MindMap

Veerle Symoens

Veerle Symoens is a versatile artist who creates unique collages, mixed media art, and paintings. Her work is characterized by feminine energy, a love for colors, and intense compositions. She draws inspiration from nature and travels, creating colorful and energetic pieces. Veerle’s art is exhibited and sold worldwide, and she has also worked as a content creator in PR, journalism, and advertising1.

Your Photography Project: “Chartists of Identity”

My “Chartists of Identity” project is inspired by Veerle Symoens’ collage style, particularly her “Face the Feminine Collage.” The project involves taking “mugshot” photos of models and interviewing them to understand what defines their identities. I will then edit these photos to incorporate elements that reflect their personal interests and passions onto their faces. For example, if a model enjoys reading, nature, and traveling, these themes might be visually integrated into their portrait.

Societal Issue and Message

The project aims to highlight the issue of people losing touch with their true selves by conforming to societal norms. By visually representing what makes each person unique, I encourage viewers to reflect on whether they live authentically or follow societal expectations. The goal is to inspire self-reflection and a desire to reconnect with one’s true identity.

Inspiration and Development

I can explore photographs that incorporate edited elements into portraits to develop my ideas. Techniques such as creative editing, color grading, and texture overlays can enhance my images and convey the themes I want to emphasize. Looking at conceptual photography projects, like those by Karen Jerzyk or Laura Makabresku, might also provide inspiration for storytelling through images

Understanding Portraits in Photography

Portraits are a fundamental genre in photography, capturing the essence, personality, and character of a subject. This genre has evolved significantly over time, incorporating various styles and techniques to convey the depth and complexity of human subjects.

What Makes a Photograph a Portrait?

A portrait is defined by its focus on capturing the identity, personality, and emotions of the subject. It often involves using flattering backgrounds, lighting and poses to enhance the subject’s appearance and convey their character. For example, Annie Leibovitz is renowned for her iconic portraits that not only capture the essence of her subjects but also integrate creative elements into the composition, such as in her famous photograph of John Lennon and Yoko Ono.

Are Selfies Portraits?

While selfies can be considered a form of self-portraiture, they differ from traditional portraits in their intent and execution. Selfies are often spontaneous and self-promotional, whereas portraits are typically more intentional and artistic. Deana Lawson emphasizes that a self-portrait should consider the “interiority” of the artist, making it more than just a snapshot.

What Should or Shouldn’t Be Included in a Portrait?

Portraits can include a variety of elements to enhance the subject’s character, such as background, lighting, and props. However, the focus should always remain on the subject. Including too many distracting elements can detract from the portrait’s effectiveness. For instance, Steve McCurry’s portraits often use natural settings to emphasize the subject’s authenticity, as seen in his iconic “Afghan Girl” photograph.

What Makes a Good Portrait?

A good portrait typically includes several key elements: location, lighting, composition, emotion, and technical settings. These elements work together to draw attention to the subject and evoke a response from the viewer. Sally Mann’s portraits, such as those in her “Immediate Family” series, are celebrated for their emotional depth and intimacy.

Can a Portrait Consist of a Small Detail Only?

Yes, a portrait can focus on a small detail, such as a close-up of a hand, if it conveys something meaningful about the subject. This approach can highlight specific characteristics or emotions, making the portrait more intimate and revealing. For example, a close-up of a hand might reveal scars, age, or occupation, telling a story about the person without showing their face.

When Does a Representation Cease to Be a Portrait?

A representation ceases to be a portrait when it no longer captures the essence or character of the subject. Abstracted representations, such as blurred figures or torn photographs, can still be portraits if they convey something meaningful about the subject. However, if the subject becomes unrecognizable or the image lacks emotional resonance, it may no longer qualify as a portrait.

Representing a Person Without Their Presence

It is possible to represent a person photographically without their physical presence, such as through a still life arrangement of objects that hold personal significance. This can be considered a form of portrait if it effectively conveys the subject’s personality or essence. For instance, a photograph of a person’s workspace or personal belongings can reveal a lot about their character and interests.

Can a Portrait Be a Sequence of Images?

Yes, a portrait can be a sequence of images. This approach allows for a more dynamic and nuanced representation of the subject, capturing different facets of their personality or emotions over time. Sequences can also tell a story about the subject’s life or experiences, making the portrait more engaging and comprehensive.

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My main goal in my triptych is to capture the contrast in people’s perspectives of their lives. What motivated me to capture this goal is the question I would ask myself daily: am I living or surviving? The phrase “Am I living or am I surviving?” reflects a deeper inquiry into the quality of one’s life. It contrasts two states of existence: surviving and living. Surviving refers to the act of staying alive, often under challenging circumstances. It involves meeting basic needs such as food, shelter, and safety. It is a reactive state focused on avoiding harm and ensuring survival. People in survival mode often feel a lack of joy, inspiration, or meaningful connections. Surviving might involve coping with a life-threatening illness, dealing with financial struggles, or living through a natural disaster.
On the other hand, Living means experiencing life to its fullest potential. It involves not just existing but thriving, pursuing passions, building meaningful relationships, and finding purpose and fulfillment. It is a state where one actively engages with life, takes risks and seeks happiness and personal growth. Living might involve traveling, learning new skills, forming deep connections with others, pursuing one’s dreams, or even having a relaxing time in the day. Photographer ÖMER ERDOĞAN gave me inspiration on how to capture these moments with a click of a button.

The title of my triptych, “Living or Surviving,” is deeply personal and inspired by a profound question that I reflect on daily. This observation has led me to develop a unique perspective on what it means to live versus merely survive. The triptych is a visual representation of this concept, capturing moments that embody the essence of living. The photographs in the triptych aim to portray individuals who are not just going through the motions of daily life but are actively engaging with their surroundings. They find joy in simple things, cultivate meaningful connections with loved ones and friends, and take time to appreciate the beauty of each new day. The images portray scenes of relaxation and enjoyment, where people are fully present in the moment. These moments are not just about passing time; they are about savoring life’s precious moments and finding happiness in everyday experiences. Through this triptych, I want to convey that living is not just about existing; it’s about embracing life with purpose, passion, and gratitude. It’s about recognizing the value of each day and making the most of it by connecting with others and finding joy in the world around us. The photographs serve as a reminder to appreciate the beauty in the mundane and strive for a life rich in experiences, relationships, and personal fulfillment. Ultimately, the triptych invites one to reflect on one’s own life and ask: “Am I living or am I surviving?” It encourages viewers to consider what truly matters to them and how to cultivate a more vibrant, meaningful existence.

Upon reflection, I believe one of the significant strengths of my triptych is how effectively it aligns with the overarching concept of “Living or Surviving.” The incorporation of techniques like Intentional Camera Movement and creative editing added a layer of abstraction. However, I recognize a weakness in that the final result leans more towards street photography than the abstract theme I intended. Despite the presence of abstract elements, the core of the images captures real-life moments, which is more characteristic of street photography.

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As the last three photos might not have a lot in common from the outside of the photo and how the photo just seems, all three photos have the same deeper side of meaning. All three photos symbolize the relaxation of people in times like this, where everything is more digital, causing everything to be more fast-paced; people now are more focused on getting their work done and finishing their jobs. Are you living, or are you surviving? Is the question main question I ask myself daily. Am I going to be grateful for every day of my life and LIVE through it, or am I going to focus on work to be more successful to SURVIVE? These three photos answer the question by contrasting people in 798 rushing from one destination to another rather than slowing down from their daily fast-paced life to enjoy the moment and truly live through the moment.

The title of this project will be “Movement of Relaxation”; the theme I want to explore will be the art of movement and capturing the movement to “stop the time” of happiness or using ICM. To achieve this goal, I would use ICM to capture the movement of the people in 798 or capture intense contrasting colors or black and white. The models used in this project would be the people in 798. This project’s essential theme is to celebrate pausing and enjoying the current moment, which contrasts with the culture of ongoing activity and tireless effort to achieve the next goal. I want to visually capture the individuals of those who choose to be present, grasping the calm joy and rich details frequently overlooked by people caught up in the hustle of daily life. Through personal visuals, I hope viewers will be inspired to slow down, appreciate the beauty around them, and recognize the significance of simply being rather than continuously striving to become.

Ömer Erdoğan’s photographic style is characterized by a blend of artistic elements that reflect both his cinematic influences and a unique approach to visual storytelling.

Characteristics of Ömer Erdoğan’s photographic style

1. Art of movement: Erdoğan often captures dynamic scenes that convey a sense of motion. This is achieved through techniques such as long exposure or the strategic positioning of subjects, which creates a lively and engaging atmosphere in his photographs.

2. Double Exposure Technique: Many of Erdoğan’s works utilize double exposure, blending multiple images into a single frame. This technique adds depth and complexity, allowing for the exploration of themes such as identity and perception.

3. Cinematic Influence: Erdoğan’s photographs often evoke a narrative quality  of film stills. This cinematic approach enhances the emotional resonance of his images, inviting viewers to engage with the story behind each photograph.
4. Black and White Aesthetic: A significant portion of Erdoğan’s work is presented in black and white, which emphasizes contrast and texture. This choice not only highlights the formal elements but also evokes a timeless quality that resonates with classic photography traditions
5. Conceptual Depth:Erdoğan’s photographs frequently explore complex themes, such as existentialism and human emotion. His ability to convey profound ideas through visual art distinguishes his work within contemporary photography, encouraging viewers to reflect on the underlying messages

Overall, the photograph successfully embodies elements of Ömer Erdoğan’s style. The “art of movement” is particularly well-executed, and the black-and-white aesthetic enhances the visual impact. While it might not have the overt conceptual depth of some of his works, it still evokes a sense of narrative and contemplation. It also fully demonstrates the theme I am going for, people who take their time to slow down and people who rush from one place to another.

Photographic Rule Breakers

“Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element. Albert Renger-Patzsch, Edward Weston and Aaron Siskind photographed the ordinary to reveal their beauty. Uta Barth reversed the typical use of the camera, shooting out of focus and Andreas Gursky photographs the repetition of elements. During this unit you will investigate appropriate examples of abstract photography and respond in your own way..”

Three Interests of the Photographer

1. Organic Form:
   • Weston might have been interested in the complex shapes and curves of the cabbage leaf, showcasing its natural beauty and complexity.
2. Texture and Detail:
   • The photographer likely aimed to capture the rich textures of the leaf’s surface, emphasizing the details that often go unnoticed.
3. Light and Shadow Play:
   • Weston may have focused on the interaction of light and shadow to highlight the leaf’s shape and create depth in the image.

Suggested Title

“Nature’s Sculpture” 
This title reflects the idea that the cabbage leaf is not just a simple vegetable but a work of art, showcasing the beauty found in natural forms.

Visual Elements

• Line:
  • The image features flowing, organic lines that mirror the natural curvature of the leaf.
• Shape:
  • The overall shape of the cabbage leaf is well known, with its abstract forms creating a sense of movement and fluidity.
• Pattern:
  • The leaf exhibits a repeating pattern in its folds and creases, contributing to its visual rhythm and complexity.
• Texture:
  • The surface texture is rich and varied, with smooth areas placed against rough, complex details.
• Tone:
  • The tonal range in the photograph is likely rich, with deep shadows contrasting with lighter highlights, enhancing the three-dimensional quality of the leaf.
• Focus:
  • Weston may have used a shallow depth of subject matter, drawing sharp focus to specific areas of the leaf while allowing the background to blur, emphasizing the subject’s details.

Works Cited

Dolphin, Hannah. “Contextual Analysis – Edward Weston (Photography).” Tumblr, hannahdolphinart.tumblr.com. Accessed 9 Feb. 2025.

Holden Luntz Gallery. “Edward Weston’s Cabbage Leaf.” Holden Luntz Gallery, holdenluntz.com. Accessed 9 Feb. 2025.

Art Institute of Chicago. “Cabbage Leaf.” Art Institute of Chicago, artic.edu. Accessed 9 Feb. 2025.

Formal elements in photography are the visual components that photographers use to create and arrange an image. By identifying and purposefully using these components, an image can be transformed, and everyday things can be turned into appealing visual narratives. Understanding these components helps to highlight the most critical parts of the shot and gives the composition structure. Line, shape and form, pattern, tone, color, texture, and space are the formal elements that are most widely acknowledged. There are differences, however, with some lists replacing size and depth for space and value.

The 6 Elements 

• Line:
  • Lines are fundamental in photography, as paths guiding the viewer’s eye through the composition. They can be straight, curved, horizontal, or vertical. Lines can create direction, outline objects, show movement, or add energy to a photograph.
• Shape:
  • The outlines of items in a photograph are called shapes. They might be organic, like leaves or clouds, or geometric, like squares or circles. An image’s balance and visual appeal are improved by its shapes.
• Pattern:
  • Patterns are created by repeating objects, shapes, or lines. They add rhythm and visual interest to an image.
• Texture:
  • Texture refers to the surface quality of objects in a photograph. Capturing texture depends on light.
• Tone:
  • Tone refers to the lightness or darkness of areas in a photograph. It helps create contrast, depth, and mood.
• Focus:
  • Focus refers to the clarity and sharpness of areas within a photograph. Selective focus can be used to draw attention to specific elements.

The Great Wave

“The Great Wave off Kanagawa” skillfully combines a number of formal components to produce a piece that is both lively and thought-provoking. The smashing wave’s lines, which curve violently and give the fishermen below a sense of imminent danger, dominate the scene. The artwork’s visual impact is enhanced by its shape. The massive waves that reach the sky have claw-like peaks that contrast with the triangle-shaped peak that rises in the distance. The ocean’s rhythmic design and repeating colors both show patterns that create a sense of explosion and activity. A sense of helplessness and coldness is brought about by faded yet calming tones, particularly in chilly blues. Although texture isn’t highlighted directly, the forms and lines express the sea’s strength and roughness. Lastly, Hokusai uses Mount Fuji as a focal point and records a dramatic moment, stopping time and offering a sense of balance in the face of oncoming danger.

Can an Image Show Just One Element at a Time?

While it is possible to create an image that emphasizes a single element, it is nearly impossible to isolate one element completely. For example, a photograph emphasizing line will still inherently contain shapes, tones, and textures. The key is to make one element dominant in the composition. Lines are so important that without them there is no shape and in turn without shape there can be no form. Without form there can be no texture and without texture there can be no pattern.