Tag: analysis

Creating+Critique of Red Photos: Set 2

Posted on by Josh

In total, there are 69 photos. Unlike the previous set, this set primarily focuses on the starting point of signs. The photographer of inspiration is Rob Hann. These photos were taken in a natural environment because I believe there are signs in nature worthy of our attention. I categorized these photos using the green, blue, and red selections. My criteria for a good photo are whether it relates to my starting point and whether the photo is aesthetically appealing.

In total, there are 40 green photos, 17 blue photos, and 12 red photos.

Example of a Green Photo

The above is an example of a green photo. The camera alignment in this photo needs to be improved. There isn’t a distinct subject in the photo. All of the elements in the photo are randomized. Although randomness is a sign of nature, this photo does not present randomness in an aesthetically appealing way. There are better representations of my starting point. Therefore, I put this photo in the green selection.

Example of a Blue Photo

The photo above is a blue photo. It includes the elements of line and depth. The lines created by the trees and their shadows look very intriguing. Depth is created when the sandy ground’s light portions are contrasted with the shadows’ dark portions. In the photo, the ground gets darker the farther you look into the photo. In addition, there is a triangular shadow in the bottom right corner of this photo. There is a long shadow next to it. These shadows make the audience curious because they are unlike the regular shadows of the trees. It could be the shadow of an animal, of the photographer, or of something else. This aspect gives off an ominous feel. This photo connects to my starting point because it shows that nature is mysterious, has depth, and can contain almost anything. This photo is very good, but I decided not to put it in the red selection because it could be more aesthetically appealing. Furthermore, it does not have any particular stylistic choices.

Example of a Red Photo

The photo above is a red photo. This is one of the 12 photos that best represent this set and my starting point of signs and messages. The most important elements of this photo are color, depth, and line. The first thing the audience would see in this photo is the red car in the upper center. This is because the car is red, an eye-catching color. In addition, the red color contrasts with the other less vivid colors in the photograph, so it stands out more. Therefore, color is a critical aspect of this photo. Then, there is depth and line. These two aspects are related since lines create depth. Near the center of the photo, a distinct vertical line defines the side of a bamboo bridge. This bridge directly points to the red car in the distance. However, it is the depth that makes the red car seem small. On the other side of the central line, there is a more diagonal line that is another side of the bamboo bridge. It is also angled towards the car. The distance between these two lines decreases as they both approach the car, giving the photo a sense of depth. The most important formal elements are shown in the diagram below. This photo connects to my artist of inspiration, Rob Hann, because it has the theme of human intervention in nature, where man-made structures are put in natural environments. In many of Hann’s photos, man-made structures are isolated in a natural environment. For example, Hann takes photos of abandoned buildings and vehicles in the Desert.

Diagram:

Red photo 2

The photo above is another red photo that differs from the one I previously analyzed. This photo is much more simplistic in nature. This photo was taken beside a mountain next to a river. It incorporates the formal elements of color, shape, and texture. Firstly, there is a large contrast between the water’s green color and the rocks’ grey color. This color contrast emphasizes the shape of each side of the photo. On each side, the texture is varied: the rocks have a rough texture; however, there are wavy white lines that mimic water; on the other hand, the water has a smooth, flowing texture, but small bubbles in the water mimic the small sediments on rocks. Between the rocks and the water, there is an S-shaped line. This line represents the conflict between the two elements as one element is trying to intertwine with the other. This photo connects with my starting point because it shows the sign that different elements in nature can be equally appreciated. The contrasting nature part of this photo is inspired by Rob Hann since he takes photos of two or more landscapes simultaneously.

Reflections: SET 2 Red photo analysis

Posted on by Josh

*Note: Couldn’t provide link to original PDF as it was too large to upload.

The above photos are the ones I selected to be a part of the red selection for set 2. As mentioned in a previous post, these photos were selected based on their correlation to my statement of intent and their overall aesthetic appeal. They are all taken in Shanghai.

Firstly, photos 1,2, and 3 focus on buildings at the banks of the rivers during nighttime. In these photos, most of the light is concentrated in the middle of the photo. This is where an imaginary line splits the water and sky. The tone of these photos is mostly dark in the surrounding perimeters, while there is a strong contrast between these dark parts and colored lights, causing a large tonal range. The range of view of these photos varies as some are taken in portrait, and some are taken in landscape. In general, photos 1,2 and 3 illustrate the reflections of light on water. It shows how modern technology can impact the beauty of nature.On the contrary, photo 4 focuses on the reflection of a shoe on the metallic side of a boat. The photo’s focal point is the light that shines on a white shoe. Apart from the focal point, the rest of the elements in the photo are not centered seemed positioned randomly. The tone and colors of the photo vary greatly, with no apparent pattern. I think this photo reflects the need to focus on one’s own identity and footprints in a society where everyone is reliant on technology and innovations. Next, photos 6,7, and 9 focus on the vast interiors of the Jin Mao Tower, one of the tallest buildings in Shanghai’s Pudong business district. The reflections in these photos mostly involve glass and light. Distinct geometrical shapes are defined in the architectural design of the building. These shapes are emphasized by the white line of light circulating around each layer. Photo 6 mostly displays the horizontal view of the Hyatt Hotel lobby. Lights from the interior and exterior of the building reflect on the spacious glass windows, creating abstract patterns and distortions. Photos 7 and 9 show the vertical layers of the building’s many stories. With a low ISO, even the uppermost layers of visible floors are distinct. The white line of light from each layer reflects off of the glass elevator shaft, creating a mesmerizing reflection. Overall, photos 6,7 and 9 display the beauty that can be found in the manmade structures. Next, photos 5, 8, and 12 show reflections of colored lights in different parts of the city. Photo 5 shows the reflections created by a purple structure by the sidewalk. The structure itself is clearly defined as a combination of 3-dimensional shapes by the purple light. In the dark lighting of the night, the purple light from the structure is reflected on surrounding objects, creating a completely purple biome for people walking by. Photo 8 is similar to Photo 5, but it displays subjects on a much larger scale. At a high elevation, I was able to capture a wide range of buildings. Using a low exposure, lights from the buildings were not overwhelming for the eyes and could be distinctly seen. Buildings reflected their light off of one another, but the most intriguing aspect of this photo is the subtle rainbow aura in the sky, created by the reflection of light on the air particles. This effect is created by using a narrow aperture, as all elements of the photo are in focus. In addition, photo 12 uses traffic lights and car lights to create an atmosphere of red. This effect is achieved by using extremely high exposure. In the foreground, a white car is captured at full speed, reflecting bright light off of its side and wheels, slightly blurry. This motion blur was achieved through a slow shutter speed. Overall, this photo shows the rapid bustle in the city. Altogether, photos 5,8,12 show reflections of light amidst different parts of the city and can be related to the photos of Craig Whitehead, my artist of inspiration. Lastly, there are photos 10 and 11. These photos depict reflections in areas that are less developed but still affected by modern infrastructure development. For example, Photo 10 shows the aerial view of a section of a hotel. Through a glass window, we can see a large green clover and the repetition of small wooden boards that form a section of the roof. Near the top of the photo, there are distinct rectangular shapes representing solar panels or small facility buildings. Above all, an unidentifiable object is reflected at the top left of the photo, making the seemingly normal aerial view feel surreal and uncanny. Photo 12 is also unique as it gives another perspective on the city’s suburban areas. The photo features a glimpse of an unclean back alley of a restaurant. However, filling up the entire space of the window is a reflection of the restaurant’s interiors. Reflections of perpendicular Chinese architectural designs can be seen along with a reflection of a silhouette. Combined with these reflections, the shadows of the spiraling stairs give an abstract feeling. Overall, the entirety of set 2 reflects the idea of how humans are influenced by modern innovations and carry-over techniques used by Craig Whitehead.

Reflections Unit: Set 1 Red Selection Critique

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The above photos are the photos I selected for my red selection. They all represent my vision statement from the beginning of the project. In general, they include reflections on technology. For example, the first photo at the top left of the contact sheet features a reflection of a book through a camera lens. The camera is the technology being used, and in the reflection, the book cover has a cut-off word “dig,” the abbreviation of “digital,” therefore, I think this photo strongly relates to my vision statement. This photo incorporates the techniques of Lee Friedlander, my chosen photographer. When I analyzed one of his photos, I realized that there was a focus on the reflected parts of the photo. In my photo, I decided to draw attention to parts of my photo by making the rest of the photo dark colors such as black, grey, and brown. In this red selection, this photo relates most with my vision statement and my chosen artist. However, my favorite photo in this red selection is the photo at the top right of the contact sheet. In my opinion, the aesthetics of this photo are the most eye-catching compared to the rest of the photos I have taken throughout this set. The natural red tinting of the entire photo gives the feeling of heat, intensity, and wickedness. I like how the photo is blurred on the borders and is extremely clear around the main subject. This creates clarity around the subject and makes the eyes of the audience immediately focus on it. In addition, the main subject of this photo is a pair of AirPods, which is considered one of the most popular technologies in modern society. Therefore, the popularity of the subject can be symbolized by the red tinting of the photo. The rest of the photos relate to my statement of intent because they also feature a type of technology. For example, lights, audio mixers, fountains, taps, and security cameras. Overall, I selected these photos for my red selection because they resemble my original vision statement the most.

Artist Analysis: Lee Friedlander

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Below are six photos that show Lee Friedlander’s style in photography:

Lee Friedlander - Artists - Laurence Miller Gallery

Lee Friedlander: America By Car | Whitney Museum of American Art

Lee Friedlander Represented by Luhring Augustine and Fraenkel Gallery ...

Lee Friedlander: A Perfect Framing of American Everyday Life | The ...

Lee Friedlander Florida 1963 | Fotografie, Fotograaf

Lee Friedlander – America by car - Photolux Magazine

Lee Friedlander is a renowned American photographer who was active in the mid-1900s. He was born on July 14, 1934, and started taking city photos in 1948. Focusing mostly on the urban landscape, Friedlander has “an ability to organize a vast amount of visual information in dynamic compositions, [allowing him to make] humorous and poignant images among the chaos of city life, dense natural landscape, and countless other subjects.” (Fraenkel Gallery). Friedlander chose to take photos of the urban landscape because he was born in an urban area, allowing him to have insight into the environment from a young age and grow with a personal attachment to things within the environment.

I will analyze the photo below:

Lee Friedlander – America by car - Photolux Magazine

The photo depicts a view of the urban landscape from the interior of a car. The entire photo shows the landscape through a first-person perspective. Most of the photo is shown directly in front of the photographer, but a section is shown through a mirror behind the photographer. The reflected portion of the photograph shows a metal bridge with people walking on it. These people are apparently the only live subjects in the photo. Aside from the mirrored section, the scenery directly in front of the camera can be divided into sections. The division between these sections is very distinct because there is a thick car frame in the middle. The larger section on the left depicts tall buildings and architecture. The smaller section on the right depicts an intersection of a street with moving cars and a bridge overhead. There is a contrast between these sections. The section on the left suggests a thoroughly developed urban landscape, while the section on the right suggests a less developed urban area—the changes in the viewpoint intrigue the audience. When looking at this photo, my attention is directed to the left section as the general tone of the image is brighter and more appealing. There are distinct lines within the parameters of the photo. Aforementioned, there is a thick car frame in the middle right of the photo. In addition, the two distinct sections of the photos are framed by the windows of the car. The traffic light poles in the foreground and background are lines that serve to make the photo look more cluttered, emphasizing the bustling atmosphere of the city. Friedlander uses the concept of space to add additional depth to the photo. He captures the interior of the car to enforce a first-person perspective. It encapsulates the audience within the photo and makes them feel as if they are in the photo themselves. As a result, they can see what Friedlander sees. Overall, Friedlander uses the techniques of perspective, reflection, division, contrast, line, and space to make the audience feel as if they are immersed within the frame of this photo. I will make use of these techniques within my own photos to achieve similar effects.

Artist Analysis: Ernst Haas

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A list of 5 typical things that are present in the above photos:

-All photos vividly portray some sort of color scheme

-Repetition of elements

-A unique level of focus in the camera.

– Different textures.

-Multiple parts, not just one main subject.

The photos of different types of architecture have a mesmerizing feel to them. The elements within the photographs look similar, but they have unique details upon closer inspection.

Other photographers whose photos reference these characteristics are Michelle Palazzo, Steve Deer, and Masayuki Yamashita.

Statement of Intent: I will take photos of imagery in ordinary public areas to show the different perspectives that can be found there. The audience should be able to notice the beauty of perspectives that they didn’t know existed.

I chose Ernst Haas because he was one of the most celebrated photojournalists and photographers of the 20th century. He was a pioneer of color photography and had coverage in major events around the globe. In his experiments with Kodachrome color film in the 1950s, he photographed large color photo collections in New York City, which were published by the LIFE magazine.

Ernst Haas relates to my statement of intent because his photographs depict beauty and introspection in ordinary landscapes. He captures the beauty in the ordinary and shows the audience perspectives that they didn’t know existed. 

A quote by Ernst Haas is:

“A picture is the expression of an impression. If the beautiful were not in us, how would we ever recognize it?”

I chose this quote because it reflects how photography is something more internal and less surface-level than one might think. Haas implies that photography expresses someone’s impression of something, making it more personal than a visual record of an event. Then he says the beauty of a photograph is also internal because if it weren’t for the recognition of the photographer, it wouldn’t even exist as a photograph. 

 Analysis of Ernst Haas’s work:

This photo is for Ernst Haas’s New York in color. I chose this photograph in particular because it’s interesting in the fact that it is an effective combination of multiple elements. I found this photograph particularly unusual because you tend to pay more attention to the things that appear further away from the camera. When I first saw this photograph, my attention was not focused on the curvy white object in the bottom center of the photograph. For some reason, I was rather focused on the tops of the people’s heads. I think there might be some option illusion that diverts the viewer’s attention in this photograph. Due to the above reasons, I think the most crucial formal element in this photo is the focus. Focus is important in photographs because it puts the viewer’s attention on something particular in the photograph. Sometimes, the focus is related to the resolution of the photo, but other times the focus is achieved through optical effects or angles that direct the viewer’s attention. For example, the photo that I chose has a resolution that is pretty much consistent, but the focus is achieved through the angle/optical effects. This photo is abstract because there is no defined subject present in the photograph. The viewer must look for it themselves and discover what they think is the subject. Stylistically, I like this photo because it seems to split into two by the grey line in the middle where people are standing. It looks as if it was edited using digital software. But again, I don’t think digital editing software was a thing back then. The slightly uncanny feeling I get when I look at the photograph is quite intriguing. I will adapt this particular style of Ernst Haas into my photography by making my photos look like they consist of multiple parts to make the photos more unclear and create a more abstract effect. I will experiment with multiple angles and levels of focus to enhance my photographs and make them look more convincing. 

Revised Statement of Intent: I will take photos of imagery in ordinary public areas to show the different perspectives that can be found there. I will refer to the photographer Ernst Haas and use option effects and different angles to accomplish this. My photographs will shock the audience with unique perspectives that they didn’t know existed. 

 

 

 

Analysis on ‘Paper Menagerie’

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In Ken Liu’s “Paper menagerie,” the paper tiger symbolizes how Jack relates to his Chinese heritage. When Jack was very young, the paper tiger was made in order to comfort him. So, he has formed a special relationship with the tiger and his Chinese mother who made it for him. For instance, “She set the paper down, plain side facing up, and began to fold it. I stopped crying and watched her, curious.” Jack has a good childhood until his American neighbor comes to his house to play, because his neighbor insults his mother and rips apart his paper tiger. People will realize that he is being mistreated because of his heritage. Meanwhile, Jack’s mother causes other people to stereotype Jack as an outsider because she doesn’t speak English very well and makes strange paper toys. Jack is disappointed and wants to be disassociated with his Chinese heritage because he doesn’t want to be left out. The ripped paper tiger symbolizes this very well as it tells the audience that Jack is done with anything that makes him stand out from the other kids. Furthermore, when Jack’s mother fixes the tiger, Jack throws it into a box and tries to forget that it ever existed. Ever since his mother died from cancer, Jack was living his own “American” life. However, he soon finds the paper tiger on the shelf in his apartment and unfolds it, only to reveal a letter written to him by his mother. Jack finds someone who can read Chinese to read it for him. Only then he realizes how much his mother had been through and how important Chinese heritage is to her. The paper tiger springs back to life just like it did during Jack’s childhood after this realization. This reconnection with his heritage is symbolized by the resurrection the paper tiger.