Photography 1: The Art of Photography

Project: Rhythm and Pattern
Exercise: Rhythms and Patterns

For this exercise I looked for situations that would convey rhythm or pattern.  The rhythm photogragh needs to have a sequence so that the eye will follow a direction and experience an optical beat.  The pattern photograph needs to have no boundaries to the pattern.  Patterns work strongly when they fill the frame, so that the eye can imagine them continuing  well beyond it.

6195.jpg; Nikon D300; 18-70mm lens; F14.0; 1/50s

This photograph features a row of statues in Madrid.  They lead the eye towards a statue  at the end of the row.  The spacing of the statues forms an optical beat.

6202.jpg; Nikon D300; 18-70mm lens; F16.0; 1/80s

The brickwork in this photograph form a number of patterns.  The patterns in the brickwork fill the frame, so that the eye can imagine them continuing well beyond it.

What have I learned from this exercise ?

Repetition has a peculiar but generally very strong appeal, particularly when it is unfamiliar to the viewer.  There is a visual beat to pictures containing a repetitive theme.  Visually, repetition comes across in in two ways: as rhythm and as a pattern.  The difference between them is that rhythm is to do movement across a picture while pattern is essentially static and has to do with area.

For photographs of pattern, care must be taken with the framing.  Show no boundaries to the pattern.  Patterns work strongly when they fill the frame, so that the eye can imagine them continuing well beyond it.  Repeating patterns can be very powerful and stimulating to the eye.  For this reason images that use repeating patterns are quite successful.

Photography 1: The Art of Photography

Project: Shapes
Exercise: Real and implied triangles

For this exercise I produced two sets of images using triangles in the composition.  One set using "real" triangles and the other using "implied" triangles.

Real Triangles

1798.jpg; Pentax Optio A20; F2.8; 1/60s

In this photograph the roof of the church forms a triangle with the apex at the top.  There are many situations where triangles are used in buildings as it is a very stable shape.

4945.jpg; Pentax *ist D; 18-55mm lens; F22; 1/60s

 This image was taken with the wide angle setting of the lens, (18mm).  A triangle is created by the upward tilt of the camera.  This has caused the building's vertical lines to converge into a triangle.

4947.jpg; 18-55mm lens; F22; 1/125s

In this image a triangular structure is formed by the fence line and the line of the gorse on the hillside.  The triangular structure is strengthened by the upward tilt of the camera and the wide-angle lens setting.



Implied Triangles

7508.jpg; Nikon D300; 18-105mm lens; F18.0; 1/15s

This still-life arrangement made using Chinese coins forms a triangle with the apex at the top.

7510.jpg; Nikon D300; 18-105mm lens; F18.0; 1/20s

This still-life arrangement forms an inverted triangle with the apex at the bottom.

Pentax Optio A20; F2.8; 1/40s

This arrangement of three people in a group are arranged in such a way that their faces imply a triangle with the apex at the top.


What have I learned from this exercise?

A shape is both an outline and an enclosure, although the extent to which it appears as one or the other depends very much on the subject and the lighting.  Shape, ultimately, defines an object but it can also be implied.  In a photograph, the more regular a shape appears, the stronger the part it plays in the composition.

Contrast, either of tone or colour, also helps to decide whether a shape will be important in a picture.  It is nearly always contrast that makes a shape stand out.

The different basic types of regular shape are, in fact, just three: triangles, rectangles, and circles.  The simplest and the most valuable in composition is the triangle.  Simple because it has the smallest number of sides and corners.  Valuable because the diagonals it contains tend to create a sensation of activity and dynamism.  It can also often appear to be "pointing", and so induce a sense of movement.

A definable shape organises parts of a picture, and one of the fundamentals of design is to provide a structure to an image.  Because a shape has a tendency to enclose, it helps to make groups of things cohere.

Designing an image is like putting together pieces of a jigsaw puzzle - if one element is either missing or in the wrong place the final result will fail.  Good light is of course essential but equally an image with fantastic lighting on an unstructured subject will not hold together.

Photography 1: The Art of Photography

Project: Using lines in composition
Exercise: Implied lines.

For this exercise I looked at the two images given in the exercise and found the implied lines in each and showing them as red lines on each image.

In this image there are two implied lines.  There is a curved line that follows the line of scraped sand of the bullring.  There is also an eye-line from the matador towards the bull.

In this image there is an extension of a line for the intended path of the two horses.  There is also an eye-line between the front horse and the trainer.

I then looked at three photographs of my own and analysed them for implied lines.  The three images are shown below.

In this image there is an implied line formed by the parked cars in the car park.  The eye follows the line into the distance.

In this image there is an extension of a line in the direction of the travel of the boat.  There is also an eye-line between the pace keeper and the rowers.

In this image there is an implied line formed by the line of gondolas of the cable car.

In the next part of the exercise, I took two photographs that used an eye-line and/or an extension of a line, or lines that point.

In this image there are two extensions of a line formed by the direction of travel of the white van and the cyclist.

In this image there is an eye-line between the observer and the roof of the shed.


What have I learned from this exercise?

Implied lines can be used to subtly direct the viewer's attention.  This helps to organise a picture in such a way that another person will be encouraged to look at it in the way you want.  Implied lines are especially valuable because they are partially hidden, and so they can work in the manner of small nudges to the attention.

Photography 1: The Art of Photography

Project: Lines
Exercise: Curves

Curves, like diagonals, have a sense of movement and direction.  Because they pull the eye, they are useful in a planned composition.  Curves have associations with smoothness, grace and elegance, and so add these feelings to an image.  For this exercise I looked for and took four photographs using curves to emphasise movement and direction.

1772.jpg; Pentax Optio A20; F2.8

The line of parked cars in this photograph leads the eye into the image.  The curve imparts some movement to the image.

1774.jpg; Pentax Optio A20; F4.3

In this image the concentric lines of the roadway, railings and the avenue of trees reinforce each other.  A strong sense of movement is felt.

1778.jpg; Pentax Optio A20; F2.8

In this image the spiral shaped topiary add grace and elegance to a otherwise static composition.

1780.jpg; Pentax Optio A20; F4.3

The curve formed by the line of the branch of the tree in the photograph helps to lead the eye in an upwards direction.  It also adds some movement to the image.


What have I learned from this exercise?

Curves, because they pull the eye, are useful in planned composition.  Curves have associations of smoothness, grace and elegance, and add these feelings to an image.  An S-shape or winding curve is very appealing to the eye and creates natural balance.  It is ideal for leading the viewer through the image, passing all the elements you want them to notice along the way.  The most obvious examples are curving paths, roads or rivers, but it is also possible to obtain the same effect using the more subtle curves and S-shapes made by light and dark areas in a scene.  Shadows cast from the natural contours of the land will direct the eye through the frame, as will the placement of objects that follow a curving line.

Photography 1: The Art of Photography

Project: Lines
Exercise: Diagonals

For this exercise four photographs were taken, which used diagonals strongly.  Diagonals can be found in many places and I attempted to include a variety of subjects and locations.

The four photographs are shown below:

4924.jpg; Pentax *ist D; 18-55mm lens; F9.5; 1/45s

4921.jpg; Pentax *ist D; 18-55mm lens; F4.5; 1/10s

4917.jpg; Pentax *ist D; 18-55mm lens; F8; 1/20s

4872.jpg; Pentax *ist D; 18-55mm lens; F11; 1/350s

Images in the text book that use diagonals include "A family on Their Lawn One Sunday in Westchester, New York, 1969".  The linear perspective of the converging lines form diagonals.  There is a bold diagonal formed by the tent in Matthew Brady's image "John Henry, A Well Remembered Servant, 1865".  William Henry Fox Talbot's image "The Open Door" uses the diagonal formed by the angle of the leaning broom.

What did I learn from this exercise?

Diagonals have a much greater sense of movement and direction than verticals and horizontals.  This is partly because they make an immediate contrast with the frame edges, and partly because they have an association of being physically unstable, even of falling.  Diagonals are extremely useful as graphic devices in a composition.  They can add an overall sense of activity to the image, and specifically catch the eye and take it along their length.  Diagonals are an important element in controlling the way someone looks at a photograph.

Good placement of a natural line can very effectively focus attention on the subject, connect different areas of the image together, or create movement and depth.  Diagonal lines in particular impart a feeling of motion and vitality - they seem to be rising or falling, or moving away from or towards the viewer.

Photography 1: The Art of Photography

Taylor Wessing Photographic Portrait Prize - National Portrait Gallery, London

I visited the Taylor Wessing Portrait Prize exhibition recently and the National Portrait Gallery in London.  The standard of the entries was very high.  I have included in this blog the three photos that I found the most inspiring.

"Huntress" by David Chancellor

This picture is of a 14 year old American girl on her first hunt in Africa.  The photographer says about the picture: "Contrast between the peace and tranquillity of the location, plus Josie's ethereal beauty and the dead buck, was what I wanted to explore.  Here was a vulnerability and yet also strength".  I particularly liked the quality of the light and the stillness of the model.

"Merel" by Clare Shilland

This photograph was shot near to the model's home in Antwerp by Clare Shilland for an exhibition titled Girls! Girls! Girls!  I liked that the models hair tones with grass in the background and that there are no clothes to distract the viewer.

"Wafa" by Felix Carpio

This photograph is a portrait of a young girl in Beirut.  I found the colours of the image and the apparent confidence of the model appealing.

Photography 1: The Art of Photography

Project: Lines
Exercise: Horizontal and Vertical Lines

This exercise required me to go out and look for examples of horizontal and vertical lines and photograph them.  I photographed four examples of horizontal lines and four of vertical lines.  I tried to subordinate the content of the picture to the line.  I attempted to produce photographs where the line is the first thing a viewer would notice.

The four photographs with horizontal lines are shown below:

4888.jpg; Pentax  *ist D; 18-55mm lens; F8; 1/180s

4881.jpg; Pentax *ist D; 18-55mm lens; F11; 1/250s

4891.jpg; Pentax *ist D; 18-55mm lens; F11; 1/60s

4869.jpg; Pentax *ist D; 18-55mm lens; F8; 1/180s

The four photographs with vertical lines are shown below:

4884.jpg; Pentax *ist D; 18-55mm lens; F11; 1/60s

4886.jpg; Pentax *ist D; 18-55mm lens; F8; 1/60s

4892.jpg; Pentax *ist D; 18-55mm lens; F11; 1/90s

4895.jpg; Pentax *ist D; 18-55mm lens; F8; 1/30s

What have I learned from this exercise?

When looking around in my environment I found that there were a large number of situations where horizontal and vertical lines are found.  Because our eyes cannot help but follow a strong line they are perhaps the most powerful element in a composition.  Vertical lines suggest strength, while horizontal lines suggest calmness and passivity.

Repeating patterns can be very powerful and stimulating to the eye.