FULL:

Yellow:

Analysis: I’ve selected these 20 photos for my yellow set because I feel like these are the shots that are able to be called “photographs”, as some of my other shots include inaccurate zoomings, weird angles, and some doesn’t include any backgrounds resulting them to be not able to be defined as “street”, instead maybe only “portraits”.

 

Green:

 

Analysis: The transition between yellow to green is powered by reasons such as more logical angles, more visible and detailed facial expressions, and more inclusion in backgrounds. Those were able to fit my intent as I was intending to show the people within my works and how they respond to the background and a larger theme.

 

Red:

Analysis: I eventually chose these to be with red marks because they demonstrate Bruce Gilden’s style, which is close-up and emotional. What was most striking were the sharp angles and facial details. Next time, I’ll improve framing and try using flash to bring more contrast and intensity to the shots, aiming for even bolder, naturalistic portraits. Also, maybe I should be braver and pop up to more random people on the street.

ONE PHOTO EVALUATION:
The bottom left image captures a street-style portrait with a direct flash look and tight framing recalling of Bruce Gilden’s work. A sense of freedom, curiosity, and authenticity can be seen by the subject’s expression and slightly opened lips. The photo locates in a particular urban setting due to the angle and the modern architectural background, which also provide visual interest and context. However, the image could be improved by bringing the subject even closer to the lens to emphasize facial texture and detail, a signature trait in Gilden’s portraits. Experimenting with flash and even getting closer in next shots could increase the raw impact and increase the action and feeling it wants to convey.

 

 

 

Street Final Presenting Photos:

School

 

Glass

 

Smile

Street: Final Evaluation

All three of the chosen photos align with my original intent of using street environments to explore “people of China” with identity, emotions, and self-expression. Every picture shows a subject in a unique public setting and emotion, captured in a moment that is personal and emotional, allowing the surrounding street landscape to shape the mood and meaning.

The first photo, “School”, captures a sad feeling as the subject’s face stretches upward toward the sky. The architectural lines (school buildings) on his right frame the action and give the body language a sense of purpose and a melancholic feeling of school. Eventually, it suggests no ambition, energy, or even a little sense of despair and disappointment.

The second photo, “Glass”, gives a sense of numbness and curiosity as it shows the subject in front of an intricate dome of intersecting lines and curves. Their upright posture and gaze upward give a sense of scale and perhaps disconnection, as if the subject is lost in thought or trying to connect with something bigger than themselves. Ultimately, the environment echoes the themes of contemplation or isolation, giving the subject a chance to inquire as they seemed to be primarily lost.

The third photo, “Smile”, presents a more extraverted moment. The subject is situated in front of a plain tree, in a position that feels both delighted and playful. The hybrid background with nature and architecture allows the viewer to have a diversified viewpoint on stillness and expression, making space for positive and charming moments.

 

Each image effectively uses the urban environment as if it becomes a character in the photo. Emotion and identity are expressed through how the subject interacts with lines, shapes, space, and movement.

My original intent remains: to explore identity and self-expression by showing how people in China interact with public space. In this final series, I discovered that movement versus stillness also became a subtle theme—how posture and emotions reflect their states.

I experimented with shooting from different angles (high, low, tilted, even though my presenting photos’ angles are similar) and used black-and-white contrast to strip away distractions and focus on the subject’s form and feeling. Compared to my earlier portraiture work, I focused more on body language and positioning than facial expression. I also stepped back from the subject more often, letting space and composition carry more emotional weight.

 

 

Presentation Style:
These photos could be shown as a triptych, side by side, to show a quiet progression—from stillness and reflection to movement and energy. They are connected by their contrast of posture and the way architecture frames the subject’s identity. Another presentation idea would be printing them large, each on separate boards, allowing the viewer to stand back and feel the environment around each subject and gain the emotional conveys individually.

The core of the project is the idea that identity and emotion can be conveyed through how someone is placed in their surroundings, even without direct eye contact or overt expression(which was probably also a main focus point for my artist, Bruce Gilden). Again, this series expands on my earlier portraiture by including more complex environments and layered compositions. I’ve become more confident in using space, architectural framing, and posture to tell a story or an emotion.

As I mentioned, I was inspired by Bruce Gilden for his way of embedding people exaggeratedly into street backgrounds. I tried to channel his sense of control into chaotic city spaces. Gilden’s approach to the environment strongly influenced how I composed “Glass,” where the background becomes part of the story that helps convey a feeling, or again, an emotion.

 

 

CRITIQUES:

• Composition:
  “School” uses leading lines effectively, but could be too busy—some viewers might find the eye bouncing around. “Glass” has a powerful architectural backdrop but might benefit from placing the subject slightly more prominently in the frame. “Smile” has strong simplicity and is well-composed; it centers the subject cleanly and leads the eye.

• Distractions:
  In the first image, the architectural elements are bold and striking but may pull some focus from the subject. In the second image, the glass dome is beautiful but almost too dominant—some viewers may struggle to emotionally connect unless they focus on the subject’s pose. The third image avoids this and keeps focus tight.

• Story:
  The series hints at themes of growth, reflection, and isolation, each image showing how people “fit” (or don’t fit) into the city around them. More expression or gesture in the hands or face could strengthen the message further.

• Emotional Impact:
  “School” may be the most emotionally direct, as most of my audiences share the same role as the character (student who studies in school). “Glass” is inquisitive and thoughtful, though more distant. “Smile” shows ambition but is more interpretive.

Title of my project: “Everyday faces: Life in China”

The concept/story I want to tell with my photographs: I want to capture the everyday moments, emotions, and rhythms of ordinary people living in China. I want to use my photography to capture the traditions, everyday life, and understated beauty of both public and private areas, with a particular emphasis on the Hutongs, street markets, and community life.

I want my audience to feel a deep connection to the humanity and individuality of the people I photograph. I hope they notice the enduring traditions as well as the subtle changes taking place in these communities. I want viewers to be curious, respectful, and sympathetic to the individuals and stories portrayed in each picture.

I will get inspiration and develop my ideas by looking for photographs that:
I will get inspiration and develop my ideas by looking for photographs that capture open moments, authentic gestures, and emotional connections. I’ll look at pictures that use framing, reflections, strong angles for energy, and contrasts (old versus new) as techniques. Images that seem spontaneous but are thoughtfully composed, adding layers of meaning to ordinary scenes, particularly appeal to me.

 

I will be inspired by Bruce Gilden, a street photographer best known for his large, close-up portraits of people in urban environments. Without glorifying or softening reality, his work frequently captures the direct individuality of his subjects in a straightforward way.
He creates images that are almost confrontational, but full of character and life, through applying techniques like getting very close to his subjects, using flash even during the day, and capturing strong facial expressions.

I will be motivated to attempt photographing Chinese people in a way that highlights their true emotions, textures, and personalities, rather than just exaggerated or tourist-friendly scenes, by this honest style.

Some examples of his work:

 

 

Analyze:

This is one of Bruce Gilden’s most striking photographs, featuring a man staring directly into the camera, his intense pale blue eyes. His skin is rough, dirty, and scarred, and he’s missing several teeth — but that’s exactly what makes the image so powerful. Gilden’s signature use of harsh flash brings out every detail in the man’s face, from texture, expression, to hidden emotions behind, forcing the viewer into an uncomfortably close encounter. The framing is extremely tight, cutting out the background and placing full focus on the subject. There’s just the raw, unfiltered presence of a real person, and this photo simply presents someone as they are, in all their intensity. The direct eye contact creates a sense of confrontation, while also inviting a deeper emotional response. It perfectly captures the gritty, human-focused energy that I want to bring into my own work when I explore the lives and faces of people in China.

Here are the 6 concepts I’m going to link some of my photography findings with:

• The Decisive Moment: Capturing Momentary Life in the HutongsIdea: Take advantage of unplanned, unique moments that capture the life of everyday existence.​

  Example: A candid shot of a child playing in a narrow alleyway, with his parent (aka a “Hutong” of Beijing), capturing the joy and freedom of youth in the Hutongs, as well as displaying an interaction between him and more aged person.

  Why this picture works: It captures the “decisive moment,” a moment of real emotion and movement that reveals more about life in these historic neighborhoods

 

• Get Really Close-An Arm’s Length Away: Intimacy in Tight Spaces

  Idea: Highlight connections between people and the closeness of community life by using close-up shots.

  Example: A photograph capturing elderly residents sitting just outside their doorways, offering a glimpse into their daily routine.

  Why it works: Viewers are drawn into the subject’s world by the shot’s close proximity, which highlights the communal and personal aspects of Hutong life.

  

• Focus on the Background → Practical Storytelling Idea: To give my subject more depth, make use of the Hutong environment’s rich textures and details. ​Example: A portrait of residents with the detailed brickwork and traditional decorations of their home in the background. ​

  Why it works: By adding context, the background elements enhance the story and draw attention to the setting’s cultural significance.

• Composition: Managing ChaosIdea: Use compositional strategies to give busy street scenes focus and order.​

  Example: An example would be a carefully framed image of a vendor occupying one-third of the frame, with the bustling market behind them.​

  Why it works: By directing the viewer’s gaze, the composition highlights the subject while preserving the dynamic surroundings.

 

• Perspective and Angles-Dramatizing Space Idea: Experiment with angles to transform ordinary scenes into compelling images. ​Example: A low-angle shot of an alley, making the walls appear towering and the space more dramatic. ​

  Why it works: This perspective adds a sense of elegance and depth, highlighting the unique architecture of the Hutongs.

 

• Tension-Contrasts Between Old and New Idea: Capture the contrast of traditional Hutong life with modern elements. ​Example: A photograph showing a traditional Hutong alley with modern houses looming in the background. ​

  Why it works: The difference highlights Beijing’s quick development and the tension between embracing modernity and conserving history. ​

 

 

GENERAL STATEMENT: I will focus on the statement of “People of China” and capture different types of people in different conditions, capturing them in any moment, and finally indicating and responding back to the theme.

Definition of Street Photography:

Street photography is a genre of photography that captures everyday life and public spaces in an unposed and subtle way (which can establish and utilize many different techniques). It typically focuses on people on the streets, urban environments, and spontaneous (or perfect) moments (one of the techniques) that reveal stories, emotions, or interesting visuals. In order to capture the culture and rhythm of the streets, street photography frequently draws attention to the drama, humor, or beauty of everyday events.

Key features include:

• Candidness – people are unaware that they’re being captured and put into the photographer’s works
• Urban settings – shot in cities or busy public areas
• Storytelling – each photograph can often convey a story or an important memory/key idea that the photographer wants the audience to learn
• Realism – emphasizes authenticity/realness than over-exaggerated/repaired products