Assignment one - Contrasts

A little later than anticipated, here are the images and reflective notes that I've submitted.

The brief for the first assignment was to capture eight pairs of contrasting images from a larger list of paired contrasts, along with a final image that conveys a pair of contrasts in the one frame.

I’d recognised the moment I read the brief that it was intended to be a culmination of the learning I’d gathered during the exercises to date (rather than an exercise itself).  By that I mean that I was conscious of how the focal length, depth of field, crop, horizontal vs. vertical frame etc. could accentuate the impression my images were to give the viewer.  It wouldn’t be enough, for example, to find something curved and capture it.

I felt that it was important for each pair of images to connect to each other, which is why you’ll see contrasting pairs where both include people, or buildings, or modes of transport etc.

I’ve also opted for a cohesive theme – Manchester.  I believe the end results demonstrate that this was a worthwhile approach as opposed sixteen unrelated images.

All post production work was carried out in Adobe Lightroom 3 unless otherwise stated.

Diagonal/Rounded

200mm, 1/200 secs, f/13, ISO 400 

The bright yellow arm of the larger crane dominates the frame (and I’ve emphasised this further by increasing levels of yellow in post production). A vertical frame enables a longer diagonal than a horizontal frame would have.

Only upon closer inspection do you see that the frame is actually comprised of many diagonals – the smaller red crane and the window frames.  Finally, in post production, I altered the horizon ever so slightly to exaggerate the diagonals.

10mm, 1/1600 secs, f/4, ISO 400

Having spotted the possibility of using the spiral entrance to a multi-storey car park, and keen to find an unfamiliar perspective, I headed to the top level and shot downwards.  My first couple of attempts didn’t include the vehicles and as a result lacked a little something.  The final image, with the three cars in shot, is more dynamic because of its sense of movement.

Wishing to fill the entire frame a used a horizontal composition and increased levels of yellow.  This helps to move the viewer from the left hand side of the image down the spiral.

High/Low

18mm, 1/100 secs, f/16, ISO 200    

Choosing an appropriate viewing angle was the first decision, and standing at the foot of the building proved most effective.  Alternative perspectives brought other buildings into the frame that minimised the appearance of height.

I’ve used a wide angle to accentuate the height of the building and chosen a large aperture to keep all of the building in focus.  The diagonal composition, along with the architectural features, draws the viewer along the length of the building.

Finally, a narrower crop in post production gives an even greater sense of height.

20mm, 1/60 secs, f/5.6, ISO 200

This cobbled street in Manchester’s Northern Quarter is in contrast to the surrounding roads.  Shooting extremely low gives the viewer an alternative perspective – even if the scene is familiar to some.

By selecting a narrow depth of field I’ve emphasised the lowest element of the scene (i.e. the foreground).  A wide angle, horizontal composition enabled me to fit more in the frame.

In post production I increased the saturation levels slightly to bring out the bright colours of the yellow lines and the graffiti scene.

Curved/Straight

40mm, 1/80 secs, f/13, ISO 400

Clearly it’s the tram tracks that provide the curved element to this scene.  However, an absence of a tram caused two problems. The curved tracks didn’t sufficiently dominate the scene (the people and the bright shop fronts did) and they lacked clear direction (were they running front to back or vice versa?).

The inclusion of a (predominantly straight) tram gives a greater sense of context and curve to the image.  Notably its inclusion brings direction and solves the tension of which way the tracks are running.

In post production I’ve increased saturation and added a vignette to draw the viewer to the tram in the first instance. The viewer’s eye then follows the curvature of the tracks out of the frame in the bottom left.

70mm, 1/100 secs, f/14, ISO 200    

My first couple of attempts were taken at street level.  This resulted in the lines of the road converging into a triangle; and more fitting of the diagonal brief.  Instead, I headed for higher ground where I could use a longer focal length to prevent the road lines converging; keeping the scene straight.

This straightness is accentuated by the addition of vehicles all heading in the same direction as the viewer’s eye and the fact it’s flanked by the straight facades of the buildings on either side.

Vertically framed, I’ve added a graduated filter along both sides to ‘narrow’ the image and highlight the road further.

Few/Many

75mm, 1/125 secs, f/9, ISO 400

This is a tour party outside of Manchester’s town hall. The strongest component of this image is its composition.  Leaving plenty of space around the group has an isolating effect and makes it clear that they aren’t part of a larger group.

Converting the image to black and white removes any colour distractions. In post production I’ve added a vignette to draw the viewer’s attention to the tour party.  I’ve also made the Welcome to Manchester sign more prominent by selectively lowering the brightness. 

70mm, 1/320 secs, f/2.8, ISO 100

I’ve filled the frame with the pigeons to give the impression that there are many more outside the frame (which in fact there weren’t).  I’ve used a narrow depth of field and focussed centrally, adding a vignette to keep the viewer’s eye away from the edges.

In the black and white conversion the distraction of the dirt and grime becomes texture.

Broad/Narrow

10mm, 1/125 secs, f/13, ISO 200

In order to emphasise the breadth of the scene I chose a horizontal frame to give greater distance between the left and tight sides of the image.  To accentuate the sense of breadth even further I used a very wide focal length, just 10mm, and added a graduated filter along the top and bottom (in post production) that has a narrowing effect horizontally.

The composition is further strengthened by the bold triangles of the green grass and blue sky.

60mm, 1/50 secs, f/9, ISO 400

This is a strange Manchester backstreet that is barely wide enough for vehicles to pass.  The people passing the scene not only provide an additional point of interest but also bring a sense of scale.  To prevent them from dominating the frame I’ve chosen a slower shutter speed so as not to render them static.

The scene lacked colour and therefore suited a black and white conversion.  I’ve also opted for a narrow crop in order to create a claustrophobic feel.  Graduated filters along the lengths of the image narrow it further.

Blunt/Sharp

10mm, 1/160 secs, f/5, ISO 200

This pebble is in complete contrast to a city full of straight lines and right angles.  A wide angle not only emphasised its size and bluntness, but it also enabled me to include the MCR sign in the background.

In post production I’ve cropped the image slightly to remove a distracting lamp post leaning into the image on the extreme right hand side.  I exposed for the background originally which meant that I needed to selectively increase the exposure of the pebble too.

30mm, 1/1000 secs, f/2.8, ISO 100

This image shares a similar shape to its counterpart.  It’s very narrow depth of field emphasises the sharpness of the barbed wire and a black and white conversion brings a certain starkness or bleakness.  It’s very suppressive, in fact.

The curvature of the concentric circles is a strong addition to the composition and leads the viewer from left to right.  I’ve cropped the image slightly to eliminate distractions to the right of the original.

Moving/Still

40mm, 1/30 secs, f/8, ISO 100

Nothing says city more than a black cab and I’ve managed get this one pin sharp with plenty of background blur (after only a couple of attempts!).  Composing the shot with the cab to the left of shot accentuates the sense of movement towards the right of the frame.

24mm, 1/320 secs, f/2.8, ISO 100    

The bicycle lock confirms that the subject is stationary – but it’s the absence of its wheels that tells the viewer that its been there for some time.  Additionally, it’s in contrast to the vehicles moving horizontally across the rear of the frame.

With a busy scene to the left, a vertical frame illuminated the clutter and enabled me to include the building at the back of the image.  Adding a vignette isolates the bicycle further.

Strong/Weak

55mm, 1/500 secs, f/5, ISO 100

Choosing an angle beneath the statue is the primary means of accentuating the strength of this powerful figure.  The composition is made more dynamic due to the figure leaning into the frame.

There was a very high dynamic range that blew out the background.  As I shot in RAW, I created two exposures and used HDR software to merge them.  The rich blue sky and, more importantly, the fact that the statue is backlit add a further sense authority.

150mm, 1/80 secs, f/5.6, ISO 100

This image is a contrast in itself.  The primary subject – the homeless man – must possess huge inner strength but it’s his physical frame that is weak.  This is emphasised by his vacant eyes – he’s in his own world as others pass by obliviously in theirs.

Opting for a slower shutter speed results in motion blur and highlights the fact that the other people are merely passing through.

I’ve added a vignette to draw the eye to the centre of the frame.

Dark/Light

26mm, 1.3 secs, f/14, ISO 1600

A vertical frame mirrors the shape of the rectangular block of light, which the viewer is drawn to because of the diagonal lines of the bookshelves.  A large depth of field means the books are also in focus and enables the viewer to explore the scene further.

The black and white conversion removes the colour distraction of the books in the original images.  Also in post production I adjust exposure and brightness to help the viewer recognise the scene without it being immediately obvious.

Conclusions: Exercises eighteen, nineteen and twenty

I found this series of exercises surprisingly challenging to begin with as it took me a while to ‘tune in’ and deconstruct scenes and observe their component parts. The subsequent challenge was to then find and compose interesting images, which in the main I believe I have.

It’s fascinating the traits that each type of line brings to an image and I’ve noticed that since the exercise I can’t stop seeing lines within a scene!

The biggest lesson learned was that of selecting an appropriate orientation for the scene. Before the exercises I’d have assumed that shooting with the lines (e.g. shooting horizontals in landscape) would have accentuated the traits of the respective line types but the images of the multi-storey car park and the people at the bus stop go to show otherwise.

Exercise twenty: Curved lines

Curved lines, similar to diagonals, lead the viewer trough the image. However, curved lines are able to do so much more softly, slowly and with more grace. 

55mm, 1/100 secs, f/2.8, ISO 200

Although the scene includes a number of ovals, it's the curve of the orange slice that draws the viewer's attention, which in turn leads the eye to the out of focus hot drink. 

55mm, 1/160 secs, f/8, ISO 400

This scene naturally draws the eye from front to back along the wall. Unfortunately, the subject at the end of the wall isn't worth the wait. Instead I chose a narrow depth of field and focussed on the texture of the old stone wall at the front of the frame. I'm yet to decide whether breaking the norms of leading the viewer into the frame is effective. 

20mm, 1/200 secs, f/20, ISO 400

A stretched 'S' shape moves the viewer from front to back in this shot. It's made all the more appealing by the crest of the hill at the top of the frame - the viewer is unable to complete his/her journey. 

35mm, 1/250 secs, f/5, ISO 400

Just at the point when I was struggling to see any further curves I spotter this set of shopping trolleys. The series of curves overpower the appearance of a couple of parallel lines in the foreground.

Exercise nineteen: Diagonal lines

Diagonal lines can achieve a dynamic look and feel but diagonal lines aren't necessarily diagonal. A photographer's angle of view or perspective can result in straight lines appearing diagonal. I've captured a couple of examples of each. 

55mm, 1/200 secs, f/8, ISO 400

There are a number of diagonals in this shot but it's the 3 or 4 banks of chevrons. By only including the lower part of the car in the frame it doesn't detract from the diagonals - in fact, the opposite is true. 

80mm, 1/250 secs, f/4.5, ISO 400

The grave stones run in parallel to the road to the left and the church to the right but my angle of view results in 2 diagonals. The first (and strongest) is the base of each gravestone dismissing in size at nears the distance, and the second (less prominent) line formed by the tops of the gravestones.  

55mm, 1/400 secs, f/5.6, ISO 400

There are 3 main diagonals and a fourth created by the barrier in the back ground. Stood head on to the subject the line across the centre of the image was horizontal and reduced the power of the diagonals. Moving slightly to the right and tilting the camera a little remedied this. 

18mm, 1/30 secs, f/22, ISO 400

An obvious sense of perspective here as the parallel lines on the train tracks meet at the vanishing point on the horizon.  The was achieved with a low angle of view and a wide angle focal length.

Exercise eighteen: Horizontal and vertical lines

Horizontal and vertical lines each possess different qualities. Horizontal lines imply stability which can be in contrast to the strength and power that vertical lines bring to an image.

The brief was to find 4 examples of each.

Horizontal

50mm, 1/1600 secs, f/8, ISO 400

The horizontals of the zebra crossing form a foundation for the rest of the image, and even though there are as many verticals, it's the pattern of the bold horizontals that the eye is drawn to.

45mm, 1/100 secs, f/9, ISO 400

I captured a sequence of these images containing none to a dozen or so pigeons but having just 2 or 3 on the scene added interest yet didn't distract from the horizontals of the bench.  In fact, the horizontals of the bench draw out the horizontals of the sweet shop above - lines that you may otherwise fail to notice.

55mm, 1/50 secs, f/8, ISO 800

I like the sense of diminishing space that the two sets of horizontal lines imply (above and below) - seemingly squashing the car in the distance. A vertical frame accentuates this even further.

55mm, 1/125 secs, f/8, ISO 400

Both a vertical or horizontal frame resulted in 'dead' space, whereas this square crop works much better. This image also demonstrates how quickly the eye spots that the lines aren't level.

Vertical

55mm, 1/400 secs, f/4.5, ISO 200

The verticals in this scene give a sense of height, all the more so with a slightly narrowed crop. I was originally drawn to the bright blue of the drain pipes but in black and white it's the post of the road sign that's more prominent.

20mm, 1/100 secs, f/9, ISO 400

A simple scene made more interesting by the small door on the right which provides a couple of bolder verticals on either side of it. The door also gives an indication of scale that would otherwise be missing.

45mm, 1/80 secs, f/5.6, ISO 200

If it wasn't for the bins overflowing this scene may have appeared as a series of horizontals. The open lids give height which add to the sense of verticals. The horizontals of the road markings, kerb and bottoms of the bins give the image a strong platform.

200mm, 1/60 sec, f/9, ISO 400

The people at the bus stop make for strong verticals, with further vertical lines in the background. There's a nice uniformity with everyone facing in the same direction.

Exercise seventeen: Multiple points

Drawing a conclusion to the points project and progressing from the previous 2 exercises, the aim here is to arrange a still life containing multiple points. Although it sounds simple, the challenge is doing so without it appearing obvious or creating strong shapes - the more points, the greater levels of complexity. I  rearranged the selection several times before settling on the following arrangement.

35mm, 2 secs, f/25, ISO 400

With the background set there were a couple of decisions: which marble to use and where to put it.  With the light source over to the right I chose a position slightly off centre with the marble's shadow pointing in to the frame.

35mm, 2 secs, f/25, ISO 400

Of course, as we saw in the previous exercise, adding a second point creates a connection, a line. I placed it here to achieve a degree of balance.  The white marble is still the dominant point.

35mm, 2 secs, f/25, ISO 400

A third point introduces the prospect of a stronger line if all in a line, or a triangle. A line would have looked contrived so I created an obtuse (and weaker) triangle.

35mm, 2 secs, f/25, ISO 400

The fourth marble creates a small right angle triangle in the foreground. The extended line on the left hand side softens the appearance of the triangle and prevents the scene looking contrived.

35mm, 2 secs, f/25, ISO 400

My intent here was to soften the small triangle further. The result is a composition of two lines - one down the left hand side and a new one starting on the right running slightly diagonally upwards.

35mm, 2 secs, f/25, ISO 400 

With the last placement I wanted to avoid extending either of the lines - it would have looked contrived otherwise.

35mm, 2 secs, f/25, ISO 400

It wasn't until I overlaid the final image with lines did I understand how difficult it is to truly fit the brief. Triangles are such a powerful and recognisable shape and there are 3 of them of a similar size in the final shot. In hindsight choosing a solitaire board, with its regular pattern, makes it more difficult for an arrangement to feel random - and each point is uniform too.

The more I look at the final image, it's not the triangles I see - it's the diamond shape that occupies the centre.

In summary, I didn't make things easy for myself but I do feel that I have managed to avoid the rather easy pitfall of the image appearing obvious/contrived.

Exercise sixteen: The relationship between points

A single point depicts simplicity, yet that is lost once a second point is introduced to the frame.  The brief for this exercise was to capture 3 images containing 2 points. 

50mm, 1/160 secs, f/1.8, ISO 400

The dominant point is clearly the coffee mug for several reasons regardless of their similarity in size: the narrow depth of field renders tithe only thing in focus; it's brighter than anything else in the frame, and it conveys a message which compels the viewer to read.

50mm, 1/60 secs, f/1.8, ISO 800

You may have noticed the current obsession with my 50mm lens. Similar to the first shot, only one of the points in this image is in focus, yet the other child's shoe creates dynamic tension as it competes for the viewers attention because of it's irregular, more interesting position. The entire scene gives a sense of missing out on the fun that's happening elsewhere.

[Additional image and conclusion to follow]

Exercise fifteen: Positioning a point

The weather has been suspect to say the least so I've had little choice but to shoot for the following couple of exercises indoors.  The brief for this one was to capture 3 images containing a single point and compare and contrast them with the single point images previously identified.

50mm, 1/125 secs, f/1.8, ISO 400

This toy car dominates the frame far more than I expected, and even more so with the reflection. So instead of realising my intent to potion the subject on the upper left intersection of the rule of thirds, the eye (courtesy of the area in focus and its brightness) is drawn to the front wheel. Hence why I've drawn the red intersection through it.

I positioned it above the horizon to emphasise the reflection and to the left in order to imply movement into the frame. (See the images in the previous post of the fish and the rabbit.) The angle of the subject further accentuates this.

50mm, 1/60 secs, f/1.8, ISO 800

Upon conversion to black and white the illuminated Apple logo become the single point in this image. The rationale for positioning it lower right was for the subject to benefit form the natural light from the upper left. The upper left of the laptop, arrow-like in appearance, implies movement towards this light. (The bird of prey, small child and cider bottle images have similar qualities.)

50mm, 1/50 secs, f/1.8, ISO 400

Composition is restricted with this subject. Any closer and the eye dominates the frame and is no longer a point; any further to the left of the frame then a second point would be introduced (the other eye!).  The decision then rests with where to position the point on the vertical.  The upper part of the frame gives a greater sense of authority, amplified by the slight incline of the camera.

I must admit to thinking that this exercise was a mere repetition of the early exercise but I've noticed a growing sophistication, not only in my critique of images but my growing ability to to compose and capture them.

Exercise fifteen preparation: Positioning a point

The brief for this exercise is to take 3 shots composed with just a single point. The point being the most fundamental design element of a photograph.

Firstly, I've brainstormed possible compositions that could contain a single point.  There are too many to list, so here are the highlights:

• Graffiti on a wall
• A distant shot of a golfer on the fairway
• The moon in the night sky
• A lone horse in a field
• A person in the distance walking on the beach

In preparation for the exercise I've looked through my existing library of photos for examples of images that contain a single point. 

It's worth noting that I've realised that I don't have a natural tendency to compose images with a single point (as these are the only images that I have that fit the brief).

As the study material point out, I should avoid being drawn to images on the grounds of colour when completing this next section of the course.  The door handle is a case in point - the vivid blue alongside the green was my motive for taking the shot at the time.  So from here on in I'll be endeavouring to convert images to black and white.