MMS 173 Assignment 2: Knowing Where I'm At (Part 2)

Looking at my MMS173 coursemates' photography entries has been both eye-opening and humbling. Coming into this class, I definitely felt a bit of “imposter syndrome.” In the self-introduction forum, I caught a glimpse of my classmates' backgrounds, and some of them had prior experience in photography. I was genuinely impressed by the photos they shared and thought to myself, Why am I even here? The photos I take with my two-year-old phone aren’t even half as good as the ones they capture with their big DSLRs and mirrorless cameras. As much as I try to compose my shots nicely, they still end up looking a bit wonky.

However, as I went through my coursemates' entries for our first assignment, “Where I’m At Part1” (where we were tasked with posting our best photos before taking the course), I realized that we’re all on a level playing field. I know it’s a bit of a hasty assumption, considering I only browsed through about 20 portfolios, but I got a sense that most of us have things to work on.

Among the 20 portfolios I visited, a common theme was landscape photography. At least half featured mountains, beaches, and skyline shots at sunset. While landscapes are undeniably beautiful, a lot of these shots felt like they were taken in the spur of the moment, like seeing something nice and just snapping a picture without much thought about composition. It’s mostly point-and-shoot, everything automatic. That’s why some of the landscapes I browsed through looked slightly misaligned, with the horizon not perfectly horizontal, under or overexposed, and with distracting elements like walls or tree branches in the frame. These could have been avoided by adjusting the shooting position, changing the perspective, or editing in post.

That said, I can’t totally criticize because I’m guilty of the same thing. Most of the time, when I see something nice, I just pull out my phone and take a quick shot without thinking too much about composition, especially if it’s just for my Instagram stories.

Another that I noticed is that most of my classmates use the rule of thirds for their compositions. This is probably because it’s both effective and the easiest to apply. Most cameras now display these guidelines on the screen or viewfinder, making it even easier to follow. I have to admit, I’m also guilty of relying on it and it’s simple to train yourself to shoot this way. Just shift your subject a bit to the side, and there it is. But composition in photography isn’t just about the rule of thirds. There are so many other techniques, and I think all of us in this class should explore them as well.

Wrath of Mayon by Marcus Andrew Villacorte

This photo, Wrath of Mayon by Marcus Andrew Villacorte, captures the magnificent Mayon Volcano as it erupts. While this is an incredible subject, since it’s not often we witness a volcanic eruption, many details were unfortunately not captured. The photograph isn’t sharp enough to clearly define the mountain’s form or the smoke and ash spewing from the volcano. However, this is understandable, as the camera used may not have been well-suited for night photography, or the exposure settings may not have been optimized for such low-light conditions.

That said, the lack of sharpness actually adds something to the image. Since the camera couldn’t capture every detail of the volcano, the viewer’s focus is naturally drawn to the scene of the lava flow, illuminating the night sky. The dark surroundings create negative space in the upper half of the composition, further emphasizing the glow of the lava.

However, the lower half of the photo is distracting. A wall covers at least a quarter of the frame, and a light source in the lower left corner could potentially pull attention away from the lava’s glow.

Chynna Agahan’s Nighttime in My Room shares similarities with Villacorte’s photograph, particularly in its use of low light and a glowing subject. Agahan captures a neon green Smiski keychain illuminated under an LED lamp. Since it was shot in a dark room, the surrounding darkness and depth of field create negative space that draws the viewer’s eye to the glowing keychain.

However, a key difference is that Agahan’s composition is cleaner, allowing the subject to stand out. If I were to overanalyze the composition, the only distracting element in the photo would be what appears to be light reflections in the far background.

Her photo also follows the rule of thirds. If we were to divide the frame into three columns and rows, Smiski’s face would align with one of the grid’s intersections.

Nighttime in My Room by Chynna Agahan

That Mirror Shot by Alexis Jemn Alviso

That Mirror Shot by Alexis Jemn Alviso is a composition full of story. Her mother, the subject of the photo, sits in the backseat of an electric bike, seemingly bored with the ride.

What allows Alviso to tell this story is the way the photo was composed. Using the Golden Spiral and rule of thirds, our eyes are naturally drawn to the subject’s face. The diagonal line of the driver’s seat window also helps guide the viewer’s gaze toward her. But what’s most striking about this photo is how it creates a frame within a frame. Alviso effectively uses the sidecar mirror to frame her mother’s facial expression. This not only highlights her emotions but also reinforces the idea of her being a passenger.

One aspect that could be improved is the shooting angle. If it were slightly lower, more of the subject’s bust would be visible, adding to the emphasis on her bored posture, which is a key part of the overall narrative.

Tethered & Free by Ckiah Keil Balubal is another composition that captivated me for its richness in story.

This photo particularly captures the life of a balloon vendor. I admire how the vibrant colors of the balloons pop within the frame telling us how balloons often bring color and joy, especially to celebrations and children. While the balloons take up nearly a third of the composition, the image doesn’t feel cluttered because the colors complement well as they overlap each other.

Despite the bold colors of the balloons, they don’t distract from the main subject which is the vendor. The strings to which the balloons are connected to create diagonal lines that guide our eyes back to him. His positioning in the middle, aligned with the lower horizontal line of the rule of thirds, further reinforces the focus on him.

While the composition isn’t strictly symmetrical, placing the vendor at the center of the frame creates a sense of balance. His facial features are naturally symmetrical, and the balloons he holds fan out almost evenly on both sides, further reinforcing this effect.

This allows us to see a hardworking individual amidst the colorful and fun setting.

Tethered & Free by Ckiah Keil Balubal

Strawberry Farm by Nicole Gacita

In terms of symmetry, Strawberry Farm by Nicole Gacita is a composition that effectively uses this technique.

Gacita achieves symmetry by capturing the scene from the middle of a strawberry field, with arcs and land patches planted with strawberries evenly distributed on both sides of the frame. This even distribution of elements creates a sense of balance.

However, without the title, I wouldn’t immediately recognize it as a strawberry farm. The image could easily be mistaken for a typical vegetable field since many farms look similar. It falls a bit flat in conveying what we’re really looking at.

Perhaps a different composition or a combination of techniques, such as focusing on the strawberries themselves, could make it clearer.

Looking back at the photos I posted in my "Where I’m At Part 1" blog, I realize that my shots are far from perfect. While I’m still proud of them, observing and critiquing my coursemates’ entries has given me insights into how I can improve as a photographer.

At the start of this course, I felt intimidated by those with prior photography experience. But as I explored my coursemates’ portfolios, I saw that many are just like me, casual photographers using phone cameras, with little to no professional background. This realization made me appreciate that we are all still learning, experimenting, and growing.

My approach to photography has always been to take as many shots as possible and hope that at least one turns out well. However, through this process of critique, I’ve come to understand that composition is everything. I need to be more intentional every time I raise my camera. Instead of relying solely on the rule of thirds or simply hoping for a good shot, I should first visualize the scene with my eyes, frame it in my mind, and explore different composition techniques to tell a stronger story.

I also have to be more aware of the elements I include in my frame, thinking about how they can emphasize or deemphasize certain aspects of the composition and contribute to the narrative I want to tell. Every element in the frame should be intentional, ensuring that there would be no distracting details that will take away from the story. Just because something is beautiful doesn’t mean it is necessary.

This experience has been humbling, but more than that, it has been inspiring. Seeing my coursemates’ work, whether from experienced photographers or those who have simply developed a trained eye, has motivated me to push myself further. I don’t have to feel like an imposter in this course. I’m here to learn, to grow, and to develop my own skill and artistry, one frame at a time.