Bonnie Rannald's Photo-Explorations in focus with nature. : Spirals

Sunday, May 1, 2011

Exploring Abstract Photography

How to Photograph Outside the Lines

Over the last few weeks, I have been thinking in terms of abstract photography and that might be caused from the flowers staring to bloom and all the macros I've been out taking while enjoying the spring.

I have always been intrigued by abstract art since my early college classes in art appreciation. And unlike so many who consider the medium simple, I shied away from abstract photography because to me it is a much more difficult expression with no set rules on composition. It's like coloring outside the lines and coming up with a meaningful picture.

With this week's post, I would like to explore some discoveries that I have made about abstract photography from master photographer, Ron Bigelow. I was led to Ron Bigelow's website and article, entitled "Abstract Photography" after posting a question on Facebook to artists and gallery directors, inquiring what makes a photograph abstract. What I learned from Ron Bigelow as I paraphrase his words, "is that Abstract Photography relies more on our primal sense of form, color, and curves than it does on detail." Bigelow further believes that "there is no standard, universally accepted definition of abstract photography" . . . that "image detail takes a back seat to form, color and curves. . ."

As I begin to ponder Bigelow's words, I begin to wonder what I am getting myself into since I have always been an advocate of image detail being one of the principles that define a strong photograph image. However, I also discover through Bigelow's article that "the brain's logical processes are more subdued when viewing abstract images" . . ."instead the reaction is much more instinctual."

As Bigelow's words start to incubate in my mind, I look over a number of my photographs and discover that I have been drawn to the abstract in so many of the images that I have previously photographed. As stated by Bigelow, "abstract photography communicates to the viewer primarily through the viewer's emotions." At this point, I become very excited because I have been told on numerous occasions that my images touch the viewer on an emotional level. And to further paraphrase Bigelow, "the abstract form plays to the photographer's benefit because our human emotions are much more powerful than our logical systems."

In the past week, I have been on a sojourn so to speak, to evaluate how my photographs fit in with Bigelow's beliefs. During my teaching and coaching days, much emphasis was placed on the psychological aspects of human performance and I completely agree with Bigelow that color, form and curves evoke strong reactions that are pre-programmed in to our neurological systems.

In next week's post, I will delve deepen in to Bigelow's article and look at the essentials of color, form and curves that make up the abstract photograph.

For more information please visit

http://www.ronbigelow.com.

What an exciting and interesting photo-adventure this day has been. I love it when I am drawn to an area and not knowing what to expect I get treated to new experiences.

Photography places me in the moment where I can share that moment in time. It becomes a life story as represented by my interaction with the scene. The happiness and beauty or the sorrow and strife; how I focus leaves a lasting impression that might touch the viewer on a spiritual level.

"Reflecting Nature's Artistry"

Many of these images are available on my website:

http://www.bonnierannald.com/

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Off The Wall

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Friday, February 20, 2009

Spirals

Interesting Shapes in Art and Nature

With the coming of spring, the photography world is in transition from the harshness of the cold, bleak winter landscape to a kaleidoscope of colors, sights and shapes. As in autumn, the natural light of spring is more subtle and pleasing to the camera because of the earth’s proximity to the sun. There is an abundance of activity among the wildlife, as preparations are being made for a rebirth of the species. As a nature photographer, I find the shapes in the landscape as interesting as the colors.

One shape that is found to reoccur in many natural objects is the spiral. Look closely at the new growth of many flowers and you will discover a spiral in the tightly woven petals.

The spiral can also be found in the design of a pinecone and in the arrangement of sunflower seeds.

The spiral shape is nature’s way of providing the most efficient design for growing objects. It allows flower petals and leaves to receive the most exposure to sunlight and is the easiest path for rain to travel to reach the plant’s root system. The spiral shape in sunflower seeds allows for more space within the seeds without over-crowding.

The shape of the spiral is so significant in the natural world that it can be found almost everywhere. Good examples are ram’s horns, flowers, the Milky Way galaxy, fingerprints, DNA, and various sea shells, including the nautilus. The mathematical genius, Pythagoras, discovered the mystical shape of the spiral in the fifth century. Through this discovery, the Golden Ratio evolved and has been used in architecture, art and music since the Aztec and Greek civilizations.

The golden ratio is 1/1.618 or “phi”. A golden rectangle has the golden ratio and when squared, leaves a smaller rectangle behind which has the same golden ratio as the previous rectangle. This squaring can go on ad infinitum. A golden spiral is formed when a curve is connected through the corners of the concentric rectangles.

Basic composition of the “rule of thirds” in art design is derived from the golden rectangle. The 35mm format in photography comes closest to this ratio.

Another form of composition is the golden triangle, which is an isosceles triangle with two short sides and one long side, where the ratio of long to short equals the golden ratio. In my opinion, in photographic composition, the rule of thirds works best with horizontal scenes and the golden triangle with the vertical.

As photographer, I have been drawn to scenes that I felt compelled to re-create on film. One reporter wrote that I had an intuitive awareness of scenes that would photograph well. As I look back on my early days of photography, I recognize that I was attracted to these scenes because the golden ratio or golden triangles were included within the image.

If you watch closely throughout the growing months, you will come to recognize the natural occurrence of these mystical shapes throughout the landscape.