• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month
  1. 1
  2. 2
  3. 3
  4. 4
  5. 5
  6. 6
  7. 7
  8. 8
  9. 9
  10. 10
  11. 11
  12. 12
  13. 13
  14. 14
  15. 15
  16. 16
  17. 17

AS Photography - Image based study

Extracts from this document...


IMAGE BASED STUDY In the next section of the project I will look at the work of other still life photographers but in particular we will concentrate on the works of Edward Weston and Irving Penn. I want to analyze their photographs looking into their choice of subject matter, the composition and lighting of each piece, how it was taken and then finally see how the decisions and choices they have made can influence the work I am about to undertake. I want to look at the style of each of the photographers (they are both working in the same genre i.e. still life but their approach to the topic and the subject matter itself vary greatly) comparing them and then developing my ideas. In the first project I looked at the works of other photographers to see their techniques and understand how they achieved their photographs. In this project I want to look at my influences and look at why they have taken their photographs. The Empty Plate, New York, 1947 Irving Penn I have chosen this photograph as the starting point in my research as it shows how an effective image can be created using very little in the way of subject matter. Penn has used only a few well chosen and composed objects to create a very memorable image (and one that is in its own way very familiar to us all). Penn has used the tablecloth in the image as a canvas on which he has composed his piece, with the dirty plate and crumpled napkin (although of pretty much the same tone) standing our through their look and texture. By including the edge of the table in the shot he has given the picture depth (if he had not done this he would have risked the photograph look flat and uninteresting), it also helps draw the views eye to the main subject in the piece (the plate) by using the dark, almost black tone to (in a way) ...read more.


Instead of taking the photograph from the side (as would be common with nautilus shells) in this photograph he has decided to photograph the image head on. This has given the shell an almost surreal quality, and has allowed for many different interpretations of the photograph with people seeing the shell as different objects. He has forced us to look at a recognizable object in a new and interesting way. Weston has been very subtle with this image for instance he has given the photograph a sense of depth through the inclusion of a very faint line in the background of the picture (about a quarter of the way up the picture from the bottom), this was in fact the edge of the oil drum Weston had perched his shell upon. This helps to in turn give the shell a sense of depth. Again he looks at the beauty of nature in the image (in a similar way to he did in his photograph the toadstool) and the viewer is charmed with shape, texture and form rather than a direct message about the shared experience of life. Composition with Skull and Pear, 1979/1981 Irving Penn This photograph is a perfect example of the use of composition in still life photography and is in a way a departure from Penn's other pieces. As opposed to the work we have seen by Weston (where his subjects are often solitary and the focal point of the photograph is clear) this work is in a way enhanced by the amount of different components that make up the image. The work is a menagerie of contrasts, natural items (for example the skull or the pear) are set along side manmade items (the metal sewing machine or the jug), light objects (the clear white jug or the skull) are placed amongst darker items (the dark pear or the wine bottle for example) ...read more.


and has used it to evoke memories and feelings from peoples past. It also asks questions of the viewer in a similar way to Penn and Weston in that although the art mimics a pharmacy in every detail it is not a chemist, it makes that viewer ask what exactly it is that makes a room a room and how much is a sense of place defined by its contents. As with still life photography, Installation art depends on a participation from the viewer. The piece is what it is, it is in the reaction, feelings or questions that it evokes in a person that define it and raise it above the commonplace into a work of art. My Bed, Tracey Emin, 1999 I have included this (infamous) piece of installation art by the modern artist Tracey Emin as I believe it too is an example of the use of composition is work and is in its own way a still life. Although the piece looks chaotic it is all planned and every item has its place (as opposed to the work by Hirst where the composition relies on it being an exact replica of a pharmacy the composition in this piece relies on the appearance of chaos). The whole installation has had its composition organized to evoke a reaction from the viewer. In a similar way to Penn and Weston Emin in this work makes you look at the familiar in a new and interesting way. Although the image is a common one (everyone is used to seeing a just slept in bed), this is not your bed and in reality you are seeing it for the first time (even though it seems familiar). The piece evokes feelings of confusion but also (as with the still life photographs we have looked at) makes you question your preconceptions on exactly what can be seen as art. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Art & Design section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Art & Design essays

  1. Personal study for art

    This is a quote from jenny Holzer stating what different issues her work is on. "At the beginning of my work I wanted to figure out how to put war, peace, sex, death and various other subjects in front of as many people as possible.

  2. Graphics A2-Personal Study

    most successful in his field of work, earning the most and distributing the most all around the world. I have chosen to analyze two images from his fashion and lifestyle galleries to differentiate them from one another. The 'Untitled' and 'Twisted Disco', image (a)

  1. AS Photography Statement of Intent and brainstorm examples

    As said I am interested in creating some of my pictures with larger subject matter and will have to decide where the best locations for my compositions will be (there is no rule that still life have to be internally based).

  2. Standing Female Nude

    What needs to be emphasized in turn is how Cubist art would seem to elide but actually perpetuates the issues of sexuality posed by 19th-century realistic modes. As Duncan has argued, the High Modernist tradition in painting continued, like realist nude art, to found its assumptions about Art upon the mastering of the female.

  1. Compare Two Photographs by Two Different Photographers

    She brought out the truth in her photography. In many of Lady Hawarden's landscapes her husband and children act as figures in the landscape. Lady Hawarden is not know for taking any pictures of social or political relevance. But her photography must be linked in some way to the social atmosphere of the late 19th century.

  2. Personal Study on artist Mark Demsteader

    Richard Young Richard Young is a British artist, born in Yorkshire in 1961, and now based in North Devon, UK where he has an office and studio. Though he usually worked with pencil and chalk to produce his work drawing, he began oil painting around the age of 12.


    My immediate reaction was the thought of seeing jellyfish in their natural habitats under the water. However I only got to see one, as you never can find something when you go looking for it! Still, I was pleased to see this beautiful creature gracefully gliding through the open water, senseless, just moving with the sea's current.

  2. Discuss some of the ways that postmodern photographic practice questions, critiques, or opposes Modernist ...

    The photographs are not supposed to convince us that this is a real situation, instead we are supposed to read the idea of the photograph, and the cultural and social implications a photograph such as this would create. Shonibare plays with the British nostalgia with the modernist age of Victoriana, by putting himself into the picture.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work