Thursday 15 December 2011

Random picture...

You know you had a good holiday when you are deleting pictures that might perhaps be blurred so you can take just one or two more of the Hebrides from the aircraft window...

Assignment Two

Assessment submission for Assignment Two of The Art of Photography.

This series of photographs explores elements of design in viewing a photograph as a graphic and at times abstract image.

A theme of “Street Detail” has been chosen, with the subjects being found on and around the highway or street furniture.

Any post-processing has been done with Adobe Lightroom 3 or Adobe Photoshop CS5.

A single point dominating the composition.

Give way sign, B1398, Ingham, Lincolnshire

Canon EOS 60D, f9 @ 1/250^th, 41mm

Two points dominating the composition.

Road signs, Burton, Lincolnshire

Canon EOS 60D, f10 @ 1/200^th, 39mm

Several points in a deliberate shape, including an implied triangle.

Street furniture, Minster yard, Lincoln

Canon EOS 60D, f5 @ 1/30^th, 32mm

A combination of vertical and horizontal lines.

Bridge decking, River Witham, Lincoln.

Canon EOS 60D, f10 @ 1/25^th, 55mm

Diagonals (I)

Shadows from railings, River Witham, Lincoln.

Canon EOS 60D, f14 @ 1/25^th, 18mm

Diagonals (II)

Pedestrian shadows, High Street, Lincoln.

Canon EOS 60D, f18 @ 1/25^th, 42mm

Curves (I)

Kerb stones, Danesgate, Lincoln.

Canon EOS 60D, f7.1 @ 1/125^th, 55mm

Curves (II)

Bollard, Danes Terrace, Lincoln.

Canon EOS 60D, f5.6 @ 1/80^th, 55mm

Distinct, even if irregular shapes.

Car park marking, from an alternative angle, Westgate, Lincoln.

Canon EOS 60D, f8 @ 1/30^th, 18mm

Implied triangles (I)

Stop valves within roadway, and gable reflection, Bailgate, Lincoln.

Canon EOS 60D, f4 @ 1/30^th, 18mm

Implied triangles (II)

Street furniture and vapour trail, Tritton Road, Lincoln.

Canon EOS 60D, f22 @ 1/25^th, 21mm

Implied triangles (III)

Road marking, Minster Yard, Lincoln.

Canon EOS 60D, f5.6 @ 1/30^th, 18mm

Rhythm (I)

Benches, Steep Hill, Lincoln.

Canon EOS 60D, f5.6 @ 1/80^th, 55mm

Rhythm (II)

Hand-rail, Steep Hill, Lincoln.

Canon EOS 60D, f5 @ 1/60^th, 40mm

Pattern (I)

Cobblestones, Danesgate, Lincoln.

Canon EOS 60D, f5 @ 1/80^th, 18mm

Pattern (II)

Textured paving slab, Bailgate, Lincoln.

Canon EOS 60D, f5 @ 1/80^th, 40mm

Real and implied triangles

A series of photographs seeking to show triangular forms within the image.

Cammeringham,06:49, 2nd October 2011

Yes, the colour is unmodified, the image is straight from the camera. Several triangles may be identified within this composition. A diagonal from top left heads toward the middle of the prominent band of coloured cloud running across the sky, forming two triangles in the upper part of the picture; the large cloud band interacts with the frame to right and bottom to describe a shallow triangle behind the foreground trees.

Winter wheat, Cammeringham, Lincoln

"Tramlines" within the young crop, captured from an appropriate angle, form two triangles to upper left and right.


Gable of barn, Cammeringham, Lincoln

The obvious triangle of the gable against the sky is only part of the story. At bottom right the angle of the limestone courses form a triangle with the image boundaries; while within the structure of the building the distinctive "tumbled" brickwork provides both further triangular features, and also give clues to dating this building to within a few decades around the end of the eighteenth century.

Main Drain, Burton, Lincoln

The dominant triangle of the water is supported by the similarly angled forms of the banks and foliage; all drawn by perspective to the centre of the image.

Le Shuttle.

Perspective again here, emphasised by motion blur as the vehicle advances, gives an almost dizzying effect as triangles formed by the sides, roof and floor of the carriage converge on a vanishing point in the centre.

"Paix armée", Félix-Alfred Desruelles, Péronne

This scuplture presents a powerful and challenging statement through the strong triangle formed by the arm, leg and sword.

Diagonals

4 photographs to illustrate and explore the place of diagonals within a composition.

Doullens Market

This snatched image in the street is given more energy by the oblique angle of view, which emphasises the movement and immediacy of the moment. The technique of tilted camera angles is one which comes into fashion in various media from time to time, then drifts away as it becomes over-used. When applied to moving images, even television cookery shows can tend to generate motion sickness.

River Somme, St. Valery sur Somme.

The row of moored boats provide a loose diagonal, leading the eye from left to right towards the headland with its navigational beacon and trees.

Somme Estuary, Le Crotoy.

The angled shoreline here encloses the beach, the promenade, the people strolling. The image is thereby divided into two halves by the diagonal; sea and sky - and the rest...

Couple on shore, Le Crotoy.

The strong diagonal provided by the steps and handrail concentrates attention on the couple in the centre. Another interesting visual feature is the way the man looks to the left, while the woman looks to the right, each apparently involved in their own thoughts, yet so obviously together.

Tuesday 13 December 2011

Experimental link to Flickr...

Trying to link to Flickr photostream...

[url=http://www.flickr.com/photos/lessthanmeetstheeye/6343852323/][img]http://farm7.staticflickr.com/6116/6343852323_79d3126d99.jpg[/img][/url]
[url=http://www.flickr.com/photos/lessthanmeetstheeye/6343852323/]Cider with Rosie[/url] by [url=http://www.flickr.com/people/lessthanmeetstheeye/]Less than meets the eye[/url], on Flickr

...doesn't seem to work

http://farm7.staticflickr.com/6116/6343852323_79d3126d99.jpg

seems to provide a link, but no image...

and this one works - abbreviated url from Flickr "Share" drop-down...

[url=http://www.flickr.com/photos/lessthanmeetstheeye/6344589510/][img]http://farm7.staticflickr.com/6040/6344589510_01c773f036_o.jpg[/img][/url]
[url=http://www.flickr.com/photos/lessthanmeetstheeye/6344589510/]Cider with Rosie[/url] by [url=http://www.flickr.com/people/lessthanmeetstheeye/]Less than meets the eye[/url], on Flickr

No - definitely doesn't do what the Blogger help screens claim...

The answer - paste abbreviated url into insert picture field...

Relationship between points.

The impact of an image will be influenced by the relative disposition of the major elements. In this exercise we will explore a few examples and attempt to assess the contribution made by two points within the picture.

Here the focus of the image is clearly the two crosses in the foreground.

The crosses are effectively identical, and therefore carry equal visual weight. There are however indications that there is more to this image than just the two crosses. We see to the left partial shadows of two more crosses in the same row, while the background consists of row upon row of similar memorials. Within this image the two principal elements are not just of equal significance, but they are also clearly a part of a much large company.

Thiepval Memorial. Olympus E1 f4.5 @ 1/80 22mm

The two individuals in this image are positioned on a diagonal relative to the frame, which tends to give a dynamic feel to the composition; we expect movement.

St Valery sur Somme. Canon EOS 60D f10 @ 1/250, 55mm

A picture of two boats on the River Somme, one stationary, one in motion.

We may draw a distinction between the two vessels in regard to their relative sizes, which tends to draw the viewer into the picture.

St Valery sur Somme. Canon EOS 60D f10 @ 1/320 18mm

The two elements of interest here are the green navigational beacon on the pole, and Kate, in the foreground. The elevated position of the beacon leaves a void to the right of the image which could contribute to an air of expectancy, re-inforced by Kate also looking to the right. A tension exists, which even the direction of shadow assists.

Rhythms and patterns

Two photographs to illustrate visual rhythms and patterns.

Landing lights, RAF Scampton, Lincolnshire.

These poles were actually very carefully aligned when erected to guide Vulcan aircraft to the runway in the nineteen-fifties, but they are now looking a little wobbly. The sixteen uprights provide a visual rhythm, with perhaps now a little syncopation here and there.

Cobbles, Danesgate, Lincoln.

We see several levels of pattern here; the texture of the individual cobbles, the disposition of cobblestones and slabs between, and superimposed upon those - tyre marks from passing vehicles.

Curves

Examples of curves dominating a composition.

Ancre Road Cemetery.

Thiepval Memorial

Designed by Sir Edward Lutyens. The curves of the several arches which make up this huge memorial are symbolic of the unity between the 70,000 French and British troops who have no grave, but are named hereon.

Ancre Road Cemetery.

Take a curve to it's logical and ultimate conclusion - we have a circle...

La Coupole, St Omer.

The arched roof is employed here for purely structural reasons, providing great strength to the tunnels.

Horizontal and Vertical Lines.

We now seek examples of horizontal and vertical lines within the image.

Pylon, Burton, Lincoln.

Pylons, although impressively vertical structures, owe their being to the horizontal cabling suspended between them.

Beach, St.Valery sur Somme.

Notice on door, St Omer.

I think the image above is interesting, as text forms one of the commonest examples of horizontality in a huge range of common objects and situations.