PART 2: Project: Lines, Exercise: Curves

The above images were taken in the same shoot. The curves of the ship's bows emphasise to me a feeling of gracefulness and support the idea of movement through the water. The curved harbour wall also shows direction and depth but leading the eye in a gradual way. I notice that with all these images, the eye moves slightly slower around the scene than straight lines and the curves in all promote a calmness in the image.

KEY LEARNING POINTS

As with diagonals and straight lines, curves produce a different perception in the image. But this perception is calmer and like diagonals emphasises movement,

PART 2: Project: Lines, Exercise: Diagonals

This image works very well for me, it implies a sense of busyness and strength with the diagonal ropes moving in several directions holding many things in place. The diagonals converge on a single point, I think this balances the dynamics and tensions of the ropes in the image with a point of stability.

These two abstract images of a ploughed field all have a sense of movement / direction. The first image has a slight curve which adds to the feeling of moving over the hill. The second image has a strong sense of movement, the diagonals appear to me like arrow heads on a diagram. Also because the boundaries of the field are not resolved in the image, this gives a perception of space and a large area.

This image is an example of diagonals produced by perspective and in this case, the effect is different. There is still a sense of movement in the image but it is one of moving the eye through the frame creating depth in the image. In this image, I was trying to emphasise the texture of the log but on reflection it could also have been a diagonal pointing to an area of interest in the composition.

Key Learning Points

Diagonals in composition provide a sense of travel and movement more so than horisontal lines, they can also point to something in a composition because the eye will move with them - more so than horiziontals and verticals.

PART 2: Project: Lines, Exercise: Horizontal and Vertical Lines

This image of a wooden reel has been abstracted by excluding all surrounding detail from the picture. The composition becomes graphic and the eye is attracted to the motion of the vertical lines leading it through the textures of the wood.

This image is a repeating pattern of verticals but also forming an implied diagonal through the image, there are also other verticals on the boat itself. Taken with a longer focal length, the compression in the image emphasises the verticals and diagonals. In this image, I think the verticals in a diagonal line provide some depth and dimension to the image.

Although this image shows curves and diagonals, I think the vertical is prominent in the image and shows a clear division of the ships bow and the image. The other lines support rather than dominate this image.

This image has both horizontal and vertical elements but the vertical repeating pattern of the tree trunks are the main element. The horizontal division shows a base for supporting the verticals and I think the horizontal lines of the field emphasise this. 

Again this image has both horizontal and vertical elements but it is the horizontal rung of the ladder and it's shadows which define the graphic qualities of this image.

Despite the prominence of the vertical supporting elements in the frame, I think the horizontals are the strongest element of the image. Perhaps because they are abstracted implying a larger area. This is an example where the lines support the main element of the composition which is the textured wood lying on a third.

This image shows the horizontal supporting lines of an old wall. They indicate strength which is contrasted by the lower line crumbling away and no longer being as strong or supportive.

Key Learning Points

Lines provide a graphical element to a composition but seem to have more visual weight when they are abstracted. Completely abstracted they can be powerful graphic compositions but can also support other compositional elements like textures. Horizontals and verticals seem to imply strength, support and structure but in doing so they also make the subject static.

PART 2: Project: Points, Exercise: Multiple Points

I chose the elements of this still life as cufflinks and a watch. The cufflinks were small enough to be points and the watch was the main subject. I wanted a composition which didn’t look too artificial.

I tried seven arrangements shown above. Looking at the series of images, I prefer the third one and analysing the compositions below shows that there are two curved diagonals leading to the watch and the watch itself is placed diagonally, the dynamics of the diagonals are probably the appeal of the composition to me.

Key Learning Points

Multiple points can be used on a couple of levels. One as interesting compositional shapes themselves but also since the eye/brain interprets a series of points as a line, they can also be used as leading lines.

PART 2: Project: Points, Exercise: The relationship between points

In this first example, the points are the rings on each post, there isn’t much difference between the two but the one on the left seems to take more attention from the eye. As in the single point image, this point is closer to the edge of the frame and perhaps this gives it slightly more visual weight. I also think the interaction of the lines (ropes) leads the eye to the point on the right.

In this example, I feel that both points compete for attention even though they are different in shape. They both have implied lines in different directions, this leads to a composition which never really resolves itself. The eye seems to dart between both implied lines never settling on one.

In this example, the points are equal in the frame but surprisingly for me, the eye seems to go to the point on the right first. I think this is because there is a downward line pointing to it and also perhaps it lies on a third.

Key Learning Points

I found this exercise quite thought provoking as it’s not just the points themselves that make up the composition but the interaction of the points and lines (real and implied) in the image. I suspect that points against a blank background works less well as a composition. In fact I shot such an image recently (below) and wondered why it didn’t work for me, this learning point probably explains why.

Documentary Photography, Robert King and Joe McNally

I watched the BBC 4 documentary on the war photographer Robert King recently. There were a few points which I found interesting:

Even when photographing distressing subjects, like dead bodies and body parts he mentioned that his mind switches itself off from the distressing nature of the subject and thinks in terms of composition even for body parts! To do this, he must have developed a subconscious appreciation of composition – let alone a cast iron stomach!

I also noticed this in a recent image on Joe McNally’s blog (http://www.joemcnally.com/blog/wp-content/uploads/2010/07/vsp-76.jpg) which was an image of skulls shot in Rwanda as part of a story on the Genocide. This is an image which fits into the compositional category of “Many”.

The point of documentary photography is to make the viewer aware of the issue associated with the image so composition makes the image jump out to the viewer. So I can understand why even when photographing distressing subjects, thinking about composition is still valid.

Robert King was also extremely naïve in the beginning but had a real sense of determination and tenacity about him – this is also a phrase I’ve heard from Joe McNally in listening to him recently –“A tenacity and determination to get the shot which drives creativity”.

PART 2: Project: Points, Exercise: Positioning a Point

In each of these images, the feather is the point.

Positioning the point in the centre produces a pretty dull composition with no feeling of movement or impact.

Positioning the point off centre on a third improves the composition, the diagonals of the waves and the line of the wall lead in to the point.

The point close to the edge for me provides the best composition, the elements of the above are emphasised more plus I feel there is an implied line from left to right. This composition feels like it has some sense of motion – perhaps the feather about to blow in the direction of the lines?

Key Learning Points

Contrary to the usual rules of thirds approach, the position of the point closer to the edge provides the best composition and feeling of movement. But I think the interaction of the point and the lines leading into it in the composition are what makes it a preferable composition.

PART 1: Project: Cropping & Extending

For this exercise I took three of my images without thinking too much about the cropping potential and then looked for alterantive crops:

The first image was taken primarily to show the sunset sky but focussing in on the clump of trees as a more prominent subject and changing to a vertical composition provides an alternative. I placed the tree clump on a horizontal third and the sky transition from orange to blue seems to fall nicely off centre as well.

For this second image I tried a horizontal and vertical crop placing the window on a third. The vertcial one worked best. The character of the image changes from being about the building to being more about the texture and pattern of the brickwork.

For the third image, I processed it to bring out the drama in the sky and then focused in on a small set of the buildings placing them on a third low down to give prominence to the sky. In this case I think the impact of the sky is lost a bit by cropping.

Key Learning Points

Cropping is a valid means of composition and alternatives should be explored but the principles of composition still need to be followed for the crop.

PART 1: Project: Looking Through the Viewfinder, Exercise: A Sequence Of Composition

I have found the approach of taking a sequence of images as I work through a composition and then reviewing these afterwards a useful technique. I used this approach for one of my assignment images and the sequence below shows some of these images:

The sequence shows the varying angles I used to arrive at the final image and also the placement of some coloured smarties on a third with similar colours leading a line through the image. There are also elements I feel I could have improved after review i.e. the bright orange smartie in the background.

PART 1: Project: Dividing the Frame, Exercise: Positioning the Horizon

The images on the left have varying horizon positions.

The first has the horizon in the lowest third of the frame and in this image the sky takes prominence with the foreground a secondary element.

In the second image, the horizon is in the middle and this gives equal prominence to foreground and background.

The third has the horizon on an upper third and in this case the foreground becomes the subject but the sky still plays a part.

In the final image the horizon is farther up the image and the sky plays almost no part in the composition

Key Learning Points

Horizon position influences the extent to which the foreground or background influences the composition.

This also applies to other dividing lines in an image e.g. ground and building line.

It is also equally applicable to vertical divisions in an image.

PART 1: Project: Focal Lengths, Exercise: Focal Lengths from different Viewpoints

For this exercise I used a window ornament and positioned it at the same size for two focal lengths:

The difference in the two images is clearly in the appearence of the background. With the longer focal length the background is larger and appears closer to the main subject and the depth of field is more prominent making the subject stand out (both images were taken with the same aperture).

Key Learning points

The compression effect of a telephoto lens can be used to help subjects stand out and provides a tighter feel to the image - which may feel more dramatic in certain situations.

The opposite effect of the wideangle lens gives a more expansive impression and could be used when the landscape is a key part of the image.

PART 1: Project: Focal Lengths, Exercise: Focal Lengths

For this exercise, I used a number of focal lengths on the same scene:

From a compositional viewpoint it shows that focal length can be used to isolate parts of a scene to create compositions of parts of the subject in their own right.

Key Learning Points

Isolated compositions using a telephoto lens also need to be valid compositions themselves to produce a good image.

Exposure also needs to be appropriate for the isolated element - it may be different than the overall scene.

PART 1: Project: Dividing The Frame, Exercise: Balance

For this exercise I have looked at images not taken as part of TAOP, most were taken before I started the course.

Both lighthouse buildings are close enough together to be considered one element and I consider the other balancing element to be the sky on the left. The buildings carry a bit more weight for me:

The balance in this image is a bit more complex, I see it as the group of NYPD cops and their two cars. I think the cops carry more visual weight because our eyes are attracted to people first:

This image also has human interest but the figure is so small in the frame and his colours so muted compared to the ribbons I think he has less visual weight:

This is one of my favourite pre-TAOP images and analysing it in terms of balance maybe explains why. Again I think the figure carries more visual weight because of our visual interest in people. But the bicycles balance the figure in just the right proportion:

The balance in this image is more subtle, I think the two elements in balance are the buildings and the out of sight setting sun, both are fairly equal in visual weight and I think the sun being in the middle lessens it's impact:

This image also has a subtle balance I think it is the figure balanced by the cloud formation above him, again the figure has more visual weight:

Key Learning points:

My more succesful pre TAOP images appear to have balance but this seems to be more succesful compositionally when there is a proportionate visual weight between the two.

Balance can be in the vertical plane as well as the horizontal (and possibly diagonal?)

INTRO Project: Photographing Movement, Exercise: Panning with different shutter speeds

I again used passing cars for this exercise and panned with varying shutter speeds from 1 sec to 1/20 sec. At 1/20 there was a small mount of movement recordede but at 1/40 the effect was gone:

The image above is my favourite of this batch, for a mundane subject, the effect is quite satisfying - this one was taken at 1/2 second.

This was the first time I had tried panning and I found it a useful technique. Getting the right shutter speed is key and of course this is dependent on the speed of the subject.