The Art of Photography: Photographers

Every time I pick up my camera, I have been questioning the process of "composition". Literally (except for in a studio) photographers cannot compose images per se, instead, they do the best they can with the available scene. Often elements of a scene are in fixed relationships to each other. To make it appear that these elements are in different positions relative to each other - a photographer makes use of: viewpoint, aim and the use of framing - i.e., creating a favourable composition.

Interestingly, I have just read about Eric DE Mare, who was an architect, photographer and writer. He studied architecture from 1928 to 1933, (becoming the editor of the Architects Journal in 1943). His particular speciality focused on traditional, functional and industrial structures. His writings were accompanied by photographs of industrial buildings and engineering structures. He looked for the artistic effect in large industrial buildings, looking for geometry (cf:Henri_Cartier-Bresson below). De Mare, observed that composition is an essential part of a good photograph; photography as an art, has no meaning without it. He summed up his philosophy as:

"The photographer is perhaps the best architectural critic, for by felicitous framing and selection he can communicate direct and powerful comments both in praise and protest. He can also discover and reveal architecture where none was intended by creating abstract compositions of an architectural quality"(1)

The abstract quality, is evident in this photograph of the Queen Elizabeth Hall and Purcell Room on the South Bank, London (opened 1967). The composition of the frame and cropped image of curves and diagonals highlight the abstract effect of the building. I have endeavoured to replicate this with my own images when shooting architecture, using a telephoto lens and sometimes canting the frame, I can achieve an abstract effect.

Here the juxtaposition of the modern high-rise Millbank Tower, with the neo-Classical portico of the Tate Gallery creates an effective contrast in subject matter.

In 1958 DE Mare, published London's Riverside: past, present and future. This is a photograph of St Mary Overy Dock in the 1950s - when London was still one of the busiest ports in the world. Now, this area has been gentrified and I guess that in itself is a contrast!

De Mare's Photography and Architecture (1961) (2) demonstrated one way in which art and architecture met. It sought to teach people to 'understand, love and enjoy architecture' by using their cameras. The photographs use unusual viewpoints and lighting to create an artistic ambiance and effect. De Mare looked

This photograph of St Pancras Station has a magical quality, and the use of light softens the building - again giving a contrast of soft light with the darkness of the imposing building. I adore this shot! I used to live in Islington - this photograph conjures up so many memories for me (now I am devoid of City life, immersed in the mini-tropolis of a small town suburb in New Zealand - the exact antithesis of my life in London). I truly wish I had discovered photography whilst living in London - so much to do and discover.

(1)http://viewfinder.english-heritage.org.uk/story/slide.aspx?storyUid=73&slideNo=9(accessed 9/8/12)
(2) Eric de Maré, Photography and Architecture (1961) Penguin books;
http://viewfinder.english-heritage.org.uk/search/results.aspx?index=0&form=advanced&who=de%20Mare
http://en.wikipedia.org/wiki/National_Monuments_Record_(England)
Higgott, Andrew, Eric de Maré : Photographer, Builder with Light. London : AA Publications, 1990. ISBN 1-870890-28-0

Henri Cartier-Bresson:

"To take a photograph is to align the head, the eye and the heart. It's a way of life." (1)

No study of photography would be complete without a mention of Henri Cartier-Bresson, one of the greats! Henri Cartier-Bresson (HCB) has been dubbed the master of the moment or the godfather of street photography. He had an exceptional life and was a truly remarkable character even before becoming one of the worlds foremost influential journalistic/documentary photographers (a tag which he did not particularly like).

As a young boy HCB used photography to augment his drawings, stating that photography was a way of documenting a sketch - i.e., an immediate sketch. Geometry in all things, was of paramount importance to HCB. For him photography was about developing one's awareness and sensitivities, ready to catch the decisive moment. HCB had an ability to use the camera as an extension of his body, not thinking, but just capturing a moment in the time. He said the camera is a way of sharpening the way you feel. I found an interesting documentary :Henri Cartier-Bresson: The Decisive Moment , which gave a worthwhile insight into the man, and is rewarding to watch.

SPAIN. Andalucia. Seville. 1933

Image reference:

PAR45088

(HCB1933005W00004C)

It is amazing to see the geometry in the patterns and shadows reflecting off the wall. The contrast of light and dark is evident - but it is the boy in the shadows which makes the image haunting, prompting the viewer to question why he is there. Image courtesy of Magnum Photos: Henri Cartier-Bresson: Magnum Photos (accessed 8/8/12)

In this image, you can see the geometry in the composition, the curve of the road, the curve of the stairway, aligned with the diagonals of the wall, and in a split second the movement of the man on the bicycle.