Brutalism
Brutalist architecture is an architectural style which was popularised in the 1950s in the UK, among the reconstruction products in post war Britain. Brutalist buildings are characterised by minimalist constructions that showcase the bare building materials and structural elements over decorative since these building had to be built quickly for Britain's economy to stay safe. Brutalist architecture was quickly adopted by the Soviet Union because of its economical benefits and soon a lot of eastern Europe had countless brutalist buildings. Some famous examples of brutalist architecture include the Barbican estate, Trellic tower, Robin Hood gardens and Habitat 67.
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Simon phipps; brutalist architecture
My photos
Negative space |
Form and shape |
Line and perspective |
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Thomas Danthony
Famous artist and photography that combines photography and art using photoshop to make his photos more visually appealing and simplistic. We studied his national theatre brutalism project in which he was tasked to collaborate with black dragon press about brutalist architecture in London. (the buildings seen in the photos above include the Southbank centre and Trellic tower. I choose the Barbican centre to photograph since it huge and there for i could find more depth in the wide shots.
Thomas Kellner
A selection of Thomas Kellners work made between 1997 to 2021. Beginning from the idea of Cubism after Delaunay, he transfers the international movement of Deconstructivism from architecture to photography. He photographs buildings, fragments them and assembles them into a heterogeneous conglomerate of forms. And yet, his famous montages of contact sheets are just one type of his multifaceted works. Kellner's architectural photography opens up a view of the polarity of a building. The appraisal and condemnation of the subject's emerging changes is as dualistic as the architectural entity itself. Whether collage, typology or installation, his works play with our perception: they show us only fragments and then again, the whole. They always open up new points of view.
Thomas Kellner was born in Bonn in 1966. He studied art, sociology, politics and economics at the University of Siegen. In 1996 he received the Kodak Young Talent Award, which encouraged him to live as an artist. Since then, Kellner has been living in Siegen as a photographer and curator of photographic exhibition projects. In 2003 he was appointed to the German Society for Photography (DGPh).
Thomas Kellner has shown his work in solo exhibitions in Germany, Australia, Russia, China, France, Poland, Denmark, Brazil and the USA since 2002. He has been involved in numerous group exhibitions and publications. His works are represented in important private and public collections. Those are for example Fox Talbot Museum, Lacock Abbey, United Kingdom, Library of Congress, Washington, District of Columbia, USA, Museum of Fine Arts, Houston, USA, among others.
Where a photographer has exhibited is irrelevant- it doesn't help us understand the work.
Do you have the images below the right way round?
Thomas Kellner was born in Bonn in 1966. He studied art, sociology, politics and economics at the University of Siegen. In 1996 he received the Kodak Young Talent Award, which encouraged him to live as an artist. Since then, Kellner has been living in Siegen as a photographer and curator of photographic exhibition projects. In 2003 he was appointed to the German Society for Photography (DGPh).
Thomas Kellner has shown his work in solo exhibitions in Germany, Australia, Russia, China, France, Poland, Denmark, Brazil and the USA since 2002. He has been involved in numerous group exhibitions and publications. His works are represented in important private and public collections. Those are for example Fox Talbot Museum, Lacock Abbey, United Kingdom, Library of Congress, Washington, District of Columbia, USA, Museum of Fine Arts, Houston, USA, among others.
Where a photographer has exhibited is irrelevant- it doesn't help us understand the work.
Do you have the images below the right way round?
St.James church and Everyman cinema Muswell hill
- Depth of field bracketing: This type of bracketing creates multiple photographs where different objects are in and out of focus.
- Focus bracketing: When the depth of field is limited, you can use focus bracketing by manually adjusting the focus of your lens to capture multiple images with a variety of foci. You can later combine these images into one single image where everything magically seems to be in focus. This technique is called “focus stacking.”
- Flash bracketing: Some photography requires a flash no matter what. But in outdoor photography (such as landscape photography or outdoor portraiture), you can use the flash to light different areas of your image and then compare the shots after the fact.
- White balance bracketing: Although rarely used on today's digital cameras, this technique involves adjusting a DSLR's white balance for a variety of color palettes.
- Exposure bracketing: Bracket exposures offer variation in either aperture, shutter speed, or ISO, thus granting a photographer more post-production options than they would have with a single exposure. Today's HDR photography relies on automated exposure bracketing to automatically create high contrast scenes using digital technology. HDR images can look manipulated, so some photographers steer clear of them, but the technology is a reliable way to get a usable image with one press of your camera's shutter button.
- Manually alter your camera’s shutter speed: This means you keep your camera's aperture and ISO steady while you experiment with different shutter speeds. (Longer shutter speeds let in more light.) This is the most common way to create exposure bracketing.
- Manually alter your camera’s aperture: In this version of exposure bracketing, you keep your shutter speed and ISO constant but vary your aperture. This produces variety in your images' depth of field.
- Manually alter your camera’s ISO: In a nutshell, the higher your camera's ISO, the brighter your image will be. The downside to high ISO is that it can produce a grainy effect (called "noise" in the parlance of digital photography), so most professional photographers do what they can to keep their ISO as low as possible without creating overly dark photos.
- Use automatic exposure bracketing: In today's market, many top DSLR cameras offer automatic exposure bracketing as a setting. In fact, many smartphones offer this function, often as part of an HDR mode. In auto-bracketing mode, the camera always provides three levels of exposure for a single shot. Automatic bracketing lets portrait photographers, landscape photographers, and abstract photographers all focus on capturing a single image without spending valuable time tweaking settings in their camera's manual mode.
- Set shutter speed priority: This version of automatic exposure bracketing keeps shutter speed constant (you get to choose the speed) and automatically adjusts the aperture to create images with different exposures.
- Set aperture priority: This type of automatic exposure bracketing keeps the aperture fixed on a setting that you choose and automatically adjusts shutter speed to create a range of short and long exposure shots
Twisted Structure- Nicholas Kennedy Sitton/ David Copithorne
Structure in Nature
Myoung Ho Lee
Myoung Ho Lee (b. 1975, Daejon, South Korea) is based in South Korea. He earned a BFA in 2003, MFA in 2006, and PhD in 2008 from Joong-Ang University in Seoul, South Korea. His most famous photos are that of his blank canvas project in which he placed massive coloured sheets behind trees to highlight there every detail.
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Sanna Kannisto- Field works
Finnish artist Sanna Kannisto (born in 1974) explores in her photography the theories and concepts with which we approach nature in art and science. In so doing, she uses both the methods of representation in art as well as the methods of the natural sciences. Her characteristic photographic works were made during numerous stays in Peru, French Guiana, Brazil, and Costa Rica. Plants and animals are studied, staged, and photographed in stagelike portable “field studios.” As soon as the object is removed from its original context—nature, in this case—our attention is directed toward specific characteristics and movements. The white backdoor of the “field studio” which serves of the backdrop for her stagings further amplifies this effect.
Independent development
Strand one: Liminal space
Liminal space is a place of transition, a threshold between two points, signaling the end of one time or space, and the beginning of another. These spaces exist in the real world as physical locations, but are also present in our cognition and psychological experience, often related to major life changes and periods of uncertainty. Since not much time is usually spent in places of transition like lifts, stairways and corridors too much time spent in them especially alone the become eerie and suddenly unfamiliar. This term has taken on a new meaning as its been picked up by the online community and is now more of a term for eerie photos which create an uncanny sense of nostalgia for a place you've never actually been to. The Greek word kenopsia is described as the forlorn atmosphere of a place that is usually bustling with people now found empty and abandoned.
William Eckersley
William Eckersley's project dark city, photographed over four years, "I wanted to capture London – normally illuminated by dull, grey daylight and teeming with people – transformed under the cloak of darkness. Garish street lamps cast deep shadows and silhouettes, with hues of pink, cyan and orange colouring the large format film. Meanwhile, the stage was now devoid of its human players and seemed to showcase the scenery’s forgotten beauty. So drained of its life and purpose, the motley built environment of my hometown appeared forlorn in the spotlight, waiting to be judged for its genius or folly, beauty or ugliness."
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Strand two: Decay of the city
My second strand is centered around london at night in the city, similarly to my first strand however this is focusing on larger landscapes and the light created in the city at night.
Rut Blees Luxemburg
Rut Blees Luxemburg (born 1967) is a German-born British photographer. Her technique is to take photographs at night, mostly exploring the urban landscape. She is a Tutor at the Royal College of Art. In 2020, Luxemburg was awarded an Honorary Fellowship of the Royal Photographic Society, Bristol
Strand Three: Faceless crowds
Daniel Crooks
Daniel crooks captures these photos by setting his camera in a stationary spot and captures the same enviroment in multupil photos as time passes and the crowd moves. Born 1973, Hastings, New Zealand. Lives and works Melbourne, Victoria. Daniel Crooks works predominantly in digital video, photography and installation. Crooks is best known for his digital video and photographic works that capture and manipulate time and motion.
Liminal Space development
Anthony Cairns
Antony Cairns (b. London, 1980) takes photographs at night, using the available light cast by buildings in urban centers like London, Tokyo and Los Angeles. In many cases the structures that he chooses are still under construction, little more than the skeletons of the office buildings and luxury apartments of that they are destined to become. His work is resolutely non-topographic, in the conventional sense in which photography has been used to record spaces, structures and architectural styles. There is more, however, to Cairns’ work than simply his distinctive approach to picturing the urban environment. His is a practice that accepts and embraces the photographic medium in its sophisticated entirety: from the effect use of light on analogue film, through a range of experimental darkroom processes, to an innovative and highly specialized understanding of the supports available to the photographic image in the twenty-first century. Cairns presents his work in a number of complementary but contrasting ways: from painstakingly layered and assembled artists books LDN (2010), LPT (2012), OSC (2016) to translucent films of silver gelatin applied directly to sheets of aluminium, LDN2 (2013), LDN3 (2014) to experiments with electronic ink, both in working electronic Ink readers, hacked to contain his complete work, LDN EI, (2015) and on their extracted frozen screens; strange distant descendants of the daguerreotype TYO2 (2017). Cairns was also the winner of the 2015 Hariban Prize, resulting in a residency at the Benrido Collotype atelier in Kyoto. Once again faced with the possibility of extending and expanding the photographic image through its reproducible character Cairns made a series of interventions within, and interpretations of, the collotype process LA-LV, (2016). Cairns has recently begun to explore the prehistory of the digital age in several related ways, by printing his works and assembling them as montages on early computer punch cards OSC Osaka Station City, (2016) and by using the screens of outmoded digital cameras and equipment to screen and project his work. Cairns has exhibited and published widely, in Europe, the United States and Japan. He lives and works in London.
Topic numero dos: Daisuke Yokota and Fan Ho inspired liminal space photography + Chemigram
I wanted to do a study on Liminal space since there often photos i find very interesting The word liminal comes from the Latin word ‘limen’, meaning threshold – any point or place of entering or beginning. A liminal space is the time between the ‘what was’ and the ‘next.’ It is a place of transition, a season of waiting, and not knowing whats beyond. The word liminal comes from the Latin word ‘limen’, meaning threshold – any point or place of entering or beginning. A liminal space is the time between the ‘what was’ and the ‘next.’ It is a place of transition, a season of waiting, and not knowing.
My response
Inspired by Daisuke Yokota I explored regents canal at night trying the capture the same atmosphere in his photographs however i only had my phone camera. Which surprisingly added to the eerie Liminal feeling i wanted my photos to have, the graininess and colour leaking helped this.