Work-in-Progress 3

In this series of photographs, I continued with this single light source and controlled any outside lighting from interfering. I found this type of lighting more focused as a series and that formally they were united. The lighting was also by natural domestic sources: the oven, kitchen and other room lighting. I also enhanced the human presence by tweaking the scene to have a slighting "off look". The tilted boat pictures reveals the movement of a person walking up the stairs bumping up against the wall. There is greater attention on time passing and the camera just missing the physical presence of a person in this domestic setting.

In the first two images, I experimented with darkening some of the scene to draw greater focus on certain elements of the photograph. The second image is the original edit with a general lightening to reveal the details of the closet. In the other image, I darken some of the clothing and only lighten the torn red sweater and some highlights. I also enhanced the red lighting on the right side and the blue lighting on the left side. I wanted to experiment with different light sources affecting the scene. This particular image is very much about the way the light sources add to the mood and I wanted to enhance this effect. Furthermore, darkening the image also created a bit of an unnerving mood with the mysterious blue light gaining more prominence.

Work-in-Progress 2

I chose this photo as my favorite, because it has strong human presence, the lighting works well and I like the composition as a whole. In editing this photo, I brighten up the dark objects to add more volume in the room and also dimmed down some of the light sources so it doesn't overpower the rest of the scene.












In this group of photos, I attempted to portray the scene rather than dwell in one object. The first photo still have a close-up approach but the others are more drawn away than my first group of photos. As a result, I feel that these photographs have more of narrative and the human presence seems more noticeable. I'm still dealing with the idea of transition/moving but have decided to use this idea to illustrate my life.

Another change in this group was the more deliberate lighting of the photos with a more common sensibility achieved in this group. I like the single lighting scheme as some people in the critique mention it enhances the interior space. However, some of the universal lighting, such as the one with awards, works well with the series. I plan to explore this combination in my next photos.

Gregory Crewdson

Gregory Crewdson is interested in photographing seemingly complicated and staged scenes. Furthermore, as Pincus-Witten mentions, Crewdson also has a psychoanalysis subtext by having the viewer ponder about the behaviors/thoughts of the people photographed. They almost act as neighbors with secrets, hiding their own mystical world underneath their floor bed. The photographs have a simple narrative on the surface but complex undertones emerge the more we read the photo.

In the first photo, we first read the fire truck and broken car and simply read it as an accident. However, the officer in the bottom left reveals a mystical aura in the scene. What is this glow and what is the officer doing? The photo is more than just a car accident. As most of Crewdson’s photos, there is a question of what happened before and after the photo was taken.



One of noticeable qualities of Crewdson is his attention to lighting. Most evident is the usage of studio lighting alluding the cinema. As mentioned before, the question of what happened before/after the photo is evident in using the medium to tell a narrative like how cinema tells narratives. In the first photo, we see a young boy trying to get something down a drain. The pipe, hammer, screwdriver and nails hint to actions before the photo was taken while the dark blue basement alludes to what might happen after this photo. There is a straightforward element to Crewdson's photos and a bit of mystery as well. The second photo is even more enigmatic with the woman floating in the house. Why is the house flooded? Why is she so motionless; is she dead? The photo has an evident narrative but few hints to its meaning.








The following photos demonstrate Crewdson's interest of the spotlight. As Edward Leffingwell mentions, Crewdson references Steven Speilberg’s Encounter with the Third Kind with the spotlights appearing like aliens. The third image of the group is most evident of this alien encounter quality with the strong light source emerging from the night sky and the lone person perplexed and looking into the light. The first image is interesting as it turns the source upside-down and has the light beams emerge from the ground. Yet the effect seems to still reference a similar idea.

















Another focus of Crewdson is the preference of photographing during dawn, in between night and day. Twilight describes the time as a moment of dreams and the unknown. Here the decision to photograph during this time enhances the image. The photo of the pile of flowers has a dreamy quality with this unusual grouping in the street with the people aware of the strangeness of the scene. Likewise, the second photo may have different lighting to the first but it too is taken between night/day. As a result, the artificial lighting of the house and bus have a staged look and appear to unnatural.









We can see this dreamy quality and attention of light in his photographs of fireflies. While visually these photos may appear different, b/w instead of color and an absence of people, the thematic elements are similar. We are presented with a fireflies in nature but are left pondering of their meaning. The illumination of the flies allude to the stage lights of Crewdson's other photos and we can imagine these photos being taken at twilight as well.















Crewdson, Gregory. Fireflies. New York City: Skarstedt Fine Art, 2007. Print.

Crewdson, Gregory. Twilight. 1st ed. New York City: Harry N. Abrams, 2002. Print.

Edward Leffingwell. (2000, July). Gregory Crewdson at Luhring Augustine. Art in America, 88(7), 103-104. Retrieved October 3, 2010, from Arts Module. (Document ID: 56359101).

Pincus-Witten, R.. (2008, September). Gregory Crewdson. Artforum, 47(1), 457. Retrieved October 3, 2010, from Arts Module.

"Gregory Crewdson." White Cube. N.p., n.d. Web. 3 Oct 2010. website

"Close Up: Gregory Crewdson." Art Forum. Web. 3 Oct 2010. website

All photographs are untitled and by Gregory Crewdson.