VISUAL IDENTITY.

At first, I thought the photos being too warm or dark was a problem because they no longer matched the exact colors of the actual scene. However, the more I reviewed the set, the more I realized that the mood of the image mattered more to me than perfect color accuracy. Most of the photos ended up having a golden and black tone, and eventually I started seeing it less as repetition and more as a visual identity. It made the portfolio feel more cohesive and personal instead of just looking like random photos grouped together.

BEHIND THE PHOTOS.

A lot of my shots missed focus or happened too quickly before I could adjust properly. I also struggled with depth of field at times, especially while using the 35mm lens. Some images ended up with the background sharper than the actual subject. I started taking multiple shots, waiting more patiently, and adjusting my position depending on movements and the available lighting.

I also tried shutter speed priority and aperture priority while trying to figure out why some of my subjects still were not tack sharp. Until now, I still cannot fully figure out why. Sometimes I wonder if it is the camera itself already, the lens, or simply me. But I think that was also part of the process, because it pushed me to keep experimenting instead of just relying on auto settings.

PERSONAL CONNECTION TO SUBJECTS.

Most of the subjects in my portfolio came from everyday moments instead of planned shoots. Looking at the final set, I realized that a lot of the images reflected my surroundings, the people and spaces familiar to me, and the things I naturally pay attention to.

EXPRESSION VS. TECHNICALITY

While reviewing the different attempts for my “Residues of Gold” photo, I was reminded of how difficult it was to balance lighting, timing, focus, and expression all at once, especially while shooting against strong sunlight. There were shots where the lighting and expression already felt right, but the focus missed slightly. Some images were technically sharper, but the moment itself no longer felt as natural. More than capturing a perfectly posed image, I wanted the photo to still feel real.

CLOSE, BUT NOT QUITE

Out-of-focus shots and awkward framing also became one of the biggest struggles while taking photos of my dogs. Since they moved unpredictably, there were moments where the expression felt right, but the focus missed slightly. Other times, the image itself was sharper, but the framing no longer felt natural once I reviewed it afterward. Going through the different attempts made me more aware of how difficult it actually was to balance timing, framing, focus, and expression all at once, especially while shooting from low angles close to the ground. A lot of the process was honestly just taking multiple shots, adjusting my position repeatedly, and waiting for moments where everything finally came together naturally.

WHAT DESERVED TO STAY

The dining table photo became more difficult than I expected, not because of lighting or focus, but because of framing. I kept changing my position and distance while trying to figure out how much of the space should actually remain inside the image. I kept questioning whether I should include more of the chairs, crop the doors tighter, or show more of the chandelier above. Since the cherries were relatively small within the scene, the framing changed the entire feeling of the photo. Some versions felt too empty, while others started to feel too crowded. Most of the process became less about taking the photo itself and more about deciding what deserved to stay inside the frame.

MISSED EXECUTION

I originally wanted to include a different image in the portfolio, particularly one where the ants were carrying a dead insect. However, I never fully managed to capture the scene with the level of sharpness I was aiming for. Because the subjects were extremely small and constantly moving, maintaining focus became more difficult than I expected. Even slight movements would shift parts of the image out of focus, especially with the shallow depth of field. Although I decided not to present this, I still found the attempts important to reflect on because they revealed the gap between the image I had in mind and the technical result I was actually able to achieve.

Even the ants photo became important in a different way. It is not the loudest image in the set, but it reminded me how much more observant I became throughout the course. Before this class, I probably would not have paid attention to something that small. Hence the title, “How Small?” I had to get low and wait patiently for the frame to work, which made me realize that photography is also about noticing details that are easy to ignore.

ALMOST

I tried capturing the lamp from closer and more obstructed angles, where the leaves and branches covered parts of the frame. I was less interested in showing the lamp itself clearly and more interested in the atmosphere created by the light passing through the surroundings at night. Most of the attempts focused more on mood, layering, and the feeling of looking into a scene instead of directly at it.

Although I still liked the atmosphere of those photos, the simpler version of the lamp stayed with me longer for some reason. I think the isolation of the light against the darkness made the image feel quieter and more direct compared to these earlier attempts. Because of that, I eventually chose the version where the lamp remained more visible and separated from the surrounding elements.

And even though the final image was darker, the lighting somehow gave the leaves more depth and made them feel almost three-dimensional against the darkness.

MORE THAN ONE GOOD PHOTO.

One thing I realized during this project was that selecting the final images was harder than actually taking them. There were photos that I personally liked but did not work with the overall mood of the portfolio. Some shots were technically okay on their own but disrupted the consistency of the set once placed beside the others. Because of this, I had to become more selective and think about how the photos worked together instead of individually.

Subjects being out of focus was also one of the biggest challenges throughout the project. I would always zoom in on the photos I took, only to realize that the actual subject was not sharp. This happened a lot while shooting moving subjects or during low light situations.

As for post-processing, I still would not say that I fully enjoy it. However, I think I found a way to work around it instead of completely relying on it. Using the recipe I created on my camera helped me create images that already felt closer to my intended look straight out of camera. Because of that, editing became less about “fixing” a photo and more about making small adjustments when needed.

There were also moments where I had to remove photos I personally liked, especially the ones I took earlier in the course, simply because they no longer matched the overall direction and style of the set.

THE WAY I SEE THINGS NOW.

At this point. I am happy with the selected photos for the final project. While building this portfolio, I noticed that I was not really thinking about what kind of photos would get me the highest grade. If I had approached this differently, I probably would have focused more on what looked technically impressive or what fit the idea of a “perfect” portfolio. But somewhere throughout the course, my approach to photography slowly changed without me fully noticing it at first.

Instead of constantly thinking about whether a photo was “good enough,” I became more focused on whether the image actually felt like something I would take. I started paying more attention to mood, lighting, familiarity, and the kind of moments I naturally gravitate toward. Looking at the final set now, I realized that most of the photos were not staged or heavily planned. They mostly came from ordinary moments, familiar places, random walks, my dogs, family spaces, and things I probably would have ignored before taking this class.

I think the course honed my skills enough for me to become more confident not only technically, but also creatively. I no longer feel completely dependent on automatic settings, and I became more comfortable experimenting and making decisions on my own while shooting. At the same time, I also became more aware of my own preferences and habits when taking photos. I already know the kind of mood I naturally lean toward, which is why the portfolio ended up becoming darker, warmer, and more personal overall.

More than anything, I think this final portfolio represents me well at this point in the course. Not because the photos are perfect, but because they honestly reflect the way I currently see and capture things. Looking at the set now, I can see not only the technical improvements throughout the trimester, but also the gradual development of my own style and way of observing the world around me.