Exploring Abstracts

As one who embraces a more interpretive style in my photography, I would say that photographing abstracts (or abstractly) over literal depictions is in my wheelhouse. Not to mention that one of my favorite subjects, flowers, lend themselves to an abstract style. That said, flowers do not corner the market on abstracts. You can create an abstract interpretation of just about anything if you look at it differently. In the above Minor White gives us some clues, especially in the “what else.”

Ernst Haas also gives us another clue with this quote: I am not interested in shooting new things. I am interested to see things new. It’s in the seeing things new that we might give way to seeing differently and noticing elements or characteristics of the ordinary that we had not been aware of before that can move us into the realm of abstracts and abstractions.

SETTING THE STAGE FOR ABSTRACTS

You probably are not surprised that I would say that EVERYTHING MATTERS. Everything that we choose to include in the frame, and everything we choose to leave out matters. This boils down to basic seeing and editing objects in or out in the field as much as possible with whatever gear we are working with. We need to look at the familiar differently, with an attitude of interpretation as opposed to representation. We need to be able to recognize what elements work to form an abstract. Abstract art, especially in photography, can include an abstraction (part of a whole), but that’s not an absolute requirement.

Abstracts are created using the following elements: color, shape, line, form, patterns & textures, or any combination of these. The resulting piece of art, whether a painting or photograph, is not about creating a realistic depiction of an object. Visual reality is not the goal. Abstracts allow for freedom of expression and interpretation. The object/subject is often depicted without context. Abstracts typically evoke an emotional response of some kind. When I create images in the abstract zone, I am doing so in response to what I am seeing certainly, but also what I am feeling. There comes a point in the process where what I am photographing doesn’t matter at all. It becomes all about responding to the elements – color, shape, line, form, patterns or textures – not the object.

Lisianthus petal curtain

Heart in paint palette combined with  abstract bokeh image

A LITTLE BIT OF HISTORY ABOUT ABSTRACT ART

There are volumes and volumes of books and articles and lectures about the history of abstract art and abstract photography. I will share a short version here, beginning with Wassily Kandinsky, a Russian artist, who is often referred to as the “father of abstract art.” In 1910 he was first modern artist to break away from traditions of figurative art to produce his first untitled abstract watercolor. I was surprised to learn that he was inspired by Claude Monet’s haystack series that emphasized color and form. Kandinsky introduced abstract art to the mainstream art world. That said, there is another artist, Hilma af Klint from Sweden, who produced abstract art earlier (1906), but her work was not shared with the public until much later, actually more than twenty years after her death.

Wassily Kandinsky – Untitled (First abstract watercolor ) 1910

Hilma af Klint – ‘Staggering:” The Ten Largest, Youth – 1907

As you might imagine, there are many forms of abstract art, each one being represented by different techniques and approaches. Among them are: expressive (Willem de Kooning, Gerhard Richter), minimal (Agnes Martin, Kenneth Noland), conceptual (Daniel Buren, Pieter Vermeersch), action painting/gestural (Jackson Pollock, Franz Kline), hard edge (Ellsworth Kelly, Frank Stella, Josef Albers), optical (Victor Vasarely, Bridget Riley), geometric (Wassily Kandinsky, Piet Mondrian) and color field painting (Mark Rothko, Helen Frankenthaler). One cannot forget about Georgia O’Keeffe and her floral abstracts that are all about color and curves. Her Southwest landscapes are also in the vein of abstract.

A trip to any good art museum will have representations of these included in their collections, and the visits are well worth the time. Even if you cannot relate to or “like” the art, it feeds your inspiration well. The more you look at, the more you see. A great exercise to stretch your seeing and shooting range would be to choose any one style or any one artist to study. Then, go out and photograph with that style in mind. You’d be surprised at how much more you notice once you’ve seen and studied the work of any artist and learned more about them and their approach. This “stretching” exercise has value with any art form.

Jackson Pollock – Number 5 – 1948

A LITTLE BIT ABOUT ABSTRACT PHOTOGRAPHY

With regard to abstract photography, it is said to have gained traction with Alfred Stieglitz and his 1922 series of cloud studies, Music – A Sequence of Ten Cloud Photographs. The series represented intentional abstract photographs that were free from the literal nature. Other photographers who were known for their more abstract images include Aaron Siskind, Minor White, Edward Weston. In the more modern era, one can look at the work of Paul Snell, Liz Nielson, Bryan Graf, Christine Wilkinson and Fabiola Menchelli to see the influence of early abstract painters.

Abstract photography is not all that disconnected from abstract art, especially painters. It captures a portion of a scene and isolates it from contextual context. The move from realism to abstract is what piques our curiosity and imagination. By using the same elements as tools for creating the image – color, shape, line, form, pattern and texture, the photographer offers a unique perception of the ordinary for the viewers. I have looked at quite a bit of abstract photography, and I will say that even with my interpretive leanings, I don’t always “get” the photograph or see what makes it worthy of being in a museum or exhibit. I remind myself that we do not have to like or understand abstract art or photography. As with all art, we can recognize it for what it is and be inspired … or not.

Alfred Stieglitz – Equivalent – 1930

Paul Snell – Breathe – 2022

IDEAS FOR SEEING ABSTRACTLY

One way to learn how to “see abstractly” is to study abstract art. Learn more about it than the cursory information I’ve given above. Choose an artist or two, maybe even a painter and a photographer. Take time to study their work. The more we see, the more we learn. Sometimes, one image can spark ideas for how you might approach a particular subject differently. If you can’t get to an art museum, check out used book stores for art books, visit the library, watch videos and lectures about abstract art and artists. Even watching or listening to interviews of artists, whether the focus Is abstract or not, opens your mind to new ideas.

Sliver of light in banana plant leaf with motion

Color, pattern and lines in fishermen’s nets with motion

To see abstractly, we must let go of any preconception for how an object “should” look. We need to learn to let go of what the subject is, go beyond the name. We must be willing to experiment and play and tap into what is drawing you in. Most abstracts, particularly in photography, are about parts and pieces of a whole, not “the thing.” We need to pay more attention to light, color, shape, lines, texture, patterns and recognize how these factors are leading our vision. These are among the elements that are especially used in abstract art. And, finally, at least for now, consider the emotional impact that your unique approach has (on you first). Most likely, the abstract will prompt you to explore your response to what you’re looking at – seeing – on a more elemental and emotional level than any literal representation of the same object.

Don’t be afraid to be different, quirky or misunderstood. Don’t expect everyone to appreciate your perspective. Not everyone is able to go beyond “what it is.” I remember a time when I stood in front of a very large blue canvas in a museum. I didn’t get it then, or now, but someone did. I cannot say that I connect with or understand every Picasso I see at first glance, but give me an O’Keeffe anything, and I connect.

Georgia O’Keeffe – Black Mesa Landscape – 1930

TECHNIQUES FOR ABSTRACT PHOTOGRAPHY

If we go back to some of the forms of abstract art mentioned earlier, it is possible that we can be inspired by them and use photographic techniques that help us create abstract images. One can easily start with a macro lens to zone into areas of any subject to create abstracts. This includes simply getting closer to the subject to the point that what the object IS takes a back stage to what the image is ABOUT. The objective reality disappears. Focusing on the elements (color, line, shape) will almost always point the way to an abstract.

In addition, removing all color and reducing the frame to black and white can simplify some subjects and remove visual clues. Using light and shadow and different perspectives can help you create more abstract views of the ordinary. Consider Edward Weston’s “Cabbage Leaf” (1931). We would most likely recognize the cabbage in color and miss the lines and shapes that make this image sing with mystery, metaphor and magic.

Edward Weston – Cabbage Leaf – 1931

Using alternative lenses, such as Lensbaby and Helios, naturally offer the opportunity to see differently. Taking advantage of their special effects and using soft focus or selective focus provide some advantages as the photographer can see in the viewfinder what the special effect is and can go with the flow easily. When I’m wanting to create images that look and feel different, I turn to my Lensbabies and my Helios 44. Abstracts come more naturally for me with these tools.

Milkweed seeds and puff with Lensbaby

Floral abstract made with Lensbaby

Go even more basic and think “geometrically.” Look for shapes and lines and photograph them. Give shape and line priority over the object. Then, also, consider planting the Minor White seed in your brain and look at things for “what else” they are. A section of a stone path and the design in one of the stones reminded me of a Georgia O’Keeffe landscape. One reason I could notice this when others did not is that I’ve been making a point to view more art and learn more about the makers. I had seen the Southwest landscapes, and they reappeared in my vision on that stone path.

Minor White – The Sound of One Hand Clapping – 1957

Museum sofa abstract

A few other techniques that you might consider using include motion, meaning your subject’s motion or your motion with the camera (ICM – intentional camera movement). Creating multiple exposures in camera or in post is another technique that lends itself to abstracts. Up the ante and combine motion with multiple exposures, and you might even find yourself creating an image reminiscent of a Jackson Pollock.

Finally, there’s nothing saying that you cannot create abstract images after the fact by using creative post-processing or cropping. The key is to follow your instincts and to play. Be not afraid of judgment. You are the first and last viewer you need to please. The more you play, the more you see.

Consider the words of Eliott Erwitt, who shared these thoughts: “To me, photography is an art of observation. It’s about finding something interesting in an ordinary place … I’ve found it has little to do with the things you see and everything to do with the way you see them.” When we open our minds, we open our eyes and see differently. When we view more art, we’re exposed to more ways to see. Our vision is expanded, whether in the literal or the abstract or a combination of the two.

WHERE TO FIND INSPIRATION FOR ABSTRACTS

The short answer for where to find inspiration, ideas and subjects for abstracts is Everywhere and Anywhere. Look anywhere in your home –explore furniture, decorations, desk drawers, in your kitchen, on the floor or ceiling, in your bookshelves. Even sheets of paper can be abstract. Get out in nature and take a walk. Open your books and look for abstracts in the words, the pictures and even the books themselves. Visit any city or town and find abstracts in the way you frame the architecture in your images on the exteriors or interiors. These are ripe with lines, shapes, patterns and textures. Explore fabrics anywhere for color and patterns and texture. While I am not one to photograph my food, there are opportunities for abstracts in that area as well. You can also explore antique and thrift stores for nostalgic abstracts. Finally, explore online opportunities and follow other artists and photographers for inspiration. And when you visit museums and exhibits, look at and beyond the art. You’ll be surprised at what you find and see.

Oars in a thrift store yard with motion

FINAL THOUGHTS

When you are exploring abstracts over the literal, you are offered an extension of freedom of expression and interpretation. The thing does not have to look like the thing. However, this does not mean that we should forget about all compositional “guides”. How we frame our image still matters. How we use the elements of patterns, shapes, colors and line still matter and play a part in creating a successful abstract image. I would say though that we still want to remove distractions.

Be intentional while you play. Out of focus by accident does not have the same impact as selective focus. Compositions that throw your viewer out of the frame is not productive. Creating visual confusion that induces discomfort is not the ultimate goal. Even chaos within the frame or on the canvas can be “acceptable” with a level of intention applied. We want to invite exploration and inspire wonder and curiosity.

Abstraction allows man to see with his mind what he cannot see physically with his eyes. Abstract art enables the artist to perceive beyond the tangible, to extract the infinite out of the finite. It is the emancipation of the mind. It is an explosion into unknown areas.

– Arshile Gorky

Abstract from a section of three painted barn boards in multiple

Flamingo feathers abstract with multiples

Abstract from colorful museum art with multiples