Man Ray (originally Emmanuel Radnitsky) was born on August 27th 1890 and died on November 18th 1976. He was an American visual artist and spent the majority of his career in France. He is known for his contribution to the surrealist and Dada movements however it should be noted that he produced major works in a variety of media, yet first and foremost considered himself a painter. Ironically, Ray is most famous for his photography as he was a renowned fashion and portrait photographer. Most importantly, his photograms (which he called ‘rayographs’ after himself) were also renowned. Unfortunately, little is known about his early and family life, as he allowed few details to be known by the public going as far as to deny that he never had another name. Alongside Lee Miller Ray re-invented the technique of solarisation as well as creating a type of photogram described as “pure dadaism” called ’rayographs’.
Laszlo Moholy-Nagy (July 20, 1895- November 24, 1946) was a Hungarian painter, photographer and professor in the Bauhaus school. His work was strongly influenced by constructivism and by a strong advocate of the “integration of technology and industry into arts”. Like Man Ray, he worked in a variety of field throughout his career such as becoming innovative and proficient in photography, sculpture, typography, painting, industrial design and printmaking. Compared to Ray, his primary focus was photography, as he invented the term ‘The New Vision’ after his belief that photography was capable of creating new ways of seeing the outside world in the way that the human eye was not. He experimented with the process of exposing light sensitive paper with objects on top of it and called it a photogram.
Christian Schad was a German painter associated with the movements of Dada (Ray was also involved with the Dada movement) and New Objectivity, born in Miesbach, Upper Bavaria to a wealthy lawyer who supported him for around half of his life. Schad studied at the art academy in Munich in the year 1913. From 1915 to 1916 Schad’s work was influenced by Cubism and Futurism, in 1918 he began to experiment with camera less photography which was influenced and inspired by Cubism. Then in 1919 Schad was producing photograms from random arrangements of discarded objects which he found including torn tickets, rags and receipts which would explain the clutter within his photograms. He preceded Man Ray and Moholy-Nagy by two years and was the first to study photograms as just an art form; his photograms were published in the magazine Dadaphone by Tristan Tzara in 1920 and were called ‘Schadographs’.
Laszlo Moholy-Nagy (July 20, 1895- November 24, 1946) was a Hungarian painter, photographer and professor in the Bauhaus school. His work was strongly influenced by constructivism and by a strong advocate of the “integration of technology and industry into arts”. Like Man Ray, he worked in a variety of field throughout his career such as becoming innovative and proficient in photography, sculpture, typography, painting, industrial design and printmaking. Compared to Ray, his primary focus was photography, as he invented the term ‘The New Vision’ after his belief that photography was capable of creating new ways of seeing the outside world in the way that the human eye was not. He experimented with the process of exposing light sensitive paper with objects on top of it and called it a photogram.
Christian Schad was a German painter associated with the movements of Dada (Ray was also involved with the Dada movement) and New Objectivity, born in Miesbach, Upper Bavaria to a wealthy lawyer who supported him for around half of his life. Schad studied at the art academy in Munich in the year 1913. From 1915 to 1916 Schad’s work was influenced by Cubism and Futurism, in 1918 he began to experiment with camera less photography which was influenced and inspired by Cubism. Then in 1919 Schad was producing photograms from random arrangements of discarded objects which he found including torn tickets, rags and receipts which would explain the clutter within his photograms. He preceded Man Ray and Moholy-Nagy by two years and was the first to study photograms as just an art form; his photograms were published in the magazine Dadaphone by Tristan Tzara in 1920 and were called ‘Schadographs’.
Analysis
These photograms produced by Man Ray, Laszlo Moholy-Nagy and Christian Schad all feature the same elements/properties. Objects are placed on a piece of light-sensitive paper, where a light is shone over it at a chosen distance (depending on the effect desired) then go through stages of development in the darkroom. As a result, they all have the ‘imprint’ or ‘shape’ of whatever objects were placed on the paper. The photograms are monochrome, thus have varying tonal values ranging from black to white and all tones of grey in between. Some are more varied in terms of tones than others, depending on the placement of the light as well as the objects used. For example, Man Ray’s have more contrast than Schad’s due to the objects and light. Although the subjects of the photograms are to some degree ‘boring’, they are still interesting in regards to the techniques and formal elements that can be found within them. This is evident as all three photographers/ artists have payed close and careful attention to the arrangement of the objects, the negative space and proximity and most importantly, direction of light, in order to obtain an intriguing and complex composition. The photograms are abstract: the forms are bizarre – Schad’s features a horse, a butterfly, a chain and other unrecognisable forms, it is hard to identify the subject of the photograph, and one can only assume what the object is from the shadows and bright areas.
Photograms are an image produced using photographic material such as light-sensitive paper but without the use of a camera. The concept alone is highly fascinating. One or more objects are placed directly onto the surface of the material and are then exposed to light. Thus the paper should not have been previously exposed to light (which is why this procedure takes place in the darkroom). Back to the point, the resulting image will be a negative shadow image that displays a variation of tones, which will depend on the transparency of the objects used. The rule is: areas that have received no light are white; areas exposed to light appear grey. Grey areas are achieved through the use of transparent or semi-transparent objects. With this in mind, you can experiment with torn objects (chewed leaves for example) to experiment with pattern. Knowing this makes the photograms produced by Ray, Schad and Moholy-Nagy more alluring as one begins to appreciate and explore the complexity to the composition of the photograms. There is thought and planning behind the photograms ranging from the placement to the type of object used. This is one of the factors as to why these three photographers/ artists are renowned for their ‘camera less photography’. As usual, light plays a key role in the production and appearance of a photograph, even more so in a photogram. Man Ray’s photograms often have a strong angular light, making the objects appear thicker. The light he uses if harsh and directed and due to the bright areas, is positioned quite close to the material. This is how Ray achieves the illusion of depth and form: by creating a highly contrasted, slightly under-exposed chiaroscuro photogram through the use of angular light. By positioning the light at an angle and in close proximity to the objects, the shadows are strong, which is what highlights the forms of the objects. Similarly, Moholy-Nagy’s photograms seem to have been made with a harsh directed light, which appears to be positioned to the left corner (due to the bottom left being the brightest area, and the upper right being less exposed) and slightly above. The effect this has is that the objects appear thin, leaving only their basic shape. Compared to Ray and Moholy-Nagy, Schad uses a strong and closer light to the side (left) thus the photogram is much brighter to one side. This effectively gives an illusion of depth to the objects and brings forward their properties due to the objects being semi-transparent. Lastly, Schad’s work appears more opaque. By that I mean that the shape shave a wider tonal/value range, with more greys, which suggest that the objects are semi-transparent. As for the lines they are used a directional and compositional tools by each photographer. Ray uses the curved, thick lines (although thin where the lights has not gone through) to direct us inwards in a spiral manner to the centre of the object where there is a bright dot/circle. Thus the lines suggest a soft spiral motion formed by the soft curves of the object. Similarly, Moholy-Nagy uses thin, spiral and circular shapes however; he makes these circular forms clash with straight lines. Interestingly, the clash between the two different types of lines - straight and curved – directs us diagonally up the photogram and over, down to the circles, which is quite a clever composition. Schad’s line however are much less organised, they are a mixture of geometric and organic forms, curves, some of which are sharp, some of which are soft. There is less consistency throughout the photogram and all the lines are condensed, as well as the shapes. Since they are all connected, are eyes are drawn around the form and to the top by the curved central oval shape. Unlike Ray and Moholy-Nagy, Schad’s work leaves our eyes to dart all over the photogram. The textures of Ray and Moholy-Nagy’s work are similar. Ray’s is smooth, possibly velvety due to the grain, with sharp edges which depending on the interpretation could give the impression of metal or paper, or even possibly a rose’s petals. Moholy-Nagy’s photogram also appears to have a smooth sharp and cutting texture due to the thin lines and use of light to re-enforces the shadows. With Schad’s work, we can discern several shapes: a butterfly, a metallic chain and a horse. As for the round oval shapes, one appears to be a bowl or rounded object due to the top being brighter and the edges being darker. Thus we can deduce that there would be an array of textures present within his photogram. |
In terms of shape, each photogram differs. Schad’s, once again, has a diversity of shapes ranging from triangles, circles, and ovals etc. which provide some structure by being aligned with each other (the butterfly is aligned with the rounded triangular object). Man Ray has a singular curved shape where we can distinguish some triangles, with the curved shapes seeming harsh and thick. Finally, Moholy-Nagy has geometric shapes: curves, spirals circles and rectangles and triangles. The triangular shapes are found when looking at how the rods divide the photograph into three triangle, splitting the image in thirds which is the core composition of the photogram.
Like light, space is important in a photograph, especially when it comes to composition. Space is represented quite differently by each artist/photographer, which is interesting as it allows us to view the ways in which we can utilise space to create various effects. First off, Moholy-Nagy’s photogram is mainly negative space, space which is unoccupied which works well with the composition as the empty space heightens the impact of the arrangement of the objects. It allows us to focus on the shapes and shadows, without over-bearing us. The same cannot be said for Schad’s photogram where there is mainly positive space starting from the left corner to diagonally after the centre. The negative space around this enhances and compliments the cluster of shapes however makes the photogram appear cluttered. In comparison, Man Ray has scattered the negative space which creates depth due to the light and dark areas produced by the light going or not going through. The negative space is very important to the composition as it surrounds the object and draws our attention to the centre. Last but not least is repetition. The strongest use of this is by Moholy-Nagy. The sticks and spirals are in pairs: on stick with one spiral and place nearly parallel to each other. This creates a pattern where we have the illusion that there is a mirror going through the photogram and creating and enlarged version of the stick and spiral. The repetition also creates a line of symmetry which aids and re-enforces the composition to the point that the photogram is fairly aesthetically pleasing. Ray repeats the shapes of triangle and circles in his photogram and the curves produce a pattern similar to ripples, yet also allude to the form of a rose which gives softness to the photogram that is over-shadowed by the high contrast. What strikes me as most interesting about each photogram is the complexity of the composition. Each of them have meticulously chosen shapes, arrangement and repetition in order to create a composition that is meaningful and clever, which tells us more about the nature of the photogram and draws us in. The understanding of the techniques to be able to do this is astonishing, and one can but hope to be able to learn to produce photograms like this one day. The one question I do have is did they plan or sketch the photogram before attempting it or was it a spontaneous decision which gave birth to a wonderful image? Either way, they are stunning. Each photogram is effective due to their shapes and compositions however they are still bland at first glance, which is a shame for they are fascinating to study and research. |
Process of choosing Objects
Whilst choosing the objects for the photogram I considered a range of factors. I focused mainly on the effect of light on the object depending on its transparency. Thus, I chose sugar, as it is small and semi-transparent. Furthermore it is essentially a crystal so the light might come out in interesting ways through the sugar. Furthermore it can be used to create patterns by pushing it into shapes. Sugar has a geometric shape (although small) which could be useful depending on what I want my photogram to come out like. Of course, I have never done photogram before so I am experimenting with different materials to see what it does. Due to this I also chose rice as it is an oval, semi-transparent shape thus will let some light through. It is round so the light may bend or come out partially. Carrying on with transparency, I chose clean film and a plastic case, as they will let more light through than the sugar and rice, especially the clean film. I could scrunch up the clean film in some places on purpose to create pattern or aid the composition. Finally, I picked a glass soda bottle, with some writing on it. I could make it abstract by placing it across the light-sensitive paper, or arranging it in a way that is it barely recognisable.
I also chose foil and brown paper (cooking). I chose the foil – and I may be very wrong about this- because I thought that maybe I could use it to reflect the light. Then again I doubt that would work, though one thing that I know for sure is that foil will not let any light through. By tearing it, you could create jagged edges with could be used to frame objects or create lines. As for the brown paper, it will let some light through and since it has a mesh-like texture, this may come through in the photogram. Once again I will have to see and experiment with the materials.
Other objects I chose where organic. I went out into my garden and picked a few eaten leaves, some rose petals of varying sizes and some branches from a tree. I should have also picked a flower or two, but the idea did not cross my mind at the time. Now that I reflect on what I chose, I could also have picked grass blades to use as directional or compositional lines. Feathers were also what I picked. Not real feathers, I have fake ones from the craft store, and though that their wispy edges and curved shape could be used to soften the photogram.
Finally, I have picked some semi-precious stones and some gemstones. Unfortunately, I do not know their names, but they are semi-transparent and their jagged shape could give some interesting results. Along with the gemstones I decided to use a necklace chain which has circles every few centimetres (thus breaking the pattern).
Ray, Moholy-Nagy and Schad influenced my pick of items, as they use both geometric and organic objects, combined with harsh and soft lines, curved forms and hard corners.
I also chose foil and brown paper (cooking). I chose the foil – and I may be very wrong about this- because I thought that maybe I could use it to reflect the light. Then again I doubt that would work, though one thing that I know for sure is that foil will not let any light through. By tearing it, you could create jagged edges with could be used to frame objects or create lines. As for the brown paper, it will let some light through and since it has a mesh-like texture, this may come through in the photogram. Once again I will have to see and experiment with the materials.
Other objects I chose where organic. I went out into my garden and picked a few eaten leaves, some rose petals of varying sizes and some branches from a tree. I should have also picked a flower or two, but the idea did not cross my mind at the time. Now that I reflect on what I chose, I could also have picked grass blades to use as directional or compositional lines. Feathers were also what I picked. Not real feathers, I have fake ones from the craft store, and though that their wispy edges and curved shape could be used to soften the photogram.
Finally, I have picked some semi-precious stones and some gemstones. Unfortunately, I do not know their names, but they are semi-transparent and their jagged shape could give some interesting results. Along with the gemstones I decided to use a necklace chain which has circles every few centimetres (thus breaking the pattern).
Ray, Moholy-Nagy and Schad influenced my pick of items, as they use both geometric and organic objects, combined with harsh and soft lines, curved forms and hard corners.