Final

For the final photography series, I considered several aspects: technique, creativity, composition, light, color, and expressiveness of the subject.

Technical (technique): When photographing the photo’s (also linking it to my theme – Journey) I’ve considered exceptional technical skill in this work. All technical details are well handled, from the precise control of exposure to the sharpness of focus. In particular, the intelligent use of shutter speed and aperture has created excellent dynamic shots and depth of field effects.

The creativity is impressive. Didn’t just capture a moment,  there’s a story being shared. Unique perspectives and innovative shooting techniques are eye-catching.

Composition.  Using the rule of thirds, leading lines, and other compositional techniques to give the image a hierarchical quality without losing balance. The relationship between the main subject and the background is well managed, drawing the viewer’s eye naturally to the focal point.

The places/spaces I photograph are relevant to me. And these spaces are at the same time relevant to others. This relevance is what connects us to each other. Photography can embody the feeling of a comic strip, and through photography I want to shape a space. I think of my photographs as comic strips, which I name – carriers. I document the space that I am familiar with. I photograph the space that belongs to me, so I come to that room myself. I photographed the lighting effects so I really used the presentation of light. I walk into the space I know well and the serial (photographic work) ends here. With the photography we can travel through different spaces. And there is a metaphor in my work, we believe in the curse and there is a curse, we are trapped in the curse and we are no longer afraid of the curse. The world is unpredictable, the night is short, so we have to record, photograph, feel and love with all our strength. This is my story, but your story has not yet begun. May it be wonderful.

Evaluation

Without the vibrancy of color, the photo relies on the interplay of light and shadow to define its composition. The contrast between the dark and light areas becomes a dominant feature, highlighting the texture and depth of the subjects. In the absence of color, the viewer’s attention is drawn to the shapes, lines, and forms within the frame. This can emphasize the photographer’s compositional skills, directing the eye through the image in a deliberate path.

Mind Map

• Theme = Journey –> Considering taking scenes rather than human figure (focused).
• Since the last project I took specific figure shooting, this time I’m thinking to combine scene + figure. In this case, the surrounding will be more important than the figure.
• Photographing bedrooms or bathrooms (atmosphere created upon this) –> black & white.
• Capture the essence of your journey through the landscapes and cityscapes you encounter. This could include winding roads, city skylines, or natural landscapes that symbolize the path you travel.
• Play with light and shadow to highlight the passage of time and the changes in environment as you move from one place to another.
• Consider creating a series of images that tell a story or depict different stages of your journey. This can help to give a comprehensive view of the journey experience.
• Repetition of scene. Same scene but with different photograph techniques.
• Include signs, symbols, or landmarks that indicate direction, distance, or cultural significance to the journey.
• Experiment with different perspectives and angles to give a sense of depth and dimension to the journey. A low angle can make the viewer feel the journey is unfolding before them.
• Capturing the quiet moments of still life and nature that come across on the journey.

Statement of intent

For my photography project, I aim to capture the essence of personal journeys within the confines of bedrooms and bathrooms, using black and white imagery to emphasize texture and atmosphere over color. The photograph will explore the narrative of movement through repeated scenes, varied perspectives, and including significant signs and symbols.

Mood Board 

Artist Research:

Daido Moryiama

• Daido Moriyama was born in 1938 in Osaka, where he studied photography before moving to Tokyo in 1961.
• Moriyama has been a pivotal figure in post-war Japanese photography, capturing the raw and gritty reality of urban life with a distinct visual style.
• His work often focuses on themes such as urban alienation, the loss of individuality in modern society, and the impact of Western culture on Japan.
• Moriyama’s work is characterized by high contrast, grainy, and sometimes blurry images that convey a sense of immediacy and intensity. His style reflects the energy and chaos of the streets he photographs.
• He was influenced by William Klein, an American photographer known for his dynamic and expressive street photography. Moriyama’s work shares a similar raw and candid approach to capturing urban life.
• He is known for his use of a 35mm camera, which allows for a more spontaneous and street-level perspective, and his prints often have a rough, unpolished look that adds to their authenticity.
• Daido Moriyama is an early Japanese photographer known for his contribution to street photography, particularly capturing the essence of postwar Japanese urban life. His work consists of simple, contrasting, grainy black and white images depicting power and crime on the street. Moriyama was a central figure in the “Provocation” movement of the 1960s and 1970s, which sought to offer a new way to express unique and often abstract art. His photographs often explore themes of cities, consumer culture and the human condition, focusing on neglected and threatened societies. With numerous publications and exhibitions around the world, Moriyama’s influence extends far beyond Japan, inspiring photographers around the world with the way he captures the ever-changing forces of modern life. His use of 35mm cameras and bold non-photographic printing techniques ensured that his work is collected by major museums, leaving a legacy in the photography world that is hard to come by.

Kura Chan, 2020/7

• Daido Moriyama’s black-and-white photography is a testament to his unpretentious and sophisticated style of street photography. Moriyama’s work is known for its Japanese city interior, with high-contrast, sweeping images that create a sense of urgency and urgency.
• The woman smoking in the picture is a backlit form. The photographer has captured (presumably deliberately) the expression of the woman’s face by not allowing it to be seen.
• The light gradually progressed and became darker.

Richard Long

• “Richard Long was born in Bristol, UK in 1945 and he lives and works between London and Bristol.” (lissongallery)
• Moriyama is known for his gritty, raw, and often grainy black-and-white images that capture the urban landscape and the alienation of modern life.
• His style is characterized by a sense of immediacy and spontaneity, reflecting the energy and chaos of the streets he photographs.
• Moriyama’s work  explores themes of urbanization,  and the human condition in post-war Japan.
• His influence extends beyond Japan, inspiring photographers worldwide with his candid approach to photography that captures the essence of a changing society
• Richard Long was a renowned British artist known for his landscape paintings, sculptures using locally found materials, and landscape studies. His work is characterized by a connection to nature and a minimalist style with minimal impact on the environment. Long Art is rooted in the experience of moving and working in the landscape as it transforms movement into artistic expression through a collection of rocks, sand and other objects based on design and models. His work is documented in photographs because his work is ephemeral and often returns to nature. Paper is important because it allows people to interact with the artwork and make it last longer than the artwork alone. His long-form works have been exhibited in major exhibitions and events around the world, reflecting his contribution to contemporary art periods and the relationship between art and nature. Its use invites the viewer to think about the relationship between humans and nature, highlighting the beauty and simplicity of the object.

• Richard Long is not typically classified as a photographer in the traditional sense, but rather as a land artist who uses photography to document his interactions with the natural environment.
• In this photograph, black and white, Long often composes scenes that balance the natural and human-made elements.
• This work is connected with the natural environment, and through the sense of black and white space, it reflects the loss of nature but retains the most beautiful aspect.
• The composition of the photograph centers on a circular piece of land art, a circle of stones arranged to create a strong visual focal point.
  The circular pattern sits in the foreground of the image, drawing the viewer’s eye in while directing it outward to the surrounding landscape. Despite being in black and white, through composition and contrast, the work conveys an emotion of serenity and contemplation, inviting the viewer to contemplate the beauty of nature and man’s role in it.
• In my perspective, this work may be exploring the relationship between man and nature, and the temporary and permanent nature of art in the natural environment.
  The circular pattern may symbolize the universe, the cycle of life, or the order of nature.

Reference:

https://www.hamiltonsgallery.com/artists/daido-moriyama/biography/

https://www.lissongallery.com/artists/richard-long

Photographs – Leaf

Photograph – Mandala

Photographs analysis

• Mandalas typically feature centrally symmetric patterns, symbolizing the order and completeness of the universe. They manifest differently across cultures and religions, such as in Buddhism, where mandalas represent the Buddha’s cosmology and the path of practice. This technique of my photograph involves using lines in the frame to draw the viewer’s eye towards the main subject, creating a sense of depth and movement.
• Using a bright white board in a studio to photograph leaves is an effective method to make the leaves stand out against their surroundings. This background provides a clean, simple contrast that makes the details of the leaves more prominent. And by trying out  different lighting and angles to highlight various features of the leaves. For instance, side lighting can enhance the texture, while backlighting can create a transparent visual effect.
• Combining leaves with their natural environment when shooting outdoors creates some kind of nature atmosphere, not making the photograph boring. This not only adds context to the photos but also creates interesting contrasts and interactions. Placing leaves in various natural settings, such as on grass, stones, or in water, to explore different effects. I also experiment with different arrangements, such as stacking, hanging, or scattering, to create dynamic compositions.

Overall theme -> Message 

Artist Research

 Lorna Simpson combine words and phrases with their photographs to convey messages. In his animation, ‘Awesome Stuff Week,’ designer and illustrator Kyle Bean uses the styop frame process for a title sequence in a You Tube advertising campaign. Study appropriate sources and produce your own work that conveys a message from combining words with photographs.

Lorna Simpson

(Born in August 13,1960, Brooklyn, New York) She is an feminist photographer, places Afro-American women condronted with sexism and racism at the centre of her work (mudam.com). Simpson’s work explores the theme of stereotypes of race and gender, often with an emphasis on African American Women.

She attended the High School of Art and Design in New York City. She studied painting at first, then switching to photography before receiving a B.F.A. (britannica.com). While studying and earning an M.F.A. at the University of California, San Diego, she “began experimenting with new ways to present her ideas in photographs in order to engage with the viewer.” (britannica.com). Gradually, she began to discover professional interests outside of art (painting). She started to explore photography and tried to practice her hobby in different places. What emerged was what became he signature technique: photo – text, inolving brief passages of text that sometimes were superimposed on the photographs. Introducing different aspects and a new levels of meaning to the images. By adding text to her photographs, Simpson also pioneered a new way of photography. This approach not only enhanced the significance of the photos—not in terms of quality but in terms of expressive meaning—it also articulated that photographs can be not only a visual language but also a textual one.

Stereo Styles, 1988 © Lorna Simpson

“Using the camera as catalyst, Lorna Simpson is a conceptual artist who constructs assemblies of text and image, parts to wholes, commenting on the documentary nature of found or staged images.” (fep-photo.org).

In this photograph, I can sense the “rejected race.” The rejection here refers to the inability of certain skin color groups to integrate into society. Every person in the photo is a woman, with their backs turned to the camera.

Five Day Forecast, 1988. Five silver gelatin prints, in one frame, fifteen engraved plastic plaques, 20 x 24 in. (50.8 x 61 cm.). 

This photograph features a high degree of repetition. Five women of different skin colors are lined up together, resembling a scene in a prison. The white background sets off their skin tones. As an abstract conceptual photographer, Simpson enjoys using the interplay of black, white, and gray to compose her images. Although the subjects’ movements are uniform, there are still subtle differences among them. The photos are arranged neatly and orderly. Photography is not just about taking the photos themselves, but the arrangement is also a way to tell a story. Perhaps, if the arrangement of this series of photographs were not so neat, they might convey a different meaning.

Lorna Simpson is a conceptual artist who constructs assemblies of text and image, parts to wholes, commenting on the documentary nature of found or staged images. (feb-photo.org)

Sophie Calle

Sophie Calle (born 9 October 1953) is a French writer, photographer, installation artists, and conceptual artist. Her work evokes the French literary movement known as Oulipo. She often explores the theme of absence. In 1981, Calle got a job in a hotel as a cleaner. She used her job to take pictures of rooms from the guests and published it as a series of photograph. (blog.artsper) Her work frequently incorporates elements of surveillance, investigation, and personal narrative. Calle is interested in the stories that people tell about themselves and how those stories can be revealed, manipulated, or interpreted through her artistic process. Calle frequently turns her own life experiences into art. By doing so, she invites viewers to reflect on their own lives and the universality of human emotions and situations.

Sophie Calle presents this photograph through a combination of photography and text. In the story behind the photo, Calle asked 107 women to write a letter about a breakup, which had to be related to their profession. The letters all ended with the phrase, “take care of yourself.” I find this photo very interesting because it imprints on the women’s bodies the message to “take care of yourself,” which seems like a blessing but is also a subtle satire of those who objectify women. Therefore, the photo captures the upper bodies without heads, as the photographer aims to convey the common plight of women through this image—the plight of being objectified.

The black and white shades of the photo also make the text more prominent. The lack of rich colors in the photo encourages more thought, as without color, one must focus on the overall composition of the photograph.

“Prenez soin de vous” (Take Care of Yourself)

Sophie Calle presents this photograph through a combination of photography and text. In the story behind the photo, Calle asked 107 women to write a letter about a breakup, which had to be related to their profession. The letters all ended with the phrase, “take care of yourself.” I find this photo very interesting because it imprints on the women’s bodies the message to “take care of yourself,” which seems like a blessing but is also a subtle satire of those who objectify women. Therefore, the photo captures the upper bodies without heads, as the photographer aims to convey the common plight of women through this image—the plight of being objectified.

The black and white shades of the photo also make the text more prominent. The lack of rich colors in the photo encourages more thought, as without color, one must focus on the overall composition of the photograph.

Statement of Intent

The title of this project is Beliefs and Message. The societal/cultural issue I want to explore with my photographs is a more abstract topic, as I want to illustrate this theme through photographing “water.” The interaction between water & human. I want my audience to feel Faith itself is a personal interpretation, and I aim to portray people’s longing for water through capturing the interaction between “water” and individuals. This is a highly abstract concept. Since water is the key component to human, I want to elaborate on this thought. I will get inspiration and develop my ideas by looking for photographs that includes the combination of nature + shadow & light + under water photographs.

I will also try to photograph the juxtaposition of light and shadow. Capturing the contrast between light and shadow within a building, overlaying text on top.

Taking photo “instantly movement” will also be one of the theme in the bigger branches.

Mind Map

Water:

• In this photoshoot, I chose the theme of “Message.” Influenced by two female photographers, I want to shoot a series about a swimming pool.
• I really like David Hockney’s paintings, and one of his works featuring a swimming pool left a deep impression on me. The abstract yet true-to-water ripples in his painting make me want to extend this idea.

• Painting name: Portrait of an artist (Pool with two figures). I am particularly fond of the composition of this painting, and I am eager to attempt a photograph featuring multiple people. The theme of the swimming pool holds a special place for me, as I have had a profound connection with swimming since my childhood, and I wish to express this bond. Additionally, the reflections in the water and the distorted interactions within it are incredibly intriguing. I can capture the interplay of light and shadow within the water through my photography.
• I hope my composition can be taken from different angles. I am eager to try underwater photography, capturing the feeling of sunlight on the water’s surface with the presence of characters.

Use of texts:

• In this concept, my perspective is to use light and shadow to “imprint” words on people’s bodies. I prefer to photograph specific body parts rather than full figures. This is because details can provoke thought.
• The text itself becomes a key element in the composition. They can be a statement, a question, or a phrase that resonates with the subject’s experience or the theme of the project. The placement of the text on the body part can guide the viewer’s gaze and create a dialogue between the words and the physical form.
• In this photography practice, every body part becomes a vessel for stories, and every beam of light and shadow becomes a conveyer of emotions and thoughts. Such works are not only visual presentations but also profound reflections on individual experiences and social phenomena. Through this artistic creation, we can not only see the beauty of the body but also feel the stories and strength behind each one.
• 
• For example, in this photo, white text stands out against a black background, with people faintly visible within it. I could experiment with shooting various combinations like a white background with black text. It doesn’t have to be limited to black, white, and gray—using color is also a great option.

This photo is one I found on Pinterest, and I particularly love the ripples in the water here. I’m thinking that capturing the ripples of water with the shadow-reflected text would look really nice. I’m wondering how to achieve this kind of feeling in a photo shoot.

• Taking photo instantly when a person is jumping in the swimming pool, and the water that spills out instantly will be cool. Especially adding words to it. I am thinking about whether using printing words (with shadow or light purposely) or adding it after taking the photo (photoshop).

• It will be hard for me to take photographs like this, but I can edit it through photoshops, like the hands. The figure in the middle, I will also print words on his/her body. Since this is just an inspiration, I will definitely add some of my own ideas to it.

Mood Board

 Reference

https://www.mudam.com/collection/lorna-simpson

https://www.britannica.com/biography/Lorna-Simpson

Lorna Simpson: Retrospective

10 things to know about Sophie Calle

Experiment/Practise photo 

Final photo series 

Strength:

I believe that in this set of photos, I have gained a better understanding of their structure. I am able to clearly express the photography theme, which is about time. Some of the photos above helped me deal with the issue of light and shadow because I wanted to tell a story through them, hence the focus on capturing them. Each photo involving an  clock was carefully composed before shooting, and I also visited different locations to complete the shoot.

Weakness:

The light and shadow need some post-processing. The placement of the alarm clock can be adjusted next time, and the background can be slightly blurred to highlight the main subject.

Eadweard Muybridge (born April 9, 1830, Kingston upon Thames, Surrey, England –  died May 8, 1904, Kingston upon Thames). He was an “English photographer important for his pioneering work in photographhic studies of motion and in-picture projection. (Britannica). Male, Jumping; standing board jump (shoes) photographed in 1887 is the series of photograph that inspires me. In my own opinion, a repetitive movement of figure or animal creates symbolism. In this theme, I focus on “Reflection.”

Plate 163. Male, Jumping; standing board jump (shoes). 1887

Plate 187. Woman in long dress dancing (Animal Locomotion), 1887

Plate 169.  Jumping over Boy’s back (Leap frog), 1887

Plate 156. Males and Femals (draped) and Miscellaneous Subjects, 1887

Historical context:

Eadweard Muybridge, born Edward James Muggeridge (April 9, 1830 – May 8, 1904) was a pioneer English photographer, who was famous for his work of photographic studies of motion and contributions to the development of motion-picture projection.

The 19^th Century was defined by strong global trends of nationalism and colonialism as well as wars concerning territory and trade. Muybridge photographed some of the major event, while also reflecting the attitudes which perpetuated them. Muybridge also photographed traditional landscapes as well as Native American Indian people dressed in their traditional attire. (eadweardmuybridge.co.uk) His photographs helped to better protect this community. Muybridge’s photography aimed to document the conditions of people during his time, including summarizing the appearance and content of the 19th century.

Muybridge captured the first series of human motion studies on March 4th, 1879. “This extensive work depicted men, women and children variously running, jumping, falling and carrying out athletic or mundane activities. This section of Muybridge’s work reiterates the imperative Muybridge felt to explore time in modernity, as explored here through ‘Animals in Motion’.” (eadweardmuybridge.co.uk)

Muybridge is known for his pioneering “chrono photography of animal locomotion” between 1878 and 1886. (wikipedia.org ) He also used various photographic angles to capture the different perspectives of human and animal movements. “For his zoopraxiscope, a device for projecting painted motion pictures from glass discs that predated the flexible perforated film strip.” (Wikipedia.org)

Biographical context:

Muybridge favored black and white photography, and he is famous for his repetitive black and white images combined with progressively advancing actions. His photos do not tell stories through a single frame but rather through the repetition of movements (many of them) to convey the content. The connotation is more inclined towards the combination of human or animal dynamics with the sequence of photographs.

Muybridge’s photographs of animals and humans were indeed traced onto the edge of glass discs. “When the glass disc spun in the projector, a moving picture was projected onto a screen, creating an endlessly repeated short movement, akin to animated GIF images.” This innovative method allowed for the visualization of motion in a way that had never been seen before, showcasing the stages of movement with unprecedented clarity. Muybridge’s work was not just a technological breakthrough but also a significant contribution to the fields of art and science, as it provided a new way to study and understand motion. His invention, the zoopraxiscope, was a precursor to motion picture technology and laid the groundwork for the development of cinema.  (artsandculture)

One of my favorite artists, Marcel Duchamp, was indeed inspired by Muybridge. Duchamp’s later works, which involve the overlay of motion, were influenced by Muybridge’s innovative approach to capturing sequential movements. This influence can be seen in Duchamp’s exploration of repetition and the representation of time, which was a direct result of Muybridge’s impact on the visual arts.

Psychological:

When I see the photographs taken by Muybridge, I feel a great surprise. Although the photography works I have seen are presented in series, each photo contains a story. That is to say, whether it is scenery or characters, these single photographs reflect a narrative. However, Muybridge’s work stands out to me from other photographers. I was first interested in him because of his dynamic continuous photography, as the layout of his photos is repetitive. It starts from a beginning to an end, but the start and end are just our interpretation of his work. When I see his works, I feel a bit of depression, probably because of the black and white and gray tones of the photos. The repetitive actions seem to symbolize people’s lives, which keep repeating without change. There is a series of photos of a man jumping over a boy’s back, which is absurdly funny. This sense of contradiction (due to the atmosphere of depression) and the content of the photos are full of opposition, but I feel a sense of absurd happiness in it.

Citation:

“Eadweard Muybridge.” Encyclopædia Britannica, Encyclopædia Britannica, inc., www.britannica.com/biography/Eadweard-Muybridge. Accessed 20 Sept. 2024.

Mind Map

Vision

What will your message be?

• When it comes to presenting the final work, I hope that people can discover more ideas from my photos. Rather than being limited to the mood I have expressed. Furthermore, I hope that after viewing my photos, they will feel an urge to explore another side of the world. This is because my current theme is “Reflects ‘truth’/another side of…” It’s a theme that offers more room for creative expression (for me).
• For my photograph series, I would like the message to be “What does society look like in my eyes?” What I embody may be more of a guide rather than a so-called “answer.” It’s also possible that there is no definitive “answer.” Therefore, in my work, I aim to reflect the different perspectives and views of various groups on society, expressing this through a conceptual approach.
• For instance, a repetition of one movement layering together (to me) represents the repetitive lifestyle that one/community experiences.

How will you show this message with your photography?

• Through different camera techniques.
• The zoom-in method, can further refine the depiction of emotions in characters or objects within a photograph. An action quickly captured, when enlarged, will have a more intense blur, making it difficult for viewers to discern the original action. Allowing them to speculate, as their guesses will likely be related to their everyday experiences, can create a deeper connection.

Compare each of your favorite images to the others:

I particularly love this photo. The black background accentuates the sense of movement, and both elements (background and subject/character) are connected, looking at the figure’s color. And I feel like it was the most effective in adding depth to the photograph. Moreover, I have a strong preference for dynamic photos, so I also want this effect in my own work, I also opt for the same elements as this photo: lighting, motion.

I really like the interplay between the solid and the virtual in this photograph. The central figure is in focus, while others is blurred, highlighting the main subject. This black and white image can tell a full story. Firstly, the light source in the photo is not obvious, but the presence of shadows creates a sense of depth. The relationship between the figures seems fleeting, and although it’s a still image, I can sense movement within it and even imagine the direction of the figures movement.

Statement of Intent:

The  working title of my project is “reflecting the truth/another side of…”

I want my audience to feel engaged when looking at the series of photograph. And through the photo, to feel a sense of movement.

I will get inspiration and develop my ideas by looking for photographs by Alexey Bednij (Russian artist) that digitally manipulates shadows and silhouettes, bending reality to create interesting collages.

Mood Board 

Reflection on mirror

The photography in this series revolves around the theme of “reflections on mirror.” Each photo essentially centers on the theme, which is related to (but not limited to) mirrors, nature, and life. All of the photos here are taken with a camera.

• The photo was taken outdoors at school. The sky was very blue and the lighting was decent, so I decided to capture this shot. Initially, I wanted to place the mirror on the ground under the tree to photograph the tree trunk, but I did not want to limit myself to just one method of reflecting the mirror. Thus, I came up with the idea of placing the mirror on the tree branch. By chance, the angle at which I was shooting allowed the mirror to reflect the branches behind me, creating a very coherent feeling of the branches in the mirror. It was as if the branches in the mirror were growing from that very spot. The tree branches creates leading lines, leading the angle of how people would view the photo.

• This photo was taken in my art studio. At the time, I was constantly thinking about how to create a photo that not only had a certain feel but also demonstrated photographic skills. I have many mirrors of various shapes and sizes at home, which I attached to the wall. By coincidence, there was a flowerpot I had made earlier with a rose pattern on it. I placed the pot in a position where it would be reflected in the mirror and then took the shot from an angle on the right side. I also shone a beam of light from the left during the shoot because I really like the light spots reflected by the mirror. The hand appearing in the photo is intended to break away from more “common” images. I wanted to enrich the content of the photo through the hand.

• I personally really like this photo. Previously, I had taken many shots related to the environment and mirror reflections, but I always felt that I could do better, that I could use other expressions to capture the image. So I began to experiment with the reflections from small mirrors to see if I could piece together a complete picture. During the process, I discovered that I could combine body parts with mirrors. The photo doesn’t have to only feature two objects; the environment can include more. The reflection in the photo is of cotton. I wanted to tell a story through the photo, one where the arrangement of mirrors and the objects reflected within them, through this composition, reflect the human pulse. The baby figure held in the hand symbolizes the nurturing of life, the mother is soft like cotton, capable of bearing flowers, embracing and giving life.

  The light was cast from the upper left corner. I used the photographic technique of leading lines, where the hand serves as a line that guides the viewer’s direction. And also, repetition of cotton and mirror, also leaving negative spaces for the background.

• I took this photo from an angle on the left side. Outside the school, there is a big rock that looks like a snow-capped mountain at first glance. As soon as I saw this rock, an idea immediately came to my mind. I placed the mirror on top of the rock, and coincidentally, there was a tree above the rock with branches devoid of leaves. The moment the mirror reflected the scene, it felt as if the branches and the rock had formed a strange but also harmonious connection, making it seems like a snowy mountain. I zoomed in on this scene with my camera and captured it.

• This photo is similar to the one above, but I tried to make the reflection of the cotton more prominent. For this shot, I used diffused lighting, with the light more concentrated on the upper part and not too intense. In this photo, I particularly like the projection of the hand. Additionally, the small round mirror placed next to the baby reflects the baby’s face more clearly. I also removed the mirror beneath the hand to prevent the photo from being overexposed.

  I’ve also employed the technique of negative space, not cluttering the entire photo with just the hand and objects, but leaving room to include the projection as well.

• To contrast with the surrounding environment, I chose to place the mirror on the tree. This not only sets off the tree but also highlights the scenery within the mirror, which is the reflection of the tree and the surrounding buildings. I chose the zoom-in method to capture this photo because the color of the tree and the environment in the mirror create a contrast. I also focused the camera more on the mirror.

Reflection on glass

This is a series of photograph linking to the idea of , reflection on glass.

• This photo features a blurred silhouette. A glass filled with water reveals the shadow of a person. The glass also exhibits refraction because the light is coming from the right side.

• The refraction of the glass appears on the wall. The light is shining from the middle slightly below the vase, and it is quite intense. The reflected light from the glass is diffused, with the brightest point being where the light source is. I used the zoom-in method to highlight the presence of the flowers in the photo, showing only a part of the glass vase, as even if I don’t mention it, people can still tell it’s there. The vase is not in the center because asymmetry can also create beauty.

The photo was taken from me and Andre (group member).

• The refraction of glass is achieved through the use of light. Light can fully cause a transparent object to undergo various changes, known as refraction. Here, I used warm lighting, so the refraction from the glass bottle is also warm-toned.

• I used zoom-in to enlarge the main subject in the photo. It’s not necessary to capture the entire appearance of the object. Since, upon close examination, one can probably guess what it is. I chose not to photograph the entire object because I want to leave a part of abstraction and imagination in the photograph. This photo feels somewhat crowded because the negative space is only visible in the background. The light is coming from the front because the chosen lighting is circular, so the glass also reflects some shapes.

• Two glass bottles reflect the light source directly in front of them. The flowers in the background add interest and color to the photo, and their presence also interacts with the glass to create refraction. The original appearance of the flowers takes on a completely different look after being refracted through the glass.
• This photo was taken on a bus. At that moment, my mother happened to be standing in front of the bus door, and I captured the shot as the sunlight hit her. The light in this instance was not artificial but naturally created. It can be seen that the glass door reflected a bit of the color from my mother’s clothing, and the light and text on the glass door were also reflected on her clothes. This photo uses the technique of negative space; the gap between the figure and the door helps to open up the visual field, otherwise, the image would be quite crowded. The figure is framed on the left side; if the figure had been in the center, the photo might not have looked as sophisticated, as there would be no negative space or a in depth feeling. The glass door is slightly blurred, while the figure is in focus.

• This photo was taken from the photo studio. The glass bottle with water contained exaggerates the figure, but the space in which there’s no water, the glass container still reflects the light being shot at the right hand side.