Week 16--Architecture

Probably shape and repetition are the two most important principles of design expressed in this photo. First and foremost, the shapes of the twin buildings take up most of the foreground compositionally. That, added to their staggered placement on either side of the photograph, demand the majority of the viewer's attention. Secondly, repetition is woven throughout the photograph in an attempt to unify the piece. Repetition exists primarily in the rectangular-shaped windows that are interspersed throughout the two buildings. 

Though the building is a static subject--it doesn't move at all, or lend any suggestion of movement to the photograph--the cables overhead help to add a sense of movement to the piece. The viewer's eye can trace the cables from the top right corner, dipping down slightly below the top left corner. Repetition and contrast likewise play important roles in creating an aesthetically pleasing photograph. While the repetition of the pillars and bricks on the building help to draw the composition together, the contrast of the green trees and blue sky create just enough variety so the subjects don't completely blend together. 

This is a picture of the same building as in the photograph above, however I took it at a different angle in order to emphasize the shadows and overall tonal value of the pillars. I really liked how the shadows and highlights imparted a three-dimension quality upon the subject; transforming it from a series of two-dimensional square and rectangular shapes. I purposefully took the picture so half of the building was cut off, creating a slightly unbalanced effect in the composition. 

Week 15--Macro Photography

I had taken this macro photo in the studio, using the light tent in order to diffuse the light. The combination of the light tent, as well as the strobe flashes enabled me to capture the highlights as well as the shadows of the metal keychain. Then in Photoshop, I increased the image contrast, the levels, and I decreased the vibrance in order to emphasize the texture of the key. 

Also utilizing the light tent and strobe flashes, I tried to experiment with the shutter speed in this photograph in order to achieve an interesting depth of field. In addition, I varied the focus on the image; making it so only one portion of the subject was in focus. Having the other portion of the subject blurry helped give the subject a three-dimensional quality. Again, in photoshop I increased the contrast, decreased the color value and saturation, and increased the levels. 

I liked the contrast inherent in this photograph; specifically the light key on the right side of the photograph, contrasted against the darker key on the left side of the photograph. Also, the composition of the photograph (having one key on each side of the photograph) helps the viewer's eye to travel through the lines of the subject. Furthermore, having the subjects placed so that one part appeared out of focus ( the topmost ring) helped to make the photograph visually pleasing to the viewer's eye. 

EOC Preparation Quizzes

Week 14--Night

Color is most definitely the most important concept presented in this photograph. And because of the darkness of the background, the brilliant neon color of the sign is emphasized so it pops out at the viewer. Because of the tilt of the camera, the picture seems to be split in two hemispheres; the top and bottom. The sign and additional neon lights help move the viewer's eye through the photograph. 

Tonal value is the key element in this photograph. Specifically, the tonal value of the church; the deep shadows, middle tones, and the whiter highlights all work together to make the church appear three-dimensional. When I had taken the photo initially, the aperture and shutter speed settings had been off. So in photoshop, I increased the contrast in order to make the photograph appear less blurry. 

I liked how the concept of line was represented in the composition of this photograph. There appear to be several different types of line; horizontal, diagonal, vertical, and a few radial lines as well. The horizontal and diagonal lines set the boundary for the composition; they mark the very edge of the building. The vertical lines are embodied in the row of hanging chile ristras, and last but not least the radial lines spread out just above the lamp. Overall, the lines create unity in the piece--drawing the different parts of the photograph together--and they help the viewer's eye move through the photograph.