In 1989 Jeff Ascough started his photographic career at the age of 21 with portrait photography. Later, in 1990 he photographed his first wedding and his career as a wedding photographer blossomed thereafter. However, in 1994 he came to a crossroads. Stay with traditional wedding photography as was the norm at the time, or move on his obsession with street and documentary photography.

A year later, Ascough decided to combine the two. He began photographing weddings as an observer. ‘Capturing the essence of the wedding day’.  In the eyes of the world, this was a genius move as over the 10 years to follow his documentary wedding photographs won over 170 awards and accolades.

It was then only a matter of time before interest sparked overseas from the ‘Washington post’ who ran a feature on him. This publication was the ‘first time a British wedding photographer had been featured and overnight his work went global.’ A year later he was voted of the top five wedding photographers in the world by the BBC.

What I love about Ascough’s work, and why I have included him in this task, is his amazing ability to take such fantastic photographs while only using available light. Due to the fact that he is a wedding photojournalist he photographs natural occurrences which means no false lighting or no set ups. Ascough’s work is so unlike anything else I’ve seen and is exceptionally different to the traditional wedding photographs.

Working in both black and white and colour, his work is spectacularly romantic and because his subjects don’t pose, the subject matter is beautiful in its truth.

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Included in his photo gallery on his website at http://www.jeffascough.com/ , Ascough also includes replies and comments from his clients. These can also be viewed in the album above.

References

All quotes are from Jeff Ascough’s ‘Bio’ section of his website – http://www.jeffascough.com/

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Months ago I wrote an essay about Punk being another version of Dadaism. In the conclusion of this essay, I asked the question that one day, will science be art?

This article answers my question.

The Stunning Detail of Shells Under the Microscope

Charles Kazilek wanted to photograph the Chester Collection of shells without coming across the same difficulty that so many photographers have had before him: focus.

“The scanning light work all began with a journal publication by Nile Root. A colleague of mine, William Sharp, and I were challenged to get a close-up image of a cicada. This is a common insect in the southwest. The problem was we wanted a close-up image and with everything in focus.”

In order to achieve this goal, the pair set up a film camera with three points of light in order to create a thin plane of light. This process is a lot like painting the image onto the film. To avoid the images becoming blurry in areas, the process was carried out in a completely dark room. This meant that the photographers had no idea what their images would turn out like, if at all.

Once the pictures were developed, the results were mesmerizing. ‘Emeralds, sapphires, diamonds and rubies are what most people consider jewels. But there are some tiny unique items in nature that are just as beautiful and jewels in their own right. Some of these are amazing shells whose beauty is usually hidden under normal light but can be brought out by a special light, specifically light scanning microscope photography.’ Says Kazilek

Personally, I love the photographs. I think their stunning visually but what I love most is their uniqueness. They have a sense of newness – this has never been done before. These photographs aren’t just a click of a button but a science experiment. I’d love to accomplish something so rare.

 

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I have looked into Jill Greenberg’s work before for a previous assignment; however I have never looked into or discussed this particular work. However I find it fascinating, not only are the picture striking and interesting, but they also carry a message. It is not uncommon for Greenberg to share her feelings and options through her work.

This work is inspired by a commission that Greenberg got in 2008 which featured Olympic swimmers underwater. These images also show women underwater. However, these women’s professions are athletes and dancers and so they are dressed for work. While underwater, the models ‘attempt to perform and pose but the water knocks them into awkward positions. They wear high heels to be “sexy” in this performance, yet this is absurd, it hinders their movement and amplified their lack of control’. The whole shoot is a metaphor of their world and lives, they adjust their swimsuits, shoes and gasp for air.

To me the images are gorgeous, the women almost look like Barbie dolls, and they’re so perfect. The water is such an intense blue and the colours reflecting on the water above from the light mixes in with the deep blue, it’s relaxing to look at with all the texture from the ripples in the water. The colours of everything are capturing, the light, the blue, the swimsuits, their hair and the heels. The intensity of the colours is mesmerizing.

Something I love most is the reflections and the bubbles. The bubbles show me the models are underwater, they create a sense of realism out of a fairly surreal image. The reflections are something I’ve never seen before. I’ve only ever seen a reflection from above the water, a person looks in and see’s their reflection in the water. In Jill Greenberg’s work, the viewer can see the person underwater and their reflection outside. It’s a complete role reversal.

The light makes the image. If the day was dull, the colours would be less intense, the blue would be grey and the beams of light shining through wouldn’t be there. These images literally couldn’t be created without the lights used.

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http://www.manipulator.com/Fine-art/photos/glass-ceiling#/12

 

 

 

I found some amazing photographs by Quinn Rooney online. These photographs have won awards such as being named the best sports photojournalist of the year. Unfortunately, that’s all I can find out about him. I showered the net looking for a nationality or some sort of information about his work but there’s literally nothing.

All I know is that he works for Getty images and covers a variety of sporting events including the Olympics. He’s done pictures for the Australian Open, formula 1, World Rally, World cup and the Swimming championships.

Some of Rooney’s images are amazingly lit, they’re mysterious and are technically flawless. He has the ability to capture the exact image he wants, with the light, the timing and the composition.

As well as this, Rooney’s images give me a sense of atmosphere. I can feel the warmth in some of them and the action in others. For a sports photographer, the images fit his criteria perfectly. I love them.

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Reference:

http://bop.nppa.org/2009/still_photography/winners/?cat=SPY&place=1st

 

Caves are an interesting subject to photograph because of their location. Light is crucial to photography, especially when photographing that has no, or a limited amount of, natural light to begin with.

Looking at the images below, I think it’s interesting to see how photographers have gone about getting the light for some of their photographs. Some of the photographs are of caves which have been opened t other public, because of this they are lit inside so visitors can walk through. This, however, doesn’t make the task any easier. In fact, it is likely to make it harder in that a photographer would have to try to find a good photograph using lights which have been placed for practicality, not creativity.

Other images have been taken from inside the cave viewing the outside life. These are a lot easier to capture, but have a beautiful sense of framing. Holes in caves are like natural photographic crops. A photographer will take a photograph keeping the surroundings in mind and choosing where they crop the image. Even after the images are taken a photographer can usually go back and cut out what they don’t want. With a hole in the wall however, the image can be of one thing only; what is directly outside the threshold.

Here are some outstanding images of caves:

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I read an article entitled ‘Bad weather = good light for opportunistic photographers’. The article was about how when you’re sitting at home and the weather is grey and rainy, all hope of a good photograph is out of the picture. This is because light is what makes an image amazing, it’s the foundation of a photograph and an absolute necessity.

However, the author of the article, Mark Eden believes that ‘After many rainfalls or storms, comes a spectacular burst of light. Often this light lasts only momentarily, but is worth waiting for.Eden is a freelance travel photographer and writer. He is also the founder and director of Expanse Photography, a photographic services company.

Mark Eden writes that good photographers will always visit the place of the photograph dozens of times planning and waiting for the photograph they have in their minds eye. He also says that a photographer has to be patient, the perfect shot won’t usually come along the first time and so waiting it out for it is how to get that one in a million shot.

‘Many a moody, muted landscape has been created using the worst weather conditions.’

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When Jan Leonardo Wöllert began his work, he only photographed during the night. He developed new techniques in the field of light painting. He would illuminate his subjects with portable spotlights and torch lights in order to accentuate them. In 1998 he became an assistant to German photographer, Stefan Meyer – Bergfeld, where he was taught about large format landscape photography. Then, in 2004, he undertook digital photography and has since taken more than 10,000 long exposures at night with a fantastic outcome.

Jan met Jörg Miedza in 2007 and they have been working together since. However, neither of them are full time photographers. Jan is a PA while Jorg is an office based worker.

The work that this German Duo is named ‘Light Graffiti’ but even this title struggles to do these displays justice. ‘The fantastic spectacles of colour – which are the latest trend in street art – are as impressive as fireworks.’[1]

The duo use a variety of lights to create their images including bike lights, flash lights, blinking LED lights and all sorts of others. These are used to ‘paint’ the image straight onto the camera lens.

I personally love these photographic creations and I am 100% sure that I’m not alone in this. To me, the images look supernatural and are very sci fi just in how they are photographed and especially what the subjects in the images are doing. Some images are of balls of light which look like floating orbs and others are make to look like spectacular UFOs in fields.

When looking at this type of work I wonder what I could ever do in the realm of photography to this sort of level. It’s amazing and is a new stamp on light photography and has taken it to a whole other level!

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Bibliography:

 

http://photo.net/photodb/folder?folder_id=746651

http://www.amazon.co.uk/Painting-Light-Art-Performance-Photography/dp/1933952741/ref=sr_1_1?s=books&ie=UTF8&qid=1301504767&sr=1-1

[1] http://www.dailymail.co.uk/sciencetech/article-1210538/Pictured-The-incredible-light-graffiti-created-host-light-sources-shine-straight-camera-lens.html

http://www.lapp-pro.de/


Tom Fritz is an American painter who many would say is at the top of his game. His subject matter consists of some of the most amazing cars and motorcycles known to man and his ability to capture them on canvas is truly amazing.

The paintings truly capture the light and atmosphere of the day but also the way he captures the movement is incredible. What strikes me about Fritz’ work is that while each car is different, also each scene is too. When I look at his images I almost see paintings of how beautiful landscapes would look at high speed with a car driving through.

Everyone of Fritz’ images are different. Different car and setting every time, the way he captures the day and the weather creating a sense of light on canvas without the help of shadows is remarkable. Looking at the paintings Fritz produces, it is clear that he has a profound understanding for how light works and moves.

For me personally, the images are relaxing. Although there is a lot of adrenaline and commotion in the images, the warm colours and smooth strokes make me feel at ease.

Part of an interview with Tom Fritz

How would you describe the art you create?

If I said I create to satisfy my eye and my soul it probably wouldn’t be good enough. I focus on representational interpretations of something I feel on a subconscious level.

I also dig the act of mark-making so I don’t try to disguise that. I want to play a game with my viewer; I want them to see two things at once. At one glance, they see abstract shapes of paint applied to the canvas, and in the flicker of an instant they see an object in dimensional reality appearing out of that seemingly disordered jumble of painted marks.

Which artists would you say have had the greatest influence on your work?

Come on, Kevin… you know I have trouble recalling names. Images are so much easier to recall – check my grades in Art History.

There’s a ton of ‘em, and I’m gonna miss some, but here goes: Renoir, Daumier, I marvel at the fluidity of Tiepolo’s line, Manet, (especially his later works where he was influenced by the avant garde Impressionists), Degas, Monet (for his color contrasts), Delacroix (for his expressive use of juxtaposing complementary colors), Morisot, Sargent and Henri (esp. for their highly economical, confident, and accurate brushwork). Van Gogh. Thiebaud. American Illustrators: Remington, Howard Pyle, Leyendecker (composition and awareness of contour and silhouette). Rockwell (for the narrative). Can’t forget Fuchs, Peak, Heindel, Cunningham.  Right now, I’m studying the Russian Socialist Realists. I take a little bit from all of ‘em. Really hard to say who’s influenced me most though.

I am personally fascinated by other artist’s working methods. So let me ask you about your studio, is it in the house or a separate building like Norman Rockwell?

My studio is in my house. Living in southern California, most people would kill to have my commute every morning. I go down seven steps, turn on the lights, and start destroying canvas.

Let’s get into a bit of your process. How do you like to work out ideas? Do you do thumbnails and develop it from there?

Oh yeah, a quick thumbnail is where I start. All it takes is a pen or pencil and a scrap of paper, a bar napkin, or matchbook… or a Sharpie marker on a linen tablecloth. Or a soapy finger on the steamy shower door. I’m trying to pull the image out of my head and lay the foundation. Scribbling little abstracts is a relatively painless way to work out a composition.

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See more of this interview here:

http://jamesowensart.wordpress.com/2010/12/24/the-screwball-confidential-interview-tom-fritz/

Sparkler Art is a great combination of Photography and Light. Usually in photography, light is used to give an image a certain mood and make it creative. This type of photography, however, is all about light.

This is very similar to painting with light which I’ve already referenced but I’m referencing this type of work because it’s original and hard to do well. Painting with light is incredibly hard and is has a very fine balance when it comes to apertures, shutter speeds and the painter. However, this whole process is made even more complicated when it comes to painting with sparklers very simply because of the aspect of a time limit. Sparklers run out very quickly, a painter literally has the time it takes for the sparks to burn through the stick to paint their image.

This is why a successful painting using a sparkler is something to be very proud of.

For this example, I don’t have just one artist to reference this to. I got the idea by looking through Flikr and found an album named Sparkler Art which features these photographers:

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Bibliography:

http://www.flickr.com/photos/platoisboring/galleries/72157623086298985


Jesse Rosten has a website where he features all his work. His work is mainly still portrait images and motion pictures.

However, the reason I’ve put Jesse Rosten into this line-up is because of his creative use of light to take a set of images. Instead of using traditional light or light boxes, Rosten used a set of 9 IPad’s in their brightest setting in order to light his shoot.

This to me is experimentation at its finest.

It’s not particularly that the outcome of this experiment is amazing, it caught my attention more because its different. The images created are good portraits and there’s no hint that the images have been light with such unusual lights.

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Bibliography:

http://jesserosten.com/

Flickr Photos

CU_Photography