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İnsanoğlu kendini ifade edebildiği sanatsal alanlarda bulut görüntüsünü kullanmıştır. Sanatçıların her biri, geçici, ömrü kısa ama etkisi fazla olan bulutlara farklı farklı anlamlar yüklemişler; duygularını, ruhsal durumlarını bulut görüntüsüyle birleştirmişlerdir. Fotoğraf sanatı dışındaki disiplinlere bakıldığında bulutun ele alınışı daha detaylı ve örnek olarak daha fazladır. Fotoğraf tarihi boyunca çekilmiş fotoğraflarda büyük çoğunlukla bulut, gökyüzüne doku veren, gösterişli ve ikincil kompozisyon ögesi olarak yer almıştır. Fotoğraflarında bu yaklaşımın dışında bulutlara ayrı önem veren fotoğrafçı sayısı azdır. Bu çalışmada kadrajındaki buluta teknik, estetik ve kavramsal farklılık kazandıran fotoğrafçıların işleri ele alınmıştır. Örnek olarak incelenen Gustave Le Gray, Alvin Langdon Coburn, Alfred Stieglitz, Edward Weston, Ansel Adams, Minor White, Jerry Uelsmann, Nuri Bilge Ceylan, Berndnaut Smilde ve Vik Muniz’in fotoğraflarının teknik ve estetik açıdan yaklaşım farkları irdelenmiştir. Fotoğrafın teknik anlamda gelişim yıllarında bulutların daha iyi fotoğraflanması ve baskısının daha iyi yapılmasına odaklanılmıştır. Fotoğrafı disiplinlerarası (müzik-psikoloji) değerlendiren, olduğu gibi en mükemmel şekilde göstermeye çalışan, doğayı kendi duygularını aktarmak için bir aracı olarak seçen, gerçek görüntüleri sürreal fotoğraf haline getiren bir dokunuş olarak gören, portresi çekilen kişinin ruh halini temsili için kullanan, yapay bulut yapıp onu belgeleyen, uçak ile bulut şekilleri çizdirip oluşan bulutları fotoğraflayan fotoğrafçılar her ne kadar farklı yöntemlerle konuyu ele almış gibi gözükseler de aslında “bulut”un seçimi bir anlamda geçiciliği, akışı en nihayetinde zamanı temsil eder. Bulut üzerinden fotoğrafçıların yaptıkları çalışmaları bir araya getiren, irdeleyen ve yaklaşım farklarını sorgulayan fotoğraf alanında bir akademik çalışmaya rastlanmamıştır.
Mankind has used cloud images in artistic areas to express themselves. Each of the artists is temporary, ephemeral but with a high impact they put different meanings on the clouds; they combined their emotions and spirits with the cloud images. Looking at the disciplines other than the art of photography, the handling of the clouds is more detailed and more exemplary. In the photos taken during the history of photography, clouds have been used mostly as a showy and secondary composition element that gives texture to the sky. Very few photographers gave importance apart from this approach in their photographs. In this study, the works of photographers and whose technical, aesthetic and conceptual differences have been discussed. As an example, Gustave Le Gray, Alvin Langdon Coburn, Alfred Stieglitz, Edward Weston, Ansel Adams, Minor White, Jerry Uelsmann, Nuri Bilge Ceylan, Berndnaut Smilde and Vik Muniz's differences in technical and aesthetic approach of the photos are examined. In the technical development years of photography, the main focus was on better photographing and printing of the clouds. Evaluating the photo interdisciplinary (music-psychology), as is trying to show the most perfect way, feelings of nature surreal images, choosing as a medium to transfer taken as a photo-like touch using artificial cloud to represent one's mood, making it an artificial cloud documenting the clouds formed by drawing clouds with airplane. Although photographers photographed the subject with different methods, they seem to have taken the "cloud" choice in a sense represents transience, flow and ultimately the time. Unfortunately no academic study was found on gathering the work of photographers through the cloud in the field of photography that brings, examines and questions the differences of approach.
Mankind has used cloud images in artistic areas to express themselves. Each of the artists is temporary, ephemeral but with a high impact they put different meanings on the clouds; they combined their emotions and spirits with the cloud images. Looking at the disciplines other than the art of photography, the handling of the clouds is more detailed and more exemplary. In the photos taken during the history of photography, clouds have been used mostly as a showy and secondary composition element that gives texture to the sky. Very few photographers gave importance apart from this approach in their photographs. In this study, the works of photographers and whose technical, aesthetic and conceptual differences has been discussed. As an example, Gustave Le Gray, Alvin Langdon Coburn, Alfred Stieglitz, Edward Weston, Ansel Adams, Minor White, Jerry Uelsmann, Nuri Bilge Ceylan, Berndnaut Smilde and Vik Muniz’s differences in technical and aesthetic approach of the photos are examined. In the technical development years of photography, the main focus was on better photographing and printing of the clouds. Evaluating the photo interdisciplinary (music-psychology), as is trying to show the most perfect way, feelings of nature surreal images, choosing as a medium to transfer taken as a photo-like touch using artificial cloud to represent one's mood, making it an artificial cloud documenting the clouds formed by drawing clouds with airplane. Although photographers photographed the subject with different methods, they seem to have taken the "cloud" choice in a sense represents transience, flux and ultimately the time. Unfortunately no academic study was found on gathering the work of photographers through the cloud in the field of photography that brings, examines and questions the differences of approach.
Field : Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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