HistoryPatrick Hübschmann is a photographer and graphic designer based in Baden –Baden, Black Forest in Germany. He began photography during the mid-60s and has since retained a preference for digital black and white photographs, a forte which translates directly into the final prints. The soulfulness and deep emotions behind each photograph are what differentiates his photography from that of others as we embark on a visual journey made dramatic by the cool palette and subdued monochromatic appearance.
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Analysis
The haunting light – possibly due to a large aperture - of his photographs is eerily focalised on the subject of the photograph, producing a glow of light that depending on the mood conveys a deep message about nature and what we have done to it. Despite this halo effect the light also hits the subject form an angle giving form and sharp detailed texture, especially as it is harsh and direct. By being natural the realism of the photograph emerges from the surrealistic atmosphere -a result of the slight underexposure- and attention is draw to the parts of the image which are consequently lightened. The crisp focus and small depth of field catches the light with a fast shutter speed effectively freezing the moment, encasing it in an eternal slumber.
The lines are organic, with no human interference however they retain rigidity similar to what we produce thus a visual representation of our effect on nature or how everything people make finds its roots in nature’s patterns. They are also continuous with curves which flow graciously through the frame, varying in thickness, in turn demonstrating the balance within plants. The photograph of the spider web is a perfect example as it is both complex and simple in its use of lines: the lines are mixes of curved and straight that are in equilibrium thus support each other on a subconscious level. In a technical aspect the lives are part of the composition as they direct our eyes through the photograph.
The shapes originating from stems, branches and petals combined with the light gives depth to the photograph such as the intricately woven spider web which appears almost to be a portal or gate, keeper to the secret of nature. Often as the light is from behind the objects are semi-silhouettes with splinters of light glistening over the edges, defining a clear outline of the shapes consisting of elongated rectangles, circles and triangles, a mixture of geometric and organic. Despite the odd mixture of seemingly harsh shapes with more gentle ones, the ultimate effect is that the geometric shapes are ever slightly curved, showing nature’s flair. Furthermore the shapes grow through the photograph either away or towards the viewer with the purpose of involving them on more than a visual level. Ultimately a deep primal connection emerges whereby we realise the damage we do unto our environment. In addition the angle gives the shapes a distorted look thus contributing to the surreal angle and appearance of the photograph which accomplish the disturbing mood.
In almost all Hübschmann’s photography, texture is utilised a dramatic element to heighten the sinister atmosphere such as with the decayed, crumbled texture of the wilting flower. In this example the crude texture is appalling as it is a symbol of a slow anguishing death and there is a sense of giving in which many are too familiar with. The resounding message is that we have ravaged the land and left one standing: the photograph is consequently apocalyptic. Then there is pattern that is a subordinate element used to enhance the composition such as with the spider webs of which the pattern brings together the element sand provides a central object to focus on, whilst also proving contrast between the dark branches and the thin white webbing.
The sense of isolation and destruction is constructed by the overwhelming negative space which topples the fragile equilibrium present in the photographs; this is especially true for the photograph of the dead flower where the empty space is invading, in the sense that it menaces the subject and the viewer. In most cases the perspective is normal although occasionally the angle is altered to appear as though the object is larger than its actual size/scale, which create a top heavy composition with a feeling of alienation and uncomfort.
The lines are organic, with no human interference however they retain rigidity similar to what we produce thus a visual representation of our effect on nature or how everything people make finds its roots in nature’s patterns. They are also continuous with curves which flow graciously through the frame, varying in thickness, in turn demonstrating the balance within plants. The photograph of the spider web is a perfect example as it is both complex and simple in its use of lines: the lines are mixes of curved and straight that are in equilibrium thus support each other on a subconscious level. In a technical aspect the lives are part of the composition as they direct our eyes through the photograph.
The shapes originating from stems, branches and petals combined with the light gives depth to the photograph such as the intricately woven spider web which appears almost to be a portal or gate, keeper to the secret of nature. Often as the light is from behind the objects are semi-silhouettes with splinters of light glistening over the edges, defining a clear outline of the shapes consisting of elongated rectangles, circles and triangles, a mixture of geometric and organic. Despite the odd mixture of seemingly harsh shapes with more gentle ones, the ultimate effect is that the geometric shapes are ever slightly curved, showing nature’s flair. Furthermore the shapes grow through the photograph either away or towards the viewer with the purpose of involving them on more than a visual level. Ultimately a deep primal connection emerges whereby we realise the damage we do unto our environment. In addition the angle gives the shapes a distorted look thus contributing to the surreal angle and appearance of the photograph which accomplish the disturbing mood.
In almost all Hübschmann’s photography, texture is utilised a dramatic element to heighten the sinister atmosphere such as with the decayed, crumbled texture of the wilting flower. In this example the crude texture is appalling as it is a symbol of a slow anguishing death and there is a sense of giving in which many are too familiar with. The resounding message is that we have ravaged the land and left one standing: the photograph is consequently apocalyptic. Then there is pattern that is a subordinate element used to enhance the composition such as with the spider webs of which the pattern brings together the element sand provides a central object to focus on, whilst also proving contrast between the dark branches and the thin white webbing.
The sense of isolation and destruction is constructed by the overwhelming negative space which topples the fragile equilibrium present in the photographs; this is especially true for the photograph of the dead flower where the empty space is invading, in the sense that it menaces the subject and the viewer. In most cases the perspective is normal although occasionally the angle is altered to appear as though the object is larger than its actual size/scale, which create a top heavy composition with a feeling of alienation and uncomfort.