Category Archives: Part Two

Project 2

F64 was a group of photographers who wanted to provide a platform for pure/straight photography as opposed to pictorialism.  They state their photographic style of sharp detail to be ‘the best contemporary photography of the west’, which wasn’t arrogance but a way of separating their style from the fashions of the day.

Below are two examples of this style by Ansel Adams.  One is of a building which does not continue into the distance, whereas the other includes deep depth of field integrating the mountains in the background instead of being affected by soft focus.  Each image is in sharp focus from the foreground to the background regardless of how far the camera can see.

Church of San Geronimo, Taos Pueblo, New Mexico 1942

Fig. 1.

Potato Field, North Farm at Manzanar 1984

Fig. 2.

Using this technique provides great detail in the whole image ranging from the foreground to the background allowing the viewer to explore the image.  The plane of focus on the second image draws you to the workers in the center of the image even before those at the very front of the foreground on the right.  Your eye is then drawn up to the dark image of a vehicle behind them, eventually leading up to the mountains and sky.

A modern example of this style is Fay Godwin. She used deep depth of field to highlight the beauty of the English countryside, together with its plight against pollution and privatization.  This culminated into laws being changed in the country.

Rotting Car, Cliffe Lagoon, 1982

Fig. 3.

The work of Gianluca Cosci works in the reverse of the ideals of f64 in that he uses extreme shallow depth of field in his series Panem et Circenses meaning Bread and circuses which is a phrase critiquing superficial appeasement.

Gianluca Cosci uses a low viewpoint in combined with a high aperture, generally from the ground looking along the ground.  By using this combination he restricts the view drawing your attention to a very specific point within his images.

Image result for Gianluca Cosci Panem Et Circenses # 3

Panem Et Circenses # 3 2002-2003

Fig. 4.

With regards to Mona Kuhns work she uses shallow depth of field in a different way to create an intimacy between you and the subject.  She also uses the frame to emphasize that intimacy drawing your attention to the subject. Although the images are staged and the models are almost statuesque like, this does not detract from the nature of the image.

Fatale 2006

Fig. 5.

I have not been able to research Kim Kirkpatrick because the website provided in the course literature no longer exists.  I have also searched through the resource material and external websites to no avail.  In view of this I have been unable to carry out any research on him.

I’ve gone through some of my photographs and chosen an image that has a shallow depth of field to emphasize a playful moment between the two birds.

When taking the image I was in a humid building with restricted light so I had to change the ISO to auto, so that I could use a high shutter speed.

Just the two of us

1/2000 sec, f 2.8, 70mm, ISO 5000

Bibliography

Fig. 1.
Adams A
(1942)
Church of San Geronimo, Taos Pueblo, New Mexico
[Photograph]
www.bridgemaneducation.com
(Accessed 14 May 2019)

Fig. 2.
Adams A
(1984)
Potato Field, North Farm at Manzanar
[Photograph]
www.bridgemaneducation.com
(Accessed 14 May 2019)

Fig. 3.
Godwin F
(1982)
Rotting Car, Cliffe Lagoon, 1982
[Photograph]
http://www.scienceandmediamuseum.org.uk
(Accessed 14 May 2019)

Fig. 4.
Cosci G
(2002-2003)
Panem Et Circenses # 3
[Photograph]
https://www.gianluca-cosci.com/panem-et-circenses
(Accessed 14 May 2019)

Fig. 5.
Kuhns M
(2006)
Fatale 2006
[Photograph]
https://www.monakuhn.com/portfolio/works/detail/1536
(Accessed 14 May 2019)

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