![]() O The same scene in different seasons or at day and night. I decreased the exposure in the tree photo and used a dark vignette to quieten the sky. The shot of the tree and the sky above it was brighter than that of the flower, and the two did not sit well together. In the following image of a tree in blossom and a single flower from it, the blossom is the theme, the technique to use a wide shot and a close up, but that wasn't enough. Use colour, brightness or texture to tie the images together. O Occupation of activity-a carpenter in his overalls and the tools he uses.Ģ. ![]() OĚspects of a landscape–a sweeping vista and an intimate landscape at the same place, twisted trees in a bush area, an ocean at sunrise and during the day, Oğamily - couples or siblings in a portrait shoot. The examples are there, not to direct, but to set you thinking about what images you select for your own diptych. He is the author of 9 books and his photographs are included in 20 museum’s permanent collections.Having decided what we want to achieve, how do we do that? You may find the following widely accepted methodologies, or since they tend to overlap, a combination of them, to be useful. He continues to devote all of his energy taking photographs and bringing them together to enhance their meaning with visual interplay. Bernhard has had more than 30 solo shows with three museum exhibitions throughout the U.S. ![]() ![]() John Bernhard is a Swiss American artist, writer, and photographer, who traveled North America extensively before settling in Houston in 1980. For more than three decades he has chosen the medium of photography to explore the everyday world from new perspectives, breaking away into different pathways of artistic expression. And through this curiosity, he opens up the viewer to questioning their existence and beliefs as well. Ultimately, his curiosity about the complexities of our universe comes through no matter the subject matter. He can transform meaning by combining forms, whether that be through projection or by placing two images side by side. Through his use of forms, he intimately looks at what it means to exist and the connections within the world. Most importantly, form is the driving force behind both of these works. His Diptych series is a natural extension of his nude images in both he explores the world from new perspectives and reflects on the readability of his subjects. Thus, despite seeming like a departure from his typical work, his diptychs actually expand on ideas explored in his well-known images. In thinking about these questions, that past experience is reflected on and becomes enhanced, beginning a metamorphosis through the act of looking and comparing. One has to wonder: why did he shoot this the way he did? What connection did his mind make that led to this connection? There was clearly a similar mood that intuitively caught the eye, and seeing that brings a new level of significance to the images. Subconsciously his eye had sought connections, approaching different subject matters with similar approaches. He described it as a sense of deja vu, a connection between images from different worlds as well as times. Looking back through his archive of images, he discovered similarities between photos taken years apart. Yes, both deal with a dichotomy in some way, but this seems to be where the connection ends. His work with diptychs, at first glance, seems to be a completely different direction for him. By doing so, he explores dualities like dream and reality, beauty and ugliness. These images involve women’s bodies overlaid with projections of the earth, transforming the human form into something almost recognizable. When someone hears the name John Bernhard, it’s likely they will think of his surrealist nude images.
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