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Street photography

October 9, 2025 / / 0 Comments

  • This photograph focuses on the person as the main subject while also capturing the camera within the frame. The composition uses layering, placing the camera in the foreground and the person in the middle ground to create a sense of depth and perspective. By including both the photographer and the subject, the image highlights the connection between the observer and the observed, making the viewer more aware of the act of photography itself.

  • This photograph uses layering to combine a red umbrella and a person in the background, creating visual depth and balance. The bright color palette serves as the main highlight, drawing the viewer’s eye to the vivid red that contrasts with the softer surroundings. Through this composition, the image conveys a lively and warm atmosphere while emphasizing how color and layering can shape focus and emotion in photography.
  • This photograph focuses on the thick water droplets, using layering to highlight the texture and reflection on the wet surface. The camera captures the puddled ground in detail, showing how light interacts with the water to create depth and subtle movement. By emphasizing the droplets in the foreground, the image conveys a calm yet reflective atmosphere, inviting the viewer to notice beauty in small and overlooked moments.

  • The first photograph focuses on a single person, capturing their expression and presence as the main subject. In contrast, the second photograph highlights multiple people, using layering of figures to create depth and visual rhythm. By placing people in different positions and distances, the composition builds a sense of connection and movement, showing how human interactions can form natural layers within a scene.

  • The first photograph uses layering between the metal fence and the person, placing the subject in the middle ground and capturing the scene from a slight distance to emphasize focus and depth. The fence in the foreground adds a sense of separation and perspective. The second photograph combines the reflection in water with the person positioned toward the lower middle part of the frame, using a high-angle shot to create an abstract and observational feeling. Together, these techniques explore how distance and perspective can shape the viewer’s emotional connection to the subject

  • This photograph focuses on a person captured behind a metal fence, emphasizing layering to create depth and meaning. The fence in the foreground contrasts with the clear focus on the person in the background, drawing attention to the separation between the viewer and the subject. Through this composition, the image conveys a sense of distance, isolation, and observation, making the viewer reflect on perspective and barriers in human connection

Street Photography- Henri Cartier-Bresson

September 26, 2025 / / 0 Comments

  •  This photo captures a man mid-jump over a puddle, perfectly frozen at the decisive moment just before he touches the water. Cartier-Bresson uses reflection and layering, where the man’s silhouette is mirrored in the puddle, creating a sense of symmetry and motion. The fence in the background and the calm water surface contrast sharply with the energy of the jump, showing his skill in turning an ordinary moment into a poetic composition.

  • In this image, Cartier-Bresson uses a bird’s-eye angle to frame a man riding a bicycle around a curved staircase. The spiral pattern of the stairs adds strong geometric rhythm, guiding the viewer’s eyes downward toward the moving subject. The combination of motion and precise composition demonstrates his fascination with balance, form, and timing, capturing structure and spontaneity in a single frame.

  • This photograph focuses on a man peering through a small gap in a wall, capturing human curiosity within a confined space. The contrast between the solid, rough texture of the wall and the delicate human presence creates a sense of separation and mystery. The layering between the barrier and the person highlights Cartier-Bresson’s ability to express emotion through simple yet powerful spatial relationships.

 

  • Here, Cartier-Bresson captures a person walking through a narrow alleyway filled with light and shadow. The layering of light, with bright highlights and deep shadows, adds depth and visual tension to the scene. The human figure is small compared to the surrounding architecture, emphasizing the relationship between people and the urban environment. This photo conveys a quiet, contemplative mood while maintaining the spontaneity that defines street photography.

Best Photos – 3

September 24, 2025 / / 0 Comments

This image captures a tightly arranged row of glass bottles in various colors—primarily browns, greens, and a striking cobalt blue—lined up in parallel. The composition relies heavily on repetition and rhythm, creating a visual pattern that feels both orderly and chaotic. The shallow depth of field isolates the foreground bottles sharply, while the blurred background of reflective surfaces and soft bokeh enhances the aesthetic contrast. The use of light on the reflective surfaces adds texture, while the varied heights and colors guide the viewer’s eye naturally across the frame.

The purpose or intention behind this photo may be to explore the theme of urban still life or repetition in industrial design. The visual appeal lies in taking something mundane—empty bottles—and elevating them into a study of color, form, and light. There’s also an underlying commentary on consumer culture, sustainability, or even memory, depending on context. The blue bottle in particular acts as a visual anchor, breaking the pattern subtly and drawing attention to individuality within uniformity.

In stark contrast, the second image presents a lineup of bright, plastic chairs in primary and secondary colors—red, orange, yellow, and green—mounted against a muted, neutral-toned backdrop of brick and wood. The vibrant colors pop sharply due to high saturation and a relatively flat lighting, emphasizing their childlike simplicity and playfulness. The repeating form and evenly spaced alignment create a strong sense of rhythm, while the diagonal leading line of the seating area draws the viewer’s gaze from bottom right to upper left, giving a sense of movement through an otherwise static scene.

This photograph seems to capture a moment of quiet absence—seats waiting to be filled—inviting thoughts about community, play, or forgotten spaces. It could be interpreted as a commentary on urban loneliness, childhood nostalgia, or even abandoned joy. The reflection in the window and the subtle imperfections (like the stains or chipped paint) add emotional texture, reminding us that spaces meant for joy can also become places of stillness and waiting.

This photograph uses distortion and abstraction as its central compositional technique. The image, captured in black and white, eliminates the distraction of color and instead highlights contrast, texture, and form. The reflections warp familiar figures into fragmented, almost surreal shapes, creating a sense of movement and instability. Light areas shimmer and pull the viewer’s eye across the frame, while dark patches provide weight and balance. The result is a dynamic interplay of sharp highlights and deep shadows that blur the line between reality and abstraction.

Beyond its formal qualities, the photo conveys a deeper intention of disorientation and reflection—both literal and metaphorical. The distorted figures suggest the fragility of perception, emphasizing how environments and perspectives reshape what we think we see. The black-and-white palette intensifies this mood, stripping away detail and focusing on essence rather than surface. Overall, the photograph seems to explore themes of identity, perception, and transformation, inviting viewers to interpret the abstract forms in their own way.

photos from 798

September 17, 2025 / / 0 Comments

theme: to have a new view with everyday objects

  • low angel – emphasize the object & make it appear powerful and monumental
  • close-up – focus on detail & remove usual context ( different view of familiar object )
  • contrast – bright yellow vs industrial grey
  • texture – glossy reflection vs metal
  • line – strong diagonals and curves
  • curiosity – makes the viewer re-think the object

  • sharp focus – highlight cracks, rust, and bolts
  • texture emphasis- rough concrete vs corroded metal
  • line- cracks and rust streaks guide the eye
  • decay- passage of time, corrosion, fragility
  • industrial aesthetic- beauty in imperfection
  • tension- conflict between man-made strength and natural decay

  • natural light- soft, realistic atmosphere
  • symmetry – visual balance through two chairs
  • texture- peeling paint, weathered wood
  • absence- no one sits, chairs become symbols of missing presence
  • waiting- chairs suggest anticipation of someone

  • shallow depth of field- emphasize front bottles, blur background, create focus
  • symmetry with variation- repeated shapes but different colors
  • color- green, blue clear
  • individuality vs uniformity- one blue bottle among many -> uniqueness
  • isolation- being different within a crowd

 

  • color contrast- bright red, orange, yellow green draw attention
  • leading lines- diagonal chairs guide the viewer’s eye
  • repetition- repeated shapes create rhythm and order
  • isolation- empty chairs emphasize stillness and loneliness

  • varying length- necklaces hang at different heights, creating dynamic composition
  • close-up- emphasizes texture and details of owl pendants
  • repetition- multiple owl shapes create rhythm and pattern

  • metal texture- crumpled surface creates tactile, reflective effect
  • close-up- highlights intricate folds and irregularities
  • reflection- light interacts with folds to create depth and contrast

  • texture contrast- smooth chairs vs rough log surface adds tactile depth
  • repetition with variation- first and last chairs reversed, adding visual tension
  • empty chairs- evoke loneliness, calmness, or quiet contemplation

  • composition- sigh on right, person next to it balances the picture
  • contrast- the hard block and road vs relaxed person
  • city feel- shows urban street atmosphere

  • texture- rough, uneven bark emphasizes tactile quality
  • pattern- scattered pieces create natural, organic rhythm
  • natural tones- earthy colors evoke warmth and grounded feeling
  • perspective- top-down/angled shot epmhasizes depth and layering

Blog Post 7

September 10, 2025 / / 0 Comments

Blog Post 8

September 10, 2025 / / 0 Comments

The message of my project will be to explore how a different city holds its own cultural identity and atmosphere. I want my audience to think about how cities, though different, can reflect both global connections and local uniqueness. By photographing unfamiliar streets, buildings, and people’s daily lives, I hope to show how culture is expressed in everyday spaces.

I want my audience to feel curiosity and appreciation — curiosity for what is new and different, and appreciation for the cultural richness that exists outside their own familiar environment. I will get inspiration and develop my ideas by looking for photographs that explore urban life, architecture, and human interactions in unfamiliar places. I want to find images that show both the contrasts and the similarities between cities.

In my opinion, photography is a way to capture the spirit of a place. Through this work, I hope to make my audience more open to experiencing and respecting cultures and environments that are different from their own.

blog post 6

September 6, 2025 / / 0 Comments

This photo symbolically represents the elements of fire and water through a strong contrast between red and blue. The clear division of color creates a visual tension that effectively conveys the balance between these opposing natural forces.

 

The slightly off-center circle creates a sense of imbalance and tension.
This asymmetry draws the viewer’s eye and adds visual interest while still maintaining a connection to the elemental contrast.

 

This image represents the element of air, with the scattered patterns resembling movement.
The photo worked well because it captured the same sense of motion and chaos as the drawing

 

This shows the exact difference between the space and the shelf. But the photo is a slight tilted

 

I took the photo of the two metal sticks which is very similar to the photo suggested.

 

I took the same object but this time I put the object in the exact middle to look similar with the suggested picture. But maybe I think it could have been more perfect if I took a picture of a new object.

 

I took a photo of the tile but I took it a little tilted to the floor to make it lookalike to the picture. However the tiles are little blurry. If I took it more clear it would be much better.

 

I took a photo of the lights installed on the celling which is very similar to the photo suggested.

 

The many lines and monotone of the photo is the best part of this photo and it does very lookalike the photo given to us.

 

This photo I took shows the focus on the wooden block which splits the space exactly to three which is resembling to the provided image.

 

The shown picture at dx  looks similar to mine. Focusing at the composition, the 3 parts are well divided.

 

I took a photo of blurred, continuous lines by intentionally defocusing the lens. I think the idea was very good to make my photo look similar to the given photo.

 

 

Analysis of a photograph

September 4, 2025 / / 0 Comments

Andreas Gursky, 99 Cent, 1999

What might the photographer have been interested in capturing?

  1. Consumer culture and excess – Gursky may have wanted to explore how overwhelming and repetitive modern retail spaces can be, particularly through the lens of mass consumerism.

  2. Symmetry and artificial beauty – The perfectly arranged rows and bright product packaging create a kind of visual harmony that almost looks too neat to be real.

  3. Repetition and abstraction – The sheer quantity of repeated objects and colors turns a normal store scene into something almost abstract, where individual items disappear and patterns take over.

If I were the photographer, what title would I give it? Why?

I would title it “Organized Chaos” because while the scene is hyper-structured and controlled, it also reflects the chaotic energy of mass consumption. The clash of colors and brands feels overwhelming, yet strangely beautiful in its order.

In 99 Cent, Andreas Gursky uses horizontal and vertical lines created by the shelves and ceiling lights to guide the viewer’s eye across the image, emphasizing a strong sense of structure and order. The repeated rectangular shapes of the products, signs, and shelves contribute to a rhythmic visual pattern that dominates the composition. This repetition transforms the scene into almost an abstract pattern, where individual items blend into a larger, hypnotic design. The texture appears flat and glossy, reflecting the plastic packaging of mass-produced goods, which reinforces the synthetic and commercial atmosphere of the image. Bright, even lighting creates a vivid tone, minimizing shadows and flattening the space to highlight color and repetition rather than depth or mood. Finally, Gursky’s use of deep focus keeps every detail sharp, allowing viewers to explore the overwhelming density of products, which adds to the overall impact of consumer excess captured in the photograph

 

Formal Elements of Photography

September 4, 2025 / / 0 Comments

In photography, the phrase “Formal Elements” refers to the visual components that make up the structure of an image. These elements help photographers organize and compose their shots in a way that communicates ideas, emotions, or aesthetics. Just like the elements of art, formal elements in photography guide the viewer’s eye and define how we experience a photograph.

1. Line

Lines can lead the viewer’s eye through an image, create depth, or divide space. Lines can be straight, curved, diagonal, or implied. They help structure a photo and can add energy or calm, depending on how they are used.

Example: A photograph of a road disappearing into the horizon shows how leading lines pull the viewer into the image.
📸 Example: Ansel Adams, “Autumn Tree Against Cathedral Rocks, Yosemite”

2. Shape

Shapes are formed when lines meet. In photography, they help define the subject and create visual interest. Shapes can be geometric (like squares and circles) or organic (like natural curves of a leaf or person).

Example: Silhouette photography often uses strong shape to show outlines of people or objects.
📸 Example: Fan Ho, “Approaching Shadow”

3. Pattern

Patterns are repeated shapes, lines, or colors that create rhythm in an image. Photographers often use pattern to create visual impact, especially when it’s interrupted by something unexpected.

Example: A tiled wall with one tile missing creates a strong pattern with a focal point.
📸 Example: Andreas Gursky, “99 Cent” (1999)

4. Texture

Texture refers to the surface quality of a subject — how it would feel if touched. In photography, texture is visual, created through light and shadow that reveals surface details.

Example: Close-ups of rust, bark, or fabric show rough or smooth texture.
📸 Example: Edward Weston, “Cabbage Leaf” (1931)

5. Tone

Tone is the range of light and dark in an image. It affects mood and depth. High contrast (strong blacks and whites) can feel dramatic, while low contrast (soft grays) can feel calm.

Example: Black and white portraits often use tone to emphasize emotion and depth.
📸 Example:

6. Focus

Focus determines what is sharp and what is blurry in an image. It directs the viewer’s attention. Shallow depth of field isolates a subject, while deep focus keeps everything in detail.

Example: A portrait with the background blurred uses focus to highlight the person.
📸 Example: Steve McCurry, “Afghan Girl” (1984)

Can an Image Show Just One Element at a Time?

While an image can emphasize one formal element more strongly than others, it is rare for a photo to include only one element. Most photographs naturally include several elements at once — for example, a textured wall may also include patterns and tone. However, photographers can use composition, lighting, and focus to make one element stand out as the most dominant. The best images often balance multiple elements, but with one as the visual “anchor” that captures attention.

ABSTRACTION IN PHOTOGRAPHY

September 4, 2025 / / 0 Comments

In the early 20th century, the Pictorialism Movement aimed to position photography as a fine art by imitating the soft, expressive qualities of painting. Pictorialist photographers often used blurring, soft focus, and careful manipulation during printing to create romantic or symbolic images. The goal was not just to capture reality, but to elevate photography to the level of emotional and artistic expression.

The Straight Photography Movement, which followed shortly after, took a very different approach. It emphasized clarity, sharp focus, and truthful representation of the subject. Straight photographers embraced the technical precision of the camera to reveal form, texture, and light without manipulation. They believed that photography had its own visual power that didn’t need to borrow from painting or other art forms.

The two movements differ significantly: where pictorialism focused on mood and atmosphere through manipulation, straight photography celebrated detail and objectivity. Many photographers found straight photography appealing because it allowed them to explore the beauty of ordinary objects and scenes through structure, line, and natural light — creating images that were powerful in their simplicity and truth.

Edward Weston and Aaron Siskind were both strongly influenced by the principles of straight photography. Weston’s Pepper No. 30 (1930) is a perfect example. Using a large-format camera and natural light, Weston captured a simple bell pepper with such precision and care that it becomes almost sculptural. The curves, shadows, and texture transform the object into something abstract and powerful. This approach reflects straight photography’s emphasis on form and detail without any manipulation — allowing the subject to speak for itself.
(Source: The Art Story – Edward Weston)

Aaron Siskind, while also influenced by straight photography, took it in a slightly different direction. He focused on textures, surfaces, and patterns — such as peeling paint or decaying walls — often removing context so completely that the subject becomes nearly unrecognizable. This created abstraction through realism: what you’re seeing is real, but without context, it becomes visual language made of shape and contrast.

Contemporary photographers like Uta Barth and Andreas Gursky continue to explore abstraction, though in more conceptual ways. Barth’s Field #9 (1996), part of the MoMA Collection, removes any clear subject, using blur and soft light to make the viewer focus on perception itself. Her work does not fit easily into the category of either pictorialist or straight photographer. While she uses softness like a pictorialist might, her conceptual focus on how we see is uniquely contemporary.

Andreas Gursky, on the other hand, creates large-scale, hyper-detailed photographs that capture overwhelming patterns in modern life — like supermarket aisles or office buildings. His images are clear and precise, but their scale, composition, and sometimes digital manipulation push them into abstraction. While Gursky shares straight photography’s attention to detail, his conceptual manipulation distances him from its traditional values.

Another artist worth noting is Albert Renger-Patzsch, whose photograph Aloe (c. 1920s), held in the Tate Collection, captures a plant in sharp focus, emphasizing its structure and surface. His work exemplifies straight photography’s focus on natural beauty, geometry, and unfiltered observation.

Overall, these artists — from Weston and Siskind to Barth and Gursky — show that abstraction in photography can be achieved in different ways: through clarity, isolation, blur, or scale. Whether rooted in realism or conceptual experimentation, abstract photography challenges us to see beyond the literal and engage with form, pattern, and perception itself.

Photo References:

  • Edward Weston, Pepper No. 30, 1930

  • Albert Renger-Patzsch, Aloe, c. 1920s

  • Uta Barth, Field #9, 1996

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