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Rockscapes:A Study of Forms in the Natural Formations of Hyderabad

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The serene beauty of the rocks and their role in people's lives is to be admired. Seen with aesthetic eyes, it presents the viewer with the pleasure of seeing organic contours.

Fig 01: “Camera Lucida”
Fig 01: “Camera Lucida”

ART MOVEMENTS

There is little attempt to show the character of the sitter through lighting or posing. He took the first photo with electric light and in 1856 the first aerial photo from a balloon.

THROUGH PHOTOGRAPHY

Pictorialism

In pictorialism, the aesthetics, emotional impact and the artistic quality of the final image take precedence over the subject. If the photographer used creative techniques at the time of capture, combined with manipulation of the image in the darkroom, a unique artistic vision could be realized - only through the artistic intervention could the final image be achieved.

Fig 06: “Experiment #27” by Clarence H. White and Alfred Stieglitz in 1907
Fig 06: “Experiment #27” by Clarence H. White and Alfred Stieglitz in 1907

Photo - Secession

To name a few of the prominent figures among the Photo-Secession movement: Alfred Stieglitz, Edward Steichen, Clarence White, Gertrude Käsebier, Alvin Langdon Coburn and Frank Eugene. Following the ideologies of the Linked Ring, the Photo-club de Paris held their first exhibition in 1894.

Straight Photography

The Photo-club de Paris was founded by the members who seceded from the Société de. Straight photography respects the medium's visual language – Shape, sharp focus, rich details, high contrast and rich tonalities.

Russian Constructivism

Thus, Straight Photography entered the scene of art photography, in opposition to combination printing and pictorialistic manipulations. László Moholy-Nagy, a trained painter and sculptor, coined 'Pure Photography' and said that photography should offer 'a new'.

Fig 07: “Lestnitsa (steps)” by Alexander Rodchenko in 1929
Fig 07: “Lestnitsa (steps)” by Alexander Rodchenko in 1929

California Modernist

The seed of constructivism was a desire to express the experience of modern life – its dynamism, its new and disorienting properties of space and time.

New Objectivity

The main characteristics of New Objectivity portraiture are – sharp angles, unbiased perspectives, visual clarity and order. A new revival of New Objectivity was seen in the 1960s, when the Bechers mainly practiced this style – Bernd and Hilla Becher – their typology.

Subjective Photography

Albert Renger-Patszch, a leading practitioner of New Objectivity photography, encapsulated his idea of ​​New Objectivity in three points in his book "On Photography's Significance and Photographer's Responsibility". There was an attempt to keep the subjective photographers away from the rise of commercial, documentary and journalistic photography.

Fig 10: “Ein-Fuß-Gänger” by Otto Steinert in 1950
Fig 10: “Ein-Fuß-Gänger” by Otto Steinert in 1950

Abstract Photography

The photograph is his (the photographer's) vision of the world and expresses, however subtly, his values ​​and convictions”. László Moholy-Nagy once said: "The enemy of photography is convention, the fixed rules of 'how to do'.

Formalism

In “Lafayette, Louisiana (1968),” Friedlander deliberately places a striking vertical object, without inherent value, in the foreground. At the bottom of the telephone or electricity pole we see the shadow of a head, probably that of the photographer.

Conceptual Art

Theorists became suspicious of the idea that a literary work could be detached from its origins or customs, or from the background of political and social contexts. In connection with this, some of the artists argued that a work of art should make the viewer think, despite a.

EMPHASIS ON FORMS IN HISTORY

  • The psychology of abstract forms
  • People – Abstract Photography
    • László Moholy-Nagy
    • Paul Strand
    • Imogen Cunningham
    • Alvin Langdon Coburn
    • Harry Callahan
    • Aaron Siskind
    • Edward Weston

The work will look like a puzzle, the brain is satisfied when it manages to "solve" the problem. In Weston's photographs, the texture, the physical quality of things is depicted with the utmost precision: rough is rough, smooth is smooth, flesh is alive, stone is hard... Things have a certain weight, volume and proportion, and are placed at a clearly defined distance from each other ".

THE ART OF COMPOSITION

  • ENTERING AND

EXITING A COMPOSITION

ELEMENTS OF COMPOSITION

  • Line
  • Shape
  • Tone
  • Color
  • Texture
  • Space
  • Form

Shapes can be projected in three dimensions using light and shadow, we get shape. The warm colors yellow, orange and red can be used to show warmth and comfort.

FORM EXPLORATIONS

  • Directional
  • Highlighting
  • Synthesizing
  • Balance
  • Rhythm
  • Pattern
  • Harmony
  • Contrast

Concentricity” is a progressive increase in the size of layers of the same shape, each with the same center. Dark tones on one half of the image are offset by dark tones on the other half. According to the principle of the steel yard, the further from the center and more isolated an object is, the greater its weight or attractiveness.

Half of the composition reflects the other half and it becomes difficult to change anything. Balance can be seen in terms of contrast between the light and dark areas of the image. Based on the context of the message we are conveying, we can philosophically create a conceptual balance in the image.

The title of the artwork, "The Gift", contradicts its content and provides a contrast between our idea. At the same time, there is a slight darkening of the right side due to the first stimulus (paracontrast).

PART – II

ROCK

  • HERITAGE SITES OF ROCK FORMATIONS
  • NATURAL FORMS IN ART

Most of the area is occupied by Precambrian rocks, such as granite, adamellite, tonalite, amphibolites, hornblende biotite schist. Except for the work in the western part of the district, granites occupy most of the area. Its purpose is to preserve and protect the spectacular ancient rock formations of the Deccan Plateau, a natural wonder of rocky ridges and hills shaped into picturesque balanced shapes.

Monster Rock", "Tortoise Rock", "Obelisk" etc., are names given to these natural beauties. These formations can be found in various parts of the city and beyond, such as the Central University Campus, in and around. Many forms in art is an expression of the internal fabric of rocks, and different sizes.

Rocks are formed by igneous, metamorphic and sedimentary processes that take place within the crust and mantle of the Earth. Shadows under rocks tend to be intense compared to shadows, and will block as the brightness of the scene increases.

Fig 21: Rock Wall, Connecticut by Paul Caponigro
Fig 21: Rock Wall, Connecticut by Paul Caponigro

PART – III

PREVISUALIZATION

  • Aspect Ratio
  • Black and White Image
  • Seeing in Black and White
  • Zone System
  • People – Black and White Photography
    • Ansel Adams
    • Elliott Erwitt
    • Irving Penn
    • Sally Mann
    • Hiroshi Sugimoto
    • Michael Kenna

Henri Cartier-Bresson is known for his skill in composition and used the theory of the golden rectangle in the 35mm frame. In today's digital world, we see the world in color, shoot in color and later convert it to black and white to create black and white images. In black and white images, the dominance of color is eliminated and thus brings attention to the content of the image.

Let's see how it looks in black and white: A photograph consists of form (visual aspects) and content (meaning). In order to get a good black and white image, we need to find a good separation of the brightness of the different colors in the scene. The Zone system will measure different parts of the scene and record how they differ.

On a calibrated monitor and in the final print, the object assumes the tonal value of the zone in which it is placed. The following section discusses some of the master photographers of the early twentieth century who worked with black and white photography.

Fig 22: Woman with a veil on fifth avenue, NYC by Diane  Arbus
Fig 22: Woman with a veil on fifth avenue, NYC by Diane Arbus

PROJECT EXECUTION

  • Execution
  • Review #1
  • Review #2
  • Project closure
  • Execution
  • Review #1
  • Review #2
  • Project Closure
  • APPROACH #3
    • Aspect Ratio
    • Black and White Image
    • Compositional Styles
    • Review

The teachings are – (1) after selecting the subjects, a thorough background should be done, three main parameters should be connected – the character of the subject, the reason for the protest and the apt. A detailed study of rock art should be carried out and an element or object should be found that would represent the essence of prehistory in a documentary style. Hyderabad is known for its abundance of spectacular rock formations, and it is unlikely that even a traveler would miss the city's ubiquitous rock landscapes.

To study the shapes in the rock formations of Hyderabad and represent them photographically. Most rocks resemble perfect spheres, emphasizing shape and texture with a balanced and conventional feel. The subject is positioned so that the bottom quarter of the image reaches the viewer in his calm mood.

With a clean and soft sky, the intention was to emphasize the shape of the subject. With an interesting drama in the clouds, the rocks and trees have a pleasant conversation.

POST-PROCESSING

  • CONVERTING RAW TO BLACK AND WHITE
  • PRINTING
    • Technical
    • Aesthetic

Orange is the dominant color in the image and blue pixels in the sky area. The second and more accurate option is to use the Silver Efex Pro 2 plugin from the Nik Collection as we have more control over the details of highlights, midtones and shadows. Click on that button and click on the image where local adjustments should be made.

Once the image is saved, it is returned to Lightroom where you can make further improvements. The time and effort spent on creating a photograph can only be appreciated when it is printed. To bear in mind that what one creates will later be printed imposes a discipline that has never existed before.

Gamut – Print color gamut is the range of colors that a printer/ink/paper combination can reproduce.

PART – IV

LEARNINGS

The thesis project progressed through various approaches and finally achieved an experience of abstract photography using natural forms. Encountering people who are strangers to me, while studying their environment and their area of ​​power, showed me a new path of exploration. Contacted archeology department and other museum archives to learn more about various rock art sites.

The journey was quite exciting as I crossed a lot of countryside and communicated with people who did not share a common language. Searching for rock art took me to a new world where the terrain was just amazing. People created abstracts from natural forms in two ways - hiding the original object, and the other, hinting at the original reference object.

From a technical point of view, I improved my composition skills, understanding of the zoning system and how to pre-visualize. I wouldn't have learned the importance of aspect ratio and how black and white accentuates content if I hadn't done this project.

CONCLUSION

BIBLIOGRAPHY

Imogen Cunningham: Texture and Light”, https://huxleyparlour.com/imogen- cunningham-texture-and-light/. The Art of Composition: Dynamic Symmetry”, Doubleday, Page & Company, 1926. Natural Functions and the Estetic Appreciation of Inorganic Nature”, British Journal of Aesthetics, Volume #44, Issue #1, 2004. Pictorial Composition and the Critical Judgment of Pictures”, G. Art is Fundamental: Teaching the Elements and Principles of Art in Elementary School”, Chicago Review Press, 2008.

Signs of Indifference: Aspects of Photography in or as Conceptual Art, Reconsidering the Object of Art, Ann Goldstein and Anne Rorimer, Los Angeles Museum of Art, 1995. Composition: A Series of Exercises in Art Structure for Students and Teachers', Doubleday, Page & Company, 1913.

Gambar

Fig 01: “Camera Lucida”
Fig 02: “View from the Window at Le Gras”, by Joseph Nicéphore Niépce
Fig 03: “Boulevard du Temple” by Louis Daguerre in 1838
Fig 06: “Experiment #27” by Clarence H. White and Alfred Stieglitz in 1907
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