Thursday, 27 May 2010
Monday, 24 May 2010
Find scenes or parts of scenes that are each dominated by a single one of the primary or secondary colours. Make one exposure as the meter reading indicates, a second exposure half a stop brighter and a third exposure half a stop darker.
I have chosen to focus on the additive primary (RGB) and secondary (CMY) colours rather than the subtractive colours (RYB - OGV) because this is more relevant to me as a photographer.
Saturday, 22 May 2010
Find a strong definite colour and choose a viewpoint so that it fills the frame. Take a sequence of pictures to include the original metered setting, half a stop brighter, one stop brighter, half a stop darker and one stop darker.
I have increased the global contrast using curves to darken the lake because it is not as essential part of the image. The also results in a more solid background which focuses the eye on the birds.
I went back to the original Photoshop document and started again from scratch (saving it as a new file). This image is made up of 7 active layers. On the first layer, I cloned out the offending pelican in the background. Then applied a Topaz Adjust shadow recovery filter, followed by tonal contrast and noise reduction in Nik Color Efex. Levels and curves adjustments layers were used to even out the contrast, and then a further curves layer to lighten the image overall.
Implied triangle 2
Thursday, 20 May 2010
With this composition, the focal point in the bottom right third, the eye is constantly travelling up and down the frame. It’s interesting here how the colour accent is the key perhaps, rather than the shape or type of bird. It works well especially in relation to the following shot….
…. Where the eye is moving back and forth between the two flower heads, but searching for a third to create a circular movement (could just be my squiffy way of looking at things). Although the accent is important here, with the purple/green contrast creating a distinct space and relationship, dropping the depth of field to throw the background out of focus is crucial to defining shape and form – and thus texture. It could probably go even more….
I think the longer focal length works well to capture the combination of horizontal and vertical in this shot. Also, that foreshortening/layer compression makes the regularity of the short curves in the wire fence an interesting and contrasting feature. I like the way it’s partially concealed by the reeds.
Quite surreal, this one, a trio of ‘headless’ giraffes. Although I realise you had the assignment element in mind, I like the fact that we’re looking at the back of the creatures – we’d rarely be tempted to go for a shot like that, but it works so well. Could this be tightened up a bit, cropping bottom and bottom right?
The steep contrast and dramatic colour in the flower heads (did you tweak the contrast and saturation?) helps define shape and form against a more textured background and creates a much more energetic close shot than the earlier images. The detail here is lovely, especially the curling yellow stamen, and there’s a nice balance of colour and contrast throughout.
In comparison, this does the job, but feels a bit bland. It might be worth cropping it even more to get a bigger image of the sleeping ducks, and that would make the odd shape with heads tucked under wings, more interesting perhaps?
Very nice close shot of this plant stem, and a very adept, controlled approach to lighting (you sure you’re on the right level of photography course, Ingrid?) I really like macro photography, did you use a 105mm?. The balance of light between daylight and soft flash allows for an excellent range of texture detail right across the dynamic range, including the tiny softly lit hairs against the background. You can feel a pulse of movement travelling up the stem.
Nice detail of white flower, with random movement of petals. There’s a good range of focus here, with the focal point in exactly the right place, which creates a circular pattern, travelling out and round and back. Did you shoot a CU of the entire head, yellow centre and all?
Thursday, 13 May 2010
My chosen subject is 'the natural world'. I didn't want to take any images of buildings and other man-made structures as I took quite a few of these during the exercises, and wanted to try something different.
Produce at least 10 photographs, all of a similar subject, which between them will show the following effects:
- Single point dominating the composition
- Two points
- Several points in a deliberate shape
- A combination of vertical and horizontal lines
- Distinct, even irregular, shapes
- At least two kinds of implied triangle
I wanted to focus on the petals of this lovely flower, rather than the centre which was bright yellow, so I zoomed in on this part of the flower (the image has not been cropped). There is a slight colour cast at the bottom edge caused by light reflected from the yellow centre, but I still like it.
What have I learned?
The basic elements of design now jump out at me from every image I see. I think that being able to recognise these components helps me to appreciate what makes a picture aesthetically pleasing. This is particularly true of minimalist art. In the absence of an obvious subject, there will always be combinations of lines, shapes, patterns and rhythms. Interesting stuff!
Wednesday, 12 May 2010
This book covers alot more than many of the other books that I have read on composition. As expected, it has sections on the golden ratio, frames within frames, and perspective, etc. But it also discusses how to incorporate blur, bokeh, narration and abstraction into an image for creative effect.
I found the section on rhythm particularly useful since I wasn't totally clear on how to show this in an image as a separate entity from pattern - I have to do this for the OCA assignment that I'm currently working on.
This is what the author says:
"Rhythm generally refers to a composition with a pattern that gives the viewer a sense of motion."
This has been very helpful. My understanding is that, while it is possible to show pattern in isolation (perhaps as an abstract), it is not possible to show rhythm without some form of pattern.