Contrasts - initial thoughts, work in progress

The first assignment for TAOP is contrasts and it has been on my mind for a little while. The assignment sheet suggests 8 pairs (16 photographs)  from a list of 21 pairs. In addition another photograph which demonstrates contrast in a picture - it doesn't say whether the contrast depicted should be from a pair in the list.

Contrast, from the Collins dictionary:

Contrast is a noun and verb

"The state of being noticeable different from something else when put or considered together. A difference so revealed. A thing or person noticeably different from another. The amount of difference between tones in a television picture, photograph etc. Differ noticeable, compare so as to emphasise differences.

I spent some time thinking about contrasts and without referring to the list on the course came up with:

Have/Have not   Empty/Full   Black/White*   Signed/Unsigned   Greedy/Generous  Right/Left
Bright/Dull         Rich/Poor     Framed/Unframed   Strong/Weak  Right/Wrong   Heavy/Light*
Fast/Slow    Pass/Fail    Plenty/Famine

I then compared this list with the list in the course notes  - I have put an asterisk by pairs that are coincident with my list. I am initially curious and concerned about the disparity in the two lists - I'll come on the those issues later.

I then studied the list a little and had the following thoughts. The list in the course guide looks limited in terms of the scope for interpretation, whereas my list, I know (because I've thought about it), has a scope for greater subtler meaning and connotation.

I was curious as to why there was such a disparity, was the course list meant to suggest certain images, certain interpretations and therefore a "right way" of completing the assignment; in which case I've got it completely wrong. I decided to read the assignment again. I was concerned that I wouldn't be able to produce anything that was subtle in its meaning, able to convey any sub-text or maybe I shouldn't be thinking like this. Maybe I should just deliver 8 pairs of contrast from the list and be done with it.

No subtlety here though. Black and White, Portrait and Landscape, Loud and Quiet, Alarmed and Peaceful, Awake and Asleep. Whichever, he is our grandson and we're very proud.

 I took this shot as part of a small project on graffiti when I was in Sicily recently - I was impressed by the neatness of the lettering. But for this assignment and for illustration it was the horizontal aspect which drew to me it again. Comparing this photograph with the one below which is about verticals, in the graphic sense. The image below was concerned with the aftermath of a fire which had left these scorched trunks. I took the photograph from a very low perspective and, whilst ensuring I kept the horizon in the frame, I used a wide angle lens to capture as many trees as possible

all seemingly to strive or reach for air. I appreciate that fire is part of the natural cycle of woods and forest and whilst it is destructive it is reconstructive at the same time. The bench above was bathed in a hot sun in contrast with the overcast sky in the shot on the right, the sun on the seat caused a good deal of contrast and I happened to be using film capture which has a slightly wider dynamic range than digital capture.

The image to the left is about peace and calm. The photograph was taken on a late summer's afternoon in Alberta. The ambience was very calm and quiet, no-one else seemed to be around and there is barely a ripple on the surface. Composed on the thirds with good contrast at each segment, I think this harmonious construct helps the image achieve a peaceful image.

Whereas the photograph on the right is a close up of a  cascading waterfall in the Smokey Mountains. The shot isn't easy to read immediately it takes a while for the eye to settle and recognise what it is looking at. It is a shot that is all about energy being expended, the water sprays at all angles and appears almost to come out of the frame. I took the photograph in black and white film as I felt that the energy would be best described in monochrome terms and I also felt that the addition of colour might militate against the expression of the power of the water. I focussed on the twig to try and ensure a visual structure to reference to.

The photograph on the left of a vineyard shows multiple lines of multiple plants, whereas the shot on the right is a single stem. The vineyard taken in the glow of the evening sun compares starkly with the monochrome treatment of the anthurium lily on the right. The lily was lit by a single lamp and was taken to explore the tone, texture and form - more a still life than a nature shot. All photographs are about light,- literally painting with light and the very fine grain film (Technical Pan, now discontinued) I used, set at 12.5 ISO and developed in a liquid developer produced an almost invisible grain, enabling me to reveal in great detail the subtle variations of tone in the white flower. Almost all the tonal texture was delivered by shadow and I feel the image has a sensual feel. Whereas the vineyard was annexed to a "gastronomic farm/restaurant/hotel where I was staying. The ambience of the area was rustic, with all the food that was served being grown at the farm - the image sets out to portray that artisan feel. With the vines running down toward the hills and only a few sporadic farm buildings scattered about, the feel is of a timeless bucolic image and the only similarity between the photographs is the single light source.

Two shots of similar geometric shape yet delivering two distinct feelings. The flower head on the left was taken at the Oxford botanical gardens (I didn't make a note of it's name) and the dandelion was taken close by my home in North Oxfordshire. Both images were taken on black and white film and within a couple of months of each other, two years ago. The photograph on the left doesn't allow the eye to rest easily on the petals the contrast is strong and seems to fight any concentration, whilst the dandelion has a gossamer texture inviting the viewer to rest a while and wander around it's geometric forms, all the interlocking constructs seem to contrive to keep you there; it is very calming. Whereas the flower head has the opposite effect, it rejects any intrusion and it's globular shape will repel all borders no matter where they stem(!) from. The background of both images devoid of any distraction helps both images I think.

These are then my initial thoughts and my selection of four differing contrasting images. I think I will now have a better idea of how to tackle the assignment

As I've thought more about this subject I have realised a couple of things:

Firstly that my initial list was more emotional than pictorial - the Innet list is, in the main, a set of structural ideas to build an image around, to challenge the artist to construct an image and I will use this as my basis for the assignment.

The assignment is not about any of the alternative views of contrast - zone system, local, colour, political, emotional.