Caption (description of statement of intent): Cold, sharp, and modern; fierce, boiling, and dynamic—the city has as many faces as it does colors. Behind every reflective glass pane, within every fleeting moment, and disguised as evanescent thoughts and miniscule lifts of the finger, there is the urban story. It spills its passions into stark black and white. It paints the pavement with splatters of red.
In this set of 10 images, I wanted to capture the fickle nature of urban life through snapshots of what seem like decisive moments. In making the display board, I reflected this by making somewhat of a gradient in the grid of images from black (top left corner) to red (bottom right corner). Below, I will go over an overview of the purpose of each photo, and some of the techniques used.
1.
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2.
Quoting previous analysis:
This is my favorite image out of all the ones I took for our first photo set, and I love it because of how it seems both distanced and intimate. The three subjects of the image are all centered around the very middle of the frame, but their gazes (even the dog’s) are pointed in different directions: the boy on the left looks directly into the camera, the man looks down at the dog, and the dog looks somewhere off-camera. This brings the scene to life because not only do we have characters who are submerged in their own worlds, we also have a character who is breaking the third wall and interacting with the photographer. Furthermore, they are also all in different stances and occupying different levels of our perspective. The man squats down, the boy is standing up, and the dog is at the very front, seeming much larger than it actually is. Since the camera is not zoomed in at all, and the shot is relatively wide, we now have a cool effect where the elements at the edges of the frame seem distorted (for instance, the boy’s partially hidden, partially visible face appears to be pulled slightly in the vertical direction). If you look closely, you might also see subtle patterns in the grass where the grass mower had left its marks; these circular, alternating “rings” of darker and lighter-shaded grass form a whirlpool shape. This shape is further enhanced by the fact that the boy is standing with his legs slightly bent and back arched, and that the man is tilted to the left side. Their positions follow the patterns of the grass in the background. Overall, because of this circular motif, we get a feeling of disorientation, as if the frame is spinning even though it is being kept completely stationary.
3.
Quoting previous analysis:
In this image, none of the subjects have their faces within the frame. The kid on the left and the other two men’s heads are cropped out so that only their bodies are visible, and the dog has its back to the camera, so its eyes and face are also not seen from our perspective. This leaves the viewer with space for imagination: Are the characters looking at the camera? Are they talking to each other? What are their emotions? Another point of surprise or unexpectedness might be that the leash of the dog—which is very large and seems hostile—is held by the boy—the smallest person in the scene, whereas the two men are either standing dispassionately or sitting down. Apart from the feeling of disharmony, there is also a hidden structure of balance in the photo. The three people in their positions actually form a triangle; this makes it so that the dog seems to be the focus of our attention, as it stands directly across from the furthest vertice of the triangle. Like the previous image, this is an example of an unlikely assembly of subjects: The setting is a park-like area, but the man wearing the white shirt seems to be smoking (he was in real life, and his left-hand holds it in this photo). The boy seems very young, but he is seen with much older people, holding the leash to a fierce-looking dog. The person on the right doesn’t seem to have a close relationship with either of the other two, so his purpose there is unclear. And the dog is minding its own business. Altogether, we get a somewhat abstract snapshot of urban day-to-day living.
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5.
Quoting previous analysis:
This photo was taken with the shutter speed set very low, so we get the effect of blurriness, which enhances the kids’ motion. All the other components of the image are fairly straightforward: The sharp edges of the pillar in the back, the black and white of the pavement borders, the smooth, reflective surface of the fountain on the right, etc. However, once we shift our gaze to the two characters in the center of the image, we experience what feels like a sudden shift in focus and perspective. Suddenly, we have to use a bit of effort to try to see their facial expressions, where their hands and feet are, what they’re wearing… They provide contrast to the photo due to their blurriness. In fact, the lighting at that time was also relatively mild, so the shadows on the ground were thus very light. As a result, it seems as if the motion of the kids is so rapid that their shadows have become indetectable—there are almost no traces of them on the stone floor. To me, this is symbolic of the essence of joy in an urban setting: Where the surroundings are most brutal and cold, we find the most giddy and unstoppable joy.
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Statement of intent (edited from original):
Through my photo set, I want to use framing and contrast to create unusual and unexpected images from ordinary urban settings.
Inspiration taken from artist study:
1.
This is my favorite image out of all the ones I took for our first photo set, and I love it because of how it seems both distanced and intimate. The three subjects of the image are all centered around the very middle of the frame, but their gazes (even the dog’s) are pointed in different directions: the boy on the left looks directly into the camera, the man looks down at the dog, and the dog looks somewhere off-camera. This brings the scene to life because not only do we have characters who are submerged in their own worlds, we also have a character who is breaking the third wall and interacting with the photographer. Furthermore, they are also all in different stances and occupying different levels of our perspective. The man squats down, the boy is standing up, and the dog is at the very front, seeming much larger than it actually is. Since the camera is not zoomed in at all, and the shot is relatively wide, we now have a cool effect where the elements at the edges of the frame seem distorted (for instance, the boy’s partially hidden, partially visible face appears to be pulled slightly in the vertical direction). If you look closely, you might also see subtle patterns in the grass where the grass mower had left its marks; these circular, alternating “rings” of darker and lighter-shaded grass form a whirlpool shape. This shape is further enhanced by the fact that the boy is standing with his legs slightly bent and back arched, and that the man is tilted to the left side. Their positions follow the patterns of the grass in the background. Overall, because of this circular motif, we get a feeling of disorientation, as if the frame is spinning even though it is being kept completely stationary.
2.
Again, I really love how the different characters are interacting differently within the photo. This time, we have two characters who are cropped—the boy riding the toy car and the other kid with only his sneakers visible—along with a dog that is completely in the frame. Amidst all these subjects, we can see the gaze of the dog, which is directed at the boy in the toy car. As that subject seems only to be passing by, the image apparently becomes an arbitrary combination of three unrelated characters, without either their purpose or their stance being cohesive as a whole. Thus, there is again the feeling of unsureness, questioning, and doubt. This sense of disorientation is increased also by the framing. First, we notice that the shot is wide and that the line of the pavement’s edge seems slightly curved. Second, we also see how the elements of the image are largely concentrated on the right side, with both the brightest object—the car, and the darkest—the boy’s hair and the other’s pants, present on that half. Thus, the image evokes a feeling of imbalance and seems a bit “off” or unnatural.
3.
In this image, none of the subjects have their faces within the frame. The kid on the left and the other two men’s heads are cropped out so that only their bodies are visible, and the dog has its back to the camera, so its eyes and face are also not seen from our perspective. This leaves the viewer with space for imagination: Are the characters looking at the camera? Are they talking to each other? What are their emotions? Another point of surprise or unexpectedness might be that the leash of the dog—which is very large and seems hostile—is held by the boy—the smallest person in the scene, whereas the two men are either standing dispassionately or sitting down. Apart from the feeling of disharmony, there is also a hidden structure of balance in the photo. The three people in their positions actually form a triangle; this makes it so that the dog seems to be the focus of our attention, as it stands directly across from the furthest vertice of the triangle. Like the previous image, this is an example of an unlikely assembly of subjects: The setting is a park-like area, but the man wearing the white shirt seems to be smoking (he was in real life, and his left-hand holds it in this photo). The boy seems very young, but he is seen with much older people, holding the leash to a fierce-looking dog. The person on the right doesn’t seem to have a close relationship with either of the other two, so his purpose there is unclear. And the dog is minding its own business. Altogether, we get a somewhat abstract snapshot of urban day-to-day living.
4.
What I am most proud of in this image is the contrast in light and dark. If you look closely, you’ll find that there are many instances where this contrast is completely balanced across either the top-bottom or left-right halves of the image. For instance, the car at the front of our vision on the right is bright; on the left, it is dark. Similarly, the top half of the photo is generally characterized by darker shades; the bottom half is almost completely blank. Moreover, the old man on the left wears a white top and black trousers; the woman on the right wears more or less the opposite—a dark top and beige trousers. This pattern of alternation makes the image the most balanced out of the five that I have chosen for this photo set, and it also makes the photograph so much more detailed and interesting to look at. Apart from balance in color, it should also be noted that there is very much a feeling of symmetry. The ground and the backdrop both occupy approximately half of the image. The tree that separates the couple stands directly between them, placed in the very center of the image. There are cars on either side, and they are shown in similar amounts. The couple themselves stand on the two sides of the photo. Overall, it is a very harmonious picture that is nevertheless rich in contrast and polarity.
5.
This photo was taken with the shutter speed set very low, so we get the effect of blurriness, which enhances the kids’ motion. All the other components of the image are fairly straightforward: The sharp edges of the pillar in the back, the black and white of the pavement borders, the smooth, reflective surface of the fountain on the right, etc. However, once we shift our gaze to the two characters in the center of the image, we experience what feels like a sudden shift in focus and perspective. Suddenly, we have to use a bit of effort to try to see their facial expressions, where their hands and feet are, what they’re wearing… They provide contrast to the photo due to their blurriness. In fact, the lighting at that time was also relatively mild, so the shadows on the ground were thus very light. As a result, it seems as if the motion of the kids is so rapid that their shadows have become indetectable—there are almost no traces of them on the stone floor. To me, this is symbolic of the essence of joy in an urban setting: Where the surroundings are most brutal and cold, we find the most giddy and unstoppable joy.
As Mr. Stewart suggested, I will try to keep using the motifs I’ve used in this photo set, such as the dogs and the repeating techniques of framing, in our next photo shoot at Shine City. I will keep my statement of intent the same.
Techniques used in this image:
Techniques used in this image:
Techniques used in this image:
Techniques used in this image:
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See image 3, as the framing are very similar.
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See image 2, as the techniques used are very similar.
Techniques used in this image:
See image 4, as the techniques used are very similar.
Techniques used in this image:
Techniques used in this image:
See image 2, as the techniques used are very similar.
Artist Reflection: Alex Webb
Alex Webb is particularly known for using strong colors, severe lighting, and apparent emotion to form his street photography. His photographs have been described using terms such as “depth”, “technicolored”, “unexpected moments”, and “a melting pot of cultures”. Thus, I find his work to be especially relevant in my planning. I have stated that I wish to convey the details of day-to-day urban life through my photo set; I feel that it is the depiction of these details that distinguishes Webb from many other photographers. Using bold colors, playful composition, and the seemingly unpurposeful capturing of fleeting moments, Webb delivers a raw yet reflective perspective on city life.
In this image, we see the use of extremely saturated colors, such as the red and yellow on the bus and the green that appears both as paint on the side of the vehicle and as the color of the lady’s shirt. Not only do these colors stand out and make the picture a very strong statement, but the fact that they all more or less have the same level of saturation means that the photo turns out very harmonious and balanced.
The color is not the only “severe” element of the image. In terms of lighting, we also see a lot of places of strong contrast. For instance, The figure standing at the very back of the composition is merely a silhouette; the light coming from the windows on the other side of the bus outlines her shape, but none of her features are visible. Furthermore, you could imagine there basically being a slab of light at the front of the frame, as shown by the border between light and dark on the man’s jacket. This intense sort of “division” makes the subjects and the photo stand out even more.
One of the things I find most interesting about this image, however, is actually the use of reflections and setting. Behind the figures standing at the very front of the composition, we see the window panes of the bus. The glass adds so much detail and nuance to the photo because of all the reflection, refraction, and distortion it causes the surrounding light and colors. Through it, we not only see the blurry outlines of what is behind the camera, but we also see a glimpse of the cityscape behind the bus. It is not much, but it is enough; there are neon signs, booths, stop signs, and concrete structures—all of which suggest that we are in a busy, urban setting.
Another typical feature of Webb’s photographs is the use of multiple subjects. It is never quite clear who exactly he is emphasizing. In the upper left image, is the couple standing at the front the focus of the image, or is it the father and daughter whose silhouettes (again, silhouettes) appear at the back? Or, is the person on the side, shielding their face with a pamphlet—are they the focus point? In the upper right image, there is a total of five important persons; does any single one of them play the most important role, or is their combination the important part?
In my photo set, I want to also experiment with this technique of placing many people within one frame. I think that this is not only a good use of the setting in which we’ll be shooting (Sanlitun, which is extremely busy), but it also depicts the hustle and complexities of urban life.
Another element used repeatedly in Webb’s photographs: primary colors (and, often, saturated greens). You can almost always find blocks of these colors in his images, and if there aren’t any blocks of the primary colors (yellow, blue, red), there are most definitely large amounts of another color. He also loves to find corresponding tones in one frame, such as the green on the lady’s shirt that was mentioned earlier, and the yellow that is present both in the subject’s hair and her backpack in this image.
Overall, his photos tend to have a greenish/bluish tint, which makes them feel slightly vintage, aged, and even faded. Whether through later editing or the selection of cameras, I also want to establish this feeling of dateness.
Statement of intent:
Through my photo set, I want to reveal small, deciding moments of more intense emotion within urban day-to-day life. I will use a vintage color palette, the presence of sunlight, contrast, and the motif of city architecture to capture such snapshots in an afternoon at Sanlitun/Shine City.
In comparison with my first set of identity portraits, where I used severe contrast, saturated colors, and fiercely clashing elements to present a “juxtaposition” of grief and euphoria, I wanted to express a quieter sort of sadness in this set. As you’ll see, not only is this photo set taken in our study (not a photo studio), but it also includes very daily and common items as “props”—the reading lamp is the only light source present, the desk is scattered with stationery, etc. As a result, the photos show exactly what I hoped they would show: the rare scene of complete normality, with everything just as it would have been had a photographer not been present. Indeed, the only “drama” that you could detect is the contrast between darkness and light, as the lamp provides a shaft of light on just one side of the model’s features. Consequentially, even when basking in the warm light, the model does not seem simply, one-sidedly content; instead, there is a side left to the unknown—unknown fears, unexpressed grievances, and untold stories.
Explaining why I chose to photograph my mom in particular might explain this concept further. Being a daughter, a wife, and a mom has not been an easy task for my mom, and indeed it is no easy task for any person in this world. However, she somehow manages to stay strong and loving, tough and gentle; she maintains the careful balancing act of being herself and being what—unfortunately—our society still expects of her. She is, in a way, the source of warm light in our family, for she gives each of us the love and care that we need, and spreads her smiles and kindness through our home. But undoubtedly, there are suppressed emotions that come from maintaining the precarious balancing act—and that is the creeping darkness.
If you go back to my first inspiration posts for this project (Post 4), where I detailed the Euphoria aesthetic, you will see that one of the images I took inspiration from was of the main character, standing with her side profile to the camera so that warm light is pouring onto her face whilst her back is submerged in darkness. I explained how this contrast in light, as well as this rare usage of warm lights (since Euphoria primarily utilizes blue and purple lights), shows a kind of bittersweetness. In the portrait, the character balances her past of pain and anguish with her present state of release and—though perhaps temporary—relief. I wanted to use the same sort of contrast and balance in the following set of photos.
1. Seen
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2. Withheld
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3. Thought
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In creating this set of photos, I wanted to emphasize a sort of juxtaposition in mood. Elements such as the sparkling trail of glitter tears down the model’s face, the party-themed streamers in the background, the older fabric on the floor, and the dreamy blue-and-purple lighting all contribute to an atmosphere of bliss and unreal euphoria. However, the story is threaded together by a motif of grief; in this whirlpool of light and color, there are the deepest, bluest of emotions.
1. Denial
Denial is the small, hesitant smirk on our faces when we receive the news. It’s not true. Of course, it’s not true. Denial is the tiniest, choked laugh that escapes our lungs as an imaginary fist makes contact with our stomach.
People think of denial as a phase of weakness and hypocrisy—you need to come to terms with reality—but I think it is the very opposite. In this phase of loss, we often know what we are experiencing, and are consciously aware of the truth of the circumstances. However, it is the strongest parts of us that hold love and passion for things in our lives that insist on denying such circumstances. We are already marked by the slash of tragedy; you can see it on our faces, plain and simple, that narrow stream of blooming tears—but we refuse to come down with it. This is denial, a stage of strength, not weakness.
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2. Bargaining
You can always see it when the light leaks out of someone’s eyes, and I think it happens in this phase of bargaining. It is where we first come to terms with what is happening to us, around us, and within us. There are still people helping, doors and windows open, and light rushing in, but we turn our gaze to somewhere far away because escape to a land of pondering and pining is sweeter than living a life that feels like it needs to be resuscitated and sustained by sympathizers. The what-ifs and what-nows start to flood our thoughts. Grief is the process of breaking a million old habits and replacing them with a million more new ones; we search these thoughts for potential new ones.
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3. Anger
Just like how we think of denial as weakness, we tend to see anger as madness. When someone is angry, they are refusing to cope with the situation at hand. When someone is angry, they shut themselves off from communication and cooperation, because they prefer to stay mad at their own out-of-control world. But again—I think it is often the opposite.
Anger can be quiet. Simmering. Not mania or burning heat but a sense of loss so deep and cutting that it resembles more of a cup of cooled, bitter, day-old tea, than a fuming, whistling kettle. Finally, we can look straight into other people’s eyes like we are asking them voicelessly, why? What is the reason for all of this? Anger can be clear-headed and simple; it is the cleansing climax of the story arch, the maximum point of projectile motion where we are neither accelerating upwards nor pivoting down. The tears are gone, and the scar that they have scorched onto our faces heals. There is, however, the remaining, sharp pellet of something foreign in our system.
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4. Depression
Because we so often see it as a synonym for feeling sad, we might find it bizarre that depression is the second-to-last stage of grief. Indeed, it is actually an exit from this world of misery and mourning. “The rain came pouring down when I was drowning, that’s when I could finally breathe”; it is the final ablution that douses us with the rawest pain, the heaviest fathoming, and the most thorough withdrawal from misery.
By the end of this tortuous, torturous, yet reviving stage, we can face the force of grief that had taken over us: “And by morning, gone was any trace of you, I think I am finally clean”.
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5. Acceptance
This period of our lives has been flushed out of our system. There is new light ahead, and our pain is like our newfound safety net—it reflects the rainbows after the storm, providing us with a backdrop for the future. We have not left unmaimed—that is clear from the missing patches of color in our complexion—but we have left stronger.
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