Photography 1: People and Place Assignment 3 (Rev)

Assignment 3: Buildings in Use Revised

Original version can be found at 05/10/2012

For this assignment I chose 6 public buildings or spaces.  I researched each of the locations so that I had a good understanding of how and why each was designed in the way it was.  I then attempted to create images of each building or space that would describe the way in which the spaces were used.  This then enabled me to form an opinion on each as a usable space.

Oriel y Parc Gallery and Visitor Centre, St David’s

2527: Cafe at Oriel y Parc, St David's.

This building is used as a visitor centre, art gallery, studio for the Artist in Residence, discovery room for family friendly art and nature activities and a café.

The building is designed to sit discreetly in the landscape and uses state of the art green technologies.  It contributes to the landscape in a positive way.  One of the principle materials in the structure is Welsh oak from sustainable sources.  The orientation of the building provides bright open spaces to achieve a useful space for both creating and presenting artwork.  The curve of the building is aligned so that the sun tracks around it from sunrise to sunset.

2530: Visitor Centre at Oriel y Parc, St David's.

 This building is successful in providing a welcoming and functional community space.

I initially set about photographing the outside of the building.  However as the internal spaces are so light and show the use of the building to best effect I chose to mostly photograph them.  These images show the useful spaces within the building.

2549: Exhibition Tower.

2551: Artist in Residence Studio.

I have revised this image by cropping our the large empty space to the left of the frame.  This serves to concentrate the viewer's attention onto the fish and the process involved in creating the artwork.

 Wales Millennium Centre, Cardiff

2592: Wales Millennium Centre, Cardiff.

The Wales Millennium Centre is an arts centre located in the Bay area of Cardiff.  The industrial heritage of Cardiff is reflected through the design and materials used.  The building provides one large theatre and two small halls with shops, bars and restaurants.  The shape of the imposing front, or dome of the building is in the shape of an “inverted necklace”.  The Welsh and English poetry on the front of the building each has its own message.  The lettering is formed by windows in the upstairs bar areas and are internally illuminated at night.  The idea of this monumental inscription comes from Roman classical architecture.

2593: Wales Millennium Centre Ticket Office.

I have revised this image by cropping it top and bottom to emphasise the width of the foyer.

The design of the concourse galleries is intended to evoke the image of the edge of the forest, because the edge of the forest in folklore and mythology represents a line between the real world and the magical world.  The form of trees is created by the interweaving curvature of the gallery edges and by the random positioning of the supporting columns.  The design of the building provides a large, open indoor space for community activities.

2596: Wales Millennium Centre Concourse Galleries.

The building is a successful and popular meeting place for the people of Cardiff.  Inside there is a bustling atmosphere with free daily foyer performances plus bars and restaurants.

The building is impressive both inside and outside.  I set about photographing the interior so as to portray the human interaction with the space that the building provides.  I photographed the impressive dome during the day and at night to show the iconic stature of the building.

2625: Wales Millennium Centre at Night.

 Craft in the Bay, Cardiff

2707: Craft in the Bay Interior

This Victorian dockside building is now used as an art and craft gallery.  It has been created from a refurbished “D” shed.  It is a grade II listed maritime warehouse with a wooden extension.  The building was designed with a large uninterrupted interior, which is ideal for the use to which it has been put.  The gallery displays fine contemporary craftwork.

2709: Craft in the Bay Interior

The building occupies the “Flourish”, a triangular shaped space at the confluence of three main routes in Cardiff Bay.

2711: Craft in the Bay

I set about photographing the building mainly from the inside so as to give the impression of the light, open space that it provides to people viewing the exhibits.

2713: Craft in the Bay, Cardiff.

The Senedd Building, Cardiff

2608: The Senedd Building, Cardiff.

This is the main public building of the National Assembly for Wales.  It is built from traditional Welsh materials such as slate and Welsh Oak.  The building occupies a prime position on the waterfront in Cardiff Bay.  It has been designed to generate a sense of open government and public accessibility.  The public are free to enter the building and watch the proceedings from the public gallery.  The design makes good use of the waterside frontage.

2642: View From the Public Gallery of the Senedd.

2647: Interior of the Senedd Foyer.

When in the foyer of the building you are inside but the focus is outside.  Seasonal changes activate the space.

The building is successful in creating a connection to the adjacent landscape and community.

2651: Roof of the Senedd Interior.

I set about photographing both the inside and outside of the building and attempted to show the effect of natural light on the space.  I wanted to portray the building’s effect on people through its light, space and materiality.

The Arcades of Cardiff

2676: High Street Arcade.

The Victorian and Edwardian pedestrian arcades of the city of Cardiff are the reason for the city being called “the city of arcades”.  The arcades were originally built to protect shoppers from the elements, especially in winter.  The shops in the arcades are all independently owned and provide a welcome change to the uniformity of modern shopping centres.  Some of them have been designed with multiple floors.  For example, Castle Arcade has three storeys.  This maximises the space for shops and shopping.

2685: Royal Arcade.

The design of the arcades successfully creates an intimate village appeal with interesting pedestrianised street-scapes.  The spaces created are on a more human scale than modern shopping malls.

I set out to photograph the arcades early in the morning so that the large numbers of shoppers usually present didn’t obscure the layout of the spaces.

2688: Morgan Arcade.

2695: Castle Arcade.

St David’s 2 Shopping Centre, Cardiff

The St David’s 2 Shopping Centre has been designed to reflect Cardiff’s unique arcade shopping experience.  The 240 meter long Grand Arcade is the centre piece of the shopping centre and creates an atmosphere that is both uplifting and inspiring.  It creates an almost contemporary cathedral like quality.

2661: Grand Arcade.

The design successfully creates a sense of space through the use of natural stone, light coloured timbers, reflected light and other natural materials.  From the upper floors there is the sensation of the body moving through space.

2662: St David's 2 Shopping Centre.

The internal spaces successfully maintain contact with other, older parts of the city through the use of natural light and large, floor-to-ceiling windows giving views of the surrounding traditional buildings.

2668: View From the St David's 2 Shopping Centre.

I set about photographing the arcades and “streets” of the shopping centre early in the morning with overcast weather.  This gave inside and outside lighting in reasonable balance without too much contrast between the two.

2672: Exterior of St David's 2 Shopping Centre.

The new building is of a similar scale to the existing architecture of the city.  This helps people to relate to the building in a positive way.

In this revised image I have cropped out some of the foreground as it is featureless.  I have also corrected the converging verticals.

What have I learned photographically during the course of shooting this assignment?

Early morning or late afternoons are the best times to photograph buildings and spaces.  The light is coming from the side rather than directly overhead.  The direction of the sunlight is vitally important to the photograph.  There are usually fewer people around.

When shooting a building, ask yourself what it is about this particular building that makes it attractive and focus on that.  Sometimes this will mean framing the whole building, sometimes it will mean picking out details and sometimes a mixture of both will work well.

Choose your viewpoint carefully and watch out for clutter in the background.

When photographing a building It is best to include some of the surrounding space to give the context.  This helps to anchor the image.

When wishing to show details in buildings, a high overcast day is best.

For glass walled buildings, when photographed in natural light, even or overcast light is best.

Generally a large depth of field and a low ISO, for lower noise is best.  The viewer should have the choice to look at any part of the structure and find it in adequately sharp focus.  This however requires the use of a tripod, which is not always practical at busy times.

For capturing the sweep of a courtyard or exaggerating the lines of a modern building, wide-angle lenses are useful.  For showing a building and its environment in natural perspective a 50mm lens is best.  A telephoto lens of at least 200mm is the most appropriate lens for compressing perspective and isolating inaccessible details.

Photography 1: People and Place, Assignment 3

Assignment 3: Buildings in Use

For this assignment I chose 6 public buildings or spaces.  I researched each of the locations so that I had a good understanding of how and why each was designed in the way it was.  I then attempted to create images of each building or space that would describe the way in which the spaces were used.  This then enabled me to form an opinion on each as a usable space.

Oriel y Parc Gallery and Visitor Centre, St David’s

2527: Cafe at Oriel y Parc, St David's.

This building is used as a visitor centre, art gallery, studio for the Artist in Residence, discovery room for family friendly art and nature activities and a café.

The building is designed to sit discreetly in the landscape and uses state of the art green technologies.  It contributes to the landscape in a positive way.  One of the principle materials in the structure is Welsh oak from sustainable sources.  The orientation of the building provides bright open spaces to achieve a useful space for both creating and presenting artwork.  The curve of the building is aligned so that the sun tracks around it from sunrise to sunset.

2530: Visitor Centre at Oriel y Parc, St David's.

 This building is successful in providing a welcoming and functional community space.

I initially set about photographing the outside of the building.  However as the internal spaces are so light and show the use of the building to best effect I chose to mostly photograph them.  These images show the useful spaces within the building.

2549: Exhibition Tower.

2551: Artist in Residence Studio.

 Wales Millennium Centre, Cardiff

2592: Wales Millennium Centre, Cardiff.

The Wales Millennium Centre is an arts centre located in the Bay area of Cardiff.  The industrial heritage of Cardiff is reflected through the design and materials used.  The building provides one large theatre and two small halls with shops, bars and restaurants.  The shape of the imposing front, or dome of the building is in the shape of an “inverted necklace”.  The Welsh and English poetry on the front of the building each has its own message.  The lettering is formed by windows in the upstairs bar areas and are internally illuminated at night.  The idea of this monumental inscription comes from Roman classical architecture.

2593: Wales Millennium Centre Ticket Office.

The design of the concourse galleries is intended to evoke the image of the edge of the forest, because the edge of the forest in folklore and mythology represents a line between the real world and the magical world.  The form of trees is created by the interweaving curvature of the gallery edges and by the random positioning of the supporting columns.  The design of the building provides a large, open indoor space for community activities.

2596: Wales Millennium Centre Concourse Galleries.

The building is a successful and popular meeting place for the people of Cardiff.  Inside there is a bustling atmosphere with free daily foyer performances plus bars and restaurants.

The building is impressive both inside and outside.  I set about photographing the interior so as to portray the human interaction with the space that the building provides.  I photographed the impressive dome during the day and at night to show the iconic stature of the building.

2625: Wales Millennium Centre at Night.

 Craft in the Bay, Cardiff

2707: Craft in the Bay Interior

This Victorian dockside building is now used as an art and craft gallery.  It has been created from a refurbished “D” shed.  It is a grade II listed maritime warehouse with a wooden extension.  The building was designed with a large uninterrupted interior, which is ideal for the use to which it has been put.  The gallery displays fine contemporary craftwork.

2709: Craft in the Bay Interior

The building occupies the “Flourish”, a triangular shaped space at the confluence of three main routes in Cardiff Bay.

2711: Craft in the Bay

I set about photographing the building mainly from the inside so as to give the impression of the light, open space that it provides to people viewing the exhibits.

2713: Craft in the Bay, Cardiff.

The Senedd Building, Cardiff

2608: The Senedd Building, Cardiff.

This is the main public building of the National Assembly for Wales.  It is built from traditional Welsh materials such as slate and Welsh Oak.  The building occupies a prime position on the waterfront in Cardiff Bay.  It has been designed to generate a sense of open government and public accessibility.  The public are free to enter the building and watch the proceedings from the public gallery.  The design makes good use of the waterside frontage.

2642: View From the Public Gallery of the Senedd.

2647: Interior of the Senedd Foyer.

When in the foyer of the building you are inside but the focus is outside.  Seasonal changes activate the space.

The building is successful in creating a connection to the adjacent landscape and community.

2651: Roof of the Senedd Interior.

I set about photographing both the inside and outside of the building and attempted to show the effect of natural light on the space.  I wanted to portray the building’s effect on people through its light, space and materiality.

The Arcades of Cardiff

2676: High Street Arcade.

The Victorian and Edwardian pedestrian arcades of the city of Cardiff are the reason for the city being called “the city of arcades”.  The arcades were originally built to protect shoppers from the elements, especially in winter.  The shops in the arcades are all independently owned and provide a welcome change to the uniformity of modern shopping centres.  Some of them have been designed with multiple floors.  For example, Castle Arcade has three storeys.  This maximises the space for shops and shopping.

2685: Royal Arcade.

The design of the arcades successfully creates an intimate village appeal with interesting pedestrianised street-scapes.  The spaces created are on a more human scale than modern shopping malls.

I set out to photograph the arcades early in the morning so that the large numbers of shoppers usually present didn’t obscure the layout of the spaces.

2688: Morgan Arcade.

2695: Castle Arcade.

St David’s 2 Shopping Centre, Cardiff

The St David’s 2 Shopping Centre has been designed to reflect Cardiff’s unique arcade shopping experience.  The 240 meter long Grand Arcade is the centre piece of the shopping centre and creates an atmosphere that is both uplifting and inspiring.  It creates an almost contemporary cathedral like quality.

2661: Grand Arcade.

The design successfully creates a sense of space through the use of natural stone, light coloured timbers, reflected light and other natural materials.  From the upper floors there is the sensation of the body moving through space.

2662: St David's 2 Shopping Centre.

The internal spaces successfully maintain contact with other, older parts of the city through the use of natural light and large, floor-to-ceiling windows giving views of the surrounding traditional buildings.

2668: View From the St David's 2 Shopping Centre.

I set about photographing the arcades and “streets” of the shopping centre early in the morning with overcast weather.  This gave inside and outside lighting in reasonable balance without too much contrast between the two.

2672: Exterior of St David's 2 Shopping Centre.

The new building is of a similar scale to the existing architecture of the city.  This helps people to relate to the building in a positive way.

What have I learned photographically during the course of shooting this assignment?

Early morning or late afternoons are the best times to photograph buildings and spaces.  The light is coming from the side rather than directly overhead.  The direction of the sunlight is vitally important to the photograph.  There are usually fewer people around.

When shooting a building, ask yourself what it is about this particular building that makes it attractive and focus on that.  Sometimes this will mean framing the whole building, sometimes it will mean picking out details and sometimes a mixture of both will work well.

Choose your viewpoint carefully and watch out for clutter in the background.

When photographing a building It is best to include some of the surrounding space to give the context.  This helps to anchor the image.

When wishing to show details in buildings, a high overcast day is best.

For glass walled buildings, when photographed in natural light, even or overcast light is best.

Generally a large depth of field and a low ISO, for lower noise is best.  The viewer should have the choice to look at any part of the structure and find it in adequately sharp focus.  This however requires the use of a tripod, which is not always practical at busy times.

For capturing the sweep of a courtyard or exaggerating the lines of a modern building, wide-angle lenses are useful.  For showing a building and its environment in natural perspective a 50mm lens is best.  A telephoto lens of at least 200mm is the most appropriate lens for compressing perspective and isolating inaccessible details.

Revised version can be found at 11/10/2012.

Thomas Struth

At my tutor's suggestion I looked at the work of the German photographer Thomas Struth in preparation for my next assignment (N0. 3).

Thomas Struth's work on city scapes suggests a kind of embedded history in the architecture of the city.  He asks the question, "how does a community represent itself in built environment and what can it tell us about that community"

I had this question in mind when seeking out and photographing subjects for my assignment on "Buildings in Use".

One of Thomas Struth's recent projects has been the photographing of people interacting with art in a museum.  The people in the photographs are shown in awe of the art and their surroundings.  An example is shown below:

Thomas Struth; "Art Institute of Chicago II"

Struth's photographs of buildings and streets promote a sense of being in the place and connecting with it.  He shoots when the light is diffuse, as on an overcast day.  He specialises in the deep focus that renders the content of the picture sharp regardless of the distance from the lens.

Thomas Struth; "West Broadway New York 1978"

He tries to show how the way that people build their urban areas shapes the organisation of their society.

Photography 1: P & P, Proj 16: Exploring Function

Project 16: Exploring function

For this project I was required to find an interior space, either domestic or public, and consider it from the point of view of its function.  Who uses it or will use it.  The purpose of the room/space was analysed.

I chose the cafeteria at Oriel Y Parc in St Davids in Pembrokeshire as this is a popular eating and meeting place in the city.  The important things that the space ought to be doing are:

• Providing food and drink to visitors and locals.
• Provide a warm bright space for people to meet and socialise in.
• Provide internet access.
• Provide reading material for casual visitors.

The space is very light and welcoming, even on a dull or rainy day.  This room has windows front and back to collect the light throughout the day.  There is a good flow through the room that increases the relaxed ambience.  There are computer terminals and daily newspapers providing internet access and reading matter for visitors.

Cafeteria at Oriel Y Parc, St Davids

Book: Exposures by Jane Bown

Book: "Exposures" by Jane Bown

Jane Bown was a staff photographer for The Observer for six decades and started with a portrait of Bertrand Russell in 1949.  Her work on The Observer mainly involved weekly assignments.  Her style is immediately recognisable.  She used 40 year old SLR cameras.  She is famous for her remark that "It's the photographer, not the camera, that makes the picture."

She works predominantly in black and white and shoots rapidly.  She uses available light only, and gauges the settings by how light falls on the back of her hand.  This fosters an absolute immediacy with the subject that, in turn, produces wonderfully insightful portraits.

Jane Bown: "I prefer the simplicity and directness of black and white.  It emphasises the underlying pattern of light and dark and confers a natural harmony on the subject.  Black and white is quiet, where colour is noisy and distracting, and I feel that it allows the personality of the sitter to come through."

She is wholly concentrated on the face, in particular the eyes.

She thought that it was impossible to take a bad picture abroad, acknowledging the easy exoticism of images from other cultures.

In most portraits the subject is placed centre frame.

Some sitters are photographed looking straight at the camera, not smiling as in the portrait of Truman Capote below:

Truman Capote by Jane Bown

Other sitters are photographed looking away from the camera, a 3/4 view as in the portrait of Evelyn Waugh below:

Evelyn Waugh by Jane Bown

 Sometimes the subject is engaged in an activity as with Beryl Reid:

Beryl Reid by Jane Bown

The focus is mainly on the eyes with catch lights in the eyes.

A shallow depth of field is used, often with a plain background.

Jane Bown manages to capture people without their "performance" face on.  Her preferred camera setup is a shutter speed of 1/125s at f2.8, (gives a shallow depth of field).

Book: Train Your Gaze.

Book: "Train Your Gaze: A Practical and Theoretical Introduction to Portrait Photography" by Roswell Angier.

Concepts gleaned from this book are:

• Look for the pregnant moment.
• Roland Barthes describes the punctum in a photograph:
  
  The punctum is not a thing in itself, but an effect produced by the appearance of one or more physical facts in an image.  It is something felt - a puncture wound, a disruption.  The impact, although entirely palpable, cannot be explained.  It is what animates an image, and stays visible in our memory.
  
  Ex: One child's bad teeth in a group photo.
• Julia Margaret Cameron:
  
  Motivation of the portrait artist is to reveal the distinctive inner qualities of the individual person.
• The book is concerned with that which makes a picture come alive.  It is the presence of the photographer's thoughtful regard.  This characteristic, this something that inhabits a picture, is the felt activity of someone looking, the photographer in person, embedded in the photograph.
• Henri Cartier-Bresson:  "the decisive moment." - a mistranslation on the original French title, Images a la Sanvette.  A la sanvette meaning "on the run".  Also an untranslatable future element involved.
  
  Cartier-Bresson insisted that a 50mm lens was the only focal length appropriate for street photography.
• Documentary Photography: The heart of documentary is not form or style or medium, but always content.
• Backgrounds: Photographers and viewers alike tend to pay less attention to what is in the background of a picture because they think it is less important than what is in the foreground.  This is a mistake.  You should always think of background and foreground as two equal parties to a visual conversation.  A background should have something to say, even if it is blank.  All backgrounds function as stage sets.  It doesn't matter whether the settings are carefully fabricated or found by chance.  They should all be treated as constructions, because they are bearers of meaning.  They are never neutral.
• Gaylord Herron: "Everything in photography boils down to what is sharp and what's fuzzy."
• Robert Capa: "If it's not good enough, you're not close enough and I keep getting closer and closer."
• Using Flash - Mixing Flash With Ambient Light.Normally with flash photography, the foreground subject is correctly exposed, and everything in the distant background, due to the inverse square law, falls quickly into darkness and murk.  In order to remedy this problem, and achieve a result in which the background environment is visible, the camera's shutter has to remain open long enough for the ambient light, along with the flash, to have an effect on the overall exposure of the sensor.
  
  In order to do this, remember that correct flash exposure is the first and absolute requirement.  You must set the correct f-stop for the flash exposure.  And you must increase the exposure for ambient light by setting a slower shutter speed.  If the flash requires f8, for instance, and you are shooting indoors in dim light, this may mean a very slow shutter speed indeed.  So be it.  The flash, due to its extremely short duration, will freeze any moving subject  and create a sharp image by itself, as long as that subject is in focus.  If you don't want to create motion blur with a long exposure, then you should use a tripod.

Photography 1: People and Place Assignment 2 (Rev)

Assignment 2: People and Activity Revised

Original version can be found at 26/06/20102.

For this exercise I planned to photograph a play performed outdoors as part of the St Albans Festival.  I chose the comedy "The Importance of Being Ernest" by Oscar Wilde.  The play was performed in the grounds of St Albans Cathedral.

I have tried to create a visual variety between the images to make the whole set more interesting to look at.  The ten photographs were selected on their ability to show the telling moments of the play and to convey to the viewer the relationships between the performers.  By providing a narrative it is more likely that the viewer will "read" the images as a set.

When taking these images it would have been better to be able to move around in front of the performers to get a variety of angles.  However, this was not possible as I would have obscured the view of the audience who were seated on the ground close to the performers.

The photographs submitted for this assignment are critically assessed below:

2403

In this photograph there is an implied triangle, with the vertical formed by Lady Bracknell and the apex at Gwendolen.  The triangle encompasses all of the cast and the diagonals create a sensation of activity and dynamism in the image.  I made sure that the butler was holding a tray as a symbol of his position within the group.

The image could be improved by the use of a fill light on the two characters on the left as their faces are in shadow.  Unfortunately it was not appropriate to use a flash.  This long range shot is useful as an opening shot as it includes most of the main characters.

2411

Here there is a good implied line between the eyes of Gwendolen and Jack.  This helps to bind the two characters together.  This is one of the key moments in the play and the photograph gives the viewer a sense of Jack's devotion to Gwendolen.

The image is a little unbalanced and the inclusion of the white table and chairs in the background are a little distracting.

In this revised image I cropped out some of the background to the left and right of the couple. The extra detail did not add anything to the photograph and was distracting.  I included the table and chairs as they have the glasses and cake stand giving additional information.

2427

The diagonal positions of the legs of the two ladies echo each other.  The two subjects form two points in the image and this has resulted in a well balanced image.  The photograph was taken in bright sunlight and this has caused the face of the subject on the left to be slightly shaded.  There is an implied line between the two ladies formed by the line of sight from the woman on the right towards the other woman.  The photograph communicates successfully the intimate relationship between the tutor and student.

2432

I wanted this photograph to convey the relationship between the tutor, Miss Prism and the vicar.  Miss Prism's closeness, body language and gesture communicate this relationship.  There is an element of rhythm in the image with the two female heads leading to the vicar who is turned toward them.

All three subjects are placed centrally in the frame, which gives the composition a slightly static feel.

I used a much tighter crop in this revised image so as to focus the viewer's attention on to the subjects' facial expressions.

2438

In this image I intended to communicate how much the young inexperienced Cecily is taken by the more worldly Algernon.  Her body language conveys this well.  There is an implied line formed between the two players formed by the line of sight between Cecily and Algernon.

The shot could have been taken from a slightly different angle so as to include some of Algernon's face.  Unfortunately this would have obscured the scene from most of the audience.

I used a tighter crop in this revised image to help eliminate some of the background detail.  I also added some blur around the to subjects so as to further focus the viewer's attention.

2454

In this photograph I wanted to show the intimacy of the performance, with only a few feet between the performers and the audience.  The image conveys the audience's concentration on the performers and their enjoyment of the play.

In this revised image I used a broader, flatter crop to remove some of the trees above the actors, which added nothing to what I was trying to say with the photograph.

2460

The body language of the two performers communicates the intensity of feeling felt by Jack when warning Algernon off his young ward, Cecily.  Jack, by invading Algernon's personal space means that the viewer is very aware of the strength of his passion.  I wanted the image to convey the extent of Jack's protective feelings towards his ward.  Again it would have been slightly better if the shot had been taken directly in front of the two performers so as to show more of Algernon's face.

2468

In this photograph, Algernon is proposing marriage to Cecily.  I wanted to convey to the viewer her acceptance of his proposal.  The lighting on Cecily's face works well due to the sun shining from above and to the left of the frame.  There is good eye contact between the two performers providing an implied line.

2477

The emotion that I wanted to convey in this image is that of mutual distrust within the formal bounds of society.  Each is sure of their own position as fiancée of Ernest but each is unsure of the other's intentions.

The relative positions of the two performers, one seated and the other standing is indicative of their social standings.  Gwendolen, standing has the higher social rank.  The bright sunlight has provided good lighting of the scene with a fair amount of detail in the shadow areas.  The plain background of the wall of the cathedral allows the viewer to concentrate on the two performers.

2494

This photograph is of the final scene in the play where Jack discovers that his real name is Ernest and that he is Lady Bracknell's nephew.  I wanted to convey the shock on the face of Miss Prism when she is presented with the fact that she is largely responsible for much of the lack of knowledge of Jack's origins.

The implied triangle between Jack, the Gladstone bag and his aunt, Lady Bracknell encompasses both the new found kinship between Jack and his aunt, and the cause of his estrangement from his family.

For this revision I cropped out the actors that were not part of the "action".  By using this tighter crop the gaze of the viewer is focussed on the moment of reaction.