I used the basic idea of juxtaposition in my photographs. I used the idea of sweet and sour. When placed next to each other they place emphasis their differences while also forging together as one image. I think the image quality is not up to par, perhaps a digital camera would've worked better with this composition. Composition wise i would've played with the position a bit more to emphasize their differences. E.g. half cake half sprouts, his may have had more of an effect on the viewer. By placing one of the worlds most liked and most disliked foods i have subsequently managed to show contrast in these images. The next step is to decide my favorite of them all.
-ANNA ATKINS-
Anna Atkins 1799-1871 was an English picture taker considered the first individual to publish a book illustrated with photographic pictures.
Anna Atkins brought the strategy Cyanotype to photography. She made a restricted arrangement of Cyanotype books that reported plants and other vegetation from her seaweed accumulation. She set examples specifically onto covered paper, permitting the activity of light to make a profile impact.
Light-sensitive metal mixes and colorless, water-soluable iron salts, when presented to daylight, structures the compound known as Prussian Blue. Unexposed ranges stayed unaffected which leaves a blue negative picture.
Cyanotype is a photographic printing process that gives a cyan-blue print. Blue is normally the fancied and primary color of the foundation. Shades of blue are demonstrated all through these prints which reflect tone. The primary print demonstrates the intricate lines, shapes and patterns the plant makes. The brightest and most dynamic shade is white which emerges against the darker foundation. This print is more dynamic than the second print however the shapes would suggest to the audience that it is seaweed.
In the second Cyanotype print, the colours are not as bright and in this manner mix together more. This suggests the thickness of the plant/petals are decently comparable which brings about the shades being the same and there being a restricted measure of tone.
-László Moholy-Nagy-
László Moholy-Nagy was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts. Born on July 20, 1895, Moholy-Nagy contributed towards the photo-gram movement (http://en.wikipedia.org/wiki/L%C3%A1szl%C3%B3_Moholy-Nagy)
Moholy-Nagy's photograms lack content. Each one picture is left for the viewer to deciphered by his/her self. This could be seen on the first picture where the object which the hand is holding resembles a spatula, when actually, it might be seen as a paint brush.
Moholy-Nagy has done this to demonstrate the limits between paint-based art and photography. This might be seen as the hand is transparent and not precisely holding the paint-brush. This gives the message that not all art work must be painted and can also be in the form of a photograph or photogram (a picture produced without a camera using photographic materials e.g light sensitive paper) etc.
