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?)

PART 1: Project: Looking through the viewfinder, Exercise: Object in different positions in the frame

I took a number of pictures of the old Foghorn at Fraserburgh for this exercise. I took the photographs very quickly placing the foghorn in multiple positions in the frame without thinking about the compositional impact. The following are my thoughts on the compositional results on each one:

Photograph 1 – Centre of the Frame

Can’t say much about this one other than it is a baseline image for the rest. The eye centres on the subject and doesn’t move.

Photograph 2 – Off Centre Right

I think this is quite a pleasing composition, the off centre position opens up more of the sea and gives a feeling of looking out to the ocean. The eye seems to start right and then left out to sea.

Photograph 3 – Far Right

This image has a similar effect to the previous but less pronounced, it feels a bit clumsy and at the far edge the subject almost seems less important. The wall leading out to the sea seems to attract the eye more.

Photograph 4 Off Centre Left

As with Photograph 2, this is quite a pleasing composition and the foreground grass is emphasised more. The eye travels through the foreground grass, to the foghorn and then out to sea.

Photograph 5 – Far Left

I find this composition unsettling because the eye seems to naturally want to go from right to left and out to sea following the foghorn but in this image there is nowhere for it to go!

Photograph 6 – Off Centre Up

This composition doesn’t feel much different to the baseline image but the foreground grass is slightly more emphasised which leads the eye into the picture a bit more.

Photograph 7 – Far Up

This image leads the eye in the same way as photograph 6. Although it does feel like the foghorn is at the top of a pyramid.

Photograph 8 – Off Centre Down

Although the foghorn is centred I find this a nice composition, in this position the sky is emphasised which gives a placid feeling in this case.

Photograph 9 - Far Down

I find this composition clumsy looking, the wall has been cut off, there is too much plain sky and it feels accidental.

Photograph 10 – Off Centre Left and Down

This composition is also quite pleasing, the curve of the wall leads down quite nicely to the foghorn.

Photograph 11 Far Left and Down.

Surprisingly, I find this composition ok although I expected this subject positioning not to produce a good image. I think it has a similar effect to Photograph 10.

Photograph 12 - Off Centre Right and Down.

I like this composition but find the effect similar to photograph 2

Photograph 13 – Far Right and Down

As with photograph 11, I was surprised to like this composition. The positioning of the subject allows an expanse of sea and sky to be shown, more so than the other images. This gives a nice feeling of isolation emphasising the vastness of the ocean.

Photograph 14 – Off Centre Right and Up

In this image, the grass in the foreground comes into play a lot more as a compositional element providing depth and a balance to the foghorn.

Photograph 15 - Far Right and Up

The effect in this image is similar to photograph 14 but looks a bit more clumsy and is less effective. The distortion and blur of the lens at its extremities is also noticeable here.

Photograph 16 – Off Centre Left and Up

The effect in this image is similar to photograph 4

Photograph 17 – Far Left and Up

This image emphasises the grass far too much and the image has now become about the foreground grass with the foghorn as a background element.


Key Learning points from this exercise:


Arranging the subject positions in a matrix where succesful compositions are green and unsuccesful red (in my opinion) shows:

It's clear that there is a sweet zone around the off centre positions but it surprised me that the bottom three also all provided succesful compositions going against the often quoted rule of thirds. This shows to me that there are no hard and fast rules when it comes to composition and what works is subjective. However placing subjects carelessly is not the answer, placement in the frame has a different effect and emphasises different things in the scene. So composition is about subject placement and understanding the effects of placement rather than being too hung up on rules.

A more practical point is that lenses are generally not at their best at the extermities of the image, so if the main subject is there then any lens imperfections will be more noticeable.

PART 1: Project: Looking through the viewfinder, Exercise - Fitting the Frame to the Subject

For this exercise, I chose Fraserburgh Lighthouse as my subject

First Photograph (Baseline Image)

This image has a number of compositional elements to it:

• The wall in the foreground leading to the background

• The two lighthouses

• The house in the background

• The sky and grass

In this image as it stands they compete for compositional attention, my initial instinct would be to crop at the right hand side to remove the house.

Second Photograph (Subject Filling frame)

With the lighthouse now filling the frame, it’s very clear that the lighthouse itself is now the main compositional element. So in a way the composition is simplified, however elements of the lighthouse itself now become compositional elements which weren't prominent in the earlier image:

• Window

• Lighthouse tower

• Shed and tank at the front

The sky becomes more of a backdrop than a strong compositional element.

In my view, this causes the viewer to consider the detail of the lighthouse and its structure in far more depth than before. The image is drawing attention to the lighthouse building itself rather than it’s situation and surrounding environment as the previous image.

Third Photograph (no edges of subject)

In this image, the viewer experiences the subject in a number of different ways from the previous images:

• The detail becomes more prominent and important i.e. the two windows, the orange door and the masonry

• The texture of the castle surface becomes more prominent.

• The viewer has no information on what is beyond the edges of the frame so will make assumptions. In this case, this could be a small part of a very large castle or other structure. This aspect can be taken advantage of in composing an image.

Alternative crops

This first alternative crop highlights the sky as an element and being a broad crop gives a panoramic feel to the image.

The second alternative crop emphasises the vertical nature of the two structures and it retains the foreground element adding depth but in cropping the wall is no longer a leading line and works better than the baseline image.

The third alternative crop isolates the main lighthouse but I think this one is less effective. Perhaps because it’s too narrow or maybe the foreground element has less impact.

The fourth alternative crop focuses on the light house and I’ve placed it in a third horizontally and vertically. I think this is a pleasing composition and the house to the left provides a nice balance.

For the fifth crop I’ve done the same with the other lighthouse but this one doesn’t work for me so well. There isn’t a balance and the image seems dull as a result.



Key Learning points from this exercise

• Be conscious of the number of compositional elements in your image as you shoot

• Framing impacts composition so needs to be considered during shooting, tight framing increases focus on the subject but doesn’t necessarily reduce the number of compositional elements, it just changes what the viewer focuses on.

• When the edges of a subject aren’t in the image then the viewer has to make assumptions, this can be used as an advantage particularly where large size is being emphasised

• Different crops can produce radically different images, each working or not working in their own way.

PART 1: A start to assignment 1: Contrasts

Still & Moving, originally uploaded by bryanhutch.

On a trip to the river last week, I started to look for contrasts for my assignment. I initially took some shots at varying shutter speeds to capture the motion of the river but spotted this plant beside an interesting part of the river. I'm very pleased with this image, it’s really the first time I’ve used contrast as a compositional method and I really liked the result.

Photographing the image:

At the time I was conscious that this was a tricky shot to get right in terms of exposure because one element of the image was dependent on shutter speed i.e. blurring the motion of the river and the other on aperture i.e. making the plant stand out by blurring the background. However the background couldn’t be blurred too much as the flowing water is an important part of the composition. I took a sequence of 19 shots and chose a combination of aperture and shutter speed I was happy with once I viewed the image on my PC at home. I didn’t have my tripod with me so getting the plant sharp was a challenge, my tripod would have made things easier!

Reflection and post processing:

I felt the water was a bit muddy looking on the original shot, in post processing I adjusted the exposure to -0.3, increased the black level, brightness and contrast in Adobe Camera Raw and then recovered the highlights a small amount. This also enhanced the blues in the river adding to the feeling of water and movement.

On reflection and post analysis of the image, I feel the composition works on a number of levels:

The intended contrast of movement vs still is quite powerful. The feeling of the river in continual motion while the plant stands by is quite satisfying. But I think there is a secondary contrast; the plant is quite linear and structured which is a contrast against the fluidity of the river.

I also think the composition is simple in that there are only two elements: the river and the plant, a learning point for me here is to be mindful of including too many elements in a composition. The balance for me also works in that the plant is takes up a small part of the frame but has more visual weight than the river because of its sharpness and this balances well against the larger white part of the river.

Going out looking for contrasts, felt like a different approach to shooting. It felt a more focused, targeted and organised. I'm also ure I wouldn't have taken this image just using my usual wandering around approach.