Max Dupain:
I like how this image is not only an example of pattern due to the numerous amounts of vehicles in the photograph, but also depicts examples of lines. This can be seen through the dashed lines on the road, the lines of the road, the lines of the bridge and the horizon. These all draw your eye to the bridge in the distance, therefore this image is also another example of leading lines.
This image is similar to that of above, it contains both examples of line and pattern, but for this photograph, the lines create the pattern. This is shown through the wire and the wooden fence that have casted shadows over her back. The repetitive figuration of the shadows not only enhances the photographs character but provides the photograph with an overall view of symmetry.
About the Artist:
Maxwell Spencer Dupain (4th April 1911 - 27th July 1992) was a renowned Australian modernist photographer. Duping received his first camera as a gift in 1924, spurring his interest in photography. He later joined the Photographic Society of NSW, where he was taught by Justin Newlan; after completing his tertiary studies, he worked for Cecil Bestock in Sydney. By 1934, Max Dupain had struck out on his own and opened a studio in Bond Street, Sydney. In 1937, while on the south coast of NSW, he photographed the head and shoulders of a friend, Harold Salvage, lying on the sand at Culburra Beach. The image title "Sunbaker" subsequently became his most famous piece. However it was not until the 1970's that the photograph received wide recognition. It was purchased in 1976 by the National Gallery of Australia in Canberra and has become a national icon. During World War II, Dupain served with the Royal Australian Air Force in both Darwin and Papua New Guinea helping to create camouflage. The war affected Dupain and his photography, by creating him a greater awareness of truth in documentary.
Courtesy: myself and wikipedia.org
Boyd Webb:
This photograph of Webb's strongly portrays how line and pattern can create a sense of wonder and division if used creatively. I like how the patterns of the parsnips and the texture of the sky, soil and underground section all construct unique and creative sections of the image, using lines to divide those sections into something artistic and original.
I think this photograph gives off a similar ambience to the first image of Webbs. I continue to like his work because of his innovative way of using lines (shown through the division of setting, object and colour in this image) and patterns (displayed through the objects that help partake in the division of the image, in this case the plant branches and the continuous use of creases in the purple sheet).
About the Artist:
Boyd Webb (born 1947) is a New Zealand-born visual artist who works in the United Kingdom, mainly using the medium of photography although he has also produced sculpture and film. He was shortlisted for the Turner Prize in 1988. He has had solo shows at venues including the Hirshhorn Museum, Washington DC and Whitechapel Art Gallery, London. Initially he worked as a sculptor, making fibreglass forms. However he soon switched to photography, developing a practice based around constructing tableaux which he then photographs. His work has been cited as a major influence on the famous, long-running advertising campaigns by Silk Cut and Benson and Hedges. Holly Arden described his art thus: "Many of them are shot in studio sets using man-made props to represent natural objects. Men, women and plastic animals adopt Monty Pythonesque poses against landscapes of plastic and carpet. The images have a literal quality, where Webb seems to go out of his way to show how they are constructed. Yet, they also pose bafflingly complex oppositions/connections between ideas of language and meaning, object and environment, scale and detail." Arden divides his art into three periods. The first, from the 1970s, is about "man's need to classify and analyse", and tends to combine text and image. In the 1980s he focused more on photographing installations, combining the large and the small in a harmonious relationship. Following that, in the 1990s, his works became more "scientific" and took greater effort to hide their construction, so it becomes hard to see how they are made.
Courtesy: Wikipedia.org
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