PRESENT

FINAL PHOTOS

Composition:

The elements of the display supports the subject well. The subject’s gaze even if blurred are able to be seen. In the photo where the subject’s looking at the camera, through the darkness you can see the directness of their gaze. Even if some of them eyes which you cannot see. For the side glance images, the direction of the subject’s eyes and the surrounding space helps lead the viewer’s eye toward the focus point.

Where do your eyes immediately go?

In the photo where the subject looks directly at the camera, your eyes are immediately drawn to their face. In the side-glance photos, your eyes might follow the subject’s eyes which helps direct the attention to areas they are looking at.

Are there distractions?

The background is a simple white or black with no distractions. There is contrasting light with the white and black in both pictures which allows for better point of focus.

Storytelling Quality:

The use of light and shadow in the images, especially the added light falling on the face adds depth to the storytelling. The contrast creates a feeling of both warmth and distance. Reflecting the emotions I’m trying to covey.

Emotional Impact:

How well does the audience identify with the picture?

The connection in the image where the subject faces the camera makes it more powerful and identifiable. The direct gaze creates an intimate relationship between the subject and the viewer, making it easier for people to relate to the emotional tone you’re portraying. The side view photos show longing for something more.

What emotions will the audience respond to?

In the first image, the audience might feel a sense of vulnerability or quiet strength. The contrasts between light and shadow mirror the inner conflict or emotional depth the subject is experiencing. The contrast between the smiling more bright one and the quiet black one shows that difference of happiness and darkness. I intentionally made the lighter one take up more space on the photo, showing resilience.

Identity

Vision for the Photos

The vision for my photos is to explore the emotional journey of mental health. Capturing the moments of despair and hope, struggle and joy. Through abstract and layered techniques, I am to create two images that evoke different aspects of this journey with two different people. I hope to illustrate that while each individual’s experience is unique, the emotions and transformations are something many can relate to and understand.

 

The societal/cultural issue I want to explore with my photographs is the emotional journey that is mental health struggles. I want to highlight the progression from feelings of despair and confusion to a sense of resilience and hope. This issue is something that resonates globally, but mental health still remains a subject that is often stigmatized, leaving many feeling isolated. Through the pictures, I want to capture the subtle yet powerful shifts in emotion, symbolizing the strength it takes to navigate these challenges. The other photo will juxtapose feelings of struggle with happiness and light. The blur represents the dynamic nature of happiness. Emotions like happiness and joy often come in moments that feel hard to fully grasp, just like how motion blur captures a sense of movement.

Contact Sheet

 

Photo Contact Sheet 1
Photo Contact Sheet 2
Yellow Photos:

 

Image 1
Image 2
Each of these photos have different meanings, the downward-facing photos represent introspection, insolation, and weight of the thoughts. The. upward or sideways facing photos will suggest a longing for something beyond. The dark tones and muted contrast are central to the series, emphasizing how depression can obscure clarity. The focus isn’t on bright emotions but on the raw unfilered states that feel overwhelming and endless.
Red Photos
Other set:

 

Image 1
Image 2
Yellow Photos:
This part of the series contrasts the darker images with photos that evoke a sense of curiosity. The subjects in these photos are looking at different places the middle one looking at the camera represents confidence. There’s no detachment or hiding here. The photos where the subjects are looking to the side will capture a sense of curiosity. Like they are in the middle of processing something or looking towards a new possibility.
Final photos
I intentionally made the lighter one take up more space on the photo, showing resiliance

Artist inspiration

Artist: Ernst Haas

  • Ernest Haas used color photography, motion blur, and experimental techniques to capture the world. His work focuses on transforming everyday scenes into vivid abstract compositions by capturing movement and light. Through blurred motion he conveyed the dynamic nature of life, emphasizing the fluidity and transience of time. Haas’s photographs often reflect his desire to capture not just to capture the physical reality of a moment but also its emotional and psychological essence.
  • Haas uses motion blur to capture dynamic movement. By panning the camera with a moving subject or using long exposures, he creatures abstract images that merge the real and the imagined.
  • Haas’s work blends sharp elements with flowing, blurred motion creating a sense of movement and energy within a still frame. The motion blur adds an element of unpredictability.
  • Haas is most famous for his color work, his motion blur images often rely on contrasting colors to emphasize movement

How it applies to my work

Ernst Haas’s use of motion blur in his work inspired my project to explore faces in motion, focusing on the emotions through blur. I plan to use exposure and slight movements of the face to abstractly represent expressions and emotions. Haas’s techniques inspire me to explore a deeper representation of human emotion by visually layering different emotional states in one image. The sharpness in my central face represents control or normalcy, while the blurred screaming faces internal chaos or conflict.

Analysis:

The subject of the photo depicts a dramatic moment showing an ox in motion in the bullfight. I like how the motion blur technique creates a sense of urgency and action. It captures the intense moment of a bullfight. The key visual is the blur of the ox and the person. The blurred lines indicate that both figure’s chaotic nature of the interaction.
The setting appears to be in a rural or agricultural environment. The background is a grainy and looks as if it’s sandy. It could be in the context of Spanish or Latin American bullfighting. The presence of the motion blur obscures specific environmental details but gives enough context through its movement filled dynamic.
The people in the image consists of a person and an person and an ox in pursuit. It looks as if the person is in a sense of fear or urgency. The ox exhibits powerful movements and determination.
The matador (bullfighter) appears vulnerable and looks to be darting to avoid the bull’s path. The bull is naturally driven by its instincts pursues the yellow muleta (the cape)  with force and determination. The matador’s pose is tense and expressive. His confident body language with the movement of the cloth adds to the emotion of the scene.
The vivid yellow of the muleta is the symbolic focal point of the photo. The image has high contrast, with the dark form of the bull and the bright sandy area around it.

What is a Portrait?

A portrait is typically defined as a photograph that captures the personality, likeness, of a person. It often focuses on their face or upper body. The subject is usually the focal point, so the composition and lighting will aim to emphasize this subject’s features in a way that will reveal something about them, whether it’s their mood, character, or context. A portrait’s main element is a person; a good portrait often will convey something about the person, whether it’s through their expression, posture, or the environment they’re in.

Selfies can be considered portraits, though they might not always meet the more formal, artistic standards of portraiture. A selfie is more of a self-portrait where the photographer is the subject which is typically taken with a phone nowadays. The key difference from traditional portraiture is the level of control over the composition, lighting, and context. Unless it serves a purpose, things that distracts from the subject (like a cluttered background or object that takes attention away). A portrait is about focus.

It’s also possible to represent a person photographically without actually being physically present in the image, which can be a more metaphorical portrait. By arranging inanimate objects or still life compositions so that they reflect the personality and interest of the individual, the photograph can tell their story. It’s the idea that the person’s presence is implied rather than a literal person. The objects will act as a symbol for the subject.

A sequence of images will allow for a dynamic representation of the subject. Each image in the sequence might capture different aspects of the person’s personality, various moments in their life, changes in their modd etc.

Hutong Photos


 


Yellow

I choose these photos because it captures unique, culturally significant elements within the Hutongs. The people, combined with the background shows a different view that is different from living in the city. The images are kind of a remake of the culturally significant elements within the hutongs. They capture the everyday rhythm of life, showing how people interact with the environment and each other. The unscripted moments of people moving through their day brings authenticity to the photos. The candid shots highlight the raw and unpolished beauty of street photography


Green Photos

 

Red Photos

 

Welcome Our Fears

Fears

What are your fears / thoughts about going to the hutongs to take photographs?

  • Feeling intrusive photographing people in their personal spaces
  • Uncertainty about how locals will react to being photographed

How will you (try to) overcome your fears (if you have them)?

  • Approach people with respect, be mindful of body language
  • Blend into the environment, using subtle techniques to avoid drawing attention
  • Captre details and atmosphere rather than just the people

STREET PHOTOGRAPHY

 

Artist Research

Background

Fred Herzog was born in 1930 in Stuttgart, Germany; he survived World War 2 before emigrating to Canada in 1952. After moving to Vancouver, he worked as a medical photographer, but his passion lay in photographing the everyday life in streets. Using photography as a personal exploration, he captures scenes that were often overlooked. It’s what makes him have a unique vision in his photos. Despite his work in color photography, color images weren’t respected until later on in time. Herzog didn’t receive recognition for his vibrant colorwork until the 2000s, with advancements in technology which allowed his photos to more effectively printed

Style of Work

Herzog’s style is known for its rich, saturated colors and attention to the details of life. He used Kodachrome film which allowed his to capture colors of neon signs, old storefronts, cars, and people. Unlike black and white photographers, Herzog took advantage of the use of color to bring realism into his images. It makes these ordinary scenes seems significant. His compositions focus on people in busy street scenes. It protrays an atmosphere of nostalgia, community, and transformation.

One Photograph Analysis

 

“Man With Bandage,” 1968

Subject

In the photo, Fred Herzog presents an elderly man, looking away into the distance with his arm raised. The man’s appearance suggests he may have endured a minor accident. His face aged, flightly grim and worn attire.

Foreground information

The composition is straightforward, with the man occupying the foreground. The midground and background are soft and blurred with storefronts and walls that add to the gritty atmosphere. This layered structure, with the subject in sharp focus against a softer backgroynd, situates the man in the evironment.

Aperture and Shutter Speed

Herzog’s apparoach to street photography relied on natural light and quick, captires, which required shutter speed to free the subject while alloing details. With the shapr focus on the man’s face, maybe he used a small aperture, which balances depth of field with sufficient detail in the man’s features and the background to give contect without distraction.

Vision:

For street photography in Beijing’s Hutong, my vision will focus on capturing the vibrancy of the people there, emphasizing both the timelessness and the modern adaptations of daily life there. I aim to showcase the unique character of the hutongs, the intimate street interactions, and small traditional courtyards and architectural details that reflect a blend of history and present-day culture

SETS 2 PART 2

Yellow shots

Green Shots

The intentional blur in the photos creates a dream like feel. This technique, like Kalovac’s, transfroms the scene from a literal interpretation. The lack of sharp details in the photos encourages the viewer to focus more on the feelings the image evokes rather than the physica features. Like her work, the use of the blur creates a feeling of disconnection from reality. The photos lean into moody, muted tones with high contrast blacks and whites.

Red Shots
The photos provoke thought and leaves space for interpretation.