Introduction
There are many reasons for modern students to learn and admire humanities. According to Martin and Jacobus (2019), this area of study is associated with creativity and rejects most objective and scientific standards. The arts are always present in human life in different ways, and their effect is unpredictable and motivating. Although some individuals think that photography, as one form of art, does not maintain control over the subject, its main advantage is the transformation of visual experiences into art (Martin & Jacobus, 2019). Modern people continue taking photos to memorize a moment without considering the deeper purposes of this process. In this paper, several photographs will be examined to prove the power of communication and reality presentation in the chosen art and understand the uniqueness of each offered element.
The portrait of a migrant mother
It is always exciting to look at photos made centuries ago and imagine lifestyles, immerse in those moments, and make guesses about human emotions and feelings. The portrait of a migrant mother with three children made by Dorothea Lange is defined by Martin and Jacobus (2019) as “one of the most poignant records of the Great Depression” (p. 289). The 1930s were hard for millions of people around the globe, and adults were challenged by the necessity to survive and protect their children against hunger and cold. The woman holds a baby-born child in her left hand and has two other older children, hiding their faces behind her shoulders.
The right arm slightly touches her face, indicating her desire to find some hope. It seems that the photographer does not want to show the damage that children experienced, but their role in understanding reality is vital. The focus on the naked parts of the body, like dirty and scratched hands, necks, and faces, allows for learning about the terror and horror of that period. It was not easy to live, but family support and cohesion strengthened people.
Looking at my collection, I decided to present the photo of my biological maternal grandfather, whom I have never seen. The older man sits on an armchair with his hands carefully placed on his legs. I know that he was a farmer and worked hard to feed his family, and this photo reflects his strength and tenacity, although challenged by time. The room is poorly furnished, and the quality of the photo is not great due to its age. Thus, all attention is paid to a well-dressed smiling man. I think that the goal of this photograph was to memorize a person as he was – kind and stylish for his time.
Despite evident similarities in the styles and goals of the photographs, the chosen examples provoke different reactions. In the first photo, the portrait of a woman with three children captures a depressed and hopeless mood. Lighting the woman’s face and shadowed figures of children create the feeling of trust and fear at the same time. Innocent children suffer from living conditions, and the mother needs to look ahead and think about her next step as a family protector. Although similar light on the man’s face and hands in the second portrait, opposite feelings emerge. The chosen style says about the desire to save memories of the person, his general look, and his courtesy.
My choice is presupposed by the intention to observe how portraits represent people from different epochs or societies and contribute to my critical thinking and evaluation. Knowing nothing about the first photograph, I was able to create the story of the woman and her children and provide them with a feeling of hope and change. Never meeting my grandfather from the second photograph, I got a chance to improve my family history and learn something unique about my past and roots. The two photos indicate the possibility of the portrait creating different emotions and attitudes toward people. These works stand out to me due to their inspiration and the desire to know more about the past, the environment, and the power of family support.
Paris photographs
The idea of creating documentaries from photos has been another powerful trend since the beginning of the 1900s. Eugène Atget introduced a series of Paris photographs to reveal the city’s beauty and buildings, with no people in them (Martin & Jacobus, 2019). The image of Petit Trianon captivates the viewer from the first few minutes. Being represented in dark tones, the monument causes feelings of isolation, strength, and some anxiety. The construction is surrounded by impressively dark trees and reflected on the pond in the same dark style. The calmness of the environment intrigues and frightens simultaneously, but the absence of humans is compensated by several sculptures on the pond.
The same presence of water as a high-gloss mirror for massive constructions strengthens my photo taken from the balcony suite of the luxury Hyatt Savannah Riverfront Hotel. Despite my expectations of people and movement in this part of the river, this photo distinguishes by no recognition of human beings outside. The lights of the boat and buildings reflect in the dark waters of the river as a chance for the environment to look at itself from another perspective. Compared to the previous photo, where dark and light tones are properly expressed, my photo is complicated by some yellow and red lines, which stresses a variety of city constructions.
The style of Atget’s photo is dark but calm, with some notes of uncertain danger and stability. It is hard to give similar characteristics to this photograph because the author does not want to strive for definite attitudes and clear emotions. However, looking at this photo, it is necessary to underline the importance of the details, such as the contrast between trees and the sky and the color of the building’s reflection on the pond. In my photo, the style differs due to the deficiency of professionalism and the chosen environment. The sky consists of several colors, which explains the frivolity of the composition, including the light, the sunset, and the unknown depth of the river. The modern photograph lacks contrast and specifics due to personal reasons and circumstances, while documentaries aim to share the intense saturation of the environment.
I choose these two photos for analysis because of two reasons. First, I want to compare the impact of water on the subjects from several angles. This decision helps me prove the challenging nature of water resources and their comparability with buildings. Second, I admire the moments when one building or subject is present in a photo without humans recognizing its magnificence. Despite evident differences, these works indicate a combination of abruptness and calmness. Both photographs stand out with their unique purposes and emotions about the things around them.
Conclusion
The relationships between humans and nature are constantly discussed in many works of art, including photography. The offered analysis of two portraits and documentaries reveals the importance of understanding the differences in styles and purposes. The strength of these works lies in the possibility to develop and elaborate on the authors’ intentions even if they remain unknown. Either with or without people, all photographs contain stories that explain many human actions and contributions to the environment where they live.
Reference
Martin, F. D., & Jacobus, L. A. (2019). Humanities through arts (10th ed.). McGraw-Hill.