After my first set, I was determined to take candid shots of my family.

The colored photos are from my Set 3, with the same intention, but I took the pictures at a different time.

I decided not to turn my second set of photos into black and white images because, although they were both taken with the intention of exploring the social issue of the left-behind generation. The color contrast effectively represents the solemn emotions that come with being alone and the positive emotions my grandparents’ generation feels during Chinese New Year, when people return home. The facial expressions on the two sets are key. In the first set, they are doing their own daily routine with a slightly emotionless expression; in contrast, the second set captures delighted and joyful moments. My first set exploring this theme focused on the loneliness of my grandparents’ generation; thus, I took the photos during the afternoon, when most of the time they are doing chores by themselves. I did like the photos; however, I want to evoke the childhood memories. To achieve that, I realized that their memory of their grandparents is most likely when they are happy. Just like my personal experience, most of the time, when my grandparents see me, they always have a smile. After analyzing my first set, I decided to take photos of my grandparents when my parents get home from work. As shown in my images, I was able to capture some childlike expressions from my grandparents. I especially love the photo I took of my grandfather smiling and looking at me through the camera. The composition was good, no distracting objects in the background, and the colors in the background supply great contrast with his clothing. He was wearing blue and black, whilst the background was all warm colors, brown, nude, and red. The raised arm on his walker forms the stable triangle shape, and by cropping, I was able to perfectly use the rule of thirds and put my grandfather in the middle 3 squares. Most importantly, the smile on his face was very moving, reminding me of the countless times he smiled at me just because of my presence. With the two photoshoots combined, I feel like my final set can really tell a story of millions of households in China, with only two grandparents waiting for the day their children and grandchildren come and visit them.

pro

lighting- natural light source, from the back,  natural blur effect.

hands- storytelling

con

background- distracting poles

pro

lighting, well-lit

shadows- leaf on eye

con

background- distracting

Pro

Depth, hand in front

composition, triangles- between fingers

Con

a bit of yellow in the background

show more emotion

This practice set was taken in class primarily to practice various skills and to encourage creativity. This set is obviously less emotionally complex; however, I did follow through on the technique of incorporating the hands in my future sets.

Pro

Expression-the smile

Angle- low-angle shot, gives a candid shot feel

Lighting- A light on eye pupil

Con

Lighting-a bit dark on the subject’s face

Change

Brighter lighting

Black and white

Pro

Surrounding- real/ candid

Hands- tells a story

Con

Focus- a bit off because the subject was moving

lighting- not enough contrast

Angle- a bit too tilted

Change

Brighter Highlights

Black and white

pro

Hands- well lit, tells story

Layers- hands in front,

Objects- tell story, shows depth

Con

Focus- less on hands, more on face

Lighting-  more light on face

Changes

Straightened/ Zoom-in

Brighter highlights

Black and white

Pro

Facial Expression- shows a joyous emotion

Hands- gives more background knowledge

Depth- hands at front, subject middle, background back

Con

Lighting- more on the face.

Changes

Brighter

Higher saturation

Black and white

Pro

Gesture- tension across the photo

Depth- start with the hand, arms lead to the subject

Motion- the hands are blurred

Con

Better lighting- more lighting on the face

Cut- take a photo with the full head

Changes

brighter photo

Black and white

Over All

After my first set, I felt very restricted by the statement of intent, as I felt pressured to create a photograph with saturated lighting and make it dynamically modern. This pressure resulted in photographs that are not “me”, those photos were me trying too much. Thus, for the second set, I focused more on who is in my everyday life, and what I can learn and feel from them. I choose my grandparents and the feeling of nostalgia I get when I see photos of them. The first few photos I took as an experiment were too simple and not “art” enough. I liked the natural expressions and the emotional connection the images had. My plan to improve my photographs was patience; I followed my grandparents, leaning on different furniture, waiting for a good moment. The plan was relatively successful; I got a few good shots, but due to my grandparents’ constant moving, the success rate was low. As for the photos that had a great composition, like the one with my grandma reaching for a ladle, the lighting was not strong enough. Then for the photo of my grandpa suddenly moving because he saw me, the focus was slightly off.  I can improve lighting by carrying a brighter light source around or getting someone to hold the light source closer to the subject’s face.  I can improve my focus by reacting more quickly and adjusting my focus as I take multiple shots of the same moment.

Tina Barney

She is known for the emotional complexity found in ordinary domestic moments. Beginning in 1975, she photographed her wealthy Rhode Island family and friends using large cameras to show the rich details of their stylish clothing and fancy decorations, as well as the subtle signs of their strained expressions and meaningful actions. Her photos combine the natural feel of documentary work with the careful planning found in staged scenes.

mood board for 1st set of portraits

mindmap for portrait photography

Where are my eyes immediately drawn? Where do you want the eyes to go?

• for all my photos I intend to draw attention to the face of the subject.

Are There Any Distracting Elements?

• for the first photo, the cup and the other objects on the table are slightly distracting. In the other two photos there are little to no distracting elements.

Is the Exposure Correct?

• The third photo can have a slightly higher exposure. Brighter lights can created a bigger contrast making the photo more intriguing.

Would it Look Better Through a Different Focal
Length?

• for the second photo a tighter focal length could enhance intimacy by focusing more on the subject and the papers

What is the Background Doing?

• For the first photo, the background is very bright, and the small objects in the background shows the working environment. However, I feel like the objects give less identity pieces compared to the distractions it makes. If I can retake, I would avoid the objects and make the image more simple.

How is the Composition & Balance?

• For the first photo, the position of the subject creates a diagonal line that separates the subject and the negative space. The would benefit from more negative space on one side, eliminating the small objects

Is the Colour Accurate?

• The colors seem exaggerated, the very dark shading and the over bright background. I photoshopped the image like that to emphasize on the red light on the subject’s face and hand.

Does the Depth of Field Suit the Photo?

• In the last photo, the background light is not fully distracting but can be confusing on the depth. This is because there is no other subject blocking it. I can either avoid it or add something corresponding to it.

Portrait photography is a fascinating genre that delves deep into the soul of its subjects. It goes beyond just capturing a face; it tells a story, conveys emotions, and explores identity.

A portrait typically focuses on a person or group, capturing their identity, personality, and mood. The composition and techniques learned in the previous units—elements like lighting, background, and expression are carefully chosen to enhance the subject’s features. For instance, the striking portraits by Mark Seliger, known for his ability to convey the personalities of his subjects through unique settings and poses, exemplify how a photograph becomes more than just an image; it reflects the essence of the person being portrayed.

Selfies, often debated by photographers, can be considered portraits. While they might lack the professional finesse of classic photography, they still encapsulate the individual’s self-perception and personal narrative. Today, social media is flooded with selfies, well some selfies lack the traditional composition they can still capture identity and mood.

When creating a powerful portrait, certain elements should be considered essential. A good portrait captures the subject’s essence, often using intentional composition. The iconic work of David Bailey, known for his engaging portraits, highlights how lighting and focus can draw the viewer’s eye to the subject, reinforcing their personality and presence.

A portrait doesn’t always have to be a full-body depiction or even capture a person’s face. Close-ups, such as a detailed shot of a hand, can be considered a portrait if they convey an identity or narrative. For example, Bill Brandt’s work sometimes only feature parts of the face, creating an asymmetrical composition.

The boundaries of portraiture can get blurred when abstract or fragmented representations are taking the spotlight away from the subject. A photograph of a person, distorted or faded, might evoke feelings of memory or loss, challenging traditional definitions of what a portrait is. Like the photograph, “Kneeling Woman”, by Keith Carter. The subject of this photograph is definitely the woman kneeling, but the emotion and mood of this photograph is overshadowing the subject.

Portraiture also extends beyond mere representations of people. A still life arrangement of objects associated with a person can reflect their identity—like a vintage shop filled with furs or a cute little kitchen decorated with cutlery hanging on the walls. Such compositions can be considered portraits of the individual, capturing their essence in a unique way. Vladimir Antaki’s work uses the wide angle lens perfectly, capturing the surrounding of the subject,

Lastly, portraits aren’t confined to single images. A series of photographs, can tell a comprehensive story about a subject or theme, allowing viewers to explore deeper narratives. A sequence can encapsulate different facets of an individual, offering a broader understanding of their personality and identity.

In conclusion, portrait photography is a complex art form that transcends simple likeness. It encompasses a wide range of interpretations, techniques, and concepts that invite viewers to engage with the subject, challenging assumptions and inviting deeper reflections on identity, presence, and self-representation.