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Ms. Sewall takes her ninety-ninth class portrait. From left to right, Ben Randall, Scout Fischman, Ruth Gray, Jacob Scammon, Abbie Sewall
Using a tripod and self-timer, I have photographed my photo classes since 1993. To help my students better understand how to critique an image, I will use our fall self-portrait to write a sample critique:
The trunk of the oak tree anchors the image and establishes Ruthie, the girl in the beige dress, as the center focal point of the image. Her head is cocked to one side, landing between the “V” of two branches. The subtlely of this geometric shape becomes more pronounced when viewing the suggested vortex of the entire composition created by the diagonal sidewalk on the left and the fence on the right. Together, these geometric elements create a movement, flow and energy, and form an almost symmetrical composition in which the group of students is gently contained and protected by their environment, as in an embrace, with Ruthie at its center. The vertical line of the corner building at the left repeats the vertical lines of the tree trunk and the students, while adding to that contained feeling of the subjects within the frame. The sidewalk, viewed in its entirety, takes on an energy, as if it is physically ‘embracing’ the subjects. Just as Ruthie’s head is cradled between two branches, the group of students is being cradled by an otherwise mundane environment of sidewalk, architecture and cars. The organic shape of the tree and its position in the frame, along with it’s umbrella-like branches suggest a secure canopy, another physical and implied protection for the group. The balance between organic, free-form shapes and hard geometric lines in the frame is about equal within the composition. Applying the art principle of thirds, the subject matter, with Ruthie as the middle focal point, is balanced and complete in the frame. The implied vortex of the composition adds a dynamic energy to what could have been a static composition. The composition implies that this is a ‘chosen’ group, a special group, which is safely placed in its own world separate from the real world surrounding them.
I chose to print this image in color rather than black and white, to reinforce the fact that it is part of a contemporary time, not yet part of history.
When I set up the shot I noticed a bicycle near the scene, and was reminded of a photograph by well-known photographer, Paul Strand. His shot is of an Italian family flanking an outside doorway. The image is all angles and lines, except for the addition of a single bicycle wheel on the right. The curve of the wheel is a welcomed relief to the otherwise hard, straight lines in his frame. The addition of the bicycle in my composition provided a structure for the students to ‘hang’ together, and a curved counterpoint to all the verticals and diagonals in my frame. As an added graphic benefit, the bike wheels draw attention away from the legs, pants, skirts of the students, adding more interest and dimension to the image.
Using the reciprocal relationship, I closed down my aperture and slowed down my shutter speed in order to achieve good depth of field (small aperture = great depth of field). I wanted all the elements in my composition to be sharp in order to emphasize the feeling of safety provided by my particular framing of the environment. I chose to shoot in the shade, so that my students would not squint in the bright morning light. But I didn’t want my subjects to be too dark, so I purposely over-exposed by one f- stop to lighten the shade or create ‘open’ shade. Thus, the subjects are well-lit with natural light, while in the comfort of the shade. Light reflected off the metal bike frame almost sparkles, as do the hints of over-exposed sky. The sparkle quality of the bike and sky mirrors the sparkle of good cheer seen in the expressions of the students. With the exception of one student on the left — who looks to have been caught off-guard by the shutter — all the students appear happy in their shared world. The evidence of several cameras in the scene becomes a common thread. Are these students happy because of a shared mission? Are they part of a secret camera club?
The viewer who sees the compositional set-up of an enclosed safe world created out of an otherwise mundane environment, the warm sunlight of an early fall morning, and the pleased expressions on my subjects’ faces receives a clear and undeniable message: a moment of shared bliss for four happy students and one happy teacher. —Abbie Sewall, Photo teacher
