These three photographs are chosen from my SET 1 images and I think they best represent what I am trying to achieve and best connects to my vision of challenging the traditional views of visual perception meanwhile capturing the hidden beauty in everyday life moments that could easily be missed or slipped away. The title of my project is “Fleeting Glimpses”. I have developed my own individual approach to this title by combing my chosen artist’s photography style and connecting it to my own vision to illustrate the “easy to miss” moments in life that are sometimes more beautiful than we imagine. The artists that have inspired my work the most are Uta Barth and Aaron Siskind (although all of the photographs chosen for the final triptych is from SET 1 and inspired by Uta Barth). Uta Barth has inspired my use of out of focus and the exploration of light to make what seems to be an everyday moment become something more, and Aaron Siskind has mostly inspired me ideologically, mostly my visions and my approach when taking these pictures. In order to develop my ideas for this project I experimented with light, tone, and texture on over 600 pictures I took during the 798 trip.  After experimenting, I have brought together the best parts of my project to create my final series of images by eliminating the 100 Yellow contact sheet photographs and leaving 3 that best connects and represents my vision. To create my final series of images I wandered around 798 to search carefully for sights that could be beautiful but missed easily.  I chose to work like this because of my vision of capturing the hidden beauty in everyday life moments that could easily be missed or slipped away, so I look time to find these hidden beauty by looking carefully.  Overall, I think the strengths of the project are that the photographs have mostly connected and illustrated with my vision and intents. The areas that I will need to work on in future projects are being more efficient with my time, because in retrospect, I was kind of searching aimlessly. So maybe in the future, I could plan out more to then discover and take even more photographs.

Contact Sheet:

“YELLOW” contact sheet:

My vision is to show and capture the hidden beauty in everyday life moments that could easily be missed or slipped away. Combined with Aaron Siskind’s unique style of black and white picture with focus on texture and shallow depth of field, I want to create images that are challenging the traditional views of visual perception meanwhile being also beautiful and unique in its own way. I chose these images because they are all under the category of my vision and are all considered abstract photography.

“GREEN” contact sheet:

The approach I was going with these set of pictures was making them mostly focused on texture and black and white. As well as the lighting and shallow depth of field in each images, I intended to imitate Siskind’s style of the use of Texture and Tone. As you can see, each images I took could be considered as an sight that normally you would just walk pass or see but just glance by. All of these images can be found easily,  but I intend to capture these moments that could be overlooked and try to explore the beauty within it. By placing the camera close to the surface, it magnifies the details of these moments: the thing that our eyes originally disregards which makes up the “boring images”, texture, suddenly stands out. For example if you look at photo 7 and 8,  when you see a balloon on the ground, because it is such a common thing to see, you would view it as another casual object that you might kick away like a football. But when it gets up close and in focus,  the subtle details of the objects and fundamentals of what makes up an interesting image appear, viewers will now take time to examine the photo more carefully and perhaps even have their own interpretations after seeing the object up close with another perspective.

“RED” contact sheet:

Following my vision of challenging the traditional views of visual perception meanwhile capturing the hidden beauty in everyday life moments that could easily be missed or slipped away, I focused more on texture and shallow depth of field to make what seems to be an everyday moment become something more. By closing in on the details of these surfaces, the thing that our eyes originally disregard as a common sight, suddenly stands out. Take Photo 2 as an example (my personal favorite): when I was first taking this photo, I thought the ballon reflecting the ceiling lights looked like Jeff Koons’s Balloon Dogs and was interesting so I tried to capture it. It was pretty challenging because I had to wait for cars to find the right angle the correct depths that would fill the whole image. But eventually, I found the “money shot” and got the image. As you can, the texture of the lights being reflected by the balloon really makes the surface stand out and looks very abstract and interesting. Especially the lines on the left parts of the balloon’s surface, which combined with the close-up of the surface and depth of field, created a sense of mystery and a dream-like ambiance as we see lights bouncing off the sides of the ballon and the dreamy “wrinkles” of its surface.

Although the lighting and the black and white aspects of the entire set was overall successful, I do have to admit that some of the photos would look even BETTER if the shading and darkness of some parts of the images was further increased. Next time, I would try to also change the lighting of the surrounding even more and change some of the settings of the camera as well.

     Contact Sheet:

                     “YELLOW” contact sheet:

My vision is to show and capture the hidden beauty in everyday life moments that could easily be missed or slipped away. Combined with Uta Barth’s unique style of out of focus and exquisite light use, I want to create images that are challenging the traditional views of visual perception meanwhile beautiful and unique in its own way. I chose these images because they are all under the category of my vision and are all considered abstract photography.

              “GREEN” contact sheet:

The approach I was going with these set of pictures was making them mostly out of focus. As well as the lighting in each images, I intended to imitate Barth’s style of the use of Focus and Light. As you can see, each images I took could be considered as an sight that normally you would just walk pass or see but just glance by. All of these images can be found easily,  but I intend to capture these moments that could be overlooked and try to explore the beauty within it. By blurring out the details of these moments, the thing that our eyes originally sees which makes up the “boring images”, light, suddenly stands out. For example if you look at photo 8 and 9,  when you look upon the sunset clouds or the sidewalk lights slowly turning on as darkness sets in, you would view it as another casual evening night. But when the it is out of focus and what “matters” is disappears and the fundamentals of what makes up an image appear, viewers will now take time to examine the photo more carefully and perhaps even have their own interpretations after seeing the scene with another perspective.

        “RED” contact sheet:

Following my vision of challenging the traditional views of visual perception meanwhile capturing the hidden beauty in everyday life moments that could easily be missed or slipped away, I used out of focus and the exploration of light to make what seems to be an everyday moment become something more. By blurring out the details of these moments, the thing that our eyes originally sees which makes up the “boring images”, light, suddenly stands out. Take Photo 1 as an example (my personal favorite): when I was first taking this photo, I thought the car and evening lights were interesting so I tried to capture it. It was pretty challenging because I had to wait for cars to come by and I also had to blur the focus myself because there was something wrong with the camera. But eventually, I found the “money shot” and got the image. As you can, the texture of the lights after being blurred looks very abstract and interesting. Especially the car light at the bottom left conner which projected a weak but visible string of light, combined with the out of focus, created a sense of mystery and a dream-like ambiance.

Although I took a couple of successful photos in the span of two trips,  I have to admit that I was just wondering around most of the times looking for interesting scenes to capture. It was pretty time-consuming so perhaps next time I could have a more specific idea in mind when taking photos and be more organized.

Uta Barth:

Padlet gallery of Barth’s 8 most interesting photographs and quotes :

https://isbeijing.padlet.org/alexma10/uta-barth-6642lacttoslmmyz

Analyze of Barth’s work:

1. Blurred Focus: Many of Barth’s photos have a blurred focus, making the subject hard to see clearly. This technique encourages viewers to look closely and find meaning in what isn’t fully shown.
2. Exploration of Light: Barth often captures how light changes and interacts with everyday objects and spaces. By focusing on light, she creates a visual experience that can change how we see familiar places.
3. Domestic Settings: A lot of Barth’s work is made at her home, using everyday objects and scenes. This choice highlights the beauty and complexity of ordinary life, encouraging viewers to notice things they usually overlook.
4. Sequential Imagery: Barth often uses a series of images that show different versions of a theme or subject over time. This repetition highlights changes in light and perspective, showing how time passes.
5. Abstract Composition: Her compositions often focus more on space and color than on traditional subjects. This abstraction helps viewers feel a sense of uncertainty, making them think about how they see their surroundings.

Why is Barth’s work considered Abstract?

Uta Barth’s photographs are abstract because they focus less on specific subjects and more on the overall visual experience. By using blur and unusual framing, she encouragesviewers to think about what they are seeing instead of just identifying objects in the picture. This creates a sense of mystery, making familiar scenes feel strange through her lens. By highlighting light, space, and how we perceive things, Barth turns everyday moments into thoughtful experiences that make us rethink what photography and seeing really mean.

Why Uta Barth?

Uta Barth’s abstract photography inspires me because of its unique ability to challenge traditional views of visual perception. Her use of blurred backgrounds and interesting lighting creates images that focus on fleeting moments, drawing attention to what is often overlooked in our peripheral vision. This style invites viewers to engage actively with the artwork, searching for meaning in the absence of clear subjects. Barth once said, “…to walk without destination and to see only to see,” which resonates deeply with her photography. It emphasizes the beauty in everyday experiences and encourages a mindful observation of our surroundings which I resonate with.

I chose Uta Barth because her abstract photography connects with my vision of showing the hidden beauty in everyday life moments that could easily slip away. Her use of blur and unusual framing makes viewers think more about what they see, which inspires me to capture moments that often gounnoticed. To adapt her style in my own photography, I will play with shallow depth of field and the focus on light and space.

Evaluating One of Uta Barth’s work:

l chose Uta Barth’s “Field #9” because it beautifully captures the idea of seeing without focusing on specific details. The way the image is blurred makes it feel like a moment in time, allowing viewers to connect with their own experiences and thoughts. What is unusual about this photograph is how it makes an ordinary scene look abstract and dreamlike. Instead of showing a clear subject, the blur creates a sense of mystery, making us wonder what we are actually looking at and encouraging us to think about it in our own perceptions and give our own interpretations. The use of light in “Field #9″ is important because it adds depth and atmosphere to the photograph. It creates a soft glow that enhances the feeling of movement and space, inviting viewers to feel the warmth and emotion behind the image. This focus on light helps us appreciate how it shapes our understanding of what we see.

The first picture is pretty straightforward, we can see the element of “lines” dividing the two sides into half. On the left, I took a photo of the selling’s light and the dark spaces beside it. I would say my image “worked out” compared with the drawing because it’s a pretty straightforward line divide method and because that I also  used black and white to capture these photos.

The second picture is taken in a hallway, of a sign. I intentionally blurred the background and used black and white lens to try to replicate the drawing on the right. We could see the element of shapes in the drawing. I would say I did a mediocre job, the image didn’t 100% work out because the focus is not blurred enough.

The third picture is taken outside the field, it is a picture of the grass outside. I figured that the grass’s Intensive pattern would resemble the drawing. We could see the elements of pattern and texture because there are a reoccurring pattern of dots in the grass, and the roughness of the texture. I would say that this worked out because the texture and patterns of the grass is very similar with the drawing.

The forth picture is a picture of the pipes on the ceiling. We could see elements of “pattern” and a bit of “lines” represented in the pictures. When I was looking for things that had patterns like the drawing on the right, I looked up and saw the three pipes and realized that the pipes resembled the drawing. However, I would say that the photo mildly worked because there are other structures beside the three pipes.

The fifth picture is taken outside on the field of two trees. We could see the clear element of “Line” in the picture. I would say it worked 75% because of the other structure and objects around the two trees, but overall it works out.

The sixth image is a picture of the back of a computer. We would see the element of “Shape”.  Because it is only one shape, I thought it would resemble the drawing on the right. Now looking back and seeing the picture again, I would still say that expect for the fact that the photo is not 100% a circle, it worked.

The seventh photo is a picture of the floor outside of the film studio. We could see elements of “Pattern”, “Line” and “Texture”. I would say that comparing the photo with the drawing, it worked, because the pattern of the lines are the same with the drawing and it fits the scene.

The eighth picture is a photo of the stone pavements outside the design center. I was walking outside looking for things that looked like the drawing, and the answer was on the ground all alone. We could see the element of “Pattern” represented in the photo. I’ll be harsh and say that this one did not completely work, because the drawing is a synchronized pattern of circles, and the photo is just not in a very consistent pattern.

The ninth photo is taken outside of the field, behind a football goal net. We could see clear elements of “Pattern” and “Line”.  The lines on the net creates a pattern that resembles the drawing on the right. I would say that this photo worked because the pattern of the football goal net matches the drawing and the background of the picture is also blurred which gives more resemblance.

Now, the tenth photo is one of my proudest pictures out of the twelve. It is a picture of an empty dark room with a beam of light escaping the barrier of the door. We could see elements of “Texture” and “Tone” in the picture. I would say that after adjusting with the camera for a long time and finding the perfect angle to capture the photo, it worked because of the similar cuts and lightings between the drawing.

The eleventh picture is also one of my proudest pictures out of the twelve. It is captured the same way as how number 10 is captured. We could again see elements of “Texture”, “Tone”, and now even “Focus”. As you can see this time, I also shifted the focus of the camera to the beam of light in front to create a dynamic feeling in the picture, making the end of the beam of light feel mysterious and a sense of into the unknown… Moreover, I would say this worked because it matches the drawing’s cuts and tone distributions.

And finally, the twelfth picture is also one of my proudest pictures out of the twelve (saving the best three for last). I was looking all over the school to find number 12’s bizarre patterns, and when I looked down, I saw the cafeteria’s wooden floor and suddenly got inspired by its unique pattern. In this photo, we could see elements of “Line” and “Pattern”. I think that the patterns of the lines in number 12 is pretty hard to replicate, so I would say that my photo worked because It was pretty close with the drawing and the idea was pretty creative .

Edward Weston might have been interested in capturing the natural beauty, symbolism of the shell, and the abstract forms of the shell in the photo. For natural beauty, I believe that he aimed to show the elegant forms and textures of the shell, highlighting its organic beauty. For symbolism of the shell, Weston perhaps saw the shell as a symbol of life and existence, blending physical beauty with deeper meanings. Finally, I think Weston most likely focused on the abstract qualities of the shell, using its shapes and lines to create a visually striking art work.

If I was Edward Weston, I would title this photograph “Nature’s Elegance.” Because this title reflects to the graceful and timeless beauty of the shell, emphasizing its natural artistry. I also believe that the title “Nature’s Elegance” was what Weston was trying to showcase when he took “Shell” which connects Weston and the photography.

The Use of Visual Elements in “Shell”:

Line: The smooth curves of the shell creates a flowing lines that guide the viewer’s eye around the image.

Shape: The shell’s unique shape combines both organic and geometric forms, making it visually fascinating.

Pattern: The elegant patterns on the shell’s surface add depth and complexity to the photograph.

Texture: Weston’s lighting enhances the shell’s texture, making it appear tactile and inviting to touch.

Tone: The photograph features a rich tone range, from deep black to bright whites, which emphasizes the shell’s 3D-ness.

Focus: The sharp focus on the shell isolates it from any background distractions, allowing the viewers to appreciate its details 100%.

Citation:

Formal Elements:

The phrase “Formal Elements” in photography means the basic parts that create the visual structure of a picture. These elements are important for photographers to know and use when taking photos because they can greatly improve how a photograph look and the meaning behind it.

Line

Lines are important in photography because they can lead the viewer’s eyes through the picture. They can be straight or curved. For example, a road or a river can create a line that draws your attention to a specific spot in the photo. Lines can also show movement or direction, making the image more dynamic and lively.

Shape

Shape refers to the outline of an object in a photo. Shapes can be simple like circles and squares or more complex like the shape of a tree or a person. When photographers highlight shapes, they help make subjects stand out and become the main focus of the image.

Pattern

Patterns are created when shapes or colors repeat in a photograph. You might see patterns in nature, like the way leaves grow on a tree, or in man-made objects, like how the bricks repeats Patterns in buildings. Patterns can make photos interesting and fun to look at because they create rhythm and balance.

Texture

Texture is about how things feel or look like they would feel if you could touch them. For example, rough tree bark or smooth water can create different textures in a photo. Photographers use lighting to make textures come out, helping viewers feel more connected to what they see in the image.

Tone

Tone refers to the lightness or darkness of colors in a photograph. It helps create depth and contrast between different parts of the image. In black-and-white photos, tone becomes especially important because it guides the viewer’s attention without color distractions. A good range of tones can make an image look more dramatic and interesting.

Focus

Focus determines which parts of a photo are sharp and clear while others may be blurry. This helps direct the viewer’s attention to what is most important in the image. A well-focused subject stands out against a softer background, making it easier for viewers to understand what the photographer wants them to notice.

Can an image show just one element at a time?

Yes, an image can show just one element at a time. Close-up shots, such as a photo of a flower, can highlight only the flower itself while excluding everything else around it. Isolated objects, like a painting of a single apple on a plain background, draws the viewer’s attention to that specific item.

Citation:

Abstract photography is when the common accepted subject in the photo isn’t the most interesting element, and it is what is beside or aside the subject that is actually the main focus of expression. Abstract photography breaks the conventional ways of expression and goes for a more “abstract” or “wrong” approach.