What feelings/states of mind of the photographer are suggested by the image?

John Baldessari frequently used irony and humor to criticize artistic norms.

In the photo “Wrong!”, Baldessari shows a subversive attitude toward traditional aesthetics. He does not understand the standard between good and bad art. He keeps questioning why certain images are deemed acceptable while are dismissed. The video says how Baldessari was thinking about when he took this series of images. He used the word “Wrong!” to satire the current situation in the art industry. The word “Wrong!” itself indicates the photographer’s critical mindset. It influences to the audience as well, since people will have a stereotype about what a good and bad photo.

Can a bad picture be great?

A photograph was considered “bad” because due to technical flaws can be great when framed as a conceptual statement. If the photographer intentionally embraces imperfection to critique artistic dogma, the image gains intellectual depth. For Baldessari, “badness” is a tool to expose hypocrisy in art criticism.

Text is a very crucial element in photography. Without context, viewers might dismiss the image as poorly executed.

Baldessari’s “Wrong!” exemplifies how a photographer’s critical state of mind and contextual framing can elevate a “bad” image to greatness. By weaponizing irony and challenging viewers to rethink artistic hierarchies, the work underscores that meaning in photography is constructed through intent and context, not just technical perfection.

Three Things Edward Weston Might Have Been Interested in Capturing

1. The Beauty of Ordinary Objects: Weston was known for finding beauty in everyday subjects. In Pepper No. 30, he likely aimed to reveal the intrinsic elegance of a common pepper, transforming it into an abstract form that transcends its mundane identity.
2. Sculptural Form and Abstraction: By using dramatic lighting and a close-up perspective, Weston may have sought to abstract the pepper’s form, making it resemble a human torso or a modernist sculpture, emphasizing shape and contour over literal representation.
3.  Light and Shadow: He’s careful control of lighting suggests an interest in how light and shadow interact with the pepper’s surface to create depth, texture, and variation, enhancing the image’s visual impact.

If I were the photographer, I would title “Pepper No.3” to Curves of Essence because it captures the essence of the pepper’s form through its flowing, organic curves. The title reflects the abstract quality of the image, where the pepper’s identity is secondary to its visual and emotional impact. The word “curves” highlights the dominant lines and shapes, while “essence” suggests the deeper beauty Weston reveals in an ordinary object, aligning with his philosophy of finding the universal in the particular.

1. 1. Line:

   The photograph features smooth, flowing lines created by the pepper’s contours. These curved lines guide the viewer’s eye along the pepper’s form, from its rounded top to its tapered base, creating a sense of movement and grace.

   2. Shape:

   The pepper’s form dominates the image, creating an organic shape that resembles a human figure or abstract sculpture. The shape is defined by the interplay of curves and folds, enclosed by the pepper’s edges.

   3. Pattern:

   Pattern is minimal in Pepper No. 30, as the image focuses on a single subject rather than repetition.

   4. Texture:

   The texture of the pepper’s surface is a standout feature, captured through Weston’s use of soft, directional lighting. The smooth, glossy texture of the pepper is emphasized by highlights and shadows.

   5. Tone:

   Tone is critical in Pepper No. 30, with a rich tonal range from bright highlights to deep shadows. The black-and-white format enhances the contrast, with soft gradations of gray on the pepper’s surface creating depth and dimension.

   6. Focus:

   The photograph is sharply focused, with every detail of the pepper’s surface rendered crisply. Weston’s use of a deep depth of field ensures that the entire pepper is in focus, highlighting its texture and shape. This sharp focus contrasts with the blurred background, drawing all attention to the subject and enhancing the abstract quality

Formal elements are the basic building blocks that construct an image. Key formal elements include line, shape, pattern, texture, value/tone, and focus/movement, which are shown in photography. Most images use several formal elements in one photo.

Firstly, the element “line” is a meaningful and one of the most essential elements needed in photography. The formal element of line refers to the use of linear elements within composition to guide the viewer’s eye, create structure, or evoke specific emotions. There are several types of lines, such as horizontal, vertical, parallel, diagonal, and curved lines. Since lines are a very common element to observe in photographs, lines are fundamental to photography. For instance, the following photo is an example that shows and emphasizes the formal element “line”.

Secondly, shape is another vital element that is necessary in photography. In photography, shape is more than a means of recognition. It helps convey the nature of a subject. Shape refers to the two-dimensional, flat, or outlined from within an image, defined by boundaries such as lines, edges, or contrasts in color, tone, or texture. Shapes can be geometric, organic, and play a key role in organizing the frame and conveying meaning.

Thirdly, Pattern refers to the repetition of visual elements in a regular or predictable arrangement, creating rhythm and unity. Pattern adds visual interest and coherence, and breaking a pattern can also draw attention to a subject. The photo above shows patterns and repetition of a particular object.

Next, tone refers to the range of lightness and darkness in an image, from bright highlights to deep shadows. It is often described as a contrast too. Tone creates mood, depth, and emphasis in the photo. High-contrast images will feel dramatic, while low-contrast images are softer or subdued.

Furthermore, Focus refers to the sharpness or clarity of specific areas in an image controlled by depth of field and lens setting. Focus directs attention to the subject, isolates it from the background, or creates a sense of depth. Shallow depth of field emphasizes a subject, while deep focus keeps everything sharp.

Lastly, texture represents the surface quality of objects in a photograph, conveyed visually through light and shadow. Texture is an important element, since it adds tactile realism, depth, or contrast, making images feel more immersive. In addition to enhancing the impression of reality in a photograph, texture adds visual interest. Pure line or pattern can be impressive, but fails to hold the viewer’s interest. Texture, particularly if it is irregular or complex, gives the viewer’s eye more to play with. It creates little nooks and crannies for the eye to explore.

Can an image show just one element at a time?

In theory, it is possible to create an image that emphasizes only one formal element to the exclusion of others. However, it might be extremely difficult for a photograph to show just one element at a time.

Work Cited

Casey, Luke. “Go To The Light.” Luke Casey Photography, 23 August 2016, https://lukecaseyphotography.com/2016/08/23/converging-lines/. Accessed 03 September 2025

Bruguiere, Francis. “Design in Abstract Forms of Light.” TATE, 19 May. 2018, https://www.tate.org.uk/tate-etc/issue-43-summer-2018/barbara-kasten-through-lens-abstraction. Accessed 03 September 2025

Styburski, Frank. “Balcony Abstraction”. Frames, 16 January. 2022, https://readframes.com/food-for-thought-a-case-for-abstraction-in-representational-photography-by-frank-styburski/. Accessed 03 September 2025

Pictorialism, active in the late 19th to early 20th centuries, aimed to make photography a fine art by mimicking painting. Photographers like Julia Margaret Cameron used soft focus and manipulated prints to create dreamy, emotional images, prioritizing mood over realism. In contrast, Straight Photography, emerging in the early 20th century, embraced sharp focus and unmanipulated images. Led by Paul Strand and Alfred Stieglitz, it celebrated the camera’s precision, differing from Pictorialism’s artificial effects. Straight Photography gained popularity for its authenticity and alignment with modernist ideals, emphasizing clarity and detail.

Edward Weston’s Pepper No. 30 (1930), a sharply focused black-and-white close-up of a pepper, reflects Straight Photography’s influence. Its curved lines, organic shape, smooth texture, and rich tonal range transform the pepper into an abstract, sculptural form. View it via the Center for Creative Photography (Weston). Similarly, Aaron Siskind’s Chicago 30 (1961), a crisp image of a brick wall, uses repetitive rectangular shapes, textured surfaces, and stark tones to create an abstract pattern, embodying Straight Photography’s principles.

Andreas Gursky’s 99 Cent II Diptychon (2001), a large-scale, sharply focused image of a store’s repetitive shelves, achieves abstraction through pattern and scale. Its clear detail aligns with Straight Photography, not Pictorialism’s manipulation. View it via the Tate (Gursky). Uta Barth’s Ground #38 (1994), a blurred image of a domestic interior, uses soft focus and muted tones for an abstract, emotive effect, echoing Pictorialism but defying strict classification due to its conceptual approach.

Overall, Pictorialism and Straight Photography shaped abstract photography. Weston and Siskind used Straight Photography’s clarity to abstract everyday subjects, while Gursky’s precision aligns with Straight Photography, and Barth’s blur recalls Pictorialism. Their works highlight formal elements to create compelling, abstract compositions.

Work Cited

Barth, Uta. Ground #38. 1994, Los Angeles County Museum of Art, www.lacma.org/art/collection/uta-barth. Accessed 3 Sept. 2025.

Gursky, Andreas. 99 Cent II Diptychon. 2001, Tate, www.tate.org.uk/art/artworks/gursky-99-cent-ii-diptychon-t11829. Accessed 3 Sept. 2025.

Siskind, Aaron. Chicago 30. 1961, Museum of Modern Art, www.moma.org/collection/works/46840. Accessed 3 Sept. 2025.

Weston, Edward. Pepper No. 30. 1930, Center for Creative Photography, ccp.arizona.edu/artists/edward-weston. Accessed 3 Sept. 2025.

• My own definition of abstract photography

In my own definition, abstract photography is a type of photography that, instead of describing and showing the topic directly and in a literal way, emphasizes and focuses the photograph more on colors, textures, patterns, light, shadows, and other elements.  Abstract photographers use perspective, movement, and light to transform the world we see into an unexpected, often unrecognizable image.

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.

Initial thoughts: What do you think is meant by “Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element”?

In the previous caption, it says that “subject isn’t the most interesting element” in abstract photography. I wonder where the interesting elements in abstract photography are, and what is the purpose of the subject if it is not an important part of the photograph. Additionally, based on the example photos I’ve seen in the DX, there are certain patterns and repetitions in the photos, which make them more attractive and draw my attention more to the photo.