A Photographs Form

17. January 2012 · · Categories: All

Form

A photographs form is it physical attributes: light, tone, texture, line and shape.

Swimmer & Surfer Boundary Flag, Mission Beach, California

Light (three dynamics) is the master switch of photography, it defines how your subject is read by your viewer. Photographs with great detail inherently have great texture, (directional lighting) which help clarify the meaning of the photograph. Photographs with less information, like the flag image above work best in flat and diffused (flat & diffused lighting) lighting. Flat and diffused lighting envelopes the subject and allows the eye an even surface to explore tone, line and shape. One of the great joys of looking at photographs is how the photographer uses the tone of a subject to define the content and meaning in a photograph. I wanted the tone of the square shapes in the flag to have the same tone as the sky. It gave the impression that the flag was transparent which is illustrated by the blur and tattered end of the flag. Understanding the foundational concepts of form: light, tone, texture, shape and line train the eye to see the shapes of the world as visual symbols. These visual photographic symbols are responsible for the construction of content and meaning in photographs.

Ice Cream Cone Display, Mission Beach, California

©Copyright Craig Carlson All Rights Reserved


Sunset Boulevard Project, First Post, Los Angeles, California, 1-3-12

03. January 2012 · · Categories: All, Black And White, Sunset Boulevard

Sunset Boulevard Project, First Post, Los Angeles, California, 1-3-12

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Along Sunset Boulevard, Los Angeles, California

    The process of capturing images for “Sunset Boulevard” involves photographing on nearly-abandoned urban streets. I’ve found that this is best done on holidays that also happen to land on Sundays. Fortunately on these days there are no parking issues; I can pull over, park, shoot, and make U- turns without having to dodge much traffic. The few people I see that early in the morning are mostly homeless, early workers waiting for the bus, or those headed to coffee houses opening up.

   The morning starts before dawn (this particular time at an IHOP), where I journal into my work binder what I hope to get done. My “working” three-ring binder is separated by tabs identifying the day of the shoot and it will also carry the processed 21/4″ x 21/4″ negatives and inexpensive digital proof sheets of each roll of film. At the end of each year, the contents of the binder(s) will be transferred to archival clamshell-style boxes with shooting dates pasted to their spines.

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Art Linkletter Star, Near Sunset Boulevard & Vine Street, Los Angeles California

   For this project, I am using Mamiya Twin-Lens-Reflex cameras on a tripod and with focal lengths which allow me to shoot from the curb. For farther away subjects I will switch to another Mamiya with a normal lens. Technically, I shoot with Kodak TRI-X-Pan film with a yellow-orange filter to help create more contrast than the directional lighting (see directional lighting) I love working with. These types of projects help fill the space between the time I can get back to a larger subject or setting, such as Montana. It also allows me to continue looking and working with a minimum budget of gas, film, and an IHOP.

See Sunset Boulevard Gallery

 All Content ©Copyrighted Craig Carlson 2012 All Rights Reserved

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