Task 3

Image 1:

123

What do you think the photographer wants us to feel about their subject?

I think that the photographer wants us to feel like we can relate to the image. Maybe the subject had just finished putting a part on, or fixing something in the engine, so he feels achieved and excited about what he’s done.

Who do you think is the audience for the portrait? Consider their age, education, social/cultural background and political views.

 The audience that the photographer wanted to attract would be motor enthusiasts of all ages, or more specifically, 4-wheel-drive enthusiasts.

What techniques has the photographer used to engage the viewer? Consider the editorial context, location, lighting, posing, framing etc.

I think that the photographer used a long depth of field, to get the whole garage in focus, so that the mess is clearly visible, allowing other motor enthusiasts to be able to relate to the image in the way that they all have to make do with the space that they have, and not letting a small amount of space to work in, affect what they do, and their passion in any way.

Image 2:

321

What do you think the photographer wants us to feel about their subject?

The photographer wants us to show the dedication the subject has to his music, his facial expression and the use of black and white represents him in a serious way.

Who do you think is the audience for the portrait? Consider their age, education, social/cultural background and political views.

The audience is the music community, especially the hip-hop/producing community.

What techniques has the photographer used to engage the viewer? Consider the editorial context, location, lighting, posing, framing etc.

The photographer has used flash to illuminate the subject as well as his producing equipment. The composition of the image shows him in his studio with all his producing equipment, giving the viewer an insight into the way he works. The way he is posed with the serious look on his face represents how passionate he is about his music.

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