_Anna.eins

Another great example of the way to deconstruct perception of what you normaly see. Abstract structure hang from the ceiling blocks light rays and creates a shadow. I think this is a good example of how you can play around positive and negative spaces. Where this time the actual object is deformed and acts as a negative space, instead of being positive, creating shadows where final outcome can be seen at.

_Esther Stocker

South London Gallery, London

Baarer Straße, Zug

CCNOA, Brussels

Exploring space and form. Esther’s hard contrast of black and white shapes breaks apart spaces, revealing new pathways, perspectives and a reference to digital landscapes.

The apparent place

The apparent place of an object is the position in space as seen by the observer. Because of physical and/or geometrical effects it has a deviation from the "true position".

Parallax

Parallax is the difference in the angular position of two stationary points relative to each other from different viewing positions. Nearby objects have a larger parallax than more distant objects when observed from different positions, so parallax can be used to determine distances.

As the viewpoint moves side to side, the objects in the distance appear to move more slowly than the objects close to the camera.

As the eyes of humans and other animals are in different positions on the head, they present different views simultaneously. This is the basis of stereopsis , the process by which the brain exploits the parallax due to the different views from the eye to gain depth perception and estimate distances to objects.

In a philosophic/geometric sense: An apparent change in the direction of an object, caused by a change in observational position that provides a new line of sight. The apparent displacement, or difference of position, of an object, as seen from two different stations, or points of view.

Perspectives

Perspective refers to the relationship of imaged objects in a photograph. This includes their relative positions and sizes and the space between them. In other words, perspective in the composition of a photograph is the way real three-dimensional objects are pictured in a photograph that has a two-dimensional plane. In photography, perspective is another illusion you use to produce photographs of quality composition. When you are making pictures, the camera always creates perspective.

Linear perspective

The human eye judges distance by the way elements within a scene diminish in size, and the angle at which lines and planes converge. This is called linear perspective. The distance between camera and subject and the lens focal length are critical factors affecting linear perspective. This perspective changes as the camera position or viewpoint changes. From a given position, changing only the lens focal length, and not the camera position, does not change the actual viewpoint, but may change the apparent viewpoint.

The use of different focal-length lenses in combination with different lens-to-subject distances helps you alter linear perspective in your pictures. When the focal length of the lens is changed but the lens-to-subject distance remains unchanged, there is a change in the image size of the objects, but no change in perspective. On the other hand, when the lens-to-subject distance and lens focal length are both changed, the relationship between objects is altered and perspective is changed. By using the right combination of camera-to-subject distance and lens focal length, a photographer can create a picture that looks deep or shallow. This feeling of depth or shallowness is only an illusion, but it is an important compositional factor.

Using a short-focal-length lens from a close camera-to-subject distance, or viewpoint, produces a picture with greater depth (not to be confused with depth of field) than would be produced with a standard lens. Conversely, using a long-focal-length lens from a more distant viewpoint produces a picture with less apparent depth.

Rectilinear perspective

Most lenses produce rectilinear perspective that are typical of what the human eye sees. This is to say that lines that are straight in the subject are reproduced straight in the picture. Most pictures are made with rectilinear lenses.

Fisheye lenses and the lenses used on panoramic cameras produce a false perspective. A panoramic lens produces panoramic or cylindrical perspective. In other words, all straight horizontal lines at the lens axis level are recorded as straight lines, and all other straight horizontal lines either above or below the lens axis level are reproduced as curved lines. The other false perspective is produced by a fisheye lens in which all straight lines in the subject are imaged as curved lines toward the edges of the picture.

Vanishing point perspective

In vision, lines that are parallel to each other give the sensation of meeting at vanishing points. When parallel lines, either horizontal or vertical, are perpendicular to the lens axis, the vanishing points are assumed to be at infinity. Other lines, those which are parallel to the lens axis, and all other parallel lines at all other angles to the lens axis meet at definable vanishing points. Thus lines that are parallel to the lens axis, or nearly parallel, start in the front of the picture and meet at vanishing points within the picture or at finite points outside the picture.

Height perspective

The place where the base of an object is located on the ground in a picture is a clue to its distance from the camera viewpoint; for example, in a landscape scene, the ground or ground plane rises toward the horizon. The higher up in the ground area of the picture (up to the horizon) that the base of an object is located, the further away it seems from the viewpoint and the greater its height perspective.

Overlap perspective

Another clue to distance in a photograph is overlap perspective. When subjects within the picture are on about the same line of sight, those objects closer to the camera viewpoint overlap more distant objects and partially hide them. It is obvious to the viewer that the partially obstructed object is behind the unobstructed object. This overlap is repeated many times within the picture and gives the viewer a sense of depth and a perception of the relative distance of objects.

A beautiful idea of reconfiguring the landscape, by distorting the view; changing structure angles etc.- on huge victorian architecture in this case.

_Video compilation

Very draft compilation of my videos taken for a group book project. Wanted to play around with videos I have filmed for group project, although still a lot to do for it to be finished.

_Thoughts

My thoughts now are:
_What could be my starting point for a further inverstigations towards the my own concept proposal.
_Should I carry on investigating Southbank, or better be more concentrated on what object/proposal will look like and better be concentrated on development of it.

_More experiments + what programe towards the space I want to involve?

Untitled-1

I went to the Southbank to explore the existing buildings that naturally shapes different forms/distorts the perception of knowing what you will see next. Southbank is the place surrounded by brutal architecture, many very cube like buildings and shapes- almost surreal space if you like. After analysing previous research, I started to think how shapes of architecture is changing depending on time in the real living environment? As a starting point I took one of the Elizabeth Hall buildings. Went from right to left side and took photograph every sixth of my step.
An interesting realisation found of how your perception of building changes by changing the viewing perspective.

As a starting point I started analysing an existing object which deconstructs itself and gets back to places depending on your move. Here is the overlay of structure gradualy destorting it's shape.
It gives you a clear understanding of how it works-structure is trimmed into pieces and laid the way it makes space inbetween- or one point perspective and structure depending on it.