kevinweiardn631

[kevinweiardn631]

Reflective statement

Over the course of this semester—through weekly technical drills and relentless bouts of shooting—I have been working out what it truly means to photograph the people who orbit my daily life. At the heart of this exploration lies a visual narration of intimacy and authentic presence. I have called the project Unscripted Days because its aim is to present the everyday lives of those closest to me without scripting or manipulation.

For the first six weeks, my lens rarely left my girlfriend. I followed her through street‑style wanderings and gallery visits. Those sessions trained me to read fleeting shifts of body language and to navigate the delicate politics of pointing a camera at someone I love.  Practical circumstances later prevented me from continuing to work with her, so I naturally turned the camera on another close friend, Kevin Zhang.

Choosing Kevin was not merely a matter of convenience; his very identity is rich with photographic potential. He is both a full-time chef and an amateur photographer, adopting strikingly different moods and rhythms in each setting. Capturing this dual identity—the contrast and overlap between his focused professionalism and his relaxed off-duty persona—became the project’s central tension.

During the shooting process, I specifically studied and referenced Xiao Quan's photography collection Our Generation (News, 2020). Xiao Quan primarily uses black-and-white portraits as his medium, and his works utilise the simplicity of black-and-white tones to amplify the emotional tension of his subjects, accurately capturing their inner qualities and emotions. Inspired by Xiao Quan, I also employed black-and-white tones in some of my photographs, such as one that specifically focuses on the camera's shutter button. For Kevin, this shutter button not only carries technical significance in photography but also symbolises the connection between his personal emotions and his real life.

I also took cues from Alec Soth’s-Sleeping by the Mississippi (Soth, 2004). Soth photographs strangers with a gentle, respectful eye, resisting the urge to pin them down with labels and instead emphasising their state of being within a setting. His method encouraged me to allow Kevin’s various roles to emerge organically through interaction with his environment, rather than reducing him to a single, tidy definition.

Out in the park: soft winter sun, Kevin draped along a low branch or springing from a concrete step. Here I risked slower shutter speeds, welcoming a flicker of motion blur while greens and blues-soaked in. In the kitchen: harsh strip‑lights, grease‑speckled stainless‑steel, Kevin hunched over a sizzling pan. I shot fast and off‑angle, sometimes using the doorway as a red vertical swipe to frame him as he plated food. The payoff was a sequence where concentration hums off the print.

The process was not without hurdles. Lingering too long over composition occasionally cost me the decisive expression or movement. Shooting into back-light often left sections of an image blown out, and mastering light control—particularly under rapidly changing conditions—remains a technical challenge I am determined to overcome.

I think the triumph of Unscripted Days is not a single ‘hero’ shot; it is the slow accrual of understanding that seeps out when you photograph someone you already know. Kevin’s relaxed slump on a branch, his mid‑air leap, the furrow between his brows as he garnishes brunch: these fragments form a small yet honest atlas of one person’s ordinary extraordinariness. In learning to catch them, I have inched closer to the unguarded storytelling I have chased all term.

Looking ahead, I hope to delve further into the expressive possibilities of natural light and to make greater use of black-and-white in order to foreground interior emotion and authenticity. I also plan to widen the range of locations and vantage points, so as to uncover yet more facets of the everyday lives that surround me, and to refine the visual language with which Unscripted Days speaks.

[kevinweiardn631]

Final Photobook-Unscripted Days

Unscripted Days is a portrait project rooted in intimacy and observation. Across changing environments and shifting relationships, I turn the camera toward people closest to me — not to direct them, but to witness them.

These images trace unfiltered moments of everyday life: a glance, a routine, a pause.They are not stories told, but presences shared.

This book is not about perfect light or staged beauty, but about the quiet, unscripted ways we live beside each other.

[kevinweiardn631]

Edit Photos

[kevinweiardn631]

Draft Photobook

I hope that through these photographs, viewers will be able to understand what I am trying to express—the intertwining and transition between the different aspects of a person's life.

I chose to use object-based elements as a way to introduce the people I photographed. For example, beginning with a camera and then revealing Kevin as he uses it to take photos; or starting with a dish and then moving to Kevin, the chef, preparing it. This is a layout approach I’ve been exploring—one that gradually leads the viewer from object to subject.

I’ll continue to choose images that carry strong emotional presence and visual strength. Editing is a key part of this process, and I plan to explore black-and-white as well as cool-toned treatments to intensify the mood and tone. This way, the photographs become more compelling and expressive.

[kevinweiardn631]

Week11 Photos

I tried to capture Kevin's state of mind while he was cooking from different angles. I took a photo of Kevin from the front of the kitchen with light shining in from the right-hand door, making the whole picture bright. Then I stood outside the door and changed the shooting angle to behind Kevin, avoiding his face and emphasising his ‘working state’ rather than his ‘portrait’. The focus and sense of process conveyed by his back view gives the viewer the experience of ‘observing behind the scenes’.

[kevinweiardn631]

Week10 Photos

This week, I continued to photograph the interior of Lily Eatery. I captured the daily activities of other staff members, including Sandes, the barista preparing coffee as usual, and Bella at the front desk. The weather was cloudy, but the light was still quite good. I tried changing the angle of the composition to avoid overexposure caused by backlighting in certain areas.

I tried shooting from a variety of angles, both inside the café and out on the street, but it was still difficult to achieve the effect I had in mind（previous blog, Chinatown—Edward T. Lin）, where the subject’s gaze intersects with the street scene beyond the window, creating a visual tension between the interior and exterior. Still, the process wasn’t without its rewards.

I captured the silhouette of a customer sitting by the window. The figure was bathed in backlighting, creating a natural silhouette effect. Due to the strong backlighting, the contours of the figure became soft and mysterious. The natural light from outside the window perfectly highlighted the ‘LILY’ shop logo on the glass, making it the visual focal point of the scene and creating a contrast and harmony with the silhouette figure.

[kevinweiardn631]

Week10 Chinatown-Edward T. Lin（from Instagram）

This series of photographs is the work of photographer Edward T. Lin, taken in Chinatown, New York City. He captures the ‘invisible people’ of urban life in a documentary yet highly poetic style. His images often utilise reflections, glass, shadows, and multiple overlapping spaces to emphasise the tension between the subjects and the city.

The figure in the photograph locks eyes with the street scene outside the window, creating a visual tension between ‘inside and outside.’ The reflections on the window incorporate pedestrians, streets, advertisements, and crosswalks into the frame. The dappled light and shadow falling on the person's shoulders and face evoke a sense of time. The colours are processed with a muted, grainy, warm yellow tone, giving the image an old-film-like sense of time. This style is not nostalgic but rather a calm, realistic examination. Each image feels like a collage of fragments from a fragmented society, seemingly carrying social metaphors.

Don't just photograph people; capture the symbiotic relationship between people and space. My photography can also capture moments when people are relaxed, natural, and unguarded, rather than always expecting a certain ‘expression’ or ‘event.’ I will try these techniques at the coffee shop I will be photographing next time. I hope I will gain some insights.

[kevinweiardn631]

Week9 Photos

This week, I went to Lily Eatery Devonport to take photos. It's the cafe flavour control where Kevin and I work, and he's a full-time chef. Throughout the shoot, I tried to maintain a natural approach to observation and recording, so that the footage would convey a realistic, everyday atmosphere.

These photos best illustrate the attention to detail required at work. Kevin bent over intently, observing and seasoning the food, demonstrating his rigorous attitude towards precise control of flavour. In the footage, he is seen handling a variety of ingredients, and the orderly workstation reflects the efficiency and organisation of the kitchen.

Next, I will continue to shoot the appearance of the cafe where I work.

[kevinweiardn631]

Week9 Self-Review Table & Work Plan

What and who will you depict? I will depict the people around me—my best friend Kevin.

Through the concept of depiction, what will you convey visually? Through photography, I depict Kevin’s various appearances in his daily life and work, visually expressing the fluidity of his seamless transition between identities. I employ photographic techniques such as warm and cool tones, black and white hues, contrasts between stillness and movement, and motion capture. These are not used for performative beautification but to capture the multifaceted nature of his individuality in authentic moments. Through ‘observation within relationships,’ I aim for viewers to see not just a ‘chef’ or ‘photography enthusiast,’ but a person living their life.

What is your stance on the subject? I document the daily lives of those around me through the lens, aiming to present authentic and diverse individual portraits and challenge people's stereotypical perceptions of ‘daily roles.’

What is your voice? What makes your theme or approach unique? I photograph the people around me—those I truly understand, live with, work with, and converse with. My photographic voice carries a sense of connection, warmth, and presence. The uniqueness of my theme lies in my focus on people in real relationships around me. This gives the work a perspective rooted in trust. My approach connects his multifaceted states through fragments of daily life. This unscripted arrangement lends the imagery a natural feel.

What unique channels do you have? A group of people, a place, a situation…? This is a unique channel of ‘familiar photography,’ involving people with whom I have close relationships in my life. My photography takes place in the real-life environments of my daily life. The café where we work—Lily Eatery Devonport—the streets, grassy areas, and kitchen where Kevin frequently appears.

Consider the important role the title plays in conveying your intent and how readers will ‘read’ this book. What is your tentative book title? Unscripted Days

What thoughts and feelings do you hope readers will have? I hope viewers feel like they’re quietly stepping into everyday life—not as “observers,” but as “participants.” These aren’t dramatic moments, and there’s no climax or narrative thread. But in every frame, there’s warmth, flow, and energy subtly shifting.

How many shoots will you need to achieve sufficient coverage and successfully tell the story? Approximately 6 weeks of shooting

Will your photography require equipment and support? What are your plans? I will use my own DSLR camera. I may try Kevin’s mirrorless camera.

What software and workflow will you use to edit, process, organise, and design your photography book PDF? I will use Photoshop and Lightroom to process and edit my photography book.

What is your research plan? Exploring the presentation of ‘non-dramatic’ everyday states through imagery. How can the transformation of character states be expressed through photographic language? Nan Goldin – The Ballad of Sexual Dependency Alec Soth – Sleeping by the Mississippi

[kevinweiardn631]

Week9 Our Generation-Xiao Quan

Xiao Quan is one of China's most representative documentary portrait photographers. His photo collection, Our Generation, records the most creative generation of cultural figures in China from the 1980s to the 1990s, including writers, artists, directors, poets, and musicians. For example, San Mao, Cui Jian, Wang Shuo, Gu Cheng, Jia Hongsheng, Jiang Wen, Zhang Yimou, and others are all iconic faces captured by his lens.

Xiao Quan captures the state of these figures at specific historical junctures in a profound and perceptive manner. The tension in the portraits is not only visual, but also reflects the conflict between the characters' inner worlds and the era in which they live. When shooting, Xiao Quan positions the camera very close to his subjects, but without being intrusive—this is because they trust him.

I can try shooting in spaces familiar to the subjects, such as my friend Kevin busy in the kitchen or gazing into the distance with a blank expression… Real spaces make the subjects more natural and the images more powerful. When shooting people around me, I also need to create a sense of intimacy without disturbing them, so that they are self-aware in front of the camera but can still express themselves freely. I try not to force the composition, but wait for them to naturally get into the right state. I want to try black-and-white photography exercises to explore the ‘character’ of subjects through light and composition.

[kevinweiardn631]

Week8 Photos

On a sunny morning, I headed to Auckland Domain Park to photograph my friend Kevin enjoying his day off. I chose to shoot in the morning because the strong sunlight made for a comfortable atmosphere. This series of photos features trees and grass as the backdrop, with branches serving as excellent supporting elements.

These are my favourite photos. In them, Kevin is lying quietly on a tree branch, his gaze relaxed. I asked him to try jumping down from the steps to capture a natural, everyday sense of ease. The entire shoot was relaxed and enjoyable, capturing Kevin's authentic, relaxed side in everyday life.

These photos may be included in my final photography collection. Next, I will photograph Kevin in his work environment.

[kevinweiardn631]

Week8 The Ballad of Sexual Dependency-

Nan Goldin

Nan Goldin's The Ballad of Sexual Dependency is one of the most important and influential photographic works of the late 20th century. With her camera, Goldin tore open the disciplined everyday life and revealed love and pain, desire and dependence, community and loneliness. Goldin used a small film camera with a wide aperture and direct flash. The colours are intense and yellowish, and the images are blurred. The composition is not meticulous, but emphasises the authenticity of the moment.

I can explore how to use intimate relationships as a foundation to present the ‘non-dramatic’ state of everyday life through imagery. The focus is not on perfect composition, but on the presence of emotion.

[kevinweiardn631]

Week8-Photography Exhibition： Mark Adams: A Survey | He Kohinga Whakaahua

The first photograph is a black-and-white family portrait depicting Samoan traditional tattoo artist (tufuga tatatau) Su'a Sulu'ape Paulo II, his wife Epifania, and their first child Va'a spending time together at home. The family is seated around a table adorned with patterns. The three figures appear calm and relaxed, their expressions serene. The composition is steady, and the lighting is soft.

The second photograph is a colourful, densely composed family portrait. About twenty relatives and friends, including children and adults, crowd into a living room, some sitting, some standing, and some sitting cross-legged on the carpet. The entire scene is vibrant and layered, showcasing the lively atmosphere of a family gathering and the strong sense of community cohesion. While many of the figures in the photograph are looking directly at the camera, their expressions vary—some smile, others remain composed—capturing the authentic diversity of everyday life.

Those photographs not only document family relationships but also convey cultural identity through the objects visible in the domestic environment—the space itself serves as a container for the Samoan immigrant family's life and memories in New Zealand.

Static family portraits do not have to be limited to frontal gazes; instead, objects in the background can be used to reinforce cultural atmosphere and identity expression. In my future photographs, I will place greater emphasis on the relationship between people and space: the proportions and distribution of people within the space. Colour is one of the important elements in a photograph, and I will appropriately experiment with black and white tones, which may bring about different emotional expressions.

[kevinweiardn631]

Week7 Sleeping by the Mississippi-Alec Soth

Sleeping by the Mississippi is a series of photographs taken by Soth along the Mississippi River, spanning multiple states from Minnesota to Louisiana.

One of the most moving aspects of Soth's work is his portrait photography. These subjects are both ordinary and unique. They are not objects to be ‘discovered,’ but rather existences that are ‘presented’ to the viewer after establishing a certain trust and emotional connection with the photographer. Their postures, surroundings, and gazes collectively convey an emotion that is both intimate and distant.

General directions that can be applied from Alec's work: How to capture different aspects of a person, such as Kevin's two states of work and rest. I can focus more on the natural interaction between the subject and the environment, rather than simply stereotypically defining the subject.

[kevinweiardn631]

Week7 Photos

This is a very emotionally charged set of portraits I took of my friend Kevin Zhang around the Auckland Museum. The photos show Kevin on his day off through different angles and compositions: contemplative, determined and relaxed. Capturing the mood and the atmosphere of the moment in my lens in a quiet, soft way is both a documentary of life and a momentary freeze of the state of mind.

These three are my favour. One looks down at the ground, eyes avoiding the camera. There is a sense of reflection or a moment of silence. One with eyes firmly looking away, as if looking back at the past. Revealing that thoughts are still active in the midst of a rest day. The third one is the most relaxed, with Kevin's gaze soft and slightly smiling, evoking a sense of enjoying a quiet moment after sunset. His posture is relaxed, presenting his true self when he is not in working condition.

[kevinweiardn631]

14-Day Photo Challenge

I wanted to photograph the people around me. Since I won’t be able to return to China over the next six weeks to continue photographing my girlfriend, I decided to focus on my best friend Kevin Zhang instead. Kevin and I have known each other for years – he’s a full-time chef at the same café where I work, and also happens to be a photography enthusiast. He often takes photos of his wife in his spare time.

During the 14-day photo challenge over the break, we went shooting near Ponsonby Park. Kevin was keen to photograph the old shopfronts and people passing by – he told me this street has that classic, nostalgic vibe and is one of Auckland City’s oldest high streets. As we walked along Ponsonby Road, I started snapping candid shots of Kevin in action. The morning light was beautiful but also really harsh. Because of the strong backlight and risk of overexposure, I kept circling around him, trying out different angles. I also took a close-up of Kevin’s camera on its own. I wanted to use the camera as a visual starting point – a way to hint at his passion for photography.

We even swapped cameras for a bit – Kevin shoots with a Nikon and I use a Canon, so the button layouts felt completely different! In one shot, I set the aperture wide open and deliberately focused on the sculpture behind him instead of on him. The idea was to move away from traditional portraiture and let the viewer see what he was looking at, not just him. Even though Kevin’s figure takes up a big part of the foreground, I intentionally blurred him. The tilted stone element in the background, with all its texture and odd angle, became the focal point. So instead of looking at Kevin, the viewer naturally follows his gaze toward what he’s observing.

A bit further down the park path, I caught another shot of Kevin standing in the distance, right between a tree and the path. His position was perfect, but the backlighting meant the sky ended up slightly blown out in the top part of the frame.

In the coming weeks, I plan to continue photographing Kevin – both during his days off when he’s more relaxed, and when he’s at work in the kitchen.

[kevinweiardn631]

Week5 Formative Photos

In front of the camera, we may think we are shooting an expression or a set of looks, but gradually I realised that it is not the perfect gesture or precise composition that really moves people, but the flow of emotions, the subtle relationship between the character and the environment, and the ability of the light to capture a person's true presence in a single moment.

In my lens, she walks along the brick-lined streets of Wuhan, or quietly lingers in the white halls of an art gallery. As the photographer, I find myself standing between her and the world — both as a recorder and an interpreter.

These photos weave together a small narrative of our journey. We wandered through streets and alleyways, pausing together before unfamiliar artworks. In this series, I did not pursue any rigid aesthetic formula, nor did I seek to define how she ought to appear. Instead, I chose to wait and observe, allowing her to move and express herself in her own rhythm — and I simply recorded those moments quietly.