EYV Meeting 11.05.21 – The Depictive Level of Photographs

11th May 2021

Further research – Frame

A passive frame is where the viewer to an image knows that the world continues beyond the edges of the frame, but is satisfied just to look at the content inside the frame.

An active frame is where the viewer is enticed from the frame boundary into the image and the viewer is aware of the world beyond the frame.

André Kertész

Fig. 1 André Kertész (1978) July 9th New York

When we looked at the above image in the online tutorial, the image had been cropped is such a way that the head and part of the top of the body were missing from the composition but unfortunately I could not find that version on the internet.

Looking at the image by Kertész, July 9th New York (1978) had caught my attention due to the composition which fascinated me. Looking at it from someone who draws, the shapes and lines were very strong and reminded me of a Cubist painting where you see different planes of forms with shifting perspectives. I thought of this because of how my eyes had segregated the image according to shape forms which are more evident in the image on the right before.

While discussing this in the online session, the tutor corrected me and renamed the movement to, ‘Constructivism’, however, I thought that this movement was against art works that were ‘composed’ although they did support art work that had abstract and geometric properties to them.

Fig. 2 Kertész, A. (1978) Sunny Day, New York

Bill Brandt

Fig. 3 Brandt, B. (1951) Nude, Belgravia, London

Ansel Adams

Fig. 4 Adams, A. (1927) Monolith, The Face of Half Dome

Further research – Time

There are three different time effects that can be recorded in photography. These effects are, frozen time, extrusive time, and still time.

Three different time effects: Edgerton, Bragaglia and Serrano



Fig. 1 Kertész, A. (1978) July 9th New York. [Photograph] At: (Google search) andre kertesz photography july 8th (Accessed 15.05.2021)

Fig. 2 Kertész, A. (1978) Sunny Day, New York. [Photograph] At: https://loeildelaphotographie.com/en/andre-kertesz-rooftops-a-tribute-to-michael-wolf/ (Accessed 15.05.2021)

Fig. 3 Brandt, B. (1951) Nude, Belgravia, London. [Photograph] At: https://www.billbrandt.com/bill-brandt-archive-print-shop/nude-belgravia-london-1951-pp05 (Accessed on 15.05.2021)

Fig. 4 Adams, A. (1927) Monolith, The Face of Half Dome. [Photograph] At: https://www.anseladams.com/story-behind-the-image-monolith-the-face-of-half-dome/ (Accessed 15.05.2021)

Fig. 4 Tomlin, D. (2021) Three different time effects: Edgerton, Bragaglia and Serrano. [Analytical diagram with photographs] * Edgerton, H. (1937) Milk Drop Coronet. [Photograph] At: http://100photos.time.com/photos/harold-edgerton-milk-drop (Accessed 15.05.2021) * Bragaglia, A. (1911) Change of Position. [Photograph] At: https://artblart.com/tag/anton-bragaglia-change-of-position/ (Accessed 15.05.2021) * Serrano, A. The Morgue – Rat Poison Suicide. [Photograph] At: https://artblart.com/tag/anton-bragaglia-change-of-position/ (Accessed 15.05.2021)

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