Scrim Lighting Piece

       This is a portrait of Tia, that was taken outdoors, using Scrim lighting. Tia is the subject of this piece, and she is relatively far away from the viewer. This photograph is figurative, rather than abstract. 

      I feel that this image has somewhat of an interesting composition. Textures including those in the grass and those in Tia's jacket help to add interest to this artwork. I believe that my use of value in this picture contributes to its success, as there are dark, light and mid-tones, as well as an abundance of contrast. The shapes in the grass and those in Tia's shirt also serve to create interest in this work. 

     This portrait documents Tia's general attitude. I feel that I was successful in capturing her apathy in this piece. The photograph is neither very dark nor very light, because I wanted this image's mood to be derived almost entirely from Tia's expression. The photo. is not in focus, and this was not done intentionally. 

    I feel that this artwork is successful, because of its values and textures.

White Board Lighting Piece

     This is a portrait of Tia that was taken using white board lighting. Tia is the subject of this piece and she is relatively close up.The image does not follow the rule of thirds, as Tia is in the center of the photograph. The picture is figurative, rather than abstract. 

     

     I feel that this image's composition was poorly chosen, because Tia's expression alone is not enough to create interest in this artwork. There are a few shapes in this piece, including those in the pattern of Tia's dress and those in her pin. There are no light tones in this photograph, and thus very little contrast. This portrait was taken in focus intentionally, to allow the viewer to look upon Tia's expression clearly. 

     Through this picture, I was trying to evoke a dispirited mood. Though, I was unsuccessful in capturing Tia in an expression that conveyed this mood.

     I feel that this artwork is ultimately unsuccessful, because of its lack of mood and its poorly chosen composition. 

Extra Credit #2: Edward Weston Reflections

Reflection: Edward Weston Photography

    

    This is a photograph taken by Edward Weston of Margrethe Mather, a friend of Weston’s. The picture was entitled “Epilogue”, and was taken in 1919. I believe that Margrethe is the subject of this piece, and that the shadow of the floral arrangement is the focal point. This image follows the rule of thirds, as Margrethe is not in the center of the artwork. I believe that this portrait is abstract and avant-garde, rather than figurative.
    There are light values, such as those in Margrethe’s face and the highlights in the fan, mid-tones, including the ones in her hand and the shadow of the floral arrangement, and dark values, like the ones in Margrethe’s hair and dress. Contrast is not abundant in this image, which is something that I appreciate, because contrast is found often in many of the hackneyed photographs of my day. Though, I am not sure that this was done intentionally. The only texture that I can find in this work is that in the fan. The shapes of the floral arrangement, Margrethe’s hair and the fan create interest in this photo, and are what attracted me to this piece. I found the inclusion of the shadow of the floral arrangement, especially, to be remarkably innovative and unique. This image was taken in focus, and I speculate that this was done intentionally to ensure that the viewer could identify the shadow as flowers.
I believe that “Epilogue” is a mood piece. I also think that with this artwork, Weston is trying to evoke an entrance in the viewer while they make guesses about what he is trying to say. I think that through this picture, Weston may be encouraging individuality, as the expression on Margrethe’s face is a very assured one. She is perhaps self-assured.

I feel that this artwork is exceptional, because of the use of shape and the mood that it conveys.

 

I chose another Edward Weston artwork to reflect on. This piece is entitled “Nude”, and was taken in 1936. I think that the subject of this picture is the woman photographed. I do not think that this image has a focal point. The long shapes of the woman’s limbs lead the viewer’s eyes around the photograph. The subject of this work; the woman, was shot relatively close up. I believe that this art is figurative, rather than abstract.
This piece’s background is very dark, and it contrasts the woman’s lit body. There are a few mid-tones in this image, including those in the woman’s hair and that of the fabric that she is sitting on. I think that the simple background of this artwork was a good choice, because it allows the viewer to focus on the shapes in the woman’s figure. The woman’s body accommodates a number of shapes, many of which are rounded, excluding her hairline and the sharp shadow to the left of her knee. The texture in the woman’s hair and in the fabric add interest to this piece. This picture was shot in focus, and I believe that this was done intentionally.
I think that through this photo, Weston is trying to convey a feeling of entanglement and stress.
I believe that this image is successful, because of Weston’s use of shape.

I am very happy to have found out about Edward Weston’s artwork. I feel that his innovation and use of shape are outstanding, and are something that I should work to improve upon in my own photography.