Image 2

In this image, the main flowers are bottom left.  The effect of doing this is that a leading line of flowers extends from the front flowers diagonally up and right, out of the picture.  In contrast to Image 1, the effect is that my eyes flow along the same line and out of the picture.  There is nothing at the end of the line to hold my attention and so I simply lose sight of the picture as a whole.  Not an effect that I should be aiming for!

Image 3

Here the image is taken more head on.  The flowers are in the centre of the image and they are nicely framed by the road sign.   I find that this framing of the flowers creates a pleasing effect and because there are no leading lines out of the image, the sign and the detail in the wall give added interest.  I find my eyes wondering all over this image and then always returning to the centre for the flowers.  A good outcome.

Image 5

The flower is positioned top-centre and surrounded by undergrowth.   As with Image 1, the effect is that the undergrowth creates a frame around the outside of the single flower.   I find the brightness of the flower draws my eye at the start, then I inspect the detail of the undergrowth but always drawn back the flower and its brightness.   I think the flower is a little close to the top of the frame, I find myself wanting to look a little higher.  When viewed as a single segment of the frame (top-middle) the framing works fine, but taken in the context of the whole image, it would benefit from a little more space at the top.

Image 8

This image is a little different to the others in that it has other items of interest elsewhere in the frame.  The flowers are positioned bottom left of the frame but then behind them, there are more daffodils and then gravestones.  In other words, there is plenty to distract the eye away from the core subject.   I find that my eye does start with the main flowers but it quickly moves off, first attracted to the brightness of the second clump of daffodils and then to the interest of the gravestones.  I do find that my eye comes back to the subject but with some many things in the frame, I find myself wondering what the intended subject of the image is designed to be.

Learning

Some images worked, others did not.  My learning from this exercise is that whilst it is important to look at the positioning of the subject itself (in terms of its location within the whole frame), it is equally important to consider what else is in the rest of the frame.  The remainder of the frame can compliment, enhance, or detract from the subject itself.

Composition

Set

The contact sheet below contains all the images from the above analysis laid out as a set on a contact sheet.

Learning

As each image frames the daffodils differently, I found that as a set, the variety makes them fit together quite nicely.  Had I composed all of the images deliberately looking at the frame as a whole, I probably would have framed a lot of these images identically.  Doing so would have created a poor set as too many of the images would have looked the same within the collection.  I have seen this already in my feedback for Assignment 1; my original submission contained 3 image which had very different content yet were all framed with a path up through the middle of the frame, this created too much sameness.

As a piece of learning, this reinforces the need to frame images differently when considering creating a set of images that will work together as a whole.

This task is describe the difference between framing an image and cropping an image.

Discussion

I think that the difference between the two concepts lies in the time that the action is being taken and therefore the range of things available to the photographer to control

Framing –takes places at the time the image is being captured.  At this time, the choice available are essentially infinite.  To name but a few, and assuming the photographer is aiming to capture a subject, the choices include choosing:

• To move backwards, forwards or sideways to change the perspective on the subject for compositional purposes
• to create flat image or an image with depth
• the distance from the key subject (and therefore the image seen behind and around the subject)
• the length of lens
• the desired depth of field
• the orientation of image

Cropping – takes place when editing a captured image, meaning that the image itself is already fixed.  When cropping the editor can choose:

• to remove sections from aroind the edge of an image to remove unwanted aspects of the image or to heighten the focus on the core subject
• to change the orientation of the image if there is sufficient image space to drop a large section off the image.

Conclusion

The two lists above illustrate that framing provides far greater control than cropping.  I have never taken the time to think of these two lists as two separate activities but doing so emphasises the importance of spending as much time, in fact more time, on framing an image as the time that is spent editing an image and perhaps cropping it.

Image 3 – Confusion

This image is taken of the National Theatre and is typical of its structure with its many angles and platforms.

I feel that the image is successful in terms of creating something that is appealing to the eye and creates something confusing that takes some time to study and work out what is what.  There are many lies travelling in multiple directions and I have isolated this image so that no line actually goes anywhere.

In terms of flatness, this image is the least successful though.  Because it is taken from below the centre of the curved balcony, you can see the underneath of it and see that it is in shadow.  To the hitman mind, these are enough clues to work out that the curved structure is sticking out from the rest of the building.  It is actually sticking out a lot more than it looks in the image so there is some success,  but, you can tell this is not a flat surface.

For the lines themselves, there are many, in all directions, and the majority leave the frame. Because there are so many lines in so many different directions, I find my eyes constantly dart around the image rather than follow a line off the side.

What I learnt

I enjoyed this exercise immensely.  I would normally be looking for lines to act in a leading capacity and so finding lines to act in the way they do here was a surprising pleasure.

What I have learnt is that by isolating points of reference and perspective, it is possible to create something that is either flat, or that the viewer can deduce is probably not flat but is unable to tell where the depth is or the direction of something (as with Image 1).

I have also learnt that any hint of perspective is sufficient for the mind to work out what depth is where even if the full information is not available within the image to work it out with 100% certainty.

I am glad I decided to take the approach that I did, I do not think that I would have learned these lessons simply photographing hi-rise buildings from a roof top.  I think the learning is valuable and I feel inspired to investigate this style of photography further.

Setup

For this exercise I took all of my picture at Courts Garden, Holt,  a beautiful garden in Wiltshire and well worth a visit for anybody that is in the area.   The garden has a mixture of formal and informal areas and my thinking ahead of time was to make use of the formal path and grassed areas to complete this task.

I took my Nikon D800 camera and was using my walkabout 24-120mm lens.

The Images

Image 1

This is my first image taken at a wide 24mm an which makes use of a long grass area leading up to a small building.

I framed the edges of the pathway to meet at two bottom corners of the picture and there is certainly a sense of depth as .  That said, because the grass section does not have any detail or anything to look at, I find that once my eyes have followed the path up to the building, they stay at the building.  So what have I have really ended up with is an image that just makes the building look far away, the lines have created depth, but they seem only to accentuate that the building is far away in the shot, I feel myself wanting to be closer to it.

Image 2

In this second image I have used a path with a building at the end of it similar to Image 1 however there is more detail in the path.  I took this image with my lens at 50mm as despite wanting to portray depth, I wanted to compress the image a bit and make the building closer.

As well as using a slightly longer lens to bring the building forwards, I also took this picture in portrait format to accentuate the run along the path.   I find that this image has a lot more depth to it than Image 1.  I think there are a number of differences:

1. The lines along the edge of the path start along the sides of the photograph, this makes me feel like I am already on the path whereas Image 1, I feel like I am stood at the end
2. There is interest along the path, both in terms of the surface of the path and there are hedges along the way, I find my eyes do stop at each of the hedges but then cary on along the path. With the interest along the path, I feel that it is part of the image and my eyes move up and down it, creating a feeling of depth.  I didn’t get this in image 1, where I simply felt that I was too far away from the building.
3. The longer lens has brought the building closer and I feel content that I can see it as part of the overall image.

For me, it is point 2 that is the important point here,  having interest along the path is causing me to look up and down it which is creating an enhanced feeling of depth (as well as a more interesting image).

Image 3

For Image 3, I decided to experiment with curved leading lines.

This image again uses the path but this time, it curves first across a bridge and then over to the left of the image around the lake.

Looking at the image, I find my eyes move in the same direction that I just described.  I took the image in landscape format but even despite this, I feel a sense of both depth and width when looking at this image as that is the way the line flows.

Like Image 2, there are things to look at along the path and so I find that I look up and down the path multiple times which accentuates the feeling of depth.

Image 4

For this image, I took a slightly different perspective.  This image uses the absence of anything to create a leading line.

Taken in the less formal part of the garden, I was lucky enough to come across this area in sunshine and at a time when crocus were in full bloom; it evoked a lovely feeling of spring.

I noticed that the walkway to the park bench was created by the absence of crocus blooms rather than by a formally marked path.  This absence creates a path and a leading line.

When looking at the image, I do feel a good sense of depth, my eye is drawn to the bench but I see the periphery of the flowers at the same time, and the tree to the left is also along the journey of the path to get to the bench,  There is also more garden to the rear of the bench which the eye is drawn perhaps by momentum as it looks along the path.

As with Images 2 and 3, I think this image works because there is detail along the depth created by the line.    I was interested in the ability to create a leading line through the absence of what is elsewhere in the picture.

What I Learnt

Before assessing these images properly, I took a quick look and thought that Image 1 would be the one with most depth as it has the strongest set of leading lines.  After further analysis, I found it has the least depth for me.

What I have learnt is that as well as the good leading lines, it helps greatly to have interesting things along the line.  The line serves to guide the eye, but the interest in the picture helps keep the eyes moving back and forth along the line, rather than getting stuck at the end.

Print out two or three of your point photographs and trace the route your eye takes over the surface with a pencil. Then try the same with a selection of photographs from newspapers or magazines (or the example above). You should notice that each photograph seems to have its own tempo. Add the traced photographs to your learning log together with brief observations.

My Images

Image 1

In this image my starts with the object and then moves up to the rest of the image.  Even without leading lines, placing a string point dead centre and at the bottom has caused me to scan the image from bottom to top.

Image 2

In this image, my eye is drawn straight to the point that is dead centre and does not move anywhere else.  The bright point right in the centre of the frame has locked my eye to one point.

Website Images

These images are all taken from the 2016 Landscape Photographer of the Year competition.  I chose these after recently visiting their exhibition in Waterloo station and found the images beautiful.  Printed in the large format that was used for display purposes, I spent a long time looking at the images.  Those chosen here were either commended or winners of various categories.  All images were captured from the Landscape Photographer of the Year website (Take-a-view.co.uk, 2016).  It is worth saying that these scans cannot possibly do the images justice and I would recommend visiting the exhibition or at least buying their book.

Chrome Hill

In this image (Birks, 2016), my eye started by looking at the tree which dominates the frame.  Soon after, the brightness of the hill behind it catches my eye which than moves up along the ridge.  My eye paused for a second at the lone figure stood on the ridge then followed up to the top of the ridge.  My eye then returns and stays with the figure, forgetting the tree where it started.

Parkhouse Hill and Chrome Hill

In this image (Pedlar, 2016), my eye starts by noticing the trees in the middle.  Shortly after, the very strong line across the frame grabs my attention and goes back and forth along it, eventually resting at the dip of the line so leaving the rocky outcrop as my final place of focus.

Northbound

Here (Queenan, 2017) has captured such a strong leading line that it even overpowers the huge imposing bridge that is the main subject of the image.  I find my eyes very quickly follow the light tracks as leading lines and then come to rest on the bridge, which is where they stay.

Sunshine Breaks Through

For this image (Taylor, 2017) has managed to position himself so that the rocky outcrop actually forms the start of a leading line to the bridge, which despite being small, is actually the main subject of the image.  This is exactly how my eyes move, they start by scrutinising the rocks at the front of the frame, then follow the line created by the rocks, and then come to rest on the bridge.  Travelling along the line of rocks has created a very strong sense of depth to the image.

Bibliography

Take-a-view.co.uk. (2016). 2016 Award Winners. [online] Available at: http://www.take-a-view.co.uk/2016-award-winners/ [Accessed 27 Feb. 2017].

Birks, M. (2016). Chrome Hill, Peak District, Derbyshire, England. [image] Available at: http://www.take-a-view.co.uk/2016-award-winners/ [Accessed 27 Feb. 2017].

Pedlar, J. (2016). Parkhouse Hill & Chrome Hill, Peak District, Derbyshire, England. [image] Available at: http://www.take-a-view.co.uk/2016-award-winners/ [Accessed 27 Feb. 2017].

Queenan, D. (2016). Northbound, Dalmeny Station, Scotland. [image] Available at: http://www.take-a-view.co.uk/2016-award-winners/ [Accessed 27 Feb. 2017].

Taylor, F. (2016). Sunshine Breaks Through. [image] Available at: http://www.take-a-view.co.uk/2016-award-winners/ [Accessed 27 Feb. 2017].

Take two or three photographs in which a single point is placed in different parts of the frame. (A ‘point’ should be small in relationship to the frame; if it’s too large it becomes a shape.)

How can you evaluate the pictures? How do you know whether you’ve got it right or not? Is there a right place and a wrong place for the point? For the sake of argument, let’s say that the right place shouldn’t be too obvious and that the point should be clear and easy to see. As there’s now a ‘logic’ to it, you can evaluate your composition according to the logic of the point.

Set Up

I decided to take these pictures in my back garden as I wanted to make the thought process of the exercise about the point, rather than about the content of the overall picture itself.  I set up my camera with a tripod so that all the pictures would be the same as each other and leave me free to move the point around.

I also chose to use a very bright item to create the point so that there would be little doubt that the point would be clearly visible in the photograph.  I was also interested to see if the bright point overpowered the rest of the image, irrespective of its position.

Part 1 – Random Framing

Take two or three photographs in which a single point is placed in different parts of the frame.

I was conscious that as positioner of the point, I was aware of where I was putting it in relation to the frame.  Therefore, to achieve random positioning for these photographs, I walked around the frame carrying the point whilst using a random timer on my phone.  When the timer went off, that is where I placed the point.  There is only one image I discarded with this technique as the point turned out to be exactly on a Rule of Thirds intersect and that is an image used in Part 2.

Image 1

In this image, the point has ended up in the lower part of the image but central on a horizontal access.  I find that my eyes are drawn first to the point but then they travel up to the rest of the picture.  This eye movement seems to create a sense of depth, the movement makes it clear that the point is further forward than the rest of the picture.  I don’t find that my eyes are captured by the point, simply that it serves as an entry point to the image before my eyes travel elsewhere.  This is actually quite a useful effect for a real picture.

Image 2

Here the point has ended up on the vertical centre but across to the right on the horizontal.   In this position, the point is clear and it does draw my eye to it, but only after looking at the overall image as a whole.  It feels as if the point is drawing me away from looking at the complete image, I find myself wanting to go back to the centre but cannot as it means that I would not then be able to see the point. I can’t quite make my mind up as to where to look and it is like I am having to stretch a piece of elastic to look over to the right.

This effect is probably not something that I would want to create deliberately in an image.

Part 2 – Deliberate Framing.

Image 3

In this image, the point is right at the edge and bottom of the picture, in fact spilling over the edges.  I find that the point really grabs my attention when placed here because it is interrupting the otherwise uniform edge.  I feel my eye drawn off the picture, almost is if I am trying to see what is to the left of the point, I feel cheated that the picture finishes where it does and that I cannot see what lies beyond.

If this was a real image I would be frustrated that the framing appears to be wrong as it doesn’t feel natural to be there.  This is a feeling that should not be allowed to happen by accident.  With deliberate framing it could be avoided if this effect was not desired or it could be used deliberately to intrigue the viewer if that is the intent.

Image 4

In this image, the point is placed exactly in the middle of the frame.  When looking at the image, my eyes tend to lock onto the point and do not move anywhere else; I am not particularly conscious of what else is in the frame.  When I deliberately choose to look elsewhere in the image, as with Image 2, it is like a piece of elastic draws me back to the point.  This time that feeling is less frustrating as the centre of the image seems like a normal place to be drawn to.

I think this effect is heightened by the use of a very bright point however I think that without anything to draw the eye elsewhere, this could be replicated with a less bright point; perhaps this is something I can explore in future.  Again, this effect could be used or avoided depending upon the intent of the framing.

Image 5

In this image, the point is placed on the bottom left intersection of the ‘Rule of Thirds” grid.  Here I find that my eye is naturally drawn to the point, maybe because of its brightness, but it is not fixed there.  After looking at the point, I still take the time to see what else is in the rest of the image; the effect is not the same as the image with the point dead centre where I feel that my eyes are totally locked to the point.  The effect this time is that it feels like I can take in the whole image and the point at the same time.  The point feels to be ‘in a natural place”.  I am not entirely sure if this is the natural effect of placing something on that intersect or if it is just my sub-conscious confirming that the point is ‘in the right place’.

I have been aware of the Rule of Thirds for some time and generally would try to put the subject on an intersection.  What I have found interesting about this exercise is the effect created by other positions – and the idea that one could choose to deliberately achieve or avoid those effects.  This is more of a considered decision making process than simply choosing to follow the classical rule, or not.

Overall Learning

In doing this exercise I have learnt about the different effects that can be generated even with a very simple point being moved around a frame.  The effect is greater than I had imagined it would be.

In particular, and in the past, I would have restricted my thinking solely to whether or not to follow the Rule of Thirds, and that decision itself would not have been based on the kind of effects described in this task.   Understanding the different effects upon the eyes and even on emotions is an important aspect of framing an image and can be used to evoke more than I had anticipated.  This learning is something I wil consider more thoroughly when framing images in the future.

Exercise

In this exercise I had to take 4 identical pictures,  just a few seconds apart.  Once taken the task was to look at the histogram for each image and observe that even though the image looks the same to the human eye, there are in fact differences.  These differences show just how sensitive the camera sensor is.

I must admit that I was a little sceptical that there would be any difference in the histograms because the images really do look the same.

Result

Looking at each histogram in turn, they do look pretty much the same however, if you step through the histograms at a reasonable pace, you can see that there are differences as the histogram moves around with slightly different peaks.  I was surprised at this.  I have shown the four histograms below ordered together so that it is possible to step consecutively through them in the ‘gallery viewer’ .    The actual images themselves are also grouped together and when stepping through those, you can see that they are the.

This objective of this exercise was to demonstrate just how sensitive the camera sensor, especially when compared to the human eye which, cannot see any difference in the real images.  The exercise is a success as differences are shown.

The images I took were shot in RAW and I have made no adjustments to them at all, I simply exported them into jpg format.

Images

Source Images

Histograms

I hope that during the studies I will gain a greater understanding of how to express the way I feel about the world around me, gain a real appreciation of what has gone before in this domain, and develop my own personal style so that my photographs are recognisable as ‘Tony’s”.

I am looking forwards to learning new things and reflecting on my progress as I work though the modules.   The first course, called, “Expressing Your Vision” seems to line up very nicely with my objectives before I start, so without further ado, I shall begin!