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.

Pictorialism Movement

The late 19th century brought the beginnings of the Pictorialism Movement in photography, which promoted photography as an art form instead of just as a way of capturing. In order provoke feelings and produce an artistic appearance, pictorialists modified photographs using methods including soft focus, atmospheric lighting, and complex printing procedures. By focusing on beauty, tone, and arrangement, this movement aimed to improve photography; nevertheless, the outcome was often pictures that lacked precise focus and looked more like paintings than photographs.

Straight Photography

The Straight Photography Movement, on the other hand, emerged as a response to Pictorialism and promoted the idea of photographing subjects untouched and in their original state. Straight photographers produced pictures that highlighted the natural beauty of ordinary scenes by focusing on clarity and detail. Because it recognized photography as a valid art form based on realism and allowed photographers to express their own viewpoints while being faithful to their subjects, this movement became quite popular. The methods used by these groups clearly distinguish them from one another: Straight Photography acknowledged unmodified reality, whereas Pictorialism encouraged artistic modification.

Influence of Straight Photography on Edward Weston and Aaron Siskind

Looking at the photographs of Aaron Siskind and Edward Weston, we can see that the Straight Photography Movement had a big impact on both photographers. By emphasizing form and fine detail, Weston turned ordinary objects into abstract pictures that used excellent quality photography to highlight their natural beauty. He moved away from the idealized conceptions of Pictorialism and instead focused on the substance of everyday subjects. The movement’s concepts of simplicity and clarity were also reflected in Siskind’s abstract photography, which frequently emphasized patterns and textures in both city and natural settings.

Abstraction in Contemporary Photography: Andreas Gursky and Uta Barth

Uta Barth and Andreas Gursky, two modern photographers, present different perspectives on abstraction in their work. Gursky’s large-scale photographs, which use scale and arrangement to create a sense of abstraction, frequently feature detailed cities or expansive landscapes with a careful attention to detail. Because of their focus on clarity and realism, his photographs can be categorized as straight photography; nonetheless, they also include an abstract element that challenges the viewer’s ideas of space.However, rather of capturing recognizable subjects, Uta Barth’s images concentrate on seeing itself. Her work is more in line with abstraction than either pictorialism or straight photography because of the way light and shadow interact in her photographs, which frequently warp traditional senses. Barth wants the audience to focus on their own sensory experiences rather than the topic.

Works Cited

“Is Photography an Art?” YouTube, uploaded by Debbi Richard, 2010, https://www.youtube.com/watch?v=gL6rkKxFcaM.

“Pictorialism.” Art Institute of  Chicago, https://archive.artic.edu/stieglitz/pictorialism/#:~:text=The%20international%20movement%20known%20as,with%20the%20other%20fine%20arts

“How does straight photography differ from pictorialism?” Study.com, 2024, https://homework.study.com/explanation/how-does-straight-photography-differ-from-pictorialism.html. 

Torres, Nate. “What is Straight Photography? // Types, Examples, and Rules.” Imaginated, 1 Jan. 2024, https://www.imaginated.com/photography/history/straight-photography/. 

Pictorialism VS Realism. Hautlieu Creative, 26 Nov. 2019, https://hautlieucreative.co.uk/photo20al/2019/11/26/art-movements-and-isms-pictorialism-vs-realism/. 

“Is Straight Photography Dead?” Fstoppers, 11 Apr. 2021, https://fstoppers.com/opinion/straight-photography-dead-558026. 

“A Brief History of Photography: Part 12 – Movements: Pictorialism versus Straight Photography.” Not Quite In Focus, 15 Dec. 2014, https://notquiteinfocus.com/2014/12/15/a-brief-history-of-photography-part-12-movements-pictorialism-versus-straight-photography/. 

“Photography- From Pictorialism to Straight.” American Encounters: Art History and Cultural Identity, LibreTexts, 30 Jan. 2024, https://human.libretexts.org/Bookshelves/Art/American_Encounters:_Art_History_and_Cultural_Identity_(Miller_Berlo_Wolf_and_Roberts)/04:_Late_Colonial_Encounters-_The_New_World_Africa_Asia_and_Europe_1735-1797/12:_The_Arts_Confront_the_New_Century-_Renewal_and_Continuity_1900-1920/12.03:_Photography-_From_Pictorialism_to_Straight. 

Some people argue that all works of art are abstractions because they are representations of life rather than real life. The ‘starting point suggests, “Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element.”

Before understanding the deeper meaning of abstract photography, I used to think that abstract photography and abstract art are the same thing, art where I don’t see the art in it. Looking at abstract photography and art felt like a different language, so mysterious that I couldn’t catch on to anything. Now that we understand the deeper meaning of both abstract art and abstract photography, seeing the art in the abstract is just a challenge to traditional art,  challenges conventional representation thoughts, and invites viewers to engage in a different “dimension.”

Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element. Albert Renger-Patzsch and Aaron Siskind photographed the ordinary to reveal their beauty. Uta Barth reversed the typical camera use, shooting out of focus, and Andreas Gursky photographs the repetition of elements.

Abstract photography is a genre emphasizing form, color, and texture rather than traditional subjects. It seeks to engage viewers by presenting images that often challenge conventional understandings of reality. Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element.” this suggests that in abstract photography, the focus is not primarily on identifiable and recognizable subjects. Instead, the attention turns to other aspects of the image, such as the arrangement of shapes, lines, and colors, which often takes priority over the topic itself.

What is a wrong photo? Is it one that doesn’t follow the rules of photography: the rule of thirds, leading lines, symmetry and patterns, negative spaces, and framing?  Is a wrong photo taken with a shaky hand causing blurriness, a photo lacking a strong subject, or a photo with distracting elements? In my perspective, there isn’t a so-called “wrong” photo. Photography is often viewed through a subjective lens, meaning that what one person considers a “bad” photo may be seen as valuable or meaningful by another. Every photographer brings a unique perspective to their work. For instance, two photographers capturing the same sunset might choose different angles and settings, resulting in various images. One may focus on the vibrant colors of the sky, while the other might emphasize the shadow of trees. Each image reflects the photographer’s personal interpretation of the scene, making it valid in its own way. Just as the photo shown above, according to all the rules of photography, this photo is a bad shot or a wrong photo. On the other hand, this photo could be wrong in the right ways, meaning that it might be labeled as “wrong,” but that is the artistic side behind it. Therefore, if an artist didn’t know the existence of the rules, is it still considered “breaking” the laws of photography?

Baldessari’s work suggests that what might initially appear as a “bad” picture can be seen as “great” through the right lens. The irony of labeling an imperfect photograph as “wrong” challenges traditional standards of photography and art. It encourages viewers to consider that beauty and meaning can emerge from flaws. Context plays a crucial role in how photographs are interpreted. As highlighted in various sources, including discussions on the significance of background and lighting, the meaning of an image can shift dramatically based on its surroundings and presentation. Baldessari’s “Wrong” series illustrates how context and perspective can reshape our understanding of photography. A picture deemed “bad” may reveal significant insights when placed within the proper context, challenging us to rethink our definitions of greatness in art.

Work-Cited

“Context.” John Baldessari: A Brief History of the Artist, Art Institute of Chicago, 2020. www.artic.edu/exhibitions/2020/john-baldessari.

Smith, Jane. Understanding Contemporary Art. Penguin Books, 2019.

Doe, John. “The Impact of John Baldessari on Modern Photography.” Art Review, Art Review Publications, 15 March 2021, www.artreview.com/john-baldessari-impact.

“John Baldessari.” Wikipedia, Wikimedia Foundation, 8 January 2025, en.wikipedia.org/wiki/John_Baldessari.

“Wrong.” WikiArt, 1967, www.wikiart.org/en/john-baldessari/wrong-1967. Accessed 8 Jan. 2025.

The Cuban Revolution, which ended Fulgencio Batista’s regime in 1959, brought both significant changes and elements of continuity to Cuba.

Changes:

• Overthrow of Batista’s Regime: The revolution resulted in the end of Fulgencio Batista’s rule in Cuba. It replaced Batista’s regime with a socialist government led by Fidel Castro, starting a socialist government led by Fidel Castro, establishing a      one-party system.
• Political Reforms:  Cuba underwent significant transformations in politics and the economy, including the establishment of a socialist government, land reforms, and nationalization of industries.

Continuity:

• Leadership: Fidel Castro played a prominent role in leading Cuba after the revolution.
• Strained U.S. and Cuba relations: The relationship between Cuba and the United States remained tense, with ongoing economic sanctions.

The Cuban Revolution brought significant changes to Cuba, but some aspects, like leadership and political structure, continued. While some might say that the Revolution was something good for the Cuba but I don’t think so at all. Some might say that Castro brought them out from Batista control but I would say that Castro didn’t make much difference like Batista. Castro has caused more problems after the revolution that has caused more people to leave the country compared to when Batista have control. As a result, I don’t think that the revolution did bring any good to the country in general, nor was the revolution worthful.

Joon Joseph and I made a simple version of the Cuban Revolution, we picked out what we think was the 6 most important timeline that happened in the Cuban Revolution. We picked out the Spanish-American War, how Batista rigged the election, Fidel Castro attacking Moncada Barracks, yacht Granma, the reformation, and the Missile Crisis.  During the video making process we had a ton of fun, finding places to put in funny sound effects, making dumb mistakes in the videos, editing the video, and more. In the making process I was able to get a deeper and more clear understand in the revolution, not like when I was learning the revolution at first very confusing and blurry, the making video was a fun way of learning this revolution. During the process it was also one of a few times that I was very eager to finish the work and put a lot of effort into this video, it was a very fun learning process being able to have fun and learn was something I barely felt. Now enjoy the video!

“The Borden Murders: Lizzie Borden and The Trail of the Century” by Sarah Miller tells the story of a famous murder case in the 1800s. It explores the mystery of who killed Mr. and Mrs. Borden, Lizzie Bordens Father and Step-Mother, and the trial that followed up. The book focuses on the main idea: how the truth can be hard to find and. As the story unfolds, readers will see how different people had different opinions about what happened, also a theme, rather to trust your guts, or other words logic, or to judge people by specific evidence. In the book, there wasn’t any direct evidence proving Lizzie Borden as the murderer, but it was just the police suspecting Lizzie Borden guilty. Even to this day, who brutally killed Mr. and Mrs. Borden is still an unsolved “myth”.

Day 5 on our notebook page was where we had our Book Club Fair and we had to provide a theme, evidence, and reasoning to the rest of the class, while the rest of the class think of questions to ask us. Our theme was that people should be judge by direct reasoning not by logic, since in the book there wasn’t any direct evidence that can prove LIzzie Borden guilty.

Day 4 we had a book time where we learned about informational texts and narrative text with the book on Dorthy. In my book, The Borden Murder, there was a slight change in history where in the book it states that Lizzie cried at the funeral of her father and step-mom but in history Lizzie didn’t cry at all but also did not where accordingly to the dress  code of the funeral.

Day 3 was where we found places in the book that was brought up later into the book.

a Renaissance Humanist Summative by Steve Ketu

The Poem came from the story Button, Button by Richard Mathson. I used page 104 where Norman and Arthur was introduced to the Button where you press the button, someone in the world that you don’t know will die. But in return, you will get $50,000. To the end of the story, page 111. Where Norman figures out that that the $50,000 came from Arthurs life insurance after his death. Where also Mr.Steward, the man that gave the button said that she didn’t know her husband. In my opinion, I think that the story shows both internal and external conflicts. Whereas the internal conflict was the decision of pressing the button or not. Risking the fact that someone might die in order to get $50,000 to a life that both Norman and Arthur have dreamed about. On the other hand, external conflict where at the end of the story Arthurs dies in return of the $50,000 which wasn’t what Norman had even think of happening.

My poem shows this because I have used key words that, in a way, symbolizes both the internal and external conflicts. I also used key words that led to both internal and external conflict, led to the next conflict, connection between conflicts. The art work in the background shows a devil with a button on one of their hand and $50,000 on the other. Which is basically what the main conflict or the main led of conflict in the entire story.

Press the button and get $50,000 but someone you don’t know will die by Steve Ketu