The repeating ovals within this photograph also denotes this. The oval of her head, the oval of her arm and the highlights of her knees convey that she has succumbed to her position in life and keeps returning to the limitations that society has placed on her.
In photograph 3, Weston uses much stronger lighting and contrasts. The female form is almost undefined as far as details. The position of the subject makes me feel as if this woman is an object and not an individual. She is a form, not a woman. She is immobile and faceless. The back profile makes the viewer depict the subject as a victim. She is devoid of feeling, movement, and the ability to make a difference in her life. She has become an object. This photograph is simple but very disturbing. As a female, I can identify with the pressure woman face in society. The intense background contrasts the tonality of her skin to make the subject seem as if she is made of stone. .
Weston not only executed the female body, but desert landscapes as well. Photographs 4 and 5 are totally different concepts, but similar subjects. In photograph 4, there are no patterns within the sand of this photograph. The slopes flow into each other creating a romantic approach to the desert. The fluidness of the lines in this photograph makes the viewer feel the tranquility of the landscape. The shadows as well as the lines are muted. He uses middle tones which almost looks as if his photograph is painted. .
Photograph 5's concept is stronger because of its indentations and patterns in the sand. This photograph is more architectural due to the separation and hard edges in the dunes. The shadows give the sand a ripple- like effect, capturing the natural characteristics of the desert. In contrast to photograph 4, this image makes the desert seem harsher and more dangerous. The striations of the cliffs accentuate the vertical surfaces and defines them from the desert floor.