Knowing Where I'm At (Part 2)
@2025 by Dave C.
Knowing Where I'm At (Part 2)
@2025 by Dave C.
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@2025 by Dave C.
GENERAL ASSESSMENT
GENERAL ASSESSMENT
I've looked through nearly half of the assignments available in the ePortfolio Directory at the moment of writing. Initially, I selected fifteen, but I decided to review more to gain a better understanding of the class's overall distribution. I noticed that some students already have a strong grasp of the elements and principles of design, while many others apply them intuitively, resulting in a mix of strong and weak photos that primarily struggle with consistent application. Meanwhile, others appear to be entirely new to these concepts this trimester.
Some works truly stood out to me due to their noticeable command of elements, principles, and composition. For example, Mervick D'Melo’s shot of a bird is an outstanding example of the Frame Within a Frame composition, effectively using lines, colors, and depth of field.
Siska Santiago’s works captivated me, each showcasing a distinct style. Purr-fect Shot follows the Frame Within a Frame technique, incorporating patterns that enhance its visual appeal. Meanwhile, In the Corner of Intramuros contrasts this with its near-monochromatic color scheme and strong use of lines, evoking a sense of nostalgia and historical depth. Siska’s ability to experiment with different compositions and visual storytelling techniques makes her portfolio particularly compelling.
The works of Rhon Joshua and Aaron Ezra Cruz also left a strong impression. Rhon explores various compositional approaches, including diagonal and geometric patterns, demonstrating a good harmony of form and color, especially in his shot from Coron, Palawan. Aaron, on the other hand, impressed me with his ability to emphasize his subjects through composition. His IRGP 2024 employs strong diagonal and horizontal lines, creating a sense of movement that made me feel as though I were tilting along with the image. The depth of field keeps the subject in sharp focus while maintaining balance and pattern. Among the works I reviewed, Aaron’s WorldPress demonstrated the strongest control over visual storytelling, as the message behind the photo is clearly communicated—something that aligns well with his background as a photojournalist.
Beyond technical execution, some works evoked a deep emotional response. Mariana Ancheta’s Set Siren immediately unsettled me, evoking the discomfort of being watched or standing under scrutiny. The blurred effect, rather than detracting from the image, enhances its emotional weight, as if the subject is withdrawing from attention. Similarly, Amira Nirenzo’s Sunlight Sings Lullaby captures the familiar feeling of waking up, with its cluttered objects and soft lighting drawing focus to the sleeping figure. The textures and composition add to its comforting yet melancholic atmosphere.
On the other hand, some photos still need significant improvement. These include selfies, pictures of paintings, and images with distracting elements that do not contribute to the composition. These photos often lack emphasis, thoughtful framing, and meaningful engagement with the elements and principles of design.
EVALUATIONS
EVALUATIONS
In this photo, the cylindrical form element and colors were most prominent. Perya utilizes vibrant analogous colors and long exposure creating a dynamic sense of movement, reminiscent of a carousel’s circular motion that I liked. There are also existing lines and shapes formed by the vertical structure and vertical lights from long exposure. The principle of balance in this photo was evident from being radial, from the vertical structure and the lines formed in the center of the cylindrical form. This was a symmetrical composition following the rule of thirds, while also having the necessary negative space above for viewers to breathe. To me, who do not know how long exposures work, I can only imagine if I am to take the photo, I would probably take a step back and want to put more emphasis on the people riding the carousel. I do not like how I could barely distinguish the people in it (even if it is a long exposure).
Alexandra’s Lizares Mansion skillfully combines here geometric patterns, rhythmic elements, and Frame Within a Frame techniques, adding a strong sense of depth to the composition. The lines (such as the railing) and shapes (like the windowpane) effectively guide the eye upward, emphasizing the motion of the circular staircase or upper floor. Meanwhile, the curves contribute to a sense of space, enhancing both depth and movement. The use of form is also notable, as the slightly diagonal perspective adds dimension and dynamism to the image.
This photo was taken by Rhon in a small alley in Taipei capturing both local life and an iconic landmark. I love how the colors here create a clear contrast between the urban—often bright and dominated by blues and greens—and the local, which leans toward more subdued, earthy tones. This contrast isn't just achieved through color but also through the juxtaposition of the urbanized tower against the symmetrical local buildings. In addition to symmetry, Rhon incorporates a radial composition, where elements extend outward from the center, creating a sense of harmony and balance.
However, one thing that feels slightly off about this photo is that it isn’t perfectly symmetrical—the road, for example, doesn’t end in clean corners, and the alignment appears slightly rotated. Additionally, I find the inclusion of an air conditioning unit a bit distracting. Since air conditioners are often associated with modern urban settings, its presence disrupts the otherwise traditional and local atmosphere of the alley.
This photo by Samantha was taken to capture the reflection of the colored sky on the water, rather than just the urban scenery. It follows the rule of thirds and prominently features color as its main element.
However, I find several distractions in this composition: the black roof and its reflection, the ripples on the water’s surface, the pool's flooring, and even the railing and nearby objects. Additionally, I find the cloud formation subjectively unappealing.
That said, this photo has strong potential with minor adjustments and better timing. If I were to take this shot, I would exclude the black areas at the top and bottom and find an angle that minimizes the visibility of the floor to emphasize the cloud reflection. I would also time it when the water is still, ensuring a clearer reflection, and wait for an ideal cloud formation. Positioning the sun at the second vertical line of the rule of thirds while eliminating the railing distraction would enhance the composition. This adjustment would also make the line formed in the glass more prominent and improve the reflection’s symmetry.
Reflection of Magic features contrasting colors that make the lights the main attention-grabber. The use of space effectively directs the viewer’s focus toward the reflection, where the bright colors stand out against the dark surroundings.
However, I find that this particular perspective lacks enough lights to make the reflection the dominant focus. The dim parts breaks the reflection in half rather than enhancing it. If I were to take this photo, I would either find a location where more lights are reflected, creating a stronger sense of symmetry, or, if limited to this perspective, I would adjust the composition by overlapping the right side further with the left. Alternatively, some cropping, rotation, and applying the rule of thirds could also improve the balance and overall impact of the image.
Self-assessment
Self-assessment
Relative to the class, I already consider myself just below average, even with an optimistic self-assessment. From what I’ve seen, many works have amazed me—some even made me question the possibilities of photography, making me think, “You can do that?” I’m not discouraged; rather, I find myself inspired by others and motivated to practice to reach their level.
This activity reinforced my learning by helping me distinguish between photos I find impressive and those I don’t, while also applying the principles from Unit 1 to understand why. In a way, it also provided me an experience in identifying what makes a photo effective.
Now, reflecting on my own photos...
I now see that this photo I took actually follows the rule of thirds composition, with an overlapping element that helps the intended focal point stand out. I still like this picture because of its balance; however, I’ve come to dislike how the colors turned out—particularly the overly bright or scattered lighting—and how the texture of the statue wasn’t fully emphasized, even though some parts are.
Initially, I felt there was something off about this photo that I couldn’t quite pinpoint. Now, I realize it’s an issue of distance and spacing—the main elements of my composition are too far apart to create a strong visual relationship. If overlaid with a rule of thirds grid, the light would be positioned too far to the left. The lighting is also small but harsh, and the vehicle isn’t clearly visible enough to create distinction. Additionally, the emphasis feels lacking, as the light and bakery compete for attention rather than complementing each other. However, the photo isn’t without merit—I noticed leading lines directing toward the light and a good level of contrast.
As for this photo, there are several aspects that I dislike. First, the poor lighting results in unbalanced colors, making the overall image appear dull. The scene is too dark, and there are no strong leading lines to complement or guide focus toward the subject. However, I do appreciate that the texture of the mirror and the fabric is conveyed as intended. The shape of the hat, along with its contrast against the dress—though unplanned—creates a visually interesting element.
That said, there are multiple flaws in the composition. The overlapping is problematic, with the mannequin being unnecessarily obscured. Additionally, the wrinkled clothing takes away from the image’s overall clarity and refinement and a person in the background should have been cropped out for a cleaner composition. These issues make the image feel cluttered and less intentional. Moving forward, I need to pay closer attention to framing, lighting, and background distractions to create a more refined and effective composition.
In order to improve my future photography works, I should be more international in my composition, lighting, and how I emphasize my subject. I should try different types of shots like what I've seen from the class (e.g. color emphasis, use of depth of field, symmetrical composition etc.) to know which work best for certain subjects. Also, given my camera's tendency to capture scattered light, I might have to work with exploring monochromatic photography and try on using grid guides. I need to be aware of spatial relationships of the elements in the frame, and how I should wait for timing to avoid distracting elements, and try to apply more elements of design that bring unity in my work. Lastly, I need to practice and analyze a lot to train my eye for photography.
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