Tragedy at the Sea: A Photographic Analysis

John L. Gaunt Jr.s Pulitzer Prize winning photograph Tragedy by the Sea rst appeared in the Los Angeles Times in 1955. However, while this photo was taken nearly sixty years ago, its profound use of photographic composition and exemplary emotional content make it a timeless image that is still revered today. Three of the most noteworthy visual tools executed by Guant Jr. include his use of the rule of thirds, the horizontal line and the diagonal line. The rule of thirds is a guideline that proposes that an image should be imagined as divided into nine equal parts by two equallyspaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections (Photographic Compositions, 10). If a three by three (3x3) grid were to be placed over Tragedy by the Sea, the most important visual component of the image--namely, the man and woman--would appear at the intersection of the right most and bottom most lines, thus adhering to the rule of thirds. The application of the rule of thirds adds a dynamic dimension to the photographic. Had the couple been directly centered in the foreground, the image may have appeared static. However, by placing the couple off-center, the eye is drawn across the frame, adding an element of action to the photo. The use of a horizontal line--in juxtaposition with a diagonal line--is yet another attractive visual component of Tragedy by the Sea. The horizontal line is shown through the horizon: the line separating the ocean and the sky. The horizontal line, though running from left to right, is not placed directly in the center of the image; it is important to never place a horizontal in the center of a photograph, as to avoid a boring and visually jarring image (Photographic Composition, 36). Emotionally, the horizontal line provokes a sentiment of calmness, or rest (Arnold, Lecture 02A). In contrast, the diagonal line marking the border between the sea and the sand denotes action and movement; its proximity to the man and woman underscores the drama portrayed in the couples stances and facial expressions (Arnold, Lecture 02A). Together, the contradictory emotions provoked by the two lines add a dynamic element to the piece. Beyond the images effective photographic composition, there is rich emotion to be found between the couple, the focal point of the photo. The woman grips the man tightly; the ripples in his shirt depict the eagerness and ferocity with which the she holds onto him. Meanwhile, the man remains stoic, erect; his gaze rises above the distressed woman, and out onto the sea. Why is the woman upset? Why is the man not comforting her? What is the tragedy by the sea? The image produces a multitude of questions, captivating the viewer; the drama and emotional uncertainty of the frame is engrossing, a testament to the photos intense power. The placement of the couple in relation to the waves of the ocean is also noteworthy. The waves, wild and crashing, appear (due to the location of the photographer) seemingly above the couple. The subtle implication is that the couple is powerless to the wiles of the ocean: we, as humans, are powerless to the wiles of nature. Through its keen use of photographic techniques and rich emotional content, Tragedy by the Sea remains a powerful and timeless image. Works Cited Arnold, Alice. Lecture 02A. American University. Kogod School of Business, Washington, D.C. January 2013. Class Lecture. Zakia, Richard D. and David A. Page. Photographic Composition: A Visual Guide. Oxford: Elsevier, Inc., 2011. Print.