Artist Research - Nel Ten Wolde

Calzada Romana, Australia, Collage, Size: 22 H W x 29.9 x 0 in.

Nel Ten Wolde creates pieces through a process of initial photography of the subject, which are printed, then reconstructed on a separate page through tearing the photograph and placing down at angle to the other pieces, then redrawing the lost parts, or extension of the image. In some images parts of a structure are firstly overlaid onto a separate landscape photograph before rearranging.

Photography Workshop

Compositional Techniques
Composition is obviously something relevant to both Photography and Fine Art so most of the skills learned and repeated here are transferable between the two art-forms. Photography also provides a far quicker and easier method of capturing something, even if only to be properly composed later, it also allows for capturing very momentary occurrences that would not even be seen by the eye without assistance. Next mentioned are some basic compositional techniques and rules which instantly improve the quality of images when applied.  
 
Dramatic perspective – Utilising an obscure angle to emphasise the subject, often close to it in order to create a stronger and more impactful image.

Use of lines e.g. leading lines or converging lines – Having strong straight, naturally occurring lines within the image, often to draw attention to a specific part of the image.

Framing – Using naturally occurring frames within the image, often to emphasise the scene within.

The rule of thirds – Placing an important part of the image on a third line as these are the parts of the image the eyes initially scan.

Moving in close – Taking the photograph within a close proximity to the subject in order to capture the maximum amount of detail.

Balance/symmetry – Having such in your image can be appeasing to the eye and gives a more structured image.

 
Focus

Focus is also an important part of composition within Photography, with the cameras used there is the ability to focus manually or automatically, there are benefits to each and the choice is really down to personal preference and the situation. Automatic bases its focus on the most prominent depth of field, which is often what is required, and is very useful as it does not require the time to focus which can be hindering when shots are taken quickly, although it does has impracticalities such as if you wished to have a small subject, affront a large background, in focus then manual focusing would have to be used. Manual is though, of course based upon the photographer’s eyesight and attention to detail, of which in the case of myself are perfect and full.

Aperture
Aperture is also a key part of composition within Photography, but because of the nature of the capturing, is not relevant to Art as such. Controlling the aperture also control of the depth of field of focus in the photograph, which can help to emphasise the main subject by blurring or crazing the background, it also removes any forms and only retains the tones or colours of what resides there.

Here is an example of a low aperture image on a standard lens, note the circular patterns created by the circular shape of the lens when blurred in the background. Here it helps the delicate plant, that with all in focus would otherwise be lost, become the main focus of the image and the only part to stand out.

Here is another example of a low aperture image, this using such a low aperture that it does not even require a large distance to the background for it to be crazed completely, in this photograph I wished to not only contrast the two hair colours, but also to contrast forms by keeping the foreground subject sharp, whilst softening and blurring the further subject.

Photoshop

We also utilised Photoshop by looking at the ways photographs could be edited in order to re-contextualise and re-form them, this was something I had not used before, so the images featured below are first attempts with a limited knowledge of the software. I drew reference from the work of Jerry Uelsmann whose photography holds a surreal feeling as he combines images of natural forms with man-made objects, although he creates such images using an analogue method of physically masking negatives before shooting onto photographic paper. I wanted to retain this analogue feel to the images so I used only simple tool, and processes that are possible in real life.

An original by Jerry Uelsmann

An image I created from two photographs I’ve taken, in the style of Jerry Uelsmann.

An image I created from two photographs I’ve taken, combining layering and double exposure.

Preliminary Sketches

Below are photographs of sketches I have begun, these two in a style similar to that of Rossetti, in a realistic manner, and to be filled with soft colours, my intent is also for the images to be dark and striking, in a similar manner to his. I also plan to complete sketches of figures in a similar style to that of Lempicka, redefining features and forms to allow them to conform to a more stylised and Art Deco aesthetic.  

Artist Studies - Metropolis

Here are images created using chalk under a strict time limit of 30 seconds, the medium was effective for creating large areas of tone in the very short amount of time given, it also allowed for creating great tonal variation and soft shade. One dislikeable element of the images is the texture of the paper which creates a rough patternation. An idea that has arisen from this practice is to utilise masking tape to create the outside lines of the building

Tamara De Lempicka

Tamara De Lempicka was a famed Art Deco portrait painter throughout the early 20^th century, she worked under commissions to create some of the most stylised, contemporary and popular painting of the 1920s and 30s. The individuality of the images due to the emphasised and often sharpened form of the subjects, coupled with the simple and usually monotone background creates strong, bold images with a stance of importance and integrity.

 

Portrait of a Man (Incomplete) (Portrait of Tadeusz de Lempicki), 1928

Oil on canvas, 126 x 82 cm

Andromeda, 1927/28

Oil on canvas, 99 x 65 cm

Autoportrait (Tamara in the Green Bugatti), 1925

Oil on wood, 35 x 26 cm

Portrait of Dr Boucard, 1929

Oil on canvas, 135 x 75 cm

Girl with Gloves, 1929

Oil on canvas, 53 x 39 cm

The Young Ladies, ca. 1927

Oil on wood, 41 x 33 cm