تويت
بيل براندت : العمل مع الشكل والضوء .. تطوير نهجك الخاص .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
BILL BRANDT : Working with form and light
Bill Brandt has worked as a documentary , landscape , and portrait photographer , but is probably best known for his highly origi- nal , distorted images of the human form . His pictures are stark , and often somber , with strong graphic impact .
Brandt learned his basic photographic skills in Paris as assistant to the Surrealist painter and photographer Man Ray . He returned to England in the 1930s and , influenced by the work of French photo- graphers such as Cartier - Bresson , turned to reportage photography .
After documenting the years of the Depression , and London during the Blitz . Brandt turned away from social realism and started concentrating on landscapes , nudes , and portraits . Early in the 1940s , Brandt discovered an old wooden sheet film camera which he used with an early ultra wide- angle lens . The optical distortions produced by close - up use of this lens , combined with its extreme depth of field , led to his strange studies of the nude female form started by photographing nudes in room interiors ; later , using modern cameras and lenses , he moved his location to the seashore , often making use of the rough texture of sand and rocks to highlight the smooth shape of the human form . The exaggerated shape and scale , and stark tonal contrasts of Brandt's nudes transform them into sexless , almost monolithic structures .
Brandt's attitude to photography is in several respects the antithesis of his con- temporary , Cartier - Bresson . Brandt is no purist- he will pose his subject , use addi- tional lighting such as flash , or optically distort the image , if he thinks he can im- prove a picture by these means . Similarly he is not averse to darkroom manipulation or retouching , even to changing the tonal contrast of a picture that the public has already seen in its original form .
Brandt's interest has shifted over the years , not only in terms of his subject matter . but also in his approach . In earlier years he stressed the atmospheric and naturalistic effects of light and shadow in subtle gra- dations of tone . Today , in reprinting the same works , he tends to eliminate the soft mid - tones , giving his pictures a hard - edged graphic quality . Increasingly often he uses high - contrast paper , reducing the shadows to deep blacks and intensifying the high- lights , sacrificing realism and detail for an increased emphasis on pattern and design .
October , 1959
The fingers appear to be hewn out of stone in this strongly sculptural image , right . Brandt's use of an extreme wide angle lens has des- troyed normal spacial relationships whilst framing the subject against a low horizon , combined with con- trasty printing and lighting adds to the imposing feeling of the image .
February , 1953
Brandt's use of lighting and tone to create a mood of mystery and detachment is well illustrated by the picture , right . He has used the mirror to distort and extend the model , and her face , peering out of the mirror , adds to the surrealistic effect . Notice how the strong lines . in the picture lead - in to the double - headed image .
Top Withens , Yorkshire 1945
To convey the bleakness of the atmosphere , Brandt took the picture above , on a stormy February day . Using a high - speed film to com- pensate for the dim light and brief
exposure , Brandt was able to close down the aperture to f 11 which gave him sufficient depth of field . He printed the negative on hard grade paper in order to achieve sharp tonal contrasts .
May , 1957
The picture above is an extreme example of Brandt's series of nudes . He has used abrupt contrast of size , shape , texture , and tone to produce a photograph that is neither nude nor landscape but an uneasy mix- ture of the two . The exaggerated mass of the model's arm dominates the pebble beach . And the jagged shape and texture of the rock clash sharply with the smooth white contours of the body .
BILL BRANDT : Working with form and light
Bill Brandt has worked as a documentary , landscape , and portrait photographer , but is probably best known for his highly origi- nal , distorted images of the human form . His pictures are stark , and often somber , with strong graphic impact .
Brandt learned his basic photographic skills in Paris as assistant to the Surrealist painter and photographer Man Ray . He returned to England in the 1930s and , influenced by the work of French photo- graphers such as Cartier - Bresson , turned to reportage photography .
After documenting the years of the Depression , and London during the Blitz . Brandt turned away from social realism and started concentrating on landscapes , nudes , and portraits . Early in the 1940s , Brandt discovered an old wooden sheet film camera which he used with an early ultra wide- angle lens . The optical distortions produced by close - up use of this lens , combined with its extreme depth of field , led to his strange studies of the nude female form started by photographing nudes in room interiors ; later , using modern cameras and lenses , he moved his location to the seashore , often making use of the rough texture of sand and rocks to highlight the smooth shape of the human form . The exaggerated shape and scale , and stark tonal contrasts of Brandt's nudes transform them into sexless , almost monolithic structures .
Brandt's attitude to photography is in several respects the antithesis of his con- temporary , Cartier - Bresson . Brandt is no purist- he will pose his subject , use addi- tional lighting such as flash , or optically distort the image , if he thinks he can im- prove a picture by these means . Similarly he is not averse to darkroom manipulation or retouching , even to changing the tonal contrast of a picture that the public has already seen in its original form .
Brandt's interest has shifted over the years , not only in terms of his subject matter . but also in his approach . In earlier years he stressed the atmospheric and naturalistic effects of light and shadow in subtle gra- dations of tone . Today , in reprinting the same works , he tends to eliminate the soft mid - tones , giving his pictures a hard - edged graphic quality . Increasingly often he uses high - contrast paper , reducing the shadows to deep blacks and intensifying the high- lights , sacrificing realism and detail for an increased emphasis on pattern and design .
October , 1959
The fingers appear to be hewn out of stone in this strongly sculptural image , right . Brandt's use of an extreme wide angle lens has des- troyed normal spacial relationships whilst framing the subject against a low horizon , combined with con- trasty printing and lighting adds to the imposing feeling of the image .
February , 1953
Brandt's use of lighting and tone to create a mood of mystery and detachment is well illustrated by the picture , right . He has used the mirror to distort and extend the model , and her face , peering out of the mirror , adds to the surrealistic effect . Notice how the strong lines . in the picture lead - in to the double - headed image .
Top Withens , Yorkshire 1945
To convey the bleakness of the atmosphere , Brandt took the picture above , on a stormy February day . Using a high - speed film to com- pensate for the dim light and brief
exposure , Brandt was able to close down the aperture to f 11 which gave him sufficient depth of field . He printed the negative on hard grade paper in order to achieve sharp tonal contrasts .
May , 1957
The picture above is an extreme example of Brandt's series of nudes . He has used abrupt contrast of size , shape , texture , and tone to produce a photograph that is neither nude nor landscape but an uneasy mix- ture of the two . The exaggerated mass of the model's arm dominates the pebble beach . And the jagged shape and texture of the rock clash sharply with the smooth white contours of the body .
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