Depth Figure Plane

Nicholas J FrattaProf Vladimir KrsticKansas City Design CenterPhotography Independent Study

DEPTH, FIGURE, PLANE

2 [Table of Contents]

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My earliest interest in architecture developed from a love for photography. I sought originally to capture in fi lm the feeling of the built environment as I experienced it, and found new challenge and opportunity in producing a new feeling from the selective capture of specifi c elements composing the environment. What I have attempted over the course of this independent study is to capture elements of the Kansas City environment as I know it in a way that produces a feeling as I’ve never known it.

PHOTOGRAPHY INDEPENDENT STUDY

DISCOVER Y

ATMOSPHE RIC DEPTH

NEGATIVE FIGURE

TEXTURED PLANE

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4 [Discovery]

5[Discovery]

These photographs are representative of the experimentation that preceded the foucsed investigations. From these I became more familiar with my equipment, and operation of all features to portray light in the most desired way, even to manipulate light to enhance the reimagination of the environment.

DISCOVERY

ATMOSPHE RIC DEPTHATMOSPHE RIC DEPTH

NEGATIVE FIGURENEGATIVE FIGURE

TEXTURED PLANEPLANETEXTURED

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6 [Discovery]

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10 [Discovery]

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12 [Discovery]

14 [Atmospheric Depth]

15[Atmospheric Depth]

In the process of discovery, three elements of the environment seemed to be possible to emphasize dramatically through the photograph. The fi rst of these is atmospheric depth. While operation of the camera allows control of depth of fi eld by aperture adjustment, atmospheric depth is something more powerful. It exists when unique environmental conditions compliment otherwise elusive conditions of the built environment.

ATMOSPHERIC DEPTH

DISCOVER YDISCOVER Y


PLANEPLANETEXTURED

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32 [Negative Figure]

33[Negative Figure]

The second element dramatically emphasized in the photograph is not the built environment itself, but the inverse of it. Much as the object of the form can be considered the fi gure, the remainder between forms can be considered the negative fi gure. This is particularly of interest in photography, since the frame becomes an object of fi gural presence contributing like building form to defi nition of negative fi gure.

NEGATIVE FIGURE



PLANEPLANETEXTURED

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35[Negative Figure]

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39[Negative Figure]

41[Negative Figure]

42 [Textured Plane]

43[Textured Plane]

The third and fi nal element of the built environment at focus in this series is the textured plane. Dusk light cast across material, historic detail of construction, and fl uorescent light puncturing building surface at night all contribute to a unique experience of the built environment. Building surfaces, themselves textured planes, become again textured planes when reduced to the two-dimensional photo.

TEXTURED PLANE




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44 [Textured Plane]

46 [Textured Plane]

47[Textured Plane]

48 [Textured Plane]

50 [Textured Plane]

[Depth, Figure, Plane]

Depth Figure Plane

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