FULL:

 

 

Yellow:

I’ve chosen these 20 photos with reasons such as waiving out repeated (almost same) photographs, bad angles, or bad focuses. These photographs had a basic to good center on the actual character that is placed in the middle.

 

 

Green:

These photos were then filtered out from the yellows as they often fit better with my intent (Expression in Focus for Environment), as it includes several different backgrounds (with different environments) and how the character fits in or responds to that particular environment. In addition, these selections focus on the more interesting expressions and interactions with the environment. By narrowing it down, I emphasized the stronger examples of expression, creating a clear visual story that makes viewers think about how people relate to their environments.

 

 

Red:

FINAL PRESENTING PHOTOGRAPHS:

Reaching Up

 

Alone Above

 

Stillness

All three of the chosen photos aligned with my original intent of using the environment to explore identity and self-expression. Every picture shows a subject in a different setting, whether it be one that is playful, thoughtful, or lonely, allowing the surroundings to influence the subject’s body language and emotions.

 

The first photo (Andy in the playground) shows energy, the aim of the movement, and curiosity, emphasizing self-expression through body language in a playful urban space.

The second photo (Andy lying against the wall) expresses a more quiet form of identity by allowing the audience to think about the subject’s thoughts.

The third photo (Rain looking up at the sky) suggests a feeling of separation or power, tying personal identity to scale and setting.

Each photograph effectively integrates expression and environment by highlighting emotion or personality through structure and contrast.

 

My original intent still applies: to explore identity and self-expression by focusing on how people interact with different environments, and how emotions and body language convey deeper meaning. If anything, I would add that the contrast between different styles of movement and stillness also became a theme in my final work.

I experimented with angles (shooting from below, tilting, and above), black and white contrast to focus on emotion, and using location as part of the subject’s identity. I built on earlier portrait work by giving more attention to setting and composition, not just facial expression. I also moved away from eye contact directly to the camera and tried more indirect expressions to tell the story differently.

 

PRESENTATION STYLE:
To present, these could be on separate sheets or three together as a triptych as they seemed to be different in viewpoints but hiddenly connected under the scenes by themes and messages.

The idea behind this series is to show how identity and emotion can be expressed through body language and setting—sometimes even more than through facial expressions. Each photo presents a moment where the subject’s position, posture, or placement in the environment reveals a part of who they are or what they might be feeling.

In earlier experiments, I focused on portraiture that relied heavily on facial expression. This final series brings together the best parts of those trials—especially my work with angles, lighting, and framing—and combines them with more dynamic compositions. I became more confident using environments to tell part of the story, which makes these images stronger and more layered than my previous work.

To sum up, the photographs explore how identity and emotion can be expressed through body language and setting, often beyond facial expressions. The series combines the best elements of previous portraiture experiments, such as angles and framing, with more dynamic compositions. Compared to earlier work, these images are stronger and more built because environments are used to tell part of the story.

 

I was inspired by Yousuf Karsh for his powerful use of contrast and how he captures expression with dramatic lighting and thoughtful positioning. Even though Karsh focused more on studio photographs, his ability to draw out character from posture and detail influenced how I composed my subjects—especially in the photo “Stillness”.

I was also influenced by Steve McCurry, who often places people in environments that tell you more about their story. That connection between person and place is something I aimed to echo in my photo “Alone Above”, where the setting is just as important as the subject.

My final presentation’s composition, tone, and meaning were influenced by both artists.

 

CRITIQUES:

Composition:

Overall, the compositions are strong, but some elements could be improved. In the playground image, the bars frame the subject well, but the angle might feel slightly cluttered. The rooftop shot has great use of negative space, but the subject is a bit too small—some viewers might miss the emotional connection.

In the second image (the one with the subject lying against the wall), the eyes are immediately drawn to the face, which is good. In the playground photo, the eye moves around more due to the many lines and tilted angles—it’s a bit busy. The rooftop shot draws the eye to the sky first, then down to the figure.

Distractions:

Yes, in the first image, the busy structure and shadows create a slightly chaotic feel that might distract from the subject. The second image has a clean background, which keeps the focus. The third image could benefit from the subject being a bit more prominent—otherwise, the architectural elements may overpower them.

Story:

The photos tell a subtle story about identity and isolation in different environments. There’s a clear attempt to show how people blend into or stand out from their surroundings. However, more direct emotion or interaction could make the message clearer in some shots.

Emotional Impact:

Some images are stronger than others. Audiences could possibly feel that Stillness captures a sense of vulnerability or deep thought. Alone Above felt distant or isolated, which worked well with the theme. Reaching Up emotional tone is less clear—feedback mentioned it felt more observational than expressive.

Of all of Karsh’s artworks, the Albert Einstein photograph (1948) is among my favorite of his.

CONTENT

Einstein is shown at a calm and quiet moment. His hands are folded and resting forward as he sits. His famously unmanageable white hair and wool sweater add to his identity of being modest and friendliness. The scene is set with a neutral, dark background that draws all eyes to Einstein. His posture is relaxed but respectable, and his expression conveys wisdom and deep thought. This picture captures the other side of a man who is frequently seen as a representation of intelligence.

 

STYLE & GENRE

The photograph has a lot of contrast and is in black and white. Texture is emphasized by Karsh’s use of color, particularly in Einstein’s face and sweater. Soft lighting and a sense of stillness characterize the timeless and classic style. Because of its natural, human tone, it avoids rigidity while leaning toward traditional formal portraiture.

 

PHOTOGRAPHIC ATTRIBUTES

Karsh shoots from eye level, creating a sense of equality and closeness between the viewer and Einstein. Einstein’s face and hands, which are the brightest areas of the picture, are softly lighted, grabbing the viewer’s attention right away. The background disappears, keeping the subject in focus. Particularly in Einstein’s sweater and hair, there are detailed textures and gentle shadows. The viewer’s attention is drawn to emotion and expression by the lines’ simplicity and absence of distractions or the presence of other mixed elements.

 

MEANING/INTENT

The atmosphere is warm and reflective. Karsh aimed to portray Einstein as a kind person rather than as a distant genius. That objective is supported by minimal styling, posture, and lighting. I’m motivated by this picture to emphasize the truth over perfection in my own portraits by using lighting and expression to highlight emotional depth.

Yousuf Karsh: Name of my chosen artist as my inspiration. The goal of Yousuf Karsh’s artwork is to capture the personality and soul of his subjects, who often include famous people like Audrey Hepburn, Winston Churchill, and Albert Einstein. He was interested in expressing something deeper than appearances, such as strength, danger, confidence, or wisdom. Karsh created his portraits during the 20th century, a period marked by significant world events, and they came to represent humanity, power, and influence.

Karsh is known for his dramatic and bright style. He frequently created the face using a single light source, producing striking light-shadow contrasts (chiaroscuro effect). His compositions are typically straightforward and organized; subjects are typically posed, facing the camera or slightly off of it, some making intense eye contact, and intending small body movements. He preferred white and neutral backgrounds that let the subject take center stage or slightly off from the middle but still portray it as the focused object.

I chose Karsh as my artist because his portraits are bold and seem deep. They inspire me to look into the ways that posture and expression may express strong hidden messages and how light and shadow can influence mood. In my own work, I want to try out stilled poses, brightly colored lighting, and simple backgrounds. In my portraits, I want to explore his ability to get a personal response in finding the extraordinary in the ordinary.

 

Four Images:

The first image is the famous Winston Churchill, taken in 1941.

• Bold and sharp lighting, contrast in the person’s upper body
• Posture indicates power and resilience by portraying a serious mood.

 

The second image is Albert Einstein in 1948.

• Soft lighting; emphasizing the subject’s age and wisdom
• Hands folding calmly
• Background fades to black
• Unlike Churchill, Einstein’s portrait feels quiet. It shows Karsh’s ability to adapt lighting and tone to match the subject’s personality.

 

Third photo: Ernest Hemingway, 1957

• Contrasted lights; displaying his rugged personality
• Closed-up crop, indicating details and the focus point
• Looking away from the camera (maybe a technique I want to try)
• This portrait shows how Karsh used light, texture, and body language to suggest emotion without needing a dramatic pose.

 

Fourth photo: Georgia O’Keeffe, 1956

• Soft light around her face, coming from the window
• Partially in black (bottom half of the photo), and partially whiter (top half)
• Expression is neutral, calm, and instant
• This portrait includes techniques in contrast and form in a way that makes the subject feel timeless, almost sculptural—perfect for an artist like O’Keeffe.

The first key influence I looked at is Steve McCurry, particularly his famous “Afghan Girl”. His use of natural lighting and eye contact to communicate deep feelings motivates me to concentrate on creating close bonds between my subjects and the audience.

“Afghan Girl” by Steve McCurry

 

The next author who influenced me is Yousuf Karsh, who’s famous for capturing dramatic light from simple black-and-white settings, as well as the details of the characters portraying a message to the audiences. His iconic images of Albert Einstein and Winston Churchill demonstrate how expression and body language can reveal personality, which is something I want to explore in my own work.

 

Albert Einstein, and “The Roaring Lion”, by Yousuf Karsh

 

In terms of style, I’m drawn to environmental portraiture, where the background offers information about the subject’s identity or lifestyle. I hope to be able to create deeper relationships between my subjects and their environment with the help of the appeals of this genre.

 

Some examples of environmental portraitures

 

By combining these inspirations, I hope to create portraits that feel authentic, emotionally engaging, and visually impactful. Also, I hope these messages can be communicated and shared with the audiences.

For my photographic exploration, I want to focus on the idea of portraiture in urban identity, as well as how the big atmosphere of the art environments shapes expressions for individuals there. In particular, I want to find out how organized architecture and freeform street art differ in how they portray individuals to upgrade art productions.

Architecture often represents the order in patterns, strength, and stability, while street art symbolizes limit-freeness; creativity; and individuality. I want to show how these opposing forces live in urban settings by combining aspects of each in my artwork showcasing different people. The conflict between control and freedom, uniformity and individuality, is shown in this contrast.

In conclusion, I hope to inspire viewers to think about how urban settings shape the identities of people through my photographs. For instance, whereas the urban atmosphere represents institutions or power, the street atmosphere can provide a voice to underrepresented communities. I aim to illustrate the lively relationship between color, texture, and shape and also how these components represent the cultural values of people in modern society.

Definition:

A portrait is more than just a photograph of a person—it is a representation of art that captures identity, presence, and the subject’s emotions. Portraiture is a powerful kind of visual storytelling, whether it is done with a close-up of a face, an abstract composition, or even possessions that represent unique beings.

 

Essence:

A portrait usually centers on a single person, emphasizing their surroundings, facial emotions, or physical characteristics. Yousuf Karsh’s dramatic black-and-white pictures of famous people highlight power and personality through light and shadow, which are classic examples. Similar to this, Steve McCurry’s well-known Afghan Girl (1984) demonstrates how an outstanding picture creates an intimate personal connection by capturing unfiltered emotion through the girl’s intense vision to the front.

 

 

 

 

 

“Einstein Thinking” by Yousuf Karsh, 1947                                   “Afghan Girl” by Steve McCurry, 1984

 

Selfie vs portraiture: considered?

Although they can be categorized as portraits, selfies often lack the thoughtful narrative and aesthetic considerations established in traditional portrait photography. Selfies are often more casual and spontaneous, missing the depth of carefully crafted photographs.

 

What makes a good portrait?

Whether it’s the subject’s face, hands, or posture, a strong portrait should have a unique focus that communicates a message or a feeling with the majority focus on the person centered. In order to highlight the subject’s personality, portraits also depend on well-considered lighting, background, and framework.

 

Abstract in portraits?

Portraiture isn’t limited to the basic representation of a face. In Irving Penn’s hand studies, a close-up of a hand can be as symbolic and serve as the primary subject in a portrait. Even a torn or faded image may preserve the core of a person, as seen in Francesca Woodman’s invisible self-portraits, where motion blur and distortion create a ghostly presence.

A portrait featuring only hands by Irving Penn                   “Finding Francesca”, Francesca Woodman