Subject: The photographer of this image is Javiera Estrada. Taken in 2019 and titled 'metamorphosis', it is a visual interpretation of 'transformation'. The genre of this image is abstract floral photography, the main subject, undeniably being the flowers (commonly symbolic of love in art), evident throughout the composition. Furthermore, I maintain that aqueous motion photography has also been used to create the mixture of colours visible. This has guaranteed the effect of colours spilling into one another, consequently, making it another genre of the image 'Metamorphosis' is part of a series titled 'nocturnal visions'. As described by the photographer this series aims to explore 'the voyage love', this photo ('metamorphosis') being representative of one of the 'stages of love'.
Elements: The composition of this photo shows, the 'golden ration'. There are two peonies in the upper and lower-left of the composition. As well as a closed, angular pointed flower in the central point of the golden ratio spiral. This flower is the focal point of the image. This is compositionally pleasing to the eye as the focal point occurs at line intersections, (following the 'rule of thirds'). The three flowers together, make up the foreground of the photograph. The largest peony, displays an area of deeper yellow hue, this is the area that is in most in focus and the area that contributes to the foreground. Below this is the closed flower, its entirety contributes to the foreground. Extending, to the sharpest, and brightest areas of the flower below.The middle ground is formed by the rest of the visible flowers, these are however, more blurred than the foreground as they are slightly more removed from the camera.
Focal point
Foreground Middle ground Background
'Metamorphosis' by Javiera Estrada
Here is an example of the rule of thirds being used as well as the fibbonacci spiral ('golden ratio"). The largest subject is highlighhted in red (the largest square), second largest in orange and the focal point is in blue. This focal point follows the rule of thirds as it occurs on a line and at a line intersection
Here, you can see the two peonies reflect each other. They are the same type of flower, and show similar colour, saturation, line and shape. They both appear on a line intersection, although the alighnment is not perfectly equal.
The background of the photo is characterised by a darkness, that allows only for glimpses of petals emerging through it. This gives the piece a sense of mystery and eeriness. Moreover, making the warm areas of colour act as a solace for the viewer from the disorienting, blurriness and aggression, of both the staged movement and the dark background. Pattern and reflection, is a key visual element, photographer, Javiera Estrada has used. A sense of reflection is created by the two peonies both placed on lines in the third intersections, this repetition of pattern – from the petals - brings texture and movement to the image even before digital editing. There is a clear repetition of, line and shape that create a cohesiveness and calmness in the image. This draws the eye away from the sections of cool hues and provides a balance of warm and cool. On the other hand, this contrast brings conflict to the image as large sections of cool turquoise, stuggle against the overpowering warm yellows at the centre of the photo. Colour is a key element in this piece, inherently the triadic, magenta, yellow and turquois, complement each, I may also experiment with aqueous motion photography in a glass bowl and in plastic take-away boxes. Other and create the contrast evident. This allows the focal point to stand out more as this unique flower is als o a different colour to the surrounding foliage. I believe, colour has been used here to evoke a specific emotion from the audience: this inherently ties in with the conceptual meaning behind the image. The perspective that Estrada has taken this photo from is at eye level. This perspective is effective as it presents the allows her to present the flowers from a range of angles, allowing for the intricate textures and lines of the floral subject to be most optimally displayed whilst avoiding specific areas that provide less interest to be overlooked.
Media: The photo has been taken from a short proximity; this has caused the flowers surrounding the focal point to be cropped slightly- drawing the eyes away from them . The central flower is unique, (the only other of its type is only partially visible in the background), this causes the rest of the flowers to look secondary to it, appearing almost like foliage. Furthermore, the surrounding flowers appear distorted, the photographer may have achieved this by layering the same image on top of one another. The focal point is the only part of the image that does not appear distorted. In addition to this, the lines made in the image also draw focus to the principal point of the image. The darkest point (left-centre) of the image opens into the focal point following the curves of the reflective yellow peonies. This opening occurs directly along a line created by the edge of multiple flower's petals. Naturally, guiding the eye away from the darkness directly to the central point. This image has most likely been taken in a studio using artificial light and perhaps a soft-box. I believe the light source is coming from the upper-left creating highlights along the edges of the petals and shadows in the depth of the petals. This creates an atmosphere of delicacy and intricacy as the minute details of the petals are accentuated by the light. It also, however, creates an air of ambiguity and eeriness as the background is completely characterised by darkness and 'the unknown'. To emulate Javiera Estrada's work I will first experiment with lighting angles using my desk lamp and complex houseplants. This will allow me to discover the most appropriate angle at which to place the light-source, I will also use this to experiment with the depth of field, most appropriate for my photoshoot. I may also use dye, water and a glass bowl to create colourful aqueous motion photography- to find the best colour combinations. I will then use these images to experiment with layering images in digital editing. Additionally, I may research floral language to add intent to my emulation.
Intent: I feel the photo conveys an immediate sense of noisiness, the first feelings evoked from the audience, in response to this photo, is a state of being overwhelmed and disoriented. The dizzying movement created by the photographer's digital editing (most likely layering of the same image) as well as, in areas somewhat bright, fluorescent colours, provokes this response. These negative emotions created suggest that Estrada wants the situation implied to feel negative or unnatural. By looking at the context of this photo (in its series), we can infer that 'metamorphosis' is representative of 'a stage of love', and human relationships. This series uses natural forms: specifically, flowers. Being a frequent symbol of love and beauty in art- in this context they again, connote these recurring themes. Photographer Javiera Estrada has used this muse: to describe love and sentiments surrounding the heart. She has explained how she placed the flowers among darkness in some images, as this is 'where devastation [lies]'. As each image shows a 'varying stage of love' I believe metamorphosis shows love morphing into something messy and painful. colour is used to provide contrast. Fluorescent dizzying turquoises and glimpses of warm yellows (representing remaining hope) in combination with the delicate petals (highligfhted by the light source) sanction a sense of calm among the noise. Compared to, the central point of the image characterised by cool- blue, pointed petals. The unique flower here, sharp and in focus, draws the eye away from the warm, soft appearance of the surrounding foliage. Causing, the angular, jagged "painful" flower, to take precedence. The movement in this photo, appears to serve as testimony to the image's title. We are visually placed amid a transformation in the image plane. This photograph embodies the idea of an indefinite state of change, we are left almost frozen in time amid visions of movement and transition. Like a snapshot of a moment; with little indication as to where it began or how it will end. This aids in building a sense of discomfort and confusion. Line is a prominent visual element used, the lines the petals create, follow natural dips and peaks- appearing like a landscape of undulating hills and mountains, (hills being the foliage, mountains being the focal flower). This suggests that love is like a journey. In this transformation we are on a journey and the destination is not ideal. As the only part of the image that is not blurry is the focal point this ( as I already established as, symbolic of pain) appears as the unfortunate destination from the rest of the movement in the image. This again evokes confusion and discomfort as flowers typically represent beauty and delicacy however, here they remain beautiful, but are representative of the opposite. The destructive side of love. An additional thing that brings eeriness and discomfort to the image, is the proximity it is taken at . The cropped flowers imply that this dizziness and darkness continues beyond the image plane, making it feel more enveloping. This close- proximity makes it feel intimate, personal and absorbing, it differs from the voyeristic nature of many other photos in the series 'Nocturnal Visions', making us connect more deeply and relate more to the image. It draws the viewer in and forces you to reflect on why it makes you feel discomfort and comfort, equally. Despite the high contrast, conflict and noisiness of the image the warm sections are central: the flowers appear delicate and beautiful drawing you into the comforting foreground and allowing you to partially ignore the enveloping darkness that characterises the background. I chose to analyse this image as I was immediately attracted to it however, I believe this was for the 'wrong reasons'. I feel 'Metamorphosis' differes to much from the rest of the images in this series, by Javiera Estrada. I believe it represents its title well through its composition, editing and many visual elements, the blurred visuals being something I find particularly intriguing. I think it could have been improved if it was less busy. This would allow the dark background to stand out more and would have made it more connected to the other images in nocturnal visions- whilst maintaining its intent. If the aqueous motion used was also more visible this would have again tied the image in better among the others. I think the image's composition is particularly well thought out. All the lines created lead to the focal point and many elements are used to centralise it, including: the use of golden ratio; the use of the rule of thirds: the lines created by other shapes; its individuality in shape and in colour; and the lack of movement at the focal point, in comparison to the intense movement surrounding it. This was, in my opinion, very effective. I will attempt to emulate this composition in my own photoshoot.
Shoot Plan: Collect materials: • 2 plastic takeaway tubs, • 1 large glass jar, • Dye bottles with small exit point (food-colouring: red, blue and yellow.), • Selection of flowers (from our front garden), • Tablecloth, • Desk-lamp, • Small light stick, (torch). Create a neutral background with a tablecloth, Place light source at upper left (this will be adjusted and experimented with during photoshoot), 3. Close curtains to minimalize "daylight leakage", 4. Get a rock and wrap rubber bands around it, be sure to wrap the around in a few different places/ angles, 5. Next attach the flowers to the rock by slotting the stems through the rubber bands, this will act as a weight to stop the flowers floating in the water. 6. Fill takeaway tubs with water. 7. At the same time, fill the large glass jar halfway and place the rock, ( and flowers) inside. 8. Adjust the arrangement of the flowers to own liking, also be sure to place them close to the glass so they maintain visibility when the water inevitably becomes murky. One done fill the rest of the jar with water, 9. Set up the camera to photography the flowers at a close-proximity, test the angle before you begin putting dye in the jar. (During the shoot I used a mixture of manual and auto-focus). Have second macro lens/ filters on hand for shoot. 10. Begin with a dark filter on the camera lens to better emulate Javiera Estrada's photography. This can be removed once dye makes water murky enough for no white background to be visible. 11. Place dye droplets in takeaway tubs and allow to disperse and mix. Use this to determine what order to initially put the colours in (red, then blue, then yellow), 12. When putting ink in the jar with the flowers and photography the dispersing colouring. 13. Once the jar has become murky, stop adding food colouring and experiment with a small light to brighten the water and highlight the petals from a range of angles.
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Experimenting with lighting angles.
Evaluation: These were the top three images that I selected from my photoshoot, although they are not necessarily the best technically out of the photos I produced, I believe they are the ones that best align with the ambience I was aiming for. Overall, I believe my photoshoot was successful, I managed to capture the colours dispersing in the water and when the water became too murky, I adapted my plan which allowed me to emulate Javiera Estrada's work from an alternative aspect. As she talks about in the description of her series "Nocturnal Visions" some of the flowers she photographed are surrounded by darkness "where devastation lies". Despite this I did face some challenges during my shoot, I struggled do get clear pictures due to the glare from my curtains which are translucent- to combat this I would have done my shoot at night to guarantee no light 'pollution' from my window. Secondly, I also struggled to angle my desk lamp (being used as the light source) without a glare on the jar I tried to cover it with the tablecloth I was using but felt the light was then not bright enough. On the other hand, I feel the reflective effect this created forces the viewer to work harder to figure out what is happening in the image. This is a success as I found the same effect when looking at Estrada's image "Metamorphosis": it was difficult to tell which angle the image was taken from; whether the flowers were placed at the surface of the water: or if they were in the water. The image "Metamorphosis" was cropped so I also cropped my chosen images, refining the image to make it more unclear how it was taken. This created an ambience of an eerie, unearthly landscape, somehow comforting ( due to the beautiful flowers), but also disturbing and counterintuitive, due to the dye appearing to be moving but existing as a still snapshot. This again a reference to Javiera Estrada's work I feel my images create landscapes they are like glimpses of an unfished story or moment. Although I struggles with the reflective glare from the glass jar, I used, I've decided to embrace this effect as I feel the eerie reflection of myself in the jar occasionally appears as if I was in this world as well- among the flowers. Another way, I combatted lighting issues was using a small handheld light this light allowed me to make the blue murky water glow– later in the shoot. This allowed me to focus and manipulate where I wated to create shadows and highlights. Furthermore, this is what has been used in the centre photo on this slide. I initially struggles to photograph the dye moving so in asked a friend do help me by dropping the food-colouring in for me. This was a predictable issue that I could have combated from the beginning and something I would do differently next time. Additionally, my shoot was successful because I got to experiment with angles, the centre photo on this slide was taken from above the jar I felt this gave the image a similar effect to the image I have been analysing, as the subject seems to disappear into the darkness as well as the fact that in areas of the background you can see small petals and foliage emerging. This fact is almost withheld from you until you dare to look closer into the encompassing darkness. I edited the first picture by duplicating a couple times, decreasing the transparency on all layers except one and cropping certain. areas of the transparent images. I then places them as slightly different angles to the base picture, to create a blurred effect- this is inspired by the photo I have been analysing, I did not do this to the focal point as I wanted to allow it to stand out amidst blurred surroundings. I also increased the vibrancy of the image and the temperature to emphasise the warm orange flower at the centre of the image. For the second photo I cropped out the rim of the jar that was visible in the shot, I then again added layers of the same image 3 for the white flower in the lower-right corner and one for the bright flower in the top-left. I wanted to do this as I felt these shadows and reflective, repeats of the image enhance the unearthly aura the image conveys. Finally, for the last image I decided to make the flowers reflect each other this helped me create lines that lead the eye to the focal point, by framing the central flowers. I created a layer for the bright light and highlighted flowers on the left and flipped it vertically and horizontally ensuing it had a low but visible transparency level; I did the same for the large white flower in the lower-left of the image.