This image illustrates Zettl’s notion of continuing vectors. The arm begins the motion and the word ‘drip’ with its use of ellipsis creates a continuation of movement in the same direction. The lighting is relatively flat with slow falloff, courtesy of an overcast day.
I took a series of photographs of this model garden thing in someone’s frontyard. I’d never seen anything like it before! With my reflection superimposed over the bits and pieces of random objects, the notion of figure/ground is skewed in a very interesting way.
Fast falloff, low-key lighting used below eye-level establishes a very specific kind of mood and atmosphere.
The figure in this picture is me at the water fountain, and the ground is the baseball field and the trees in the distance.
I think that what keeps this image from being flat is the way the light reflects off the ‘push’ button of the water fountain. I just really like the pink color in the stone and the roughness of it, the details in the close-up.
With a slight tilt of the horizon, I think there’s a suggested energy that might even make you think I was actually watching a baseball game and not just posing for a picture…!
Zettl’s notion of pull and attraction of mass was very interesting to me and I think this picture depicts that in a less jarring way. My arm has the greatest attractive power in the picture, but the highly saturated colors of the light bulbs also attracts attention. Slow falloff.
The attraction of mass here is very disproportional. Unlike ‘Tree Lights’, where there is some semblance of balance, this picture is weighted in the direction of the basketball hoop. Also, I like that it can be interpreted as both a horizontal and vertical environment. Slow falloff.
This picture displays what Zettl refers to as uphill motion. The diagonal of the staircase has that kind of directional pull, even if I’m not making my way up the stairs just yet. Slow falloff.
This is an example of silhouette lighting, where the background is lighted but the figure in the foreground remains completely unlighted. Can this also be seen as a gestalt? You can’t see the entirety of the ukelele, but the basic form of the head stock is the minimum amount of information needed to come to a conclusion about what the object is.
Fast falloff reveals details in my hands and arms. This kind of lighting wouldn’t be used in big concert halls, but it made me think of Sarah Lawrence College’s Blue Room, where a lot of small, intimate concerts were held. The lighting was kind of like this, very simple, but had a definite impact.
The use of chiaroscuro lighting in this picture has a spatial/compositional function. The light and dark areas are distributed in a balanced way. All shadows are translucent.
For my Media Design class this week we had to choose from a list of themes and take a series of photographs that exemplified some of the techniques described in Herbert Zettl’s Sight, Sound, Motion: Applied Media Aesthetics.