Assignment 2: Elements of design

Incorporating all the design elements studied in the previous section into a set of photographs of one particular subject. Initially my plan was to make this subject "The Beach" and I had some ideas to work with as I packed my suitcase for my holiday. Unfortunately it rained persistently for all but one of the days we were at the resort so I had to abandon that plan and pick up the subject of "Street Details" instead. Living on the edge of a major city made it the obvious choice for me.

Photograph 1 : Single Point Dominating The Composition.

Photograph 1

When I originally selected this scene it was to demonstrate the curves element of design. However, the curve in itself appears rather bland and needed something to spark some life into it. So I waited for a passer by to appear. This created a strong single point, the eyes immediately taken to it by the  long curve.

Photograph 2 : Two Points

Photograph 2

In this scene the stark contrast between the blue plaque and the red wall initially draws the viewer in. The eyes then turn to the window. I decided to shoot from this angle and leave just a little of the darkened room on show giving the picture a slight sense of mystery. "See who lived there. I wonder what it's like inside? If only I could draw back that curtain."

Photograph 3 : Several Points in a Deliberate Shape.

Photograph 3

I struggled with this one a bit. Eventually I found these little walkway fountains near City Hall in London. Initially the large implied triangle attracted me, then the two opposing implied triangles.


Photograph 4 : A combination of vertical and horizontal lines.

Photograph 4

I had walked through this tunnel previously and liked the look of it. Trying to make a diagonal picture proved a little messy due to the cluttered ends of the tunnel. Eventually I found a point of view which highlighted both vertical and horizontal lines in the composition. The photo was taken from ground level with the camera on a beanbag.


Photograph 5 : Diagonals

Photograph 5

Leaving an underground station I was struck by many things here. The succession of vivid blue screens contrasting with the woman's shock of red hair. The perfectly even spacing of the three pedestrians. I quickly took my camera from my bag, selected a slightly longer shutter speed to emphasise the movement, and took the picture.


Photograph 6 : Curves

Photograph 6

I took a few shots representing curves but didn't get one that I really liked. This one was taken at dusk at the side of the A23. All the lines in the shot lead the viewer into the one direction, the right of the frame.


Photograph 7 : Distinct, even if irregular, shapes.

Photograph 7

Obviously rectangles are the shapes I went for. I was drawn to the overkill of multiculturalism in this scene as well as the colours.


Photograph 8 : Implied Triangle No.1

Photograph 8

The three elements making up the triangle in this shot are obviously the three black shapes. I had tried the previous day to compose an image involving three people but it didn't work out.


Photograph 9 : Implied triangle No.2

Photograph 9

Taken on a recent holiday, the two towers represent the sides of the triangle. The less obvious apex is the light from the buildings being reflected back off the clouds.


Photograph 10 : Rhythm

Photograph 10

A row of bicycles, all pretty much identical is a scene that lends itself perfectly to rhythm  in Photograph 10. You could almost imagine yourself hopping from one rear mudguard to the other as you make your way through the frame.


Photograph 11 : Pattern

Photograph 11

A reflection shot of a building that in itself is rather bland makes Photograph 11 just a little more interesting. Tight framing has kept most of the edge from view. Lack of an accessible position meant I had to include a little of two corners.


 

Tutor Report Form

Student name:	Robert German
Student number:	507010
Course/Module title:	Art of Photography
Assignment number:	2

Overall Comments

You have matched the themes required in almost every case, with many images showing creativity and imagination. Some have turned mundane subjects into good images by considered application of viewpoint, light, line and form. Your exposures are noticeably improved from the first assignment and there are also interactions with people and some uses of movement to good effect.

When pointing up or down, you appear to level one side of the image, leaving the other side tilting. Keeping the camera level is the best option, or correcting the angles with software. But failing these, just aligning the centre of the image with a vertical would produce a more pleasing symmetry, so that both left and right sides appear similar.

Feedback on assignment

Single point

The curves of the wall are a good location. The figure is a clear single point, satisfying the theme. As you noted, the area needs something to lift it as it is a sea of grey. The figure does give a definite focal point but is too far to the left edge and tilts to the left (as does the building behind). A crop/rotate would cure the tilt but I'd prefer the man on the 'thirds' (between the trees) and better still, what the location needs is some light from the left to add light and shade to the walls and paving.

Two points

The plaque and window balance each other and I like the colour combination of the red wall and blue of the plaque too. Although you create a story in the text, I don't find it is necessarily communicated by the image, in fact, after reading the plaque, I'm looking around for more interest in the shot .

Deliberate shape

The set of miniature fountains have enough action and sparkle to catch the eye and hold attention for a while. If more regularly arranged in the frame (along with the stone blocks) they would be a candidate for 'pattern'. As they are, I can see implied triangles but not an overall deliberate shape drawn around the points.

Vertical and horizontal

I'm guessing that the dominance of the (bright) ceiling in the composition is due to the fact that you wanted to include the maximum of vertical and horizontal lines. The images are the important aspect of the assignment and the theme is secondary - just a context for the subject. The viewpoint lends itself more to the diagonals you mention, as does the wide angle lens, but there are enough horizontal and vertical lines in the walls to satisfy the theme. This reminds me of the first image but I find there's a lot more of interest in the walls and architectural features. You have also placed a small, but significant, figure at the end of the perspective lines to good effect. This man is engaged with the scene and looking in to it, unlike the 'single point' man.

Diagonals

The creativity in this image sets it at a point above the rest of the assignment images. That it was a grab shot is impressive as you have captured a really dynamic composition with both subjects, structure and movement in a diagonal direction. I like the blurring of the blue signs as they would be too dominant if sharp. The escalator's blurring takes the eye from what is a large part of the scene. Just a little steadier panning on the lady would provide some sharpness in the scene (a definite focal point), but that's probably nit-picking.

Curves

Another good shot with movement and great use of light and colour. The timing is just about right to balance the sky and ambient light on the road and trees. Sky, grass and red tail lights provide a good range of colours in what is really a night shot. There is a gap to the traffic trails on the left, that unbalances the shot a little, although that is filled by the white lines. I can see why you chose this location as the multiple signs emphasise the tight bend (curve) to good effect.

Distinct shapes

The rectangular arrangement and its juxtaposition is slightly odd as you note, as the drawings don't seem to relate to the newspaper holders. It is bright and holds attention for a while, but I'm left wondering if a person, or another element, could be included as a focal point and to keep interest for longer.

Implied triangle

The black 'shapes' are an implied triangle and do form a significant part of the image. Being black, though, they do recede in the image compared to the white stone of the memorial. This isn't really a problem as such, as the memorial stone is (roughly) triangular itself. Again, as with the previous image, I'd have liked another element, just to create more interest, as well as better lighting to add some colour and texture to the scene.

Implied triangle 2

This is a fine architectural shot (Petronas towers?) with carefully controlled exposure to get the maximum detail from the scene. The perspective has produced the diagonals you required for the implied triangle, without the cloud. I don't see the cloud clearly on my screen and wonder if an earlier shot would have been clearer, with some light still in the sky (as in 'curves')? Or perhaps you could just lighten the cloud in Photoshop Elements or a similar software package?

Rhythm

Bicycles aren't really interesting by themselves, nor adverts for Barclays bank, so what makes this image stand out as dynamic, focused and uncluttered? I'd say a combination of viewpoint and very careful framing. The triangualr arrangement leads the eye off to the top left corner (away from the bright pavement to the right), as does the the repetitive row that provides the rhythm in the shot. The only criticism would be the lighting, which isn't on the subject. Nevertheless it is a good shot produce by your own efforts from potentially dull subjects, that really fits the theme well.

Pattern

The choice of a reflection of a pattern of windows adds more interest than would otherwise result from a straight shot, and the slight movement adds a painterly quality to the scene. I think that a bit more exposure and more colour saturation could lift the image even further.

Learning log

Don't forget to update your log with any activities, plans and thoughts about your work. Add also your research and thoughts on other photographer's work that you've read about or seen online or in exhibitions. In particular, relate your reflection and developing thoughts about what you see to your own work.

Suggested reading/viewing

I recommend reading 'Approaching Photography' by Paul Hill

Conclusions and targets for next assignment.

There is evidence of a clear progression from the last assignment. The next assignment is about colour relationships. Once again, the colour relationship is a theme, part of the image, not the subject. Subjects can be of any scale and often work better if they are relatively simple. Continue to look for the light, line and form to produce better images, as you have in this assignment. The next assignment is not just 'colour' themed, the relationships you have used in this assignment (and exercises) are equally valid to be included e.g. pattern, rhythm, single point etc. can be very strong compositional tools. In fact 'colour accents' are usually a 'single point' composition.

Tutor name:	Derek Trillo
Date	22/04/11
Next assignment due	01/06/11

Again I have sought to re-shoot some of the images considered weakest in the assignment. In some instances I have adjusted the original picture according to the feedback received from Derek.

Photograph 1 : Single Point Dominating The Composition

Photograph 1

This scene as shot has been difficult to revisit. I have therefore re-processed the original raw file and straightened the image as required. I so wish the gentleman had been wearing a brightly coloured shirt!







Photograph 8 : Implied Triangle Number 1

Photograph 8

The original image submitted for assignment was difficult to re-shoot as the subject always appeared to be in a shaded area. So I decided to substitute it with this image I took at the Basketball event at London 2012. I really like that all three figures are animated in some way.












Photograph 10 : Rhythm

Photograph 10

More light. Well I left it too late and despite HOPING for some sunshine I have no choice but to "add some light" in Photoshop, not something I really enjoy but the difference in the two shots is marked.








Photograph 11 : Pattern

Photograph 11

As suggested by Derek I have boosted the contrast and colour in Photograph 11. I have also cropped out some of the distractions in the corners of the frame.

Pause for thought

Before I started this course I think I appreciated a nice photograph but without actually realising what made it a nice photograph. Certainly the Elements Of Design section has been a real eye opener. I find myself looking at things differently, trying to make something out of seemingly innocuous subjects. It is clear that a lot more work goes into photography than I'd imagined. As I reached the end of this section I made a  visit to the Street Photography exhibition at The Museum of London. Three or four of the images stand out for me with regard to design.

"Recruiting Sergeants at Westminster" c.1877 by Josh Thompson makes great use of a horizontal line in composition as well as including three fantastic eye lines.

"Hookey Alf of Whitechapel" by Josh Thomson could have been just a regular group portrait had it not been for the little girl accidentally walking into the frame. While the rest of the group continued to stare at the lens, Hookey Alf himself cast the young girl a downward glance, making the picture. Mr Thomson took a great shot.

"Children swinging on a lamp post Lambeth 1893" by Paul Martin strikes me as one of those images that works perfectly well with the subject matter placed firmly in the centre of the frame. The ropes and the children themselves do add a sense of symmetry.

Bert Hardy's iconic picture, "East End Child 28 September 1940" is a very powerful image of the time. Whilst the child's foster Mother is the largest element and placed closest to the centre of the frame, the composition is still dominated by the tearful child looking for comfort after a bombing raid.

"Petticoat Lane Market, Shoreditch 1952" by Henry Grant is actually my favourite image at the exhibition. The timeless expression on the vendors face, matched only by that brilliant eye line of the woman glancing at the puppies as she walks past. I wonder if she bought one?

Project: Rhythm and Pattern

Exercise : Rhythms and Patterns

Photograph 1. Rhythm

To demonstrate rhythm I composed a frame in an underground walkway, decorated with a series of mural boards. The evenly spaced boards guide the viewer through the frame with a little help from the depicted characters as they all face the same way. The rhythm is eventually broken by the two ladies walking out of the frame to the left.

Photograph 2. Pattern.

Photograph 2 was taken in a shop and demonstrates the use of bright colours and irregular shapes. Tight framing has created the sense of pattern, appearing to leave no end to the number of hats on display.

Project: Shapes

The image of the Parthenon and that of the insect are a very interesting pairing. They are essentially negative images of each other. The use of a polarising filter has darkened the sky in The Parthenon image whilst the huge amount of light on the building itself demonstrates high levels of detail. In the silhouetted insect we see the light facing directly into us meaning all detail in the subject matter is lost, leaving us with just the outline, or shape.

Exercise : Real and implied triangles.

Real Triangles.

Photograph 1

In photograph 1 I have simply taken a picture of a triangular structure, in this instance a building support. Oddly enough I find it much more aesthetically appealing than a similar support made up of two or more vertical buttresses.

Photograph 2

Photograph 2 demonstrates a triangle by perspective towards the top of the frame. This is achieved by composing the picture from a high angle and pointing the camera downwards.

Photograph 3

Photograph 3 is an inverted triangle by perspective, achieved in an opposite manner to the previous shot, by pointing the camera upwards at a high angle.

I found it much easier to achieve the results above by employing a wide angle lens. Such results would have been difficult for me to obtain using a telephoto lens.

Implied Triangles.

Photograph 4

Photograph 4 is a still life composition, with the objects arranged in such a way as to appear triangular when viewed. The apex is at the top of the frame in this instance.

Photograph 5

Again a still life picture, but in this instance Photograph 5 demonstrates a triangular composition with the apex at the bottom.

Photograph 6

Photograph 6 shows a group of friends forming a loose triangular structure. I think this composition could possibly be slightly too close to a straight line, although having the tallest person at the back has helped a little.

The structure provided by triangular compositions to varying degrees certainly appear to give these pictures a positive aesthetic appeal. The way in which the shape dominates the frame is quite striking. I found myself drawn to a triangular composition in the project on "Points" when arranging my still life "Multiple Points" image.


Rectangles.

Looking through my library I find very few photographs containing true rectangles. As a result of having the camera even just slightly tilted one way or the other most of my images contain "Almost" rectangles.

In this image the columns of windows directly opposite my viewpoint have created a perfect rectangle. However, all the other points in the composition which are rectangular in real life have been distorted by the effect of perspective within the photograph.














Circles.

I rarely take pictures of circles. Here is an image from a trip to Italy a couple of years ago. There is other content within the composition of course but it is completely dominated by the big circle. It makes a powerful statement.

Project: Using lines in composition.

Using supplied images initially, the brief was to make a small sketch of each and show the respective implied lines. Using my VERY limited drawing skills I have made an effort!

In the first picture there is a curved line along the floor that draws the viewer into the scene. Once there the direction in which the bull is travelling brings the attention solely to the matador, taking up a prominent position near the centre of the frame.

In the second sketch there is a much more dominant implied line between the man and the horse nearest to him. The eye line between the two elements is emphasised by the lunging rope occupying a similar space in the composition.

Here I can find three implied lines. Firstly the direction of the horses, moving right towards the edge of the frame. The female spectator is staring intently at the horses whilst the Police officer seems more interested in his shoe.

 

In this image the camel handler has his eyes on the knee of the beast to ensure that his instructions are being obeyed. This is emphasised by the stick being used to ensure obedience. The rider has his eyes firmly fixed on the handler.

In the third image, just the line of the wall leading up to the bird is needed to draw the viewer into the frame. The eye line from the woman to the same bird helps to ensure the subject matter cannot be ignored.

I took this photograph at a rock concert this week. There is an eye line between the musician and his hand on the bass fretwork. It gives the observer a real feel for what is actually going on in the composition.

In this picture the eyes follow the line of the windows up to the figure of the woman on the right who is patiently waiting for a bus. 

To finish this exercise I have to admit to surprise at how the shadows in the pictures of a mansion and a tree from the textbook demonstrate how such a static scene can be made more dynamic by the use of something as simple as shadows. The outward movement is a result of shooting into the sun and using the shadows to create the required dynamic tension. It really works.

Project: Lines

Exercise : Horizontal and Vertical Lines.

The use of vertical and horizontal lines in design. The brief was to take four photographs each demonstrating the use of vertical and horizontal lines.

Photograph 1

Photograph 1 illustrates a steel girder support column. The contrast in colour immediately draws the eye to it.

Photograph 2

Photograph 2 is simply the edge of a wall. I have used a wide aperture to throw the background out of focus, making the vertical line the centre of attention.

Photograph 3

In Photograph 3 I have framed a tall building under construction as the vertical line. The vague reflection in the river offers continuity to the line.

Photograph 4

Photograph 4 shows a dark lamp post contrasting against a very pale sky.

Photograph 5

Photograph 5, the first of the horizontal lines, is a red painted spar against a black background. Again, a shallow depth of field keeps the eyes firmly on the horizontal line.

Photograph 6

A line of motor scooters represents the horizontal line in Photograph 6. Although not as demanding of the attention as in the previous picture, the line is still a fundamental design element in this composition.

Photograph 7

In Photograph 7 I have used a stark contrast in colour to represent the horizontal line.

Photograph 8

Similarly to the picture of motor scooters, Photograph 8 is an evenly spaced line of objects, in this instance, a line of park benches. The slight upward tilt of the composition guides the eyes of the viewer through the image to the right.

Exercise : Diagonals

Brief, to take 4 photographs demonstrating the use of diagonals in composition.

Photograph 9

Photograph 9 is a straightforward point of the camera into a long corridor creating many converging lines.

Photograph 10

Photograph 10 shows a number of shadows being produced by the sun shining through a red glazed window.

Photograph 11

A similar type of composition to the corridor shot, Photograph 11 was taken with a tilted camera along the side of a building.

Photograph 12

In Photograph 12 the sun has cast the shadows from railings across the pavement creating this pleasing diagonal effect.

Exercise : Curves.

Demonstrate the use of curves to emphasise movement and direction.

Photograph 13

Photograph 13 demonstrates the use of a large foreground subject which then leads the eyes away along the line of benches and through the frame in an "S" curve.

Photograph 14

In Photograph 14 I have used a shallow depth of field and focused on the nearest car, then used the curve in the row of parked vehicles to take the viewer through the frame.

Photograph 15

Photograph 15 is a symmetrical shot of opposing fence curves. The eyes are drawn to the crossing point of the two railings.  Again a shallow depth of field helps to hold the attention.

Photograph 16

Photograph 16 uses the shallow curve of the wall and line of trees to take the viewer through the frame up to the solitary person sitting on the bench.