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for my final images, I’m trying to show abstraction in everyday life. It’s about finding those weird or interesting shapes, patterns, and textures that you usually don’t notice. I still want it to feel real, but more focused on how things look than what they mean including an eyecatching subject to show attract audience.

the first photo: This one is of people on a ladder, but really it’s about the crazy shadows it casts. The shadows make the shapes look weird and cool. I was trying to copy how Daido Moriyama uses light and shadow to make things feel abstract and not so straightforward.

the second photo: It’s a person leaning against a wall with a broom. The wall has all these lines and patterns, and the broom adds another texture. It’s a quiet moment, but it shows how even simple things can be interesting if you look at their shapes and forms. Moriyama is good at finding those kinds of abstract moments in cities.

the third photo: This is a parent and child hugging in front of chairs. It’s supposed to show love, but the chairs have all these patterns and colors that are kind of distracting. It makes the whole scene feel a little off-kilter. Moriyama does this thing where he finds beauty in normal or even weird places, and I wanted to try that too.

These images work because they focus on shape and form, not just the subject. I didn’t want to set anything up; I just wanted to capture what was already happening. Using black and white helps to emphasize the abstract elements.

Daido Moriyama Connection

Daido Moriyama is a big inspiration for this project. He’s famous for his street photography that’s both rough and beautiful, but also kind of abstract. Here’s how my photos connect to his work:

• Black and White: Like Moriyama, I used black and white to strip away the color and focus on the shapes and textures.

• Everyday Life: My photos focus on normal, everyday moments, but I’m looking for the abstract elements in them, just like Moriyama does.

• Composition: I tried to use light and shadows to make the photos more dynamic and less realistic, like he does.

To get these photos, I played around with different angles and perspectives. It helped me find the abstract shapes in everyday scenes. I also had to practice just watching and waiting for the right moment to take a photo without making people feel like they were being watched. Before this, I used to set up my photos more, but this time I wanted to be more spontaneous, kind of like Moriyama.

reflection +changes for next time

• Next time, to achieve more abstract photos like the ones shown, I will focus on isolating interesting shapes, textures, and shadows by getting closer to subjects and experimenting with unusual angles, while also considering post-processing techniques like cropping and adjusting contrast to further decontextualize the images and invite deeper interpretation.

The title of this project is “Crossroads.” The societal/cultural issue I want to explore with my photographs is the experience of mixed-race individuals navigating their identity and belonging in a world often defined by rigid categories. I want my audience to feel a sense of empathy, understanding, and recognition of the complexities and richness of mixed-race identities, challenging preconceived notions about race and belonging. I will get inspiration and develop my ideas by looking for photographs that authentically portray the diverse experiences of mixed-race individuals, celebrating their unique perspectives and challenging the limitations of singular cultural narratives.

• Photographers:

• • Rainy Miller: Explores themes of identity, race, and representation through portraiture. They use color and composition to highlight the complexities of self-perception.

  • Kaylan Mahomes: Focuses on capturing intimate portraits of people of color.

• Photography Genres:

  • Portraiture: To capture individual expressions and the unique features that represent their mixed heritage.

  • Conceptual Photography: To visually represent abstract concepts like belonging, alienation, and hybridity.

  • Still Life: To combine cultural objects and symbols representing the different heritages within their identity.

My photographs will explore the multifaceted identities of mixed-race individuals, focusing on the feeling of being “in-between” cultures. I aim to capture the nuances of navigating multiple heritages and the challenges of societal expectations that often demand categorization. I want to highlight the beauty and complexity of their unique existence, while also acknowledging the struggles of feeling like they don’t fully belong to any single group. The images will include elements from each represented culture, woven together to create a visual representation of their blended identity.

What makes a particular photograph a portrait?

• A photograph is a portrait if it focuses on showing the person’s face and personality. It usually captures their expressions and features to convey who they are.

Are Selfies Portraits?

• selfies can be portraits because they show the person’s face. However, they are often more casual and spontaneous than traditional portraits.

What should or shouldn’t be included within a portrait?

• Portraits focus on the face, but can also include the body or background to provide more context about the person. What’s included depends on the photographer’s style.

What makes a “good portrait?”

• A good portrait captures the person’s personality and essence. It uses effective lighting, composition, and timing to convey a meaningful moment.

Can a portrait consist of a small detail only, such as a close-up of a hand?

• Yes, a portrait can focus on a small detail like a hand if it tells something significant about the person.

When does a more abstracted representation cease to become a portrait – for example a blurred figure, or a photograph of a person that has been torn, ripped or faded?

• A representation stops being a portrait when it becomes too abstract or distorted to clearly show the person’s identity or essence.

Is it possible to represent a person photographically without them being present in the image – for example, through a Still-life, an arrangement of inanimate objects? And if so, can this continue to be called a portrait?

• Yes, you can represent someone through objects that reflect their personality or life. However, this might not be called a traditional portrait; it’s more symbolic.

Does a portrait have to be a single photograph? How about a sequence of images?

• No, a portrait doesn’t have to be one photo. A series of images can also be a portrait if it collectively tells the person’s story or captures their essence.