This week was mostly taken up with the planning and recording of my oral presentation. This process seemed a lot more straight forward having a clear direction of where I wanted to get to rather than stretching and grasping at straws.
Revisiting the basics of my newly changed project was great in that I could re-engage with my aims and also pick out pieces of the theory that I had selected that were not working for me.
For example I was trying to include so much into the theory, that I was missing how I was actually going to apply this. I therefore removed the Buddhist beliefs about the four stages of life/road to enlightenment, as the other 4 concepts that I wanted to look at are far more relevant and I am actually able to apply them, but more importantly explain to others what I am doing and why with my images.
To explore more I have this week been reading – The Edge of Vision – The Rise of Abstraction in Photography by Lyle Rexler (2013). As my work is taking the direction of abstraction I felt this was going to offer some further insight. It brought me back to looking at photographers I haven’t considered since the early part of the course, Karl Blossfeldt and William Henry Fox-Talbot.
Blossfeldt’s image Adiantum Pedatum
https://www.moma.org/interactives/objectphoto/objects/83716.html
William Henry Fox-Talbot’s image Slice of Horse Chestnut seen through the Solar Microscope
http://www.sunpictures.com/uploads/687Talbot_101293-47_HorseChestnut_.jpg
These two images show how I am able to use natural materials and still have beautifully abstract images. Especially with Blossfeldt’s work using the lessons I learnt about lighting from Edward Weston I am able to learn a great deal about the composition of abstract macro photography.
Carrying out further research I was absorbed by the Curburita (Pumpkin Tendrils)
http://www.getty.edu/art/collection/objects/35451/karl-blossfeldt-cucurbita-german-1928/
This image has been carefully thought about in how to capture the curls. when I capture my pencil shaving I use I expect quite a similar process, I perhaps can do more of this to enhance my images further.
There is another image such as #95 Beckmannia Cruciformis (Slough Grass, Fruiting Spikelets)
I think the composition of this triptych how it is showing various areas of light and shade and still manages to contain the detail in the natural forms, this can also be seen in #96 Phacelia Panicle (Phacelia Congesta) where I was drawn in by the complex repeating nature of the plants.
It shows depth and is laid out interestingly to draw in the viewer with some elements of my work I can certainly learn a great deal from Blossfeldt.
Looking at these images led me to take another of my own to use in my presentation:
I wanted to use elements that I had learnt from Blossfeldt and try to put them into action. I was also quite happy to see strength coming from the first image verging into fragility in the second. I want this to be felt by my viewer also.
References:
- Rexler, Lyle, (2013) The Edge of Vision – The Rise of Abstraction In Photography, Aperture, New York.
- https://www.broadway-letchworth.com/sites/default/files/styles/max_1300x1100/public/images/exhibition-or-studio-events/gallery/bloss6-1.jpg?itok=MHtuhvb7
- https://goo.gl/images/nsMysD
- http://www.getty.edu/art/collection/objects/35451/karl-blossfeldt-cucurbita-german-1928/
- http://www.sunpictures.com/uploads/687Talbot_101293-47_HorseChestnut_.jpg
- https://www.moma.org/interactives/objectphoto/objects/83716.html
Kirsty Logan Photography 
