Abstract photography , sometimes called non-objective, experimental, conceptual or concrete photography, is a means to describe visual images that have no direct relation to the world of objects and which have been made through the use of tools, processes or materials photography. An abstract photo may isolate a fragment from a landscape to remove the inherent context from the viewer, perhaps deliberately staged to create a seemingly unreal appearance of a real object, or may involve the use of colors, light, shadows, textures, shapes and/or shapes convey feelings, sensations or impressions. Images can be produced using traditional photographic equipment such as cameras, dark rooms or computers, or can be made without using a camera by directly manipulating film, paper or other photographic media, including digital presentations.
Video Abstract photography
Define abstract photography
There is no general definition of the term "abstract photography". The books and articles on this subject include everything from a truly representative image of abstract material, such as Aaron Siskind's photographs of peeling paint, to completely non-representational imagery made without cameras or films, such as prints and books by Marco Breuer. The term also includes various visual and explicit representations in the categorization of types of photography that are clearly ambiguous by its nature.
Many photographers, critics, art historians, and others have written or talked about abstract photography without attempting to formalize a particular meaning. Alvin Langdon Coburn proposed in 1916 that an exhibition be held under the title "Abstract Photography", where the entry form would clearly state that "no work will be accepted where the subject matter interest is greater than the remarkable appreciation." Exhibition the proposed does not occur, but Coburn then creates some clear abstract photos.
Photographer and Professor of Psychology John Suler, in his essay Photographic Psychology: Image and Soul, says that "An abstract photo draws away from what is realistic or literal, it withdraws from its natural appearance and recognizable subject. in the real world.Some people even say it departs from the real meaning, existence, and reality itself.It stands apart from the concrete whole with its purpose, rather than depending on the conceptual meaning and intrinsic form.... Here is the acid test: If you see photos and there's a voice inside you that says 'What's that?'.... Well, here it is.It's an abstract photo. "
Barbara Kasten, also a photographer and professor, writes that "Abstract photography challenges our popular view of photography as an objective picture of reality by reaffirming its constructed realm.... Freed from its obligation to represent, abstract photography continues to be a catchall genre. mixing medium and discipline.This is the arena for testing photography. "
German photographer and photographer, Gottfried JÃÆ'¤ger uses the term "concrete photography", plays the term "concrete art", to describe a particular type of abstract photography. He says:
Recently, conceptual artist Mel Bochner wrote a quote from EncyclopÃÆ'Â|dia Britannica which says "Photography can not record abstract ideas." on a note card, then photographed and printed using six different photographic processes. He transforms the words, concepts and visualization of concepts into the art itself, and in doing so creates a work that presents another type of abstract photography, again without ever defining the term itself.
Maps Abstract photography
History
19th century
Some of the earliest images of so-called abstract photography emerged in the first decade after the invention of the craft. In 1842 John William Draper invented the image with a spectroscope, which spread the rays of light into previously unrecorded patterns. The prints he made did not refer to the real-world realities recorded by other photographers, and they demonstrated an unprecedented photographic ability to transform what was previously invisible into a real presence. Draper sees his image as a science record rather than an art, but his artistic qualities are appreciated today because of his innovative status and intrinsic individuality.
Another early photographer, Anna Atkins in England, produced a self-published photography book by placing dry algae directly on cyanotype paper. Intended as a scientific study, the white image on the blue image has a subtle abstract quality due to negative imaging and a lack of natural context for the plant.
The discovery of X-rays in 1895 and radioactivity in 1896 caused great public interest with things that were previously invisible or invisible. In response, photographers began exploring how they could capture what the normal human vision could not see.
Around the same time Swedish writer and artist August Strindberg experimented with using a salt solution on a photographic plate for heat and cold. The images he produced with these experiments were an indeterminate rendering of what was not visible and fully abstract in his presentation.
Near the turn of the century, Louis Darget in France tried to capture images of mental processes by pressing the unexpressed plates onto the nanny's forehead and urging them to project the images from their minds to the plate. The photos he produced are blurry and unlimited, but Darget believes that what he calls "the vibrations of the mind" can not be distinguished from the rays of light.
20th century
During the first decades of the 20th century there was a wave of artistic exploration that accelerated the transition in paintings and sculptures of Impressionism and Post-Impressionism to Cubism and Futurism. Beginning in 1903 a series of annual art exhibitions in Paris called Salon d'Automne introduced the public to a later vision of radical artists such as CÃÆ' Â © zanne, Picasso, Marcel Duchamp, Francis Picabia, Franti? A Kupka, and Albert Gleizes. Jean Metzinger. A decade later the New York's Armory Show created a scandal by demonstrating entirely abstract works by Kandinsky, Braque, Duchamp, Robert Delaunay and others.
Public interest and sometimes repulsion of abstract art have been noted by some of the more creative photographers of the period. In 1910, in New York Alfred Stieglitz began showing abstract painter such as Marsden Hartley and Arthur Dove in his art gallery, which previously featured only pictorial photography. Photographers such as Stieglitz, Paul Strand and Edward Steichen all experimented with portrayal subjects photographed in abstract compositions.
The first publicly exhibited image now known as an abstract photo is a series called Symmetrical Pattern of Natural Forms, shown by Erwin Quedenfeldt in Cologne in 1914. Two years later Alvin Langdon Coburn began experimenting with the series she's called Vortograf . During a six-week period in 1917 he took about two dozen photographs with a camera equipped with multi-faceted prisms. The resulting image is intentionally unrelated to the reality he has seen and the previous portraits and city views. He wrote, "Why do not cameras throw away the shackles of contemporary representations...? Why, I ask you earnestly, should we continue to make ordinary small exposures...?"
In the 1920s and 1930s there was a significant increase in the number of photographers exploring abstract imagery. In Europe, Prague became the center of avant-garde photography, with Franti? Ek Drtikol, Jaroslav RÃÆ'¶ssler, Josef Sudek and JaromÃÆ'r Funke all created photographs influenced by Cubism and Futurism. The RÃÆ'¶ssler picture in particular goes beyond representative abstraction to the pure abstraction of light and shadow.
In Germany and later in the US LÃÆ'¡szlÃÆ'³ Moholy-Nagy, a school leader of Bauhaus modernism, experimented with the abstract quality of photograms. He said that "the most astounding possibilities can still be found in photographic materials" and that photographers "must learn to look for, not 'pictures,' not the aesthetics of tradition, but the ideal expression instrument, self-sufficient vehicles for education."
Some photographers during this time also pushed the boundaries of conventional imagery by incorporating the vision of surrealism or futurism into their work. Man Ray, Maurice Tabard, Andrà © © KertÃÆ' © sz, Curtis Moffat and Filippo Masoero are some of the most famous artists that produce surprising images that question both reality and perspective.
Both during and after World War II photographers such as Minor White, Aaron Siskind, Henry Holmes Smith and Lotte Jacobi explored the composition of found objects in a way that shows even our natural world has an abstraction element embedded in them.
Frederick Sommer opened a new field in 1950 by photographing deliberately reassembled objects, generating a broadly ambiguous picture. He opted for the title of one particular mysterious image The Sacred Wood , after T.S. Eliot's essay on criticism and meaning.
The 1960s marked a seamless exploration into the limits of photographic media at the time, beginning with photographers collecting or reassembling their own and/or found images, such as Ray K. Metzker, Robert Heinecken and Walter Chappell.
In the mid-1970s Josef H. Neumann developed chemograms, which are products of photographic processing and painting on photographic paper. Prior to the deployment of computers and the use of image processing software, the chemograms manufacturing process can be regarded as the earliest form of post-analog production, in which the original image was changed after the enlargement process. Unlike digital post-production works, every chemogram is a unique part.
Beginning in the late 1970s, photographers stretched the boundaries of scale and surface in traditional photographic media that had to be developed in darkened rooms. Inspired by Moholy-Nagy's work, Susan Rankaitis first began to embed the images found from scientific textbooks into large-scale photograms, the creation of which has been called "the palimpsest that should be explored almost like archaeological excavations." Then he produced an enormous interactive gallery construction that expanded the physical and conceptual understanding of what the photo might be. His work is said to "mimic the fragmentation of contemporary thought."
In the 1990s, a group of new photographers explored the possibility of using computers to create new ways of creating photos. Photographers such as Thomas Ruff, Barbara Kasten, Tom Friedman, and Carel Balth created works that combined photography, sculpture, graphic arts, and computer-generated images.
21st century
After computers and photography software became widely available, the limits of abstract photography expanded beyond the boundaries of film and chemistry into almost infinite dimensions. Any remaining limits between pure artist and pure photographer are eliminated by individuals who work exclusively in photography but only produce computer-generated images. Among the most famous of the early generations of the 21st century are Gaston Bertin, Penelope Umbrico, Ellen Carey, Nicki Stager, Shirine Gill, Wolfgang Tillmans, Harvey Lloyd, and Adam Broomberg & amp; Oliver Chanarin.
References
Source
- Birgus, Vladimir. Czech Photography Avant-Garde 1918-1948. Cambridge: MIT Press, 2002. ISBNÃ, 0-262-02516-7.
- Gamboni, Dario. Potential Drawing: Ambiguity and Indeterminism in Modern Art. London: Reaktion Book, 2002. ISBNÃ, 1-86189-149-0.
- Karsten, Barbara. Second Nature: Abstract Photography Then and Now.
- Rexer, Lyle. The Edge of Vision: The Rise of Abstraction in Photography. NY: Aperture, 2013. ISBNÃ, 978-1597112420.
External links
Media related to Abstract photography in Wikimedia Commons
Source of the article : Wikipedia
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