TAOP Part 2 - Exercise 4 Diagonals

TAOP Part 2 - Exercise 4 Diagonals

The exercise requires me to take 4 photographs where diagonals feature strongly

Image 1

An old railway goods carriage in an unusual location in the middle of a village with office buildings around it. This carriage has many diagonal steel bracings including the white painted W which itself is made of 4 diagonal strokes. In addition I've made the shape of the carriage appear to diagonal lines by my camera position using converging lines caused by perspective of the left side of the carriage being further away from the camera than the right side.


Image 2

 
Here I've used perspective and depth to creating the diagonals of the pathway in a small deserted shopping mall. The closed shutters and the wooden roof covering the path all have diagonals in this image. The eye naturally follows the path direction creating a feeling of movement within the image.


Image 3

The left to right upward gradient of the path and the handrails create strong diagonals in this image and again the position and angle of the camera creates converging diagonal lines in the path itself. The path and rails act as a visual pathway that takes the eyes across the image left to right and right to left creating a sense of movement.


Image 4

I've revisited a location I used previously for vertical lines though this time the hay bales are now removed. A different position this time for the camera creates strong multiple diagonal lines in parallel together with the diagonals of the hedges enclosing the light coloured field.


Exercise Learnings'

a) Diagonal lines create a sense of movement and direction within in an image. The angle of the diagonal lines compared to the horizontal line of the top/bottom of the frame will determine the amount of energy implied within the image

b) Diagonal lines can appear naturally as in image 1, can be created through the change in gradient of terrain, by the position of the viewer to the scene as in images 3 and 4 and also by the angle of the camera to the scene, particularly in image 3 where this has created converging lines in the pathway.

c) Converging diagonal lines can be easily be created with paths, roadways etc the travel from the viewers position toward the horizon, image 2 is a good example of this. The eye naturally travels along this "pathway" and through the image; this can create a sense of movement.

d) Parallel lines reinforce the diagonal movement created in Image 4 and though these lines will not converge the diagonal movement is re-inforced with the parallel lines.

e) Often we see horizontal and vertical lines as being obvious and in our everyday lives e.g. tables, table legs, chairs, building structures etc. Diagonal lines are not so frequently seen but exist either naturally or can be created simply by a change of position or camera angle

f) When I first considered how I would approach this exercise I started thinking about where I would see diagonal lines and came out short of ideas. Instead for the first 3 images I simply took a walk around a local town and once I stopped looking hard to find them I found they came to me in such an easy way. I guess they were there all along but for a while I was looking but not seeing. This is something I've began to learn how to do so far following the exercises within this course. When we "take in" a scene or a view we may comment that we like it, it perhaps it invokes a specific feeling but don't understand why. Understanding how lines work within in image helps me now understand how these elements work within an image, a view or scene to create this.

Consistent Processing of Images - Monitor Settings

Consistent Processing of Images

When I started TAOP I did notice what appeared to be some slight inconsistencies between images that I processed

I thought this could be down to the calibration of my monitor for which I had used some simple on-line and free methods for basic calibration.

In addition, depending where your monitor sits and the natural light and artificial light levels and their variation throughout the day it is possible if processing say the same image in the morning, afternoon and evening even with a calibrated monitor it could result in differing results as the lighting you are viewing the monitor in could change.

So my requirements were:

a) to calibrate my monitor (and recalibrate on a regular basis)
b) to have some way of adjusting the monitors display in relation to the changing light levels I'm working in.

Well I short listed a number of options through on-line research and settled on ColorMunki Display. Whilst not cheap it now allows me to:

a) calibrate my monitor then prompt for a regular calibration. I've set mine to once a week
b) adjust the monitor display in relation to the light levels in which I'm working. I've set mine to one every 30 minutes

Having set this up I note the initial calibration resulted in a slightly darker screen and perhaps slightly warmer colours from what I had it initially set to. The result of this is that when processing images I can ensure I have a consistent image produced and one that adjusts to changing lighting conditions. This I am now pleased with.

The weekly calibration takes 6 minutes and the regular adjustment for lighting occurs without you being impacted

My next test will be to send of some images for printing and then compare the prints to what I have on my screen. At the moment though the colours displayed on my monitor using a printers jpg do now seem to also match the test card they sent me.

For people working on multiple processing machines e.g. say 2 different PC monitors or 1 PC and 1 Laptop they need to be aware that a single image displayed on both could be different thus processing required to achieve what appears right on both could show as being different processed on different machines but both viewed on one and no doubt if printed.

I'm hoping that this now ensures consistent processing of my images on my PC / Monitor. Its not a cheap option but doing this helps ensure my final product leans more toward perfect rather than away from it

Ultimately each individual may value different elements from the available calibration tools this product met my requirements. In either case performing some kind of monitor calibration at a regular frequency should be seen as a good activity to participate in.

TAOP Part 2 - Exercise 3 Horizontal and Vertical Lines (Lines)

TAOP Part 2 - Exercise 3 Horizontal and Vertical Lines (Lines)

This exercise requires me to produce 8 images in total; four with examples of vertical lines and four with examples of horizontal lines. I'm going to convert this set of images to mono so that the colour doesn't distract from the lines within the image. For both vertical and horizontal lines I've tried to include both obvious and subtle examples.

Image 1

This is a picture of a panelled fence where the vertical slats are showing vertical lines. I've used a wide aperture to give a small depth field giving focus to the centre of the image. There is an optical illusion here in that the slats to the right narrow as they move away from the lens and this causes the right side of the image to appear longer than the left side.



Image 2

This is an image of a chair back positioned in a doorway with light coming through the window. Whilst both Image 1 and Image 2 very clearly have verticals lines the photograph taken in portrait format accentuates the vertical lines more



Image 3

A less obvious example than the first two images but the tractor tracks at the bottom of the image, the dominant hedge to the left extending to the horizon and the large log on the right all demonstrate vertical lines



Image 4

Keeping the stone wall on the left of the image gives a clear vertical but the stone step pathway is a more subtle vertical line and acts as a visual pathway through the image as they eye starts at the bottom and them travels upwards.



Image 5

Very obvious horizontal lines of barb wire which strongly contrast against the lighter sky. I've used a wide aperture here so that the clouds / sky are out of focus ensuring the viewer takes notice first of the horizontal lines.



Image 6

The horizontal line of the horizon and also the hedge are the dominant elements of the image and together split the image into equal horizontal thirds of sky, fields and hedge.



Image 7

I've placed the horizontal bars of the gate on a bottom horizontal third and again using a wider aperture and narrow depth of field the horizontal wooden bars being in focus will ensure that viewer notices these first and therefore also the horizontal line I've created.



Image 8

In this image the gate is framed by the hedge to each side and the viewer is almost stopped initially from progressing further through the image because of the gate. With the horizon placed just above the top horizontal bar of the gate, the viewer focuses I feel on the horizontal lines of the bars. A much more subtle example of horizontal lines


Exercise Learnings'

a) Vertical and horizontal lines can be accentuated by using framing composition of portrait or wide respectively.

b) Use of depth of field and focus can assist the photographer in ensuring the key focal point when composing the frame is also that first seen by the viewer

c) Horizontal lines appear to give a feeling of stability; I think this partly due to our side by side eyes seeing things in a wide view and also a self balancing say if you had fallen over to position the horizon in a horizontal line

d) Vertical lines can give an impression of movement, I think perhaps due to gravity but also stability in tall subjects such as trees and buildings. However there remains gravity's desire for such vertical items to eventual succumb to a horizontal format hence I feel the stored energy in vertical lines before being made horizontal; a human standing up right spends energy before resting in a horizontal way.

e) As per my images above vertical and horizontal lines can be seen around us in both obvious and also subtle ways

f) lines can be used by the photographer to lead viewers of their image through the image and so using visual language. I see this aspect more and more now as I follow these exercises.

g) Michel Freeman in his book The Photographer's Eye details how a telephoto lens can help compress an image which can create horizontal lines in landscapes but also by foreshortening a view into a vertical perspective. I've not experimented with this in these images but its something to remember

TAOP Part 2 - Exercise 2 Multiple Points (Points)

TAOP Part 2 - Exercise 2 Multiple Points (Points)

In this exercise I am required to create a still life using between 6-10 objects adding one or two at a time and each time take a photograph with an aim to create a final grouping that gels together and hopefully is not boring.

I've taken this set of images in the kitchen where I know I will have good options of colour and shape to use.

Image 1

So for the first image I've placed the chopping board at angle, one that you wouldn't normally work at to create some diagonal line to give some energy to the image and I've placed the end of a cucumber on a zing point again to help give the image am implied feel of dynamic movement.



Image 2

 

Next I've added some sliced cucumber and a knife. I've positioned the cucumber so it looks like its just been cut, which it has and also the knife used to create the slices again place at an angle to avoid straight lines.

 

 

 

Image 3

 

 



I've now added a pepper. I note here that the camera's auto focus has struggled since adding this likely as a result of the contrast in kitchen work top and pepper plus the natural light falling on the pepper. I think had I set the focus to multiple points rather than central or manual focus I could have overcome this. I've not reshot this as I want to leave this as a good learning reminder


Image 4

I've now moved to manual focus. I've added a red pepper which with the sliced cucumber and yellow paper make an implied diagonal line.


Image 5

I've now added a green pepper which gives a nice colour contrast within the image and is placed to create an implied triangle between the peppers.



Image 6

 

In the final image I've removed the cucumber and and one of the slices and spread these out. I've also added a sliced pork pie which I've showed the exposed inside and placed this next to the knife. I've also changed the placing of the peppers and cropped the image slightly so the chopping board fills the image more.



Image 7

In this image I've displayed lines and implied triangles and circles demonstrating the larger number of shapes within this image and its surprising how many there are. This final image demonstrates what it it is in images that help create interest, its implied shapes.


Exercise Leanings

a) Multiple points can help create implied shapes within an image which the eye can explore and identify. This helps create additional interest and some dynamic movement or energy.

b) In this set of images the initial placement of the chopping board was deliberate to break up a rectangle within rectangle type of image which could appear static. Where the photographer is unable to move objects to create this similar dynamic effect for other items such as people, buildings etc tilting the camera can create this same effect.

c) I need to continuously review my images and their sharpness and always consider what other focus options I have. Image 3 displays a contrast issue which has thrown the camera's ability to auto focus correctly. Switching to multiple or alternative focus points from the central single point I normally use, or switching to manual focus allows the created image to become sharp

d) Making simple or made changes when framing or creating an image dramatic effect can be created changing a dull image into an energetic one

e) I further encounter the power of visual language within an image. Had I sliced the peppers and added some more subjects a story of creating lunch or an evening meal could have been captured in the image

I've really enjoyed this exercise and what could be considered a simple and quick exercise I've actually found a rather powerful message and learning experience.

TAOP Part 2 - Excercise 1 Positioning a Point (Points)

TAOP Part 2 - Exercise 1 Positioning a Point (Points)

This exercise requires the taking of 3 photographs in which there is a single point placed in a different position in the frame.


Image 1

I've come back to a place I've visited before to take this image.The contrast of the red letterbox within the brick wall makes this as the subject standout. In this position within the frame and including both the ground and the wall within the image the scale can be understand and I feel the viewer will feel that height of the letter box is in a comfortable position into which letters can be inserted through the letterbox opening. The letter box has also being positioned on a zing point where a vertical and horizontal thirds lines intersect which I know the eye finds comfortable because it gives the image balance.



Image 2

The humour in this sign attracted me; is the driver being warned to slow down because men are working or is the driver warned that slow men are working! Again the subject is red making the identification of the subject easy in contrast to its surroundings. For this image I've place this on a bottom left hand third. The eye is then drawn through the image starting on the bottom of the S shaped curve of the curb, up to the warning sign and then through the image following the curve of the road to the right. In hindsight I appear to have wasted space in the top half of the image but being shot in portrait mode does help to give length and distance to the road and a feeling of the road's incline.

Image 3

A rather bizarre subject to find but it is the head of a farmer's scarecrow protecting the contents in his field from the birds. The almost jaunty angle of the scarecrow's head made me smile as it had an almost challenging look, challenging the birds no doubt. The field and the hedge were both taller than my position on the road giving a dominating feel to the scarecrow. By framing this in portrait mode I wanted to pass on this imposing feeling to the viewer. As with the other 2 images I feel that putting the subject on a horizontal and vertical intersection gives balance to the image.

Exercise Learning's

a) Positioning of the subject as a single point within the frame can create a final static, eccentric or slightly dynamic effect to the overall image

b) Positioning a single point on one of the 4 zing points (intersection points of horizontal and vertical thirds lines) move the subject from a potentially centrally static or eccentrically close to the edge position and give both balance to the image a slight dynamic feeling.

c) A single point carefully placed within its surroundings can draw the viewer through an image; image 2 is an example of how this can work

d) Use of portrait and landscape modes of framing can help the photographer create a visual language within the image

Tutor Feedback - TAOP Part 1- Assignment 1 Contrasts

Tutor Feedback - TAOP Part 1- Assignment 1 Contrasts
I've detailed below my assignment feedback from my tutor. This is both very constructive and supportive. I thank him for the observations, ideas and suggestion for improvement.
 
Overall Comments:
"The professional manner that you have approached the initial projects have shown a great commitment and a very good level of technique, you have started to develop the ideas and not just ‘ticked the box’. The choice of subjects to use for this exercise is good and the execution well presented"

 I was very pleased with this summary.
I've not included every element of the tutor feedback but it is the vast majority and I'm happy and honest enough to show this plus it also gives me easy and quick access to read this back and refresh my self of elements I need to improve and/or change
 
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
"The well-presented PDF format shows that you care about your work and its presentation.
The whole collection of contrasts are well considered and executed, they for fill the assignment and show technical skills that are very competent.
I feel that, as with all collections of images there are some less strong than others, but overall this is a good set of images."

I've listed below a summary of my tutor's observations and commented accordingly:
A very good choice of big and the relationship of the small been within a woodland environment was an excellent choice.
However there are some small issues I would wish to address.
The Tree is static, and with the use of a tripod, a long exposure and maximum depth of field (focus) would have helped record the great texture of the bark.
This as well as other images from the series does not follow the rule of thirds, and although the images work, they may have benefited by employing the use of this ‘rule’. You may also have considered the position of the tree and it may have had more impact if it had run diagonally across the image. These observations do not detract from a good image, but the images as a whole may benefit and when capturing the images, alternative views (POV’s) should be considered and ideally executed, to have the alternative at the editing stage.
 
This is a good suggestion and in Part 2 I have already started exploring this aspect of lines and can fully appreciate energy given in diagonal and curved lines. I also fully take on the recommendation of taken multiple images exploring alternate views. This not only allows experimentation but gives a greater chance of creating the best image form the situation

The control of contrast with the subjects is something you may want to consider, some images such as the round post, would possibly benefit from more contrast, a reflector providing a cross light may produce a stronger texture and with the darker shadows, the top would stand out from the similar toned background.  
A reflector is now on my xmas list so let's hope I've been a good boy :D

 The use of limited depth of field and the creation of a Bokeh effect on the floor was a very good use of the technique to emphasize the round post top.
Submitting as a PDF is perfectly acceptable as a reference for the images, but fine detail and photographic quality needs to be assessed, so the OCA policy is that High res Jpegs are delivered to accompany the PDF, as this is an early assessment it is not critical, but as you wish to progress to a BA, it would be advisable to get into the habit of submitting in this manner.
 I had included the high res images within the PDF; they should have been attached with my submission as separate files. A good lesson to learn at the start of the course

The concept of light and heavy, your, rock and feather is a strong idea, but the lightness and delicacy of the feather is lost, as it seems to be damp and imperfect. This great idea is let down by the attention to detail, and combing the two elements in the one image, does not work as well as it could. The ambition of the idea is to be applauded; In future strong ideas such as this will require careful execution to realize their potential.  
This was very careless of me but again, learning from mistakes is important. At times I am focus too much on the assignment and not the basics of photography and attention to detail has waned whilst I've focused too completely on the assignment

  I felt that your colour choice been slightly desaturated worked very well. With extremes of lighting it may well help to bring the images together as a body of work. This shows a sophisticated appreciation of colour this is something to build on and develop in future work.
The Straight and curved images were especially successful, not taking a literal route, but an interpretation of straight, works very well and the twigs and shadows produce strong and well connected pair of contrasts. Sometimes the most simple can be thee best to provide a visual communication.
Well done, I look forward to seeing the next assignments submission

 Learning Logs or Blogs/Critical essays
Context
Your on line Blog, is a showing a very good understanding of the exercises and is very well presented, try to make every image count, they may be technical exercises, but this module is about the Art of photography, so choose your subjects well and execute to the best of your ability, they may not be assessed, but it shows your commitment and helps develop
your skills and eye for detail, lighting and composition.
I would like to see alternative images to the ones submitted to show that your editing skills are developing; this is something that you may wish to consider for future assignments and exercises. It demonstrates how you chose and image and why, don’t be afraid to show the unsuccessful images, the fact that you can communicate why they are less successful than the selected image demonstrates your progress and learning.
I hadn't really thought about doing this but it is such a good idea not only to show the alternatives view of images I've taken but also my selection reasoning and post processing
 
Suggested reading/viewing
Context This included visiting a library for books of images as the printed image can be a better experience than one viewed on a screen.
Visit exhibitions and festivals
The luminous landscape website:
http://www.luminous-landscape.com/index.shtml  

Pointers for the next assignment
In your learning log, consider showing how you develop an idea for an image, how you select from a selection.

My Reflective View
This is good feedback. I think in hindsight I have focused too much on the contrasting elements and selection of the images, e.g. the assignment and let this dominate my thoughts to the point of spending less time on the key basic elements of framing subjects. This is a good lesson to learn. That said its my first assignment and I'm getting more used to the process of the course and the assignments, well at least the first one, and also more importantly the process of self critique, understanding, learning and posting of learning within my blog. Its surprising how helpful this is.
I will also look to take multiple images considering alternate views and in my blog comment on my thought processes for selection and any post processing.
I will also plan to experiment a bit more and as my tutor says not be afraid of failed images. I never have been but perhaps to be more honest and constructive in reviewing why some things seem to work and others don’t will also me from a critiques perspective but with this learning and knowledge more firmly embedded will help make more educated consideration at the time of taking future images. I will now include my images of this sort in my blog

TAOP Part 1- Assignment 1 Contrasts

TAOP Part 1- Assignment 1 Contrasts

Johannes Itten was an art school lecturer at the Bauhaus school for art and design. He ran a basic course to help art students discover the different possibilities of contrast within a picture.

This assignment is based on these contrasts being applied to Photography and challenges, with a selection of potential pairs from Itten’s list (and I think perhaps at least one from Michael Freeman), the creation of 8 subject pairs of contrasting images and one image containing a contrasting pair.

I’ve looked at a number of students’ learning logs to see what contrasting pairs they’ve selected and also what subjects they’ve chosen to contrast so that I get a feel for the assignment.

Using the contrasting pairs I’ve selected below I’ve attempted to create a set of 8 pairs of contrasting images, and one image containing a pair of contrasts. Where possible I’ve tried to follow these principles:

-        A contrast is where 2 things when put together are noticeably different from each other

-        Avoid using subjects that appear to have been firm favourites to date with many students

-        Considered inclusion of some of the elements that I’ve used and learnt through the exercises so far experienced in Part 1 of this course

-        Considered use of personal innovation and creativeness in my selection of subjects and how I present them to demonstrate contrasting pairs

-        Look for the image pairs to both compliment and contrast with each other so that together as a pair the contrast is identifiable, accepting as individual images the individual theme may not always be directly apparent. Where possible I’ve tried to connect the images.

-        As it is a set of images I’ve tried to keep the processing similar e.g. all colour or all black and white etc

-        Be brave to consider experimentation with images even in the knowledge that risk can bring failure

-        Enjoy the challenge of the assignment and accept it’s a learning experience which I can reflect on.  I hope this is a theme I can continue

I’ll list each image pair and then below include the relevant images and then follow this with a summary of my thought process in making these image pairs. However I hope that the image pairs alone demonstrate the contrast before the text is read.

Image Pair 1 – Large / Small

Sometimes the smaller being is said to be in the shadow of the larger being and this is exactly what I’ve attempted to portray in this pair of contrasting images.

I’ve used a wide angle lens to take the image of the tree as I know that this wide angle will increase the depth of the image which is exactly want I want to demonstrate the tree is large. The 20mm lens focuses from about 6 inches onward from the lens so there is a small amount at the bottom of the image out of focus. However because of this I’ve kept this in the image at the base of the tree in the bottom it encourages the eye to move up through the image, and therefore appreciating how large the tree is. I’ve used a medium to small aperture size to give a long depth of field and ensure the whole tree from the initial point of focus, remains in focus. What I hope I’ve created with this process is the eye being drawn through the out of focus element and up through the image into the focused area and up along the trunk of the tree where it can enjoy the green foliage basked in the dappled sun light. Along the tree trunk can been a “highlighting” circle of light though there can be no doubt as to what is the subject in the first image; this is a connecting element to the contrasting image of the small beetle.

In the second image I’ve also used the 20mm wide angle lens to capture the small beetle but to also include the tree in background and foliage so that a feeling of scale can be understood. I had to gentle encourage the beetle into the circle of sunlight so that within the image there can be no doubt what the main subject in the image is; this is also further emphasised using a wide aperture and therefore a small depth of field putting the background out of focus slightly so as to help the viewer focus back on the beetle. When the image is stretched larger there is no doubt that the subject is a beetle but at this size it may be harder to identify, however what is clear is that it’s small!

Image Pair 2 – Diagonal / Rounded

Diagonal lines imply dynamic energy into an image so careful positioning of the camera has given some implied movement into the diagonal lines of the waves in the first of these images. I’ve included the harbour wall with figures in silhouette to give additional interest and also because the left edge of the wall is also a diagonal. The sun was in and out so it was a case of waiting for the sun to create some warmth in the scene and some interesting reflections against the water and then taking multiple images to try and capture the water spray of the waves as it hits the harbour wall. These wave diagonals contrast with the round image of the top of a post in the second image. I’ve used a wide aperture to create a narrow depth of field to put the background out of focus and therefore not be distracting to the subject of the image, a circle shape, which is what I’m attempting to create. I’ve cropped the image square to accentuate the circle of the post but positioned it slightly lower in the image so the base of the frame appears to support the circle and helps (I hope) it not looking as if the circle is dropping through the frame.

Image Pair 3 – Continuous / Intermittent

I planned on using water in both flowing and dripping forms to show the contrasts of continuous and intermittent. However I found the actual execution quite difficult, at least in how I had decided to capture the contrasts. I’ve used water flowing from a tap in the kitchen sink and then used the darkest object I could find, a dark oven tray as background to eliminate distraction and disguise the sink and also contrast the silver of the water with a black background. Using a tripod and remote shutter release, with the camera in shutter priority I’ve attempted to give the water a feeling of flowing rather than of frozen movement in the first image using a longer shutter speed, as identified from the earlier exercises. In post processing I’ve used contrast adjustments to help darken background so it has become black, and I’ve also used the clone tool to remove some elements of lighter areas I wasn’t able to remove when creating the image. This flowing and continuous image contrasts with the intermittent water droplets which I’ve captured in the second image. Using the in camera flash and one positioned on the right side of image they have frozen a series of intermittent water droplets as they fell.

The result of the processing and cropping has unfortunately reduced the images to very small file sizes. I would need to consider an alternative set-up to recreate the images if I would to print these at large sizes.

Image Pair 4 – Pointed / Blunt

The observation tower is located at Porthcawl in Wales and its roof is certainly pointed and so a good example for the first of this pair of contrasts. I’ve placed the horizon on a lower horizontal third and the tower on a horizontal right hand third. Post processing I’ve attempted to lighten the sky / cloud to help emphasise the pointed shape more. The blunt wooden stump contrasts against the pointed tower and it can be seen in the second image just above the top of the stump so that whilst the images contrast there is a connection between the two.  Again when processing this image I’ve lightened the background to make the subject of this second image obvious and clear.

Image Pair 5 – Light / Dark



With this pair of images I wanted to compare and contrast light and dark in a creative way. The first image was shot directly into the sun with the sun composed on a zing point (horizontal third and vertical third intersection); I just had to wait for some interesting cloud to help balance the image. In the second image I’ve wanted to create an image of what the sun and sky would look like if the sun’s power waned considerable darkening the whole sky and contrast with light in the first image. This second image is actually of the moon behind clouds and perhaps with a little imagination a dying sun could be considered so contrasting and connecting with first image of the pair. Being hand held I found that in order to get a fast enough shutter speed to avoid potential camera shake I needed to increase the ISO to 6,400

Image Pair 6 – Hard / Soft

With the rocky area at the beach I’ve perhaps chosen an obvious subject to use as the basis of hard but with this subject I’ve used a wider aperture to create a slightly smaller depth of field and create out of focus areas in front and behind the area I want the viewer to focus on. The undulating surface of the rock creates some shadow and texture. This I feel contrasts well with the grass and the fluffy cloud creating a soft effect. I wanted to generate for the viewer the feeling of walking through the grass with the hand feeling the texture and softness in the hand, you mall recall the actor Russell Crowe doing something similar in the film Gladiator as he recalls walking through fields on his farmland. I was tempted in post processing to soften the image and perhaps in hindsight should have used a tripod and in shutter priority used a slower shutter speed to capture some movement and further emphasise softness, however I didn’t want to lose the texture of the grass.

Image Pair 7 – Still / Moving

I’ve captured the swan out of water and for me this was key so that it could be seen that the feet weren’t moving and that the swan could be seen as being completely still. Had it been floating on the water the viewers of the image might not be convinced that the feet were also still. There is a slight comedic element in this image since the swan could be seen to be standing still on the water rather than in it. In contrast to the still swan and remaining on an animal theme, I’ve captured close up a wild boar in the Forest of Dean which I’ve stalked. Using a slow shutter speed in shutter priority and slightly panning following the boar (as learnt in earlier exercises, I’ve captured implied movement of the animal though the actual image of the boar is of course static. By leaving some space in front of the boar “for it to move into” I think this may also add a feel of moving within the image. I took a series of images and I thought this the best not only in capturing the image but with the 5 implied triangles underneath the boar’s body starting from chin to tail.

Image Pair 8 – Straight / Curved

I’ve used decorative elements from a vase in conjunction with shadow to illustrate the contrast straight, the shadow created from a front firing flash aimed slightly off centre to create an almost abstract image. This contrasts with curved sticks and again using flash to create shadow the curved effect is further emphasised and contrast more with that straight sticks. Additionally I feel the colours of the wall, the sticks, and the shadows also have complimenting but contrasting colours. In both images I feel the eye naturally travels up and down the subjects in each image. Whilst the images contrast using shadows to emphasise the contrast I feel also helps connect the images

Image Pair 9 – Light / Heavy (1 Image)

I’ve used a ducks feather (as light as a feather) to contrast in size and weight of the rock (as heavy as a rock) it’s resting on. Having a choice of rocks and position options having the feather in a patch of sunlight again helps highlight the subject which could perhaps be lost against the bulk of the rock. The dappled sunlight also helps highlight the rocks texture and shape and give it some interest in the image. In a larger image the feather is more obvious.

Assignment Learning’s

a)    When you look with an <slightly> educated eye it’s amazing what has always been there in terms of potential contrast but not noticed through a lack of seeing. Options for combining contrasts within an image are a major tool when using visual language when creating an image

b)    Re-use of understanding and learning from the previous exercises has enabled elements of this knowledge and learnt skills to be included as part of this assignment. Notably shutter and aperture priority control, vertical and horizontal positioning, and subject positioning within the frame.  Continued consideration and weighing of these options will help contribute to creativity when creating images and hopefully allow these considerations to start to become second nature. It will need to be like this so that something new can fit in to my head J

c)     Light is an amazing tool for the photographer both natural and artificial and this is an area I’d like to experiment much more with. Many creative effects can be used with light, reflection and shadow and some I’ve been able to demonstrate in the images above

d)    To date I’ve really only created individual images so that this has been an interesting assignment in creating a set of images with linked pairs. I learnt this linking can be done using both contrasting elements and common elements to create pairs and also a set of pairs. I’ve also learnt that these elements can be combined within a single image

e)    ISO allows a faster shutter speed but at the possible expense of noise. The level of acceptable ISO will be camera / sensor specific but use of ISO is an area I’d like to find out more about and experiment with. Auto ISO can be set so that in aperture priority if the resulting shutter speed is reduced to a below a preset value, say one that if camera hand held would cause camera shake, the ISO is increased until the shutter speed is equal to or faster than the value set.

f)      Consideration is required to the targeted use of final image e.g. print size, stock library use, new paper or magazine publication etc since the image visualisation and required construction of the image and any post processing may impact the final image size. This is in turn may impact its suitability for its targeted use