This photo aimed to represent drawing number 8, which the grid of circles could signify organization, repetition, or a systematic approach. However, it failed to capture the circles in the right angle, and it slightly lacks clarity.

The horizontal stripes of drawing 4 could represents equality or balance. This photo successfully captured the three parallel metal strips, which mirrors the three horizontal bars in spacing.

This photo contains the 2 lines drawing 5 has, but the angles are off and it doesn’t follow drawing 2’s composition of the whole picture, so this doesn’t fully demonstrate it.

Though inverted (white on black instead of black on white), the round light captures the central circular shape effectively. The blur softens edges to show the drawing’s simplicity, focusing attention on the basic form. I think it’s a clever use of a common object (a ceiling light) for abstraction.

This shows a stark contrast between the red and gray background. This aimed to represent the first drawing, and it was successful because anyone can note that there is a abstract split between the two.

This is a rather weaker match. The blurry collage of small images aims for a big picture from afar, but up close, the structured grid of rectangles and varied content (people, text, colors) undermine the randomness. The multicolored variety makes it feel more unorganized, reducing the illusion.

The perspective emphasizes the grid structure, creating a sense of order and repetition similar to the drawing 11. They both emphasize the line element, drawing the viewer’s attention to where the line is headed.

In this image, Aaron Siskind likely focused on several key aspects while capturing it. One major element is the texture of the surface, which shows layers of peeling paint and rough materials. This detail gives viewers a sense of age and decay, allowing the viewers to consider the history behind the wall. Additionally, the patterns created by the peeling paint and the marks left behind create an interesting visual story, drawing the viewer in to explore the details. Lastly, the use of black and white emphasizes the contrasts between light and shadow, adding to the mood of the photograph.

If I were to give this photograph a title, I would call it “Layers of Time.” This title reflects the idea of different layers visible in the image, suggesting a story of change and history. It encourages viewers to think about what the wall has experienced over the years.

If we look more closely at the photograph, several important elements stand out. The texture is very pronounced, with rough surfaces and cracks that create a sense of depth. This makes the viewer almost feel the age of the wall, as if they could reach out and touch it. The patterns formed by the peeling paint and imperfections add an artistic quality that makes the image captivating. In terms of tone, the black-and-white color scheme highlights the differences between the lighter and darker areas, creating a dramatic effect. This contrast helps to emphasize the details, making them more striking. The focus on the surface also draws attention to the imperfections, which tell their own story about wear and damage over time. Overall, this photograph skillfully combines texture, patterns, tone, and focus to create a powerful visual narrative. It invites viewers to engage with the image and reflect on the passage of time and the stories that surfaces can tell.

“How to Use Texture in Photography.” Expert Photography, 12 Jan. 2024, [https://expertphotography.com/texture-in-photography/]. Accessed 16 Sept. 2025.

The Formal Elements of Photography refers to the basic building blocks that make up photography These elements help photographers create images that are not only interesting but also convey a message or feeling. There are six formal elements of photography.

Line is one of the first elements to consider. Lines can be straight, curved, horizontal, vertical, or diagonal, and they have the power to guide our eyes through a photo. For instance, imagine a picture of a winding road that leads into the distance. The road’s curves create lines that draw the viewer’s attention and create a sense of depth.

Next is shape. Shapes are created by lines and can be geometric, like squares and circles, or organic, like the shapes we see in nature. Shapes help define objects and add to the overall composition of a photo. For example, a close-up shot of a leaf captures its unique, organic shape beautifully.

Pattern is another important element. Patterns are repeated designs or shapes that can add rhythm and structure to an image. You can find patterns in nature, buildings, and everyday objects. Think of a photo of a tiled floor where the tiles create a symmetrical pattern.

Then we have texture. Texture refers to how something feels or looks like it would feel. It adds interest and depth to a photograph. A good example is a close-up shot of tree bark, showcasing its rough texture.

The next element is tone. Tone is all about the lightness or darkness in an image. It can help create mood and add depth to a photograph. For example, a black-and-white photo of a city at dusk can use high contrast to highlight the tones and create a dramatic effect.

Lastly, there is focus. Focus determines which parts of a photo are sharp and clear. It directs the viewer’s attention to specific areas. For instance, in a portrait where the subject is in sharp focus while the background is blurred, the viewer’s eyes are immediately drawn to the person’s features.

While it’s possible for an image to focus on just one formal element, most photographs usually include a mix of several elements working together. For example, a picture that emphasizes lines might still have texture and tone in the background, which adds more depth to the image. The main focus can highlight one element, making it the star of the show, while others play supporting roles. This collaboration among different elements enriches the visual story and makes the photograph more interesting

Using Leading Lines in Your Photography.” Photographer’s Resource Center, Photographer’s Resource Center, www.photographersresourcecenter.com/using-leading-lines-in-your-photography/. Accessed 16 Sept. 2025.

Grigonis, Hillary. “How to Use Form and Shape in Photography Composition.” Expert Photography, 18 Oct. 2024, https://expertphotography.com/line-shape-and-form-photography-composition/. Accessed 16 Sept. 2025.

Search for Beauty in Simplicity

The message of my project will be to celebrate the beauty found in simple things though flower photographs. These images show us that even ordinary subjects can bring our strong feelings and thoughts. I want the audience to connect with the delicate details of flowers and feel a sense of wonder and calmness when looking at my presentation. For inspiration, I will search for photographs that capture textures, shapes, and soft colors of flowers, highlighting their beauty and fragility. I believe that these images can remind us to appreciate the small wonders in our daily lives, encouraging us to slow down and notice the little things that often go unnoticed. In a busy world, these moments can help us feel or grounded and connected to the beauty and nature around  us.

The Pictorialism Movement in photography emerged in the 19th century first by Alfred Stiglet.  This movement’s goal was to emphasize photography as a form of art, as well as making it a hand made process. The pictorialists intervened in the photographic process by unique using methods, such as smearing vaseline on their lenses, or painting chemicals on their prints to stimulate brush strokes. The result of these photographs were phenomenal, as multiple people stated that they looked like real drawings. It broke the stereotype that photography could simply be done by machine and finally proved to the arbiters that human invention was needed.

The Straight Photography Movement developed as a reaction to Pictorialism. It engaged in capturing images as they appeared in reality with sharp focus, without any manipulation. Instead, it would emphasize the selection and framing of the picture. Photographer in this movement sought to highlight clarity the clarity and the details and used the camera as a new kind of vision.

The biggest distinction between Pictorialism and Straight Photography is their artistic approach. Pictorialism embraced artistic manipulation and emotional expression, while Straight Photography aimed for realism and authenticity. Additionally, the pictorialists used various and unique techniques to give the image a painting-like vibe and create dreamy images. On the other hand, Straight Photography emphasized sharpness and detail, capturing shapes and form directly.

Straight Photography was popular among young photographers due to its aligned modernist ideas of simplicity. Also, the improvements in camera technology allowed sharper images, making the style for achievable. Embracing the camera’s ability to produce sharp, unadorned reality attracted many photographers to engage in this style.

Edward Weston was a central figure in Straight Photography. One of his most celebrated works is “Pepper No. 3”. The picture is not just a pepper, it’s a study of form and texture that draws you in. He aimed to capture the essence of his subjects without any manipulation. His goal was to expose the “livingness” and “quintessence” of the pepper, and he even used a tin funnel to get the light just right, showing how deliberate he was in capturing the perfect image.

Aaron Siskind took a different approach, though still influenced by Straight Photography. His famous series “Pleasures and Terrors of Domestic Comfort” is focused in textures and forms found in everyday life. He captured things like a floating person and urban texts, which emphasizes the beauty of the mundane. Siskind’s works have been described as reminiscent of Abstract Expressionsim, connecting him to a boarder artistic movement.

Andreas Gursky is known for his large scale, visually stunning photographs, like “Rhein II”.  His images often feel surreal, almost like a dream. He uses digital manipulation to enhance colors and patterns, which creates an abstract quality that transforms ordinary scenes into something extraordinary.

Uta Barth, in the other hand, takes a different approach. In works like “Field”, she explores perception itself. Her photographs often feature soft focus and light, inviting viewers to reconsider how they engage with images. He has said that blur is a natural part of our visual experience, and she uses it to draw attention to our own ways of seeing.

I think that Andeas Gursky cannot be classified as a Pictorialist because they aimed to make photographs look like paintings through techniques like using soft focus, manipulating the image surface with visible brushstrokes, and printing in various colors other than black-and-white. Gursky, by contrast, uses digital technology to create sharp, by seamlessly joining multiple photographs. Also, Uta Barth cannot be classified as a straight photographer because majority of her works are focused on perception and abstraction rather than realism and clarity characteristics of straight photography. 

Garrett Museum of Art. “Monday Muse | Pepper No. 30.” Garrett Museum of Art, 2025, https://garrettmuseumofart.org/monday-muse-pepper-no-30/. Accessed 11 Sept. 2025.

The Phillips Collection. “Pleasures and Terrors of Levitation #200.” The Phillips Collection, 2025, https://www.phillipscollection.org/collection/pleasures-and-terrors-levitation-200. Accessed 11 Sept. 2025.

Picsee. “Andreas Gursky’s ‘The Rhine II’ (1999).” Medium, 21 Oct. 2015, https://medium.com/@picsee/andreas-gursky-s-the-rhine-ii-1999-9212c470d87e. Accessed 11 Sept. 2025.

Guggenheim Museums and Foundation. “Uta Barth | Field #23.” Guggenheim, https://www.guggenheim.org/artwork/5345. Accessed 11 Sept. 2025.

Sweeney Art Gallery. Siskind Gallery Guide. University of California, Riverside, 13 Oct. 2015, https://sweeney.ucr.edu/Event/896/files/Siskind%20gallery%20guide%20101315.pdf. Accessed 11 Sept. 2025.

Encyclopaedia Britannica. “Rhein II | Photograph by Gursky.” Britannica, https://www.britannica.com/topic/Rhein-II. Accessed 11 Sept. 2025.

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 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. 

I think the idea “Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element” means that abstract photography isn’t about what is in front of the camera, but about how it is seen. Photographers will try to manipulate aspects of color, line shape, form, and pattern to create a composition that feels new to the viewers. Because of this, the subject often isn’t the primary material. What truly matters is the emotion it creates, or the mystery it provokes to the viewer’s mind.