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MMS 173 Assignment 2:
Part 1. General assessment of the class.
After looking at fifteen of my classmate’s portfolios, one thing I can say for sure is that I was greeted with a great variety: of skill levels, of perspectives, of subjects, and of backstories, and it was a delight to look through them all. Perhaps it’s because photography has been such a staple in our lives to preserve memories, or the fact that MMS 173 students had taken a course on aesthetics before, but I found most of the photographs pleasing to look at. Generally, while most of the photos that I have looked at were all indicative of someone with an eye for what looks good, the shots tend to vary in execution. That is, being able to translate one’s vision into a shot that fully harnesses the design principles. Viewing the showcased photos in light of the learnings in Unit 1 underscores particular avenues for improvement. It might be minute increments of changes in certain details, but they do a lot to the overall picture.
That being said, there certainly are some standout classmates whose skills shone through in the photographs they showcased. Jermaine Lobo has an impressive ability to evoke emotions and tell stories elevated by impressive post-processing. Cyril Bundalian has a great sense of alignment and balance that results in wallpaper-like photos. Aaron Cruz’s technical skill is apparent in photos that burst with action and movement, tied together with well-executed compositions that give a professional feel. Juliana Imson’s cinematic photos capture mood and atmosphere well with a harmonious use of color.
Beyond the standouts that I picked; I also really appreciated a lot of the slice-of-life themes depicted in a lot of photos – whether it’s a moment of conversation, the hustle and bustle of a marketplace, or a commute. What I find most interesting about these is that some were able to subvert the classic compositional styles in delivering compelling photos through in-the-moment, raw spontaneity elevated by their storytelling of what went down behind the frame. Most of the class has a good sense of the movement principle, giving the photos a dynamic quality. Moreover, I have also noticed a good chunk of the class are already able to play around with perspectives, frames, and even post-processing like color grading.
Overall, I think most of the class has a great potential, possessing palpable aesthetic intuitions that are reflected in the photography. I believe that the fundamentals we have learned in Unit 1 can take these shots to the next level through assured intentionality in the design choices.
Part 2. Critique of 5 pictures.
1 | “Manila Cathedral” by Jemalyn Avecilla
This photo gives the full spotlight to the facade of the Manila Cathedral, lending itself to an emphasis on the elements of line and forms of its architecture – such as the successive arches and ornamental details. The principle of unity stands out in the photo due to the structure’s uniformity in color. The inclusion of churchgoers in the frame adds a sense of proportion that emphasizes the subject’s size. Personally, I appreciate that detail the most as it adds a sense of liveliness through motion. The photo is shot with a diagonal composition, evident in the horizontal lines of the cathedral.
If I were to take the photo, I would rethink its compositional aspect. Having architecture as the photographic subject lends itself to a symmetrical composition. If not, I would also consider leaning heavier to a diagonal composition by moving closer to one side. This perspective can emphasize the textures and topography of the façade. What I find happening is that the composition tends to get lost in between symmetrical or diagonal – so committing to either can give a greater sense of intentionality in the photo. All in all, I still think the photo brings justice to the majestic architecture of the cathedral.
2 | “Serene Sea” by Lindsay Lontoc
The element of line stands out in the photo, with the bamboo and the horizon afar. I also find the triangle of space framed by the curtains to be noteworthy. The dominance of neutral colors throughout the piece brings unity, as well as the principle of emphasis to the blueness of the water. What I appreciate the most about the photo is its frame within a frame composition. The foreground – including the curtains and bamboo, frames the seascape beyond it, which is the background. It’s as if they serve as a window, emphasizing the separation of here and there. It adds a unique charm to the classic ocean photo by making it a bit more understated.
Like the one photo before this, I would also rethink its composition, by adding symmetry to its existing frame within a frame style. The scene being captured lends itself to it already – the curtains, the horizon, the lines – so it would be nice to have that translated into the frame. The symmetry tends to get lost as the lines appear slightly tilted, so committing to it can make the photo feel more intentional than candid. However, I still admire the photo’s impact, giving the appearance of a wallpaper.
3 | “Sentro ng Kalakalan” by Christian San Juan
The use of lines also stands out in the photo – with the ones on the floor and the ceiling all converging to the center point, giving a sense of movement. The space occupied by the floor gives balance to the loudness of the scenario; its texture is also being captured well. The photo uses a radial and symmetrical composition as the lines seem to spread out from the center point. From the perspective, overlapping is also seen within the people in the frame. I think that the convergence of these aesthetic decisions perfectly captures the intended dynamic atmosphere of the area.
I would only make some minor changes if I were to take the picture – first by slightly tilting the frame to improve the alignment, seeing as the horizontal lines seem to be ever so slightly askew. Finally, as a recommendation, I would perhaps try fully leaning into the worm’s eye view perspective to fully highlight the hustle-and-bustle of the marketplace.
4 | “Cacti Of Haven” by Kathleen Asay
The textures and forms of the subject cacti and their patterned placement are the prominent elements. There is a principle of rhythm in the wired fencing and the planters. I like the harmonious quality to the image as no element or color stands out too much, even the undertones all seem to work well together when considering the whole image. Compositionally, zeroing in on the lines both present and implied, makes me see a diagonal composition. Additionally, the patterns present evoke a rhythmic composition of elements.
If I were to take the photo, I would position the camera closer to the planters while maintaining its diagonal composition. This would add a sense of proportion by having the closest cacti be bigger in the frame and the ones in the distance smaller, while adding an overlapping composition. I also find the colors of the elements in the foreground to be a little dull and washed out, especially when comparing it to the colors outside. I think that it takes away from the focus on the subjects, though I understand that this factor is something out of the photographer’s control. As such, some post-processing to brighten the shadows can elevate the photo.
5 | “Burnham Park, Baguio City” by Allan Gaspar
The use of color, particularly in the yellow light surrounding the tree and the warm glow it gives to the entire image is impressive. Due to the perspective, texture stands out as well in the pavement, in contrast to the smoothness of the reflective water beside it. The brightness or value of the focal area, the illuminated tree, lends a principle of emphasis to the image, while its glow contributes to harmony, as the whole image is tied together with the colors. As the photo is taken at nighttime, there is ample contrast between the lit and unlit areas. The photo’s composition makes use of symmetry, but in a more understated, unique way, through the reflection of the focal point in the water.
I already find the photo to be polished and well-done, but I would probably recommend to also lean heavier into the symmetry by slightly shifting the perspective to make the central line straightly aligned. However, this is merely a personal choice and the photo is still good without it.
Part 3. Self-assessment.
Compared to the rest of the class’s skill level, I would say that I’m within average of it. I do believe I’m capable of delivering an aesthetically pleasing photo as well. I think I’m a little more conscious and intentional on framing and angles with respect to the lines of the overall photo. Though they may seem minor, they really do a lot to make the photo feel more intentional and balanced. Some of my photos employ compositional styles like rule of thirds, radial, or symmetry.
That being said, I do think that I still have avenues for improvement after seeing my classmates’ photos. I think I need to be more adventurous with the photographic styles and subjects in my output. Most of my photos tend to be of the same subject, like a scenery, or a skyline, hence my first assignment majorly consisting of travel photos. And while there’s nothing wrong with that, I think introducing some variety to what I photograph can improve my skill and adaptability. I think different subjects call for different photographic compositions and design principles, so I should be more open to it. Moreover, I should also try experimenting with perspectives, seeing that other classmates did so as well. It adds a level of visual interest to the photos compared to the classic eye-level that I’m used to. Finally, knowing the right level of post-processing and color grading really contributes to a photo’s mood and atmosphere, and that is a direction that I would also like to approach in the future.
Throughout the duration of MMS 173, I will focus on these factors to improve, both through continued experience in the craft and learnings in the class. Catching a glimpse of my classmates’ capabilities has inspired me to refine my aesthetic and storytelling intuitions through photography.
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