brickwork who seams more agressive and leans over at it.

 

This image uses lines and colours as its main attraction. Unlike my other images based on colour this one is a little desaturated. This allows you to focus on the lines and the patterns that is created by the chipping wood and paint.

Martin Parr

Parr was born in England, 1952. His grandfather inspired him in his teens to take up photography and studied it in university. He has created a worldwide reputation with his social documentation. His images create a sense of humour because he creates images that reflect a strange reality that we can relate to and in essence put ourselves in the image. Travelling all around the world to photograph has allowed him to experience all different cultures and see how cultures have mixed together to create familiar situations. In 1994; Parr became a full member of Magnum Photos.


This image was taken in Ramsgate, England 1996 and it is called New British. Parr has used very saturated colours which make it very garish. The brightness is overpowering however he has used this to make the structure of the image. All the areas of red creates a triangle which places the main subject (the doughnut) in the middle of the image. The blue of the coat takes up a large portion of the background and contrasts the red; enhancing the garishness and definition. I think that this image combines natural light and superficial light from the camera. The shadow along the blue coat in the upper left corner indicates that there is intense light shining down from behind an object and onto the model. However this would create a lot of shadows behind the arms and create a larger contrast across the red. This is why I believe that a frontal flash has been used and balanced the shadow and intensified the exposure on the foreground. This image feels very familiar because when families go out to leisure locations like the beach you often see children eating junk food and getting it all over themselves. Often Parents photograph this moment because it is funny and a memory that they want to capture. Parr on the other hand has only taken a picture of the food which leaves the image of the mess to our imagination to think about and come up with.

This image was taken in United Arab Emirates, Dubai at the DIFC Gulf Art Fair, 2007. It looks like this image was taken in a gallery because of how clean the white walls are and the information plates to either side on the artwork. The model is centrally positioned in the frame admiring the work. Based on the clothing I would guess that he was a fan of the artists or another similar to them. All the lighting that has been used is superficial. A gallery would have very good safe lighting for the artwork so that the audience can view the artwork properly. This would have been positioned from above; this is supported by the shadow under the right arm. However I can also see a shadow behind the models hair suggesting that Parr has used flash from the camera again. This would explain the lack of contrast from ripples in the shirt and why the models hair looks like it it shining. The fact that the models clothing matches the art work it makes me feel like this is trying to show the living embodiment of the work. As if it has come to life and walked out of the painting. This image reminds me of positions where I have been at events and very enthusiastic fan have dressed up and stand out. I am sure that this character would have stood out amongst the crowd.

William Eggleston

Born 1939 in Memphis; he has attended many high schools and often started university courses but never finished them. His interest in photography was desultory until he was given a book of Henri Cartier-Bresson's work, Eggleston became inspired. Since the 60's most of his work has been in colour and has won many awards since.

This image is titled Downtown Morton, Mississippi. I think that this image was taken as the sun was setting and used a long exposure to capture the light as it was setting over the edge of the building. Since as the light is behind the building a silhouette occurs. The light from the lamp illuminates the front of the building which looks like an official building. The green tone radiating from the lamp contrasts withe the orange of the clouds however the purple of the sky is a cold colour contrasting with the orange and green. The top of the buildings create a block line alternating in height which splits the image in half. Power lines interupt the image by running across the sky adding texture to the bright sky.

Titled Memphis; the background to this image is left quite broad. Looking at this image it makes me feel quite sad. I think that this is because of the grey sky and the contrast it has to the black. It looks like this image was taken with the camera sitting on the ground, giving the impression that the tricycle is larger than the houses. The houses presence in the image is nulled by the intensity of the structure formed by the tricycle. The clear circular shapes formed by the wheels lie on the rule of thirds and the central column connects them to each other; which helps the viewer through the image. It creates a path for the audience’s eyes to look through the image. The colour of the tricycle in this image looks blue however I have seen a print of this image which shows that the true colour is actually green. Which contrasts with the red and orange of the handles and rust. The contact points between the wheels and the ground are very small creating the illusion that it’s floating or that it has been placed there specifically. However I know that Eggleston wouldn't have staged it because he simply documents his surroundings.  The tricycle is evidence that there would have children here however the lack of people says otherwise
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Henri Cartier-Bresson

Cartier-Bresson was a French photographer born 1908 and died 2004. Into his 20's and 30's he was an artist; painter and sketcher. This was until he found his passion of photography with the help of a Leica. After escaping from a prisoner of war camp in WW2 he photographed the liberation of Paris with other photographers and co founded Magnum Photos after the war.

 This image is titled FRANCE, Paris, The Quai St Bernard, near the Gare d'Austerlitz railway station, 1932. This image is a clear documentation of the time and place and Cartier-Bresson's distinct style is visible. He always exercises his skill to capture the specific moment where a subject is doing something that he may not be able to photograph again so easily. This man leaning over the edge to see something may have only been possible to capture for a split second which Cartier-Bresson has achieved effortlessly. The central wall is the wall of a rail line and it has been placed in the middle of the frame which separates the image by the style of the landscape. the right side is pedestrianised and the left looks like a loading or storing facility. On the left if looks like it has been snowing however this is not evidenced on the right. Subjects in the image are wearing trench coats and hats which would emphasise that it was cold. Usually at the time of year where it snows cloud cover is very dense which has affected the tones and contrast that was achievable. 

This is an image of Martine's Legs taken in 1967. I think that this is an amazing piece of documentary photography because this might be the way that she sits every time that she reads. It is documenting part of the subjects character. Its part of her and how it defines who she is because this position is so peculiar. Her legs look so delicate how the one is completely intertwined around the other and only the edge of the shoe is visible over the edge of the other leg. However because it is so peculiar you start to question who she is and what she does. The luxurious furniture and the fashionable dress would suggest that she is upper class. This indicates that she may have the time and space to be able to do this by herself. The light is quite intense from the left behind the furniture and I would guess that the source is from a window. The direction of the light creates a very soft contrast across the legs which also support and emphasises how delicate the positioning is.