MEDIA 203 - Week 1: Barriers to Seeing and Color Expression
Color Series
Hue Series
Analysis of Work
Feelings/mood- What is being communicated
Produce as the subject matter for this color and hue series was selected due to its representative nature of what is fresh, new, and healthy. To agree with these ideas, green was the ideal color to showcase (although there were plenty of other colors to choose from in the produce department).
Subject placement - important areas of the images
In the color series, all images were originally taken in landscape format. They were cropped to fit the frame and each ended up telling a more clear story with this format. The tomato is placed so that the circular “motion” spins around to the stem, which is why the left is slightly cut from the frame (creating a starting point), but the right is present to lead the eye. In the watermelon image, the red directional lines (tomatoes in background and red reflection on black table frame in foreground) create a directional pull toward the left, The green display of the watermelon arrangement agrees due to its shape and the balance of hue. In the cucumber image, the black frame serves the same as that of the watermelon image, and the blurring of the foreground gives emphasis to the receding display that is sharpened in the upper left. The cut off of the cucumbers gives the impression that the shelf extends for a long time, reinforcing the idea of abundance – or rather, an abundance of health.
In the hue series, the cilantro is blurred in the foreground to give emphasis to the parsley. This is similar to the composition of the cucumbers, but is illustrated in a landscape format.
Multilayered meaning
The freshness of the produce theme reinforces the newness of this academic course. The selection of green products emphasizes the time of year we are concentrating on photography (Spring). I also intended to go with an unexpected subject that would support these ideas. Early Spring flowers seemed like a sound choice, but remained unsurprising.
Depth of field - Selecting areas of focus
There was a clear depth of field in each photo. The tomato is closer to the lens with a distinct focus and the back ground is slightly blurred. I wanted the concentration to go to the stem, but with clarity provided over the whole of the green tomato. Furthermore, I preferred to keep the eye from wandering toward the red, which is serving as a frame due to the color harmony. The background of the watermelon is also blurred, brining focus to the center of the image. The foregrounds of the cucumbers and cilantro are blurred to bring focus to the backgrounds in order to give the idea of produce that continues outside of the frame.
Light - Sources used to photograph images
No flash was used for this week’s images for two reasons: (1) most of the produce had a sheen (tomatoes, apples, watermelon, etc.) which drowned out the subject when force flash was utilized, and (2) there was plenty of light from multiple sources hanging from the ceiling overhead to bring definition to the fruits and vegetables. This occurred in such a way that there were strong shadows cast beneath the produce, bringing the attention upward to the focal point in each image. The white balance was placed on tungsten lighting.
Improvement - What would be improved if photographs were retaken
The first improvement I would include to a photo shoot like this would be to slow down enough to minimize blur. Permission was already granted by the store manager to take photos, so there was no need to worry about getting kicked out, although there were plenty of strange looks received by store associates and customers passing by. Needless to say, I still felt out of place taking pictures in a grocery store.
Secondly, the main image I would photograph differently between those shown is the watermelons. The receeding lines lead the eye off the image, which was not intended. Directional lines would better serve by leading either toward or away from the subject. When the image was taken, the focus was placed on the foreground melon with the sticker, but the lines that intersect somewhere off the image do not relate to the focal point. To approach this photo differently, it would be strengthened by putting the focus on one of the melons placed further back, near the convergence of directional lines, or choosing a different view point to keep the same subject in a manner that brings appropriate focus - perhaps kneeling and looking upward with the camera so there is a directional line from the right proceeding toward the stickered watermelon created from the table frame (a part of the table which cannot be seen in the current photo).
Produce as the subject matter for this color and hue series was selected due to its representative nature of what is fresh, new, and healthy. To agree with these ideas, green was the ideal color to showcase (although there were plenty of other colors to choose from in the produce department).
Subject placement - important areas of the images
In the color series, all images were originally taken in landscape format. They were cropped to fit the frame and each ended up telling a more clear story with this format. The tomato is placed so that the circular “motion” spins around to the stem, which is why the left is slightly cut from the frame (creating a starting point), but the right is present to lead the eye. In the watermelon image, the red directional lines (tomatoes in background and red reflection on black table frame in foreground) create a directional pull toward the left, The green display of the watermelon arrangement agrees due to its shape and the balance of hue. In the cucumber image, the black frame serves the same as that of the watermelon image, and the blurring of the foreground gives emphasis to the receding display that is sharpened in the upper left. The cut off of the cucumbers gives the impression that the shelf extends for a long time, reinforcing the idea of abundance – or rather, an abundance of health.
In the hue series, the cilantro is blurred in the foreground to give emphasis to the parsley. This is similar to the composition of the cucumbers, but is illustrated in a landscape format.
Multilayered meaning
The freshness of the produce theme reinforces the newness of this academic course. The selection of green products emphasizes the time of year we are concentrating on photography (Spring). I also intended to go with an unexpected subject that would support these ideas. Early Spring flowers seemed like a sound choice, but remained unsurprising.
Depth of field - Selecting areas of focus
There was a clear depth of field in each photo. The tomato is closer to the lens with a distinct focus and the back ground is slightly blurred. I wanted the concentration to go to the stem, but with clarity provided over the whole of the green tomato. Furthermore, I preferred to keep the eye from wandering toward the red, which is serving as a frame due to the color harmony. The background of the watermelon is also blurred, brining focus to the center of the image. The foregrounds of the cucumbers and cilantro are blurred to bring focus to the backgrounds in order to give the idea of produce that continues outside of the frame.
Light - Sources used to photograph images
No flash was used for this week’s images for two reasons: (1) most of the produce had a sheen (tomatoes, apples, watermelon, etc.) which drowned out the subject when force flash was utilized, and (2) there was plenty of light from multiple sources hanging from the ceiling overhead to bring definition to the fruits and vegetables. This occurred in such a way that there were strong shadows cast beneath the produce, bringing the attention upward to the focal point in each image. The white balance was placed on tungsten lighting.
Improvement - What would be improved if photographs were retaken
The first improvement I would include to a photo shoot like this would be to slow down enough to minimize blur. Permission was already granted by the store manager to take photos, so there was no need to worry about getting kicked out, although there were plenty of strange looks received by store associates and customers passing by. Needless to say, I still felt out of place taking pictures in a grocery store.
Secondly, the main image I would photograph differently between those shown is the watermelons. The receeding lines lead the eye off the image, which was not intended. Directional lines would better serve by leading either toward or away from the subject. When the image was taken, the focus was placed on the foreground melon with the sticker, but the lines that intersect somewhere off the image do not relate to the focal point. To approach this photo differently, it would be strengthened by putting the focus on one of the melons placed further back, near the convergence of directional lines, or choosing a different view point to keep the same subject in a manner that brings appropriate focus - perhaps kneeling and looking upward with the camera so there is a directional line from the right proceeding toward the stickered watermelon created from the table frame (a part of the table which cannot be seen in the current photo).
Learning to See
The image above is by Lewis Hine, titled “A Little Spinner in Globe Cotton Mill.” (The name was not available in Masters of Photography, but was found in Wikimedia Commons: http://commons.wikimedia.org/wiki/File:No_Known_Restrictions_A_little_spinner_in_Globe_Cotton_Mill._Augusta,_Ga.,_by_Lewis_W._Hine,_1909_(LOC).jpg .)
A. Visual elements within the photograph
There are clear shadows and highlights, but the lighting is soft and seems to be generated from behind the camera. It appears to be a natural light that fills the girl’s face and reveals the tears in her eyes. The shadows are soft and in equality to the lighting with an increase in darkness as the foreground receeds, creating sort of an abyss effect due to the deep space that appears to lead into emptiness. Sharpest elements are in the foreground: the girl and the closest spindles on either side of her. The background loses focus quickly, creating the softness of the shadows. In addition to the directional lines that lead to the background, the spindles point skyward outstretched from the frame, which makes the girl appear small and overwhelmed although she occupies the center of the image and her head nearly reaches the top of the frame. There is no color: the desaturation effect heightens the sense of lack in the girl’s life. The photo lacks texture, with the exception of the dirt on the lower part of her face and what is evident on her dress.
B. Design of the photograph (arrangement)
This image was taken at eye level of the girl, showing the story from her perspective. If it was taken from a higher angle, the point of view would have been from that of an adult, and consequently the story would have been more distant. Currently the image is personal – the injustice is in the viewer’s face. But if there was an upward shift in perspective it would be much easier to walk away without the same impact. Conversely, if the camera was lowered in order to look up at the girls face, it would create a sense of strength, as if she had things under control in the mill. Hine intended to achieve social change and the injustice of child labor needed to be exposed for its full consequences. The current angle delivers this impact accordingly.
With regard to other design elements, there is clear framing created by the surrounding spindles. The girl is the focal point, but she is engulfed in her misery created by her occupation. The receeding shadows provide visual deliverance of this idea and the repeated spindles that seem to go on forever leave the viewer to believe that there is no end to her work. There is a variety of elements between what is human versus what is mechanical, or rather, organic and inorganic. There is a relationship between the two, but clearly not an agreement. Most of the image is balanced with the girl centered and equal spindles on either side up to eye level. This is changed from the brow upward with weight given to the left of the image with spindle extensions reaching toward the ceiling.
C. How the photograph was made - Method/Equipment Used
Lewis Hine spent part much of his photojournalistic career documenting working conditions across the U.S. while working for the National Child Labor Department (Encyclopedia Brittanica, 2014). He often had to disguise himself as a worker in order to gain access to his subjects (he was regularly denied access to industrial environments due to potential legal and congressional pressure against working conditions). Much of his concentration was on child labor. The image see above is from Globe Cotton Mill in Agustus, GA (1909). Little information is available on the individual image other than that the girl featured was regularly employed. Other notes taken by Hine on the conditions of mills across the East Coast note that many child laborers went without shoes, they were often seen climbing the spindles in order to complete their tasks, and many were present for work because their families could not support them (The History Place, 2014). The camera he used was called a Graflex, which was an advancement in photographic technology in which the operator could maintain a visual through their viewfinder with the glass plate inserted for the picture (Atget, 2014). Previous cameras had a viewfinder, but the view of the subject was lost once the glass plate was inserted, leaving the camera operator to shoot blindly. Hine utilized unique methods of document information such as determining the height of children by measuring in reference to where they stood along the buttons on his coat, photographing the names in family Bibles, and keeping a hidden note pad in his vest pocket with detailed interview notes of child laborers.
D. What the photograph communicates - Feelings/Mood
The intention of Hine’s documentation is well known: to exploit the working conditions of child labor in the U.S. during the early 1900s.This image in particular is one of his more striking works. Often Hine will concentrate on the environment of child labor, but in this case camera position focuses on the individual, revealing the weight of the work conditions. The expression, through the girl is fighting back tears, is undeniable. The light cast on her face showcases innocence and misery. The shadows behind her give the feeling of oppression and unending lack of hope. One cannot easily turn away from this image without being affected by it. It is an oppressive circumstance which was remedied by Hine’s mission to stop child labor. He is an overlooked hero of the 20th century.
Resources
The History Place. Photographs of Child Labor in America, 1908-1912. Photographs of Lewis W. Hine. 2014. http://www.historyplace.com/unitedstates/childlabor/ .
Encyclopedia Brittanica. Lewis W. Hine. 2014. http://www.britannica.com/EBchecked/topic/266474/Lewis-W-Hine .
Wikimedia Commons. File: No Known Restrictions A little spinner in Globe Cotton Mill. Augusta, Ga., by Lewis W. Hine, 1909 (LOC).jpg. 2014. http://commons.wikimedia.org/wiki/File:No_Known_Restrictions_A_little_spinner_in_Globe_Cotton_Mill._Augusta,_Ga.,_by_Lewis_W._Hine,_1909_(LOC).jpg
Atget Photohgraphy.com. Lewis W. Hine, American, 1874-1940. 2014. http://www.atgetphotography.com/The-Photographers/Lewis-Hine.html
A. Visual elements within the photograph
There are clear shadows and highlights, but the lighting is soft and seems to be generated from behind the camera. It appears to be a natural light that fills the girl’s face and reveals the tears in her eyes. The shadows are soft and in equality to the lighting with an increase in darkness as the foreground receeds, creating sort of an abyss effect due to the deep space that appears to lead into emptiness. Sharpest elements are in the foreground: the girl and the closest spindles on either side of her. The background loses focus quickly, creating the softness of the shadows. In addition to the directional lines that lead to the background, the spindles point skyward outstretched from the frame, which makes the girl appear small and overwhelmed although she occupies the center of the image and her head nearly reaches the top of the frame. There is no color: the desaturation effect heightens the sense of lack in the girl’s life. The photo lacks texture, with the exception of the dirt on the lower part of her face and what is evident on her dress.
B. Design of the photograph (arrangement)
This image was taken at eye level of the girl, showing the story from her perspective. If it was taken from a higher angle, the point of view would have been from that of an adult, and consequently the story would have been more distant. Currently the image is personal – the injustice is in the viewer’s face. But if there was an upward shift in perspective it would be much easier to walk away without the same impact. Conversely, if the camera was lowered in order to look up at the girls face, it would create a sense of strength, as if she had things under control in the mill. Hine intended to achieve social change and the injustice of child labor needed to be exposed for its full consequences. The current angle delivers this impact accordingly.
With regard to other design elements, there is clear framing created by the surrounding spindles. The girl is the focal point, but she is engulfed in her misery created by her occupation. The receeding shadows provide visual deliverance of this idea and the repeated spindles that seem to go on forever leave the viewer to believe that there is no end to her work. There is a variety of elements between what is human versus what is mechanical, or rather, organic and inorganic. There is a relationship between the two, but clearly not an agreement. Most of the image is balanced with the girl centered and equal spindles on either side up to eye level. This is changed from the brow upward with weight given to the left of the image with spindle extensions reaching toward the ceiling.
C. How the photograph was made - Method/Equipment Used
Lewis Hine spent part much of his photojournalistic career documenting working conditions across the U.S. while working for the National Child Labor Department (Encyclopedia Brittanica, 2014). He often had to disguise himself as a worker in order to gain access to his subjects (he was regularly denied access to industrial environments due to potential legal and congressional pressure against working conditions). Much of his concentration was on child labor. The image see above is from Globe Cotton Mill in Agustus, GA (1909). Little information is available on the individual image other than that the girl featured was regularly employed. Other notes taken by Hine on the conditions of mills across the East Coast note that many child laborers went without shoes, they were often seen climbing the spindles in order to complete their tasks, and many were present for work because their families could not support them (The History Place, 2014). The camera he used was called a Graflex, which was an advancement in photographic technology in which the operator could maintain a visual through their viewfinder with the glass plate inserted for the picture (Atget, 2014). Previous cameras had a viewfinder, but the view of the subject was lost once the glass plate was inserted, leaving the camera operator to shoot blindly. Hine utilized unique methods of document information such as determining the height of children by measuring in reference to where they stood along the buttons on his coat, photographing the names in family Bibles, and keeping a hidden note pad in his vest pocket with detailed interview notes of child laborers.
D. What the photograph communicates - Feelings/Mood
The intention of Hine’s documentation is well known: to exploit the working conditions of child labor in the U.S. during the early 1900s.This image in particular is one of his more striking works. Often Hine will concentrate on the environment of child labor, but in this case camera position focuses on the individual, revealing the weight of the work conditions. The expression, through the girl is fighting back tears, is undeniable. The light cast on her face showcases innocence and misery. The shadows behind her give the feeling of oppression and unending lack of hope. One cannot easily turn away from this image without being affected by it. It is an oppressive circumstance which was remedied by Hine’s mission to stop child labor. He is an overlooked hero of the 20th century.
Resources
The History Place. Photographs of Child Labor in America, 1908-1912. Photographs of Lewis W. Hine. 2014. http://www.historyplace.com/unitedstates/childlabor/ .
Encyclopedia Brittanica. Lewis W. Hine. 2014. http://www.britannica.com/EBchecked/topic/266474/Lewis-W-Hine .
Wikimedia Commons. File: No Known Restrictions A little spinner in Globe Cotton Mill. Augusta, Ga., by Lewis W. Hine, 1909 (LOC).jpg. 2014. http://commons.wikimedia.org/wiki/File:No_Known_Restrictions_A_little_spinner_in_Globe_Cotton_Mill._Augusta,_Ga.,_by_Lewis_W._Hine,_1909_(LOC).jpg
Atget Photohgraphy.com. Lewis W. Hine, American, 1874-1940. 2014. http://www.atgetphotography.com/The-Photographers/Lewis-Hine.html