Discursive Prompt: Photography

Photography has deeply influenced individual lives, society, and civilization by shaping how we document, communicate, and remember. On a personal level, it preserves memories, emotions, and identity, allowing people to visually express themselves and their experiences. Societally, photography has been used to drive social change by raising awareness of injustices, documenting movements, and influencing public opinion through powerful imagery. Historically, it transformed how we record and understand events, offering visual evidence of major milestones like wars, revolutions, and everyday life, democratizing historical narratives. Culturally, photography has shaped norms around beauty, race, and identity, especially through media and advertising. In the present, photography is central to communication, driven by smartphones and social media, influencing everything from personal branding to activism. It also plays a key role in marketing, journalism, education, and art. Across the past and present, photography continues to bridge personal and collective memory, shaping how we see the world and ourselves.

Midterm Draft

Artist Statement

As an Asian American student coming to New York from out of state, I felt a deep sense of uncertainty during my freshman year. Being far from home, in an unfamiliar environment, I often questioned whether I would find my place or truly grow here. Now, as a senior, I can look back and see how much I’ve changed. I came to New York searching for new opportunities—hoping to bloom into someone stronger, more confident, and rooted. This project reflects that journey.

I chose to document the plum blossom trees between the Earth and Space Sciences Building and Harriman Hall because their slow transformation from bare branches to full bloom mirrors my own growth at Stony Brook. Each budding flower represents the small, steady moments that shaped who I am today. What began as uncertainty has become a quiet confidence, shaped by time, patience, and resilience.

This is a personal project that serves as a reminder that growth doesn’t happen all at once—it happens gradually, often unseen, just like the changing landscape I photographed. Through these images, I hope to share that sense of renewal and self-discovery, and to inspire others to embrace their own journey of blooming, even when the season feels uncertain.

INTRODUCTION

This project, Rebirth: The Awakening of Spring, explores the seasonal transition from winter to spring through a focused photographic study of the plum blossom trees located between the Earth and Space Sciences Building and Harriman Hall at Stony Brook University. By documenting the gradual emergence of flower buds and changes in the surrounding landscape, this work captures the symbolic and visual rebirth of nature. Through the use of natural lighting, close-up and wide-angle compositions, the series emphasizes both the fine details and overall transformation of the environment, highlighting themes of growth, resilience, and renewal.

RESEARCH

 

Project Proposal: Rebirth: The Awakening of Spring

This project documents the seasonal transformation from winter to spring, capturing the rebirth of nature through blooming flowers, budding trees, and returning wildlife. Using photography and natural lighting, the series will highlight the contrast between winter’s stillness and spring’s vibrancy. The technical approach will include close-up shots to highlight fine details of petals, leaves, and dew, as well as wide-angle compositions to showcase the larger transformation of natural landscapes. Capturing early morning light and golden hour tones will enhance the warmth and freshness of the season. The focus will be on local parks and landscapes, emphasizing nature’s resilience and renewal. The final work will be presented as a photo series, visually narrating the beauty of spring’s awakening. This project symbolizes hope, growth, and change, and serves a a reminder of nature’s endless cycle of life and transformation.

Henri Cartier-Bresson

Henri Cartier-Bresson (1908-2004)

His philosophy: “”To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which gave that event its proper expression.”

 

Henri Cartier-Bresson, Hyères, France, 1932, Gelatin Silver Print 20 x 29.5 cm

Henri Cartier-Bresson, Natcho Aguirre, Santa Clara, Mexique, 1934, Gelatin Silver Print 16.8 x 24.9 cm

Henri Cartier-Bresson, Bali, Indonesia, 1950, Gelatin Silver Print 23.0 x 34.5 cm

Henri Cartier-Bresson, Bruxelles, Belgique, 1932, Gelatin Silver Print 20 x 29.6 cm

Henri Cartier-Bresson, In the Last Days of the Kuomintang, Peking, 1949, printed ca. 1972, Gelatin Silver Print 

Henri Cartier-Bresson, Yumen, 1958, printed ca. 1972, Gelatin Silver Print 

Henri Cartier-Bresson, Peking, 1957, printed ca. 1972, Gelatin Silver Print 

Henri Cartier-Bresson, Martigues, France, 1932, Gelatin Silver Print 29.0 x 19.5 cm

Henri Cartier-Bresson, Madrid, 1933, Gelatin Silver Print 

Henri Cartier-Bresson, Steel Mill, Anshan, Manchuria, 1958, printed ca. 1972, Gelatin Silver Print 

 

References:

Personal Work