These binoculars are mysterious and unclear. The "eyes" are a blackened void, making it a bit unnerving to the viewer ("who are they looking at", "who is behind them"). the levels are heavy on the dark-side with a nice amount of lighting to clarify the object (grooves on the dial, edges of the frames, etc.), but not enough to seem pleasant. The shadow in the corner is looming, as well as those underneath the object (soft, and organic like they could move at any moment). the cropping lends itself to an active-viewing, which seems voyeuristic and again unnerving and the colors are treated in the same respect. The slight glare in the glass faint and yet somehow human, and the personification of binoculars feels violating (peeping tom, knows too much). This message is transmitted mechanically and representational. an element that are i perceive as noise (something that hinders or is neutral to the my understanding) is the texture of the background (doesn't help me feel negatively about the image in anyway, seems arbitrary and not necessarily intended in order to motivate the message).
Morgan's interpretation is pretty much spot on-- when taking photographs and creating the images, I tried to create both negative and positive messages to see the difference in what makes binoculars positive or negative. During photographs, I noticed a difference when light peered through the binocular's lenses and when they didn't. Like Morgan mentioned, the lenses or "eyes" are blackened-- perhaps connoting a sense of mystery, obstruction, or even blindness. I also wanted to try and use lighting and cropping to aid the "unsure" feeling, also a lot of what Morgan picked up on: the lighting helped to create a silhouette of the binoculars rather than a defined and bright photograph (again lending to the idea of "who is that?"). The cropping also segments off part of the shape and comes in from the corner. I agree that though the background doesn't seem to be hindering the image, it also doesn't aid the message in any way. I wanted to avoid using a stark white paper that might cast some different colors, or perhaps a "clean" feeling, but the texture does seem to create noise, and the message would probably carry across fine with a solid off-white.
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These binoculars are mysterious and unclear. The "eyes" are a blackened void, making it a bit unnerving to the viewer ("who are they looking at", "who is behind them"). the levels are heavy on the dark-side with a nice amount of lighting to clarify the object (grooves on the dial, edges of the frames, etc.), but not enough to seem pleasant. The shadow in the corner is looming, as well as those underneath the object (soft, and organic like they could move at any moment). the cropping lends itself to an active-viewing, which seems voyeuristic and again unnerving and the colors are treated in the same respect. The slight glare in the glass faint and yet somehow human, and the personification of binoculars feels violating (peeping tom, knows too much). This message is transmitted mechanically and representational. an element that are i perceive as noise (something that hinders or is neutral to the my understanding) is the texture of the background (doesn't help me feel negatively about the image in anyway, seems arbitrary and not necessarily intended in order to motivate the message).
Morgan's interpretation is pretty much spot on-- when taking photographs and creating the images, I tried to create both negative and positive messages to see the difference in what makes binoculars positive or negative. During photographs, I noticed a difference when light peered through the binocular's lenses and when they didn't. Like Morgan mentioned, the lenses or "eyes" are blackened-- perhaps connoting a sense of mystery, obstruction, or even blindness. I also wanted to try and use lighting and cropping to aid the "unsure" feeling, also a lot of what Morgan picked up on: the lighting helped to create a silhouette of the binoculars rather than a defined and bright photograph (again lending to the idea of "who is that?"). The cropping also segments off part of the shape and comes in from the corner. I agree that though the background doesn't seem to be hindering the image, it also doesn't aid the message in any way. I wanted to avoid using a stark white paper that might cast some different colors, or perhaps a "clean" feeling, but the texture does seem to create noise, and the message would probably carry across fine with a solid off-white.
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