Against this horizontally are implementers vertical and nearly vertical elements that create trapezoids and triangles. The large mast is the most dominant of these upright diagonals. Its complement is the narrow, crescent-topped pole holding up the gangway, as well as the stanchions leaning to and fro on the gangway, the handrails of the metal staircase, and the many standing figures on both levels. The result is a formal organization that is all at once ponderous and weightless.
The effect is off massive structure suspended within the frame, attached (as it were) where the center beam touches the left and right edges. This beam becomes a kind of a pivoting axis on which the whole scene is liable to swing forward and backward into space, as if to mimic the lapping movements of the vessel. 3. What is the creator’s intention? How can you tell? From my research of Alfred Zeitgeist, his intentions behind this photograph were, as said 35 years after the photo was taken, “He was watching the men and women and children on the lower steerage deck. Only men were on the upper deck.
The whole scene fascinated me. I longed to escape from my surroundings and join these people. You can tell that Zeitgeist is detached from what is happening in the photograph because of the distance he puts between himself and what is happening in the scene. 4. In what way(s) does the visual medium present the message that a written text message could not? Zeitgeist was a pioneer of modern photography and was always willing to experiment with new ideas. Also during that time many magazines and newspapers were writing about the problem of the crowding of steerage on immigration.
Pictures are much more hard hitting than words, and for people o see the over crowding of steerage, it is much more affective than text on the subject. 6. Does the photograph condemn or celebrate the immigration movement? Would qualify this argument to say that it neither condemns nor celebrates, but demonstrates the tactful ability of the passengers to endure life immigrating to the United States. The reason why would qualify this argument is because Zeitgeist does not take the photo to show the terribleness of the lower class living space. If he had, the photo would have looked much more different.