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Sept 14th Assignment: Analyzing Nail Polish

The images above were shot by a Canon point and shoot camera.  The glass bottle with rounded edges gave the photographer opportunity to explore linear, symmetrical, and reflection concepts that were outlined in Photo Idea Index by Jim Krause.  To highlight the lighting techniques used, the bottle of nail polish is placed on a black background.  Because photographic equipment, such as the quartz bulb described on page 258, was not readily available, a L.E.D. camping headlamp, a compact hand mirror, and a small piece of cardboard was used to create the highlights and shadows.  Of the many pictures that were taken of this bottle, these five seemed especially striking in terms of composition, texture, and cropping.

Picture #1: The image at the top was one of the early photos taken in the sequence.  The point of view seems standard, although there is some sense of a downward tilt.  A compelling aspect of the shot is the purposeful bad tangent between the top edge and the white brush.  The black 'triangles' that point to this tangent add rough, geometric angles to a picture that otherwise portrays a sense of roundness and harmony.  On page 62 of Krause's book, the reader is encouraged to explore transparent subjects.  Although the glass bottle is not completely transparent because of the paint, the glass bottom and right edge are highlighted well with lighting and the black background.  The light edges act as a frame around the paint color and the brand name.



Picture #2: This picture is an attempt at backlighting.  The L.E.D. lights seem particularly harsh, making the subject seem a bit abstract.  It is not completely clear that the image is that of a nail polish bottle.  On page 279, however, Krause presents three images that are backlit, and as a result, abstract.  The bright lighting in this image makes the paint color seem opaque, and almost nonexistent.  This image is effective and visually appealing because it initiates curiosity.

Picture #3: Because the subject is so smooth and reflective, it is compositionally interesting to add a more solid, textured, element to the image.  It is not clear what the braid is, but the dramatic lighting and bound rope somehow indicate struggle or distress.  The white lines of the brush top very deliberately stretch upward, while the white lines of the rope anchor the image across.  This tension, highlighted by the beam of light between the two, is compelling and seem to almost indicate action.




Picture #4: This photo is an example of an extreme close-up.  The visual texture created by the bottle's ridges and dried paint, and the color inconsistencies in the bottle itself, allows for imperfection in an otherwise smooth and consistent subject.  On page 192, Krause celebrates flaws by saying "Ugly Is Beautiful."  Although this photograph may not be qualified as ugly, it is still a compelling photograph because of the unexpected point of view.  Further, the composition of this photo is intriguing because of the cropped brush to the left and intentional empty space to the right.  The asymmetry challenges the eye to fill in the blanks and make sense of the image.

Assignment 1: Photo Idea Index Application

Photo Credit: Brigitte Lacombe, Photographer Vanity Fair Magazine, December 2010

In its December 2010 issue, Vanity Fair Magazine published in print and online an article about Italian millionaire Jean Pigozzi.  To preface this piece, a photo of Pigozzi is presented.  The caption explains that he is driving his 1963 SIMCA 1000 at his home in France.  Photographer Brigitte Lacombe could have easily shot a symmetrical, standard portrait.  She decided, however, to create an expressive, compositionally interesting, and colorful photo for the readers.  

When I saw this photo, I was struck by how Lacombe created a sense of environment in her picture.  Just from looking at the photograph, I can assume things about Pigozzi.  First, I guess that he is of means.  It takes a rich man to own a nice, blue car along a pebbled driveway.  Because of the foliage in the background, I assume that he lives in a warmer environment in a secluded area.  At the very least, he is able to build a landscape around his home that creates privacy.  In his book, Photo Idea Index, photographer Jim Krause stresses that every component of a photo, from the background to the subject, contributes to a story.  The components of this published photograph give me a sense of who Pigozzi is and where he comes from.  

On a more technical note, the composition of this photo is visually appealing.  Pigozzi, the subject of the shot, is framed by the open window of his car.  The eye follows the linear nature of the car door, which lead to Pigozzi's profile.  The point of view is tilted up slightly, perhaps suggesting the dominance of this multi-millionare, but it is at such a small angle that it doesn't distract the viewer.  The cropping is interesting because you cannot see the second half of the fancy car, but there is risk of what Krause calls a bad tangent between the left edge of the frame and the silver bumper.  

In addition to the composition, the wide range of colors keep the viewer interested.  The background has a fairly neutral value, except for the bright green leaves which you can see through the car window.  These leaves frame, and therefore highlight, Pigozzi's face.  The most striking color combination, however, is the value contrast between the blue car and Pigozzi's yellow jacket.  The odd harmony of the colors attract the eye to the subject.  Towards the bottom of the frame, there is a small triangle of yellow fabric coming out of the blue car door, adding humor to the story.  The photographer also uses lighting to highlight the reflection of the hubcap and the bumper, as well as create a dramatic shadow in front of the car.  

Based on the concepts outlined in Photo Idea Index,  it is clear that Lacombe’s photograph of Jean Pigozzi is visually appealing and tells a great story.  It is a fantastic introduction to his life before the article even begins.