History |
Technique
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Paul Strand (1870 - 1976) was an important figure of the American twentieth century as an advocate of a new form of realism 'Straight Photography' and his influence on other photographers of the era. A brief background of the photographer consists of him obtaining his first camera at age twelve; studying under documentary photographer Lewis Hine at the Ethical Cultural School and his relationship with Alfred Stieglitz. Alfred Stieglitz was the founder of the 'Photo Secession' and the published of Camera Work magazine, of which an issue was dedicated wholly to Paul Strand. Stieglitz remarked that Paul Strand was 'someone who has actually done something from within', indicating that Strand's work was both questioning and purposeful.
His career can be described by two distinct phases: pre- and post- 1917. His work prior to 1917 is centred on candid street photography, mainly of beggars and cab drivers. Following 1917 his work gained an abstract edge due to the highlighting of shadows and unusual perspectives of the photographs. Paul Strand's primary goal with his work was to explore how people relate and interact with the geometry of modern architecture, much like my intention of examining the relation of nature and industry through shapes, lines and light. |
Paul Strand's techniques were to conceal the 'coordinates' within the photograph in order to make it difficult for the viewer to discern the elements of the photographs and thus force the viewer to take their time to observe the photograph. That was Strand's 'root philosophy'. This is apparent by the contrast of the small human figure and the looming architectures in his photographs. Another of his characteristic techniques was to throw the ground into dark shadows or screen it out. This left visual gaps which stimulated a response for the viewer to interpret and fill.
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Analysis
The focus is sharp and clear due to the fast shutter speed, evident from the frozen silhouettes of people. There is no movement, essentially rendering humans as architectural components. This method and the large depth of field is effective in exploring the interaction between man and his creations by making him/her as still and directed as the structures of the photographs. Emphasising this is the harsh, overhead, natural light -most likely from the noon sun- casting elongated, strong, linear shadows. Thus the shadows create a feeling of rigidity in both the monument and the subjects, and also produces a modern vibe.
One of the key factors of Paul Strand's photography is his use of line which is necessary for exploring the relation between people and architecture in geometrical terms. The majority of his photographs have both vertical and horizontal lines, as both have different emotional roles. For example, the horizontal lines originating from the shadows of the people in 'Wall Street' connote stillness and quietness, a metaphor perhaps for what we build. On the other hand, the bold lines signify energy. Another function of the lines is to split the photograph into geometric shapes in order to simplify elements; they are also leading lines to direct the viewer's eyes throughout the photograph, in this instance, down and across implying that humans are inferior or imprisoned (not as grand as we make ourselves to be). The converging architectural lines define the perspective and unify the elements, they connect the two segments of the photographs and create pattern. The lack of diagonal lines means there is no movement: the photograph is frozen.
The shapes are solely geometric and man-made leading to the structures in the photographs reflecting our obsession with order (the pillars and parallel rectangles are the support of the order) and authority and ultimately the people are insignificant next to the walls, a herd directed by the rules. Thus the walls are a metaphor for the rules that govern us and behind which we hide. It juxtaposes the conformism of man to the creativity of nature, that we feel compelled to conform to a norm and be stripped of what makes us individual whilst nature will weave ,mesmerizing, other-worldly forms. Further, the architecture is a manifestation of our ego.
Photoshoot - Town
London
I produced the three photoshoots between midday and late afternoon for elongated shadows. The first in the town centre where buildings are constructed of basic geometric shape; the second in Cambridge, where bright weather gave sharper shadows; the third in London. London had the perfect conditions: strong, direct light and complex geometric buildings. However the prior photoshoots improved my technique as I experimented with manual settings. The theme contrast is reflected through the different shapes, lines and compositions that juxtapose people with the towering buildings.
The town centre shoot had overcast weather meaning dispersed, soft light therefore little shadows to be creative with or to simplify shape. From an optimistic point of view, this was a chance to experiment with a structural portrayal of architecture: to photograph the buildings in an analytical way without shadows reducing the brutality. The camera settings were 1/80 -1/200 and f8.0 - f14 in manual mode to capture sharp details, balancing light with complexity. Although sharp, the composition is weak, as the balance between negative and positive space was not considered. However I effectively used vertical leading lines conveying the rigidity of our constructions. Through inattention, some photographs had objects within them that ruined the composition by contrasting with the geometric form or breaking repetition. Although linking to the theme contrast the impact is lessened.
Cambridge’s stunning architecture was simple to capture with the strong light, although due to the short winter sun, only captured a small collection. The tall broad architecture was a challenge: it was impossible to frame the entire buildings, so picking the right structures was crucial. Accordingly, Iine, structure, form and space were the main compositional elements; however I felt these were weaker than in my first photoshoot. The angle of my camera was low, so that the viewer looks up to the architecture to contrast height and power. Of course, the theme was contrast, which I included through chiaroscuro lighting/shadows. What came through these was the effect of the towering architecture which fills the frame as I decided to improve my use of space.
All this experimentation culminated in the London photoshoot. Given the elaborate architecture in London, the buildings within my photographs would not have stark, simple shapes, nor would there be harsh direct shadows cast by the light to create leading lines and embed contrast. Therefore I chose to explore the way that altering the perspective with camera angles affected the perceived relation between man and infrastructure as well as how form and shape can construct a rigid mood, especially through the use of strong vertical lines, whilst using horizontal lines to give a sense of depth. Vertical and horizontal lines give rigidity which reflects society’s strong rules and essentially cage. Thus I chose to frame people within the confines of lines such as photographs in the town centre and London. Shadows re-enforced the power of the architecture as it cast strong shadows one the people implying that they tower over us and essentially over nature. This represents how as we strive for greatness and destroy nature. They bring depth and mass to the photographs.. The rule of thirds and space help to convey this message; I centred the buildings and framed the people in the bottom of the frame to represent the power hierarchy. Of course, many photographs were not effective as one element spoiled the composition, or the buildings did not have a strong impression…
All in all, I believe that I successfully embedded the them contrast within my photographs. More importantly, I personalised it, moving away from Strand’s style to interpret it as my own. A selection of the photographs is powerful and striking, which was my aim. They transmit the message of my theme as the composition is raw and powerful.
The town centre shoot had overcast weather meaning dispersed, soft light therefore little shadows to be creative with or to simplify shape. From an optimistic point of view, this was a chance to experiment with a structural portrayal of architecture: to photograph the buildings in an analytical way without shadows reducing the brutality. The camera settings were 1/80 -1/200 and f8.0 - f14 in manual mode to capture sharp details, balancing light with complexity. Although sharp, the composition is weak, as the balance between negative and positive space was not considered. However I effectively used vertical leading lines conveying the rigidity of our constructions. Through inattention, some photographs had objects within them that ruined the composition by contrasting with the geometric form or breaking repetition. Although linking to the theme contrast the impact is lessened.
Cambridge’s stunning architecture was simple to capture with the strong light, although due to the short winter sun, only captured a small collection. The tall broad architecture was a challenge: it was impossible to frame the entire buildings, so picking the right structures was crucial. Accordingly, Iine, structure, form and space were the main compositional elements; however I felt these were weaker than in my first photoshoot. The angle of my camera was low, so that the viewer looks up to the architecture to contrast height and power. Of course, the theme was contrast, which I included through chiaroscuro lighting/shadows. What came through these was the effect of the towering architecture which fills the frame as I decided to improve my use of space.
All this experimentation culminated in the London photoshoot. Given the elaborate architecture in London, the buildings within my photographs would not have stark, simple shapes, nor would there be harsh direct shadows cast by the light to create leading lines and embed contrast. Therefore I chose to explore the way that altering the perspective with camera angles affected the perceived relation between man and infrastructure as well as how form and shape can construct a rigid mood, especially through the use of strong vertical lines, whilst using horizontal lines to give a sense of depth. Vertical and horizontal lines give rigidity which reflects society’s strong rules and essentially cage. Thus I chose to frame people within the confines of lines such as photographs in the town centre and London. Shadows re-enforced the power of the architecture as it cast strong shadows one the people implying that they tower over us and essentially over nature. This represents how as we strive for greatness and destroy nature. They bring depth and mass to the photographs.. The rule of thirds and space help to convey this message; I centred the buildings and framed the people in the bottom of the frame to represent the power hierarchy. Of course, many photographs were not effective as one element spoiled the composition, or the buildings did not have a strong impression…
All in all, I believe that I successfully embedded the them contrast within my photographs. More importantly, I personalised it, moving away from Strand’s style to interpret it as my own. A selection of the photographs is powerful and striking, which was my aim. They transmit the message of my theme as the composition is raw and powerful.