Final Reflection

Consumed. (Future Tense)

     This image is representative of my creative development in that it combines many aspects of composition—subject matter, angle, framing, color story, etc.—in communicating a theme. The burnt matches as subject matter fall very obviously into the title theme consumed. Equally effective, however, is the angle of the image, which creates an affinity between the subject matter and the background, as the combusted matches appear almost to emerge from the black abyss. The framing of the shot also accentuates this dissolution of the photograph as the viewer's attention travels from bottom to top; while the blue color bloc in the photo is very clearly bounded on the bottom edges of the image, the farther edge dissolves softly, such that it, too, seems to be sliding into the blackness of the background. In addition, the photo has a very distinct color story that accentuates this tension between sharp foreground and dissolute background: The bottom of the image is dominated by blue, the top by black; but the black extends into the blue bloc in the form of the burnt matches, and the blue extends and ultimately fades into the black. The interplay of these photographic elements to convey my title theme, I believe, shows my growth as a photographer.

Silver and Light (Kill your darlings, Fibonacci.)

     This image stands out for me—and represents the development of my photographic skill—because of the successful abstraction of my subject matter. In my view, the photograph has been reduced to the intersection of three distinct bodies or blocs: the arcing form of the lamp stand, the oblong expanse of the wooden table, and the dip of the wicker chair. The negative space between these distinct blocs is plain black: the photograph captures only basic forms, not distracting background details. What this photograph does so successfully is to capture the intersection of the three bodies (lamp, table, chair). The form of the lamp represents a break in the arc of the photograph, as it quickly fades to black as the eye moves left to right. The intersection of the chair and table as the former passes below the latter also adds interest to the photograph. The single most important point in this photograph is where the arc of the chair meets that of the table and passes behind the lamp: it is the point where the tree bodies of the photograph intersect.

3. My least successful work of the year was my stop motion project. I learned from this project the ultimate necessity of taking consistent, quality photographs. My final product was not pleasant to watch because I did little to stabilize the camera, so that the subject shifted around within the frame. The framing of the photographs, too, was distracting to the viewer, as extraneous objects could be seen along the edges. The lighting of the photos, in addition, was an element I did not consider, and which was a detriment to my project, because the photos were too dark, had to be corrected in photoshop, and appear somewhat unnatural. If I were to redo this project, I would standardize the intervals at which the photos were taken, so that the movement between each frame is consistent and the final result does not seem so jerky. I might also make use of an off-camera flash if I could not find a more suitably lit space in which to photograph.

4. I consider my greatest skill in the photography classroom setting my methodical nature. Photos can be enormously improved by simple patience and small adjustments in angle, focus, zoom, etc. I have often taken ten photographs of a particular subject matter before finding the combination of these photographic elements setting a single photograph far about the others. My methodical process was especially helpful while Defying Ms. Seal, because the quality of the photographs was extremely important if I was to combine them in a collage, and I therefore took long series of photographs with minimal adjustments until I found the correct angle and lighting.

5. My effort in this class was really focused on the presentation of my photos. I was often unengaged in the process of actually taking photos, but I genuinely enjoyed the post-shooting presentation process (e.g. the photoshopping in House in My Mind, the use of transparencies in Future Tense, and the studio lighting/digital "collaging" in Defy Ms. Seal). When I was involved in these sorts of presentational endeavors, I was very engaged and was always excited to get back to the digital media lab. In the actual act of taking photographs, I was less methodical about my art, so that my progress was not as evident. I also at times became frustrated when my project did not turn out the way I intended, especially in the stop motion project, and my effort would lapse.

6. I am excited about mastering the use of lighting in my photographs in the future. I witnessed several of my classmates who were able consistently to take beautifully lighted photographs, and I was envious of this ability. I would really like to be able to focus more on the effects of lighting angle, aperture, shutter speed, etc. in composing photographs. In addition, I am always excited to do more work in photoshop. It is an extremely rewarding tool to master, as it provides the photographer with greater post-shooting initiative in composing a work. However, I want to be sure not to sacrifice the quality of my original photographs in favor of post-shooting manipulation.

7. In the course of Intermediate Photography I have become a more autonomous learner. There are few formal demonstrations in this class, and it is therefore easy to languish in one's artistic skill unless one takes the initiative to teach oneself. For me, the self-teaching process often took the form of trial and error, but it was extremely instructive because I came to understand how I had arrived at final result, rather than be led there by an instructor. This is a skill that I believe is underemphasized in other academic settings, and which is an extremely important tool in fostering non-dependency in the greater spectrum of life's interactions.