The first photograph to be discussed is the Wet Veil by Erwin Blumenfeld, gelatine silver print, 1937. The photo is of a nude women lying on her back with her left arm tucked behind her head. Draped on top of her body and face is a large piece of thin muslin that has been soaked in water. This draping shows her breasts and face making it obvious that the body beneath is that of a woman. The muslin has been soaked for a more translucent effect allowing the wet muslin to cling over her breasts and lower portion of her face bringing out the naturalness of a woman’s body. Her breasts and nipples show form beneath the muslin without any disturbance to the fabric giving a second layer of skin effect. Soft lighting and body positioning is used to bring out the natural mood of the model and overall photo effect. She has no smile, or frown, but a mouth position that may suggest that she is sleepi
ng. The soft shadowing effect of the light coming in from one side across her right breast and is just brushing off her nose. Less emphasis has been placed on the woman’s face and has been positioned that the viewer may focus on her femininity (breasts). The photo is close to the model however far enough away that she looks as though she is aware that a camera is there. The inclusive effect of the photograph is very calming, there is not an aspect which shows any harshness from the expression on her face to the position she is in to the effects of the lighting.
The second photo titled Home of the Sailors taken by Heinz Hajek-Halke, gelatine silver print, 1928. The photographer has layered a nude woman and a graffiti wall from a building which can either suggest scarring of some type or adding texture to the photo. The woman’s body suggests that she is in a relaxed standing position, l
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