The final selection also includes multiple references of the second set of images I took during the weekend. I mostly used similar lighting and techniques to shoot these images, but improved upon variety and choices of posture to make the set more balanced and storytelling overall. The set of photographs fits my vision of how anxiety and pressure is reflected on the individual through showing overwhelm by placement of hands on one’s head, leaning forward, limited eye contact (typically a gaze downwards), and an unsteady stance.
Seeing my photographs from the first set, I was pleased by how effects of lighting and composition were interacting with the audience, but felt that my images weren’t candid and seemed to be clearly posed out. While that would be the case, I would have liked to make the postures and gestures of my subject seem more natural and relatable to the everyday person. Previously, I had noticed how the hand placement of the subject was tense and stiff, for which I made the model more relaxed during this set of photos to truly imitate the behavior of a person overwhelmed by life.
My first photo is one from my initial set, for which I chose due to its dramatic visual effect on audiences and comparison between white and red lights. The exposure of the portrait came out to match the vibes, with lower shutter speeds capturing every bit of light shining into the camera lenses, emphasizing the red from a low angle and it absorbing/blending in with white to form purple, beautifully transitioning the negative space towards the main subject. The wide focal lenses (18mm) capture not simply the subject, but also the negative space surrounding it, setting off the mood of isolation and dread. It is also noticeable that a large portion of the image remains in a dark, if not completely black color tone, showing off mysteriousness and narrating a tough time which the model is experiencing. The overall atmosphere of the portrait remains sad and gives of a sense of seclusion, something which is widely faced among young adults and students, making it relatable to a variety of groups of people, posing connections and reflections on whether sacrificing mentality for achievements is necessary and needed to be successful for further in life.
In the second photo, the model is leaning back against a white wall with her head tilted rightwards and her gaze oriented downwards as if in deep thought. As mentioned, I made the model more relaxed in this image, with leaning against a wall a interesting way to show an unsteady posture and also adding dramatic curves and lines to the composition, further suggesting unease and complexity in character. The image continues on using the technique of low lighting sources, with red light coming from the left hand side of the image while white rays are projected through the middle, partially illuminating the model. This blend in color adds a dramatic tension towards the image, the underlying anxiety of being perfect and judgement by society. The partial shadow on the model’s face also conducts feeling of mysteriousness, just like there is always more depth to a person and their experiences than we could possible undermine and understand. This particular image also introduces large amounts of negative space which are positioned accordingly to introduce the rule of thirds and place the model in the right hand side of the image. Rather than directly positioning my subject in the center, negative space makes the subject feel isolated, which is further carried on by the wide 18mm lenses used to capture more of the surrounding environment, therefore showing the theme of hardship and challenges everyone experiences and the journey taken to overcome them. On the other hand, red, being a highly stimulating color, adds upon this feeling of societal stress, to some even the sense of despair and giving up, contributing to the overall theme as well.
The third photo is uses similar composition to the first, however portrays a different posture and uses different techniques of light to create different results. Red light is situated on the left side of the image while the right side of the image stays dark, all at the same time as white rays bisect the two from the middle. This creates an interesting transition between black and red, also symbolizing what we emphasize and imagine as intensity, fear and dread while not looking at the optimistic perspective of things, the white light in the middle showing the string of hope and optimism present in any types of circumstances. The model of the portrait places her hand gently over her mouth, a sign of trying to achieve self-soothing and comfort in nerve wrecking situations, one which is relatable to many different ages and which surely everyone has experienced, making the composition more candid compared to my photos of the first set. There is also a sharp contrast between the lighting and shadows of the image, resembling dramatic switches of color tone to darkness on the face and hands. This differentiates from the transition introduced by white in the center of the photograph, adding variety in visual effects of the photo while signifying an emotional response of an individual to dramatically changing lifestyle and the toll it has put to the working class fighting for a healthy living in a highly competitive society.
The fourth photo above is a unique method I tried during my second set which involved getting extremely close to the main subject and zooming in specifically on a model’s eyes to show despair and hopelessness through a simple glaze. I got this inspiration through my mood board and artist research, which told me that a portrait rather doesn’t necessarily have to include large portions of the body, but can be rather simple. In the portrait, red light shines from directly below the subject, making a more monochromatic scene by enhancing color grading resulting in different shades, such as a darker tone on the face while a pale and softer tone reflected on the hands. I also like how the layering of the photo is enhanced by showing elements of hair, eyes, and the outline of glasses, which adds depth and realism and acts as a connection between the foreground and background of negative space, making it seem in place and meaningful by framing and further sense of dimension. During the editing process of this image, I payed most attention to sharpening in order to increase contrast on edges, making the model’s glaze and edges stand out more in the overall composition of the image.
The final image of the set is similar to the previous, but uses wider 18mm lenses to capture more of the model’s body posture and hand placement in order to convey emotion. Once again, I chose to use red light mainly, however, positioned a white flashlight in a lower position to illuminate the chin of the model, which emphasized her importance in the portrait’s composition. This portrait uses a different low perspective shot, placing the camera lower than the model’s eyes to capture vulnerability and fear by putting the viewer in a position of looking up, making the subject helpless and isolated from the surrounding environment. The eyes of the model are also closed in this portrait, allowing introspection of the deep thoughts and inner feelings of the person rather than focusing on external observations, guiding the viewer’s attention towards the hidden themes of societal pressure and anxiety of the portrait. Triangular composition of the image allows the viewer to link the eyes, hand, and elbow together, arranging elements in the image orderly and ensuring that different parts of the portrait don’t conflict to form confusion and draw the viewer’s attention away from the subject. The overall image truly calls for reflection and freedom from the societal norms and virtues of contending, urging individuals to pursue freedom and peace, components of life which are just as important as is success and money.
“The best of using creativity is imagination. The worst of using creativity is anxiety. Man is not worried by real problems so much as by his imagined anxieties about real problems. Trust yourself. You’ve survived a lot, and you’ll survive whatever is coming.”
This is the final set I chose for this identity project and portraiture photography, based on my theme of stress and anxiety’s impact on individuals and society, the “Invisible Hands” acting upon every person in their pursuit of survival in the modern environment.