Assignment Three – Colour

This assignment is categorised into four parts, each pertaining to a specific kind of colour relationship. We were asked to produce four photographs, for each of the relationships, that demonstrated and portrayed the characteristics of each with variable subject matter; both naturally occurring and prearranged. For this assignment I decided to display a series of images comprised from the most eclectic subject matter that I could, to ensure a peripheral analysis on the objective. To accompany each image, I have added a painted illustration, suggestive of the colour and its movement. The colours may not exactly match those in the photographs.

Part One – Complementary Colours

For this part of the assignment, we were asked to take four photographs illustrating two complementary colours  in each. Complementary colours are colours that oppose each other on the colour wheel; these colours, together, obtain the highest aesthetical value when used in the correct ratios. The ratio of colours in this part of the assignment may not be the same as those scrutinised in the previous exercise ‘Colour relationships’.

Blue and orange

This is an image of a rusty extraction shoot on the top of a town building, that has been subject to rain, and is displaying large amounts of rust. I particularly like the way in which the image is split into two parts; because of its simple composition, the focus has largely become that of the colour. The two colours are quite uncommon shades of each, and because of this, they balance each other rather well. It is quite abstract in its appearance, with the orange part of the image resembling something of an almost liquid-like state, running into the blue; or a reminiscence of stalactites. Due to the warm appearance of the orange, you almost cannot help but think of fire or lava. Contrasting the orange entirely, both aesthetically and conceptually, is the texture within the cold blue steel, which lends it an icy characteristic.

Orange and blue

This is a photograph of piles of an orange spice blend on a blue chopping board. I wanted the narrowest depth-of-field I could achieve, to show less detail, rendering the colour to be the main focus of the image. Both colours in this image match each other, not only in shade and intensity, but also in vibrancy, showing harmonious use of colour. The antithesis of the colour is reinforced by the difference of the very structure of the two objects; the orange is ground into a fine powder, where-as, the blue is strong and whole. In contrast, the orange could symbolise the strength and unity of land, where-as, the blue could symbolise the much more ‘free-spirited’ nature of the sea.

Purple and yellow

This image is a little more banal than the previous two, not leaving a great deal to the imagination; it is two creatures within their own surroundings, symbolising normality and the comfort that everything is as it should be. The ratio of purple to yellow is considerably high and the image could benefit a more balanced ratio to display true colour harmony.

Red and green

This is a photograph of three limes placed equidistantly down one side of the frame on a red chopping board. Interestingly, the balance and harmony that is achieved with using complementary colours is almost counteracted by the unbalanced nature of the compositional elements. I don’t believe that this alters the colour harmony or balance that is achieved when using this kind of colour relationship, but only the image as a whole. For these colours to work harmoniously together, the ratio must be more balanced. Unfortunately, there is a rather unattractive cyanic colour glare illuminating the texture of the board in the centre that is present as a result of mixed light sources.

Part Two – Contrasting Colours

For this part of the assignment, we were asked to capture four images, each illustrating the use of two contrasting colours. Contrasting colours are colours that lie adjacent to neighbouring colours; more precisely, colours that lie a third of the way around the colour wheel from each other. These colours are said to hold a high aesthetic value, but are not usually harmonious like complementary colours.

Orange and green

There are various shades of green and orange in this image, each shade contrasting another somewhere else. Contrary to the name of this particular type of colour relationship, I believe that the two colours in this image are closer to being harmonious than they are contrasting; opposing my expectations of the results. This is rather interesting and has inspired me to find more examples demonstrating similar characteristics.

Purple and green

The central alignment of the compositional elements in this frame help to suggest the unsupportive nature of using these kinds of colours in unison; that is not to say that these colours, again, appear quite harmonious and complementary. I attempted to merge the different shades of colour by using a shallow depth of field, allowing the colours to appear bolder and more dominant, and softening the detail. The focus is on the green plant as this occupies a smaller portion of the frame, this helps to balance the colours more attractively.

Red and blue

 This is a photograph of the roof of a boat. Its tight frame has allowed the colours to be the focus of the image, which boldly express the contrast between the two colours with their richness and vibrancy, but again, the two colours seem to work rather well together. These colours contrast each other in temperature as well as in the way that is described in this particular kind of relationship; the red is warm, and the blue is cold. There is a good ratio of colour within this frame, it is almost equal.

Red and yellow

 This photograph is composed of two bushes, splitting the frame into two equal parts; one red and one yellow. Because of its simple composition and its lack of compositional elements, the colour, again, is the dominating feature of the photograph. The branches are almost reminiscent of veins or capillaries and are equally as delicate in appearance. This gives the two colours a similarity or a sense of relation, contradictory to the contrast that we perceive when using these types of colours together.

Part Three – Similar Colours

For this part of the assignment, we were asked to take four photographs, each conveying the characteristics of either cool or warm colours. Similar colours are colours that all sit adjacent on the colour wheel, for example: red, orange and yellow; or, purple, blue and green. These are either cool or warm colours. I have decided to take two photographs illustrating cool colours and two photographs illustrating warm colours.

Cool colours one

This is the first image of the cool colours set. I have only included two of the three cool colours in this image; blue and green. I believe that purple could act doubly as a warm colour and a cool colour and therefore creates difficulty when trying to convey one or the other. I think that the lighter shade of blue helps to develop a sense of coolness and adds contrast to the image. There is a patch of the reverse side of a piece of carpet that also adds contrast to the image without adding any warmth, due to its neutral colour and characteristic.

Cool colours two

I took this photograph of a Mandarin fish in a marine fish tank, as it, and its surroundings display all of the cool colours in the colour wheel in variable shades. The ratio of purple to other colours in this image is quite high and leads to a controversial argument as to whether or not purple should be conceived as a cool colour or a warm colour; I think that it depends on the shade as it is comprised of a warm colour and a cool colour mixed together. Then, so is green. The environment in which this fish lives helps, only to support the coolness in this image as when we think of the sea, we more often than not, think of the cold.

Warm colours one

 There are many different shades and variations of red, orange and yellow in this image of tiles on a rooftop. Illuminated by the warmth of the diffused afternoon sun, this image conveys warmth exceptionally well. The geometric composition adds strength to the image and helps to support the reassurance of familiarity and repetition.

Warm colours two

This is a photograph of the lining of a jacket, its silk-like appearance adds luminosity and vibrancy to the colours, helping them to appear warmer. There is a small amount of purple in this image that, in my opinion, does not make any alterations to the overall temperature, supporting my theory that purple could be used in either similar colour relationship.

Part Four – Colour Accents

For the final part of the assignment, we were asked to produce four images that showed accented colour. Colour accent is a relationship or situation when any particular colour appears as a small spot in the image amidst a much larger and abundant amount of colour, usually occupying a large portion of the frame.

Blue

For the first image in this part of the assignment, I chose a blue padlock hanging on a shed door. The contrast in vibrancy and temperature of the two colours in this image, help to identify the elemental object and accentuate the blue. All lines show strength in the composition and help lead the eye to the accented colour.

Green

This is a photograph of a green moss growth on the surface of a piece of slate. The composition plays a very important role in making the accented colour the prevailing feature of the image. The lines and cracks in the slate help to lead the viewer into the accented colour in conjunction with the ring that remains from where a plant pot once stood; the moss perfectly positioned on the circumference. The two colours are both cool and follow the basic principles of the similar colour relationship.

Orange

The colour accent in this image is accentuated by, not only the difference of colour compared to those found in the rest of the image, but also its luminosity; the bright luminous orange really detaches itself from its surroundings. Carefully positioned in the bottom left third of the frame, it is balanced by the compositional elements in the top right of the frame. The orange colour accent is considerably warmer than most of the colours found in the rest of the image, again detaching itself from its surroundings.

Yellow

 This stone, found in the wall of some castle ruin, governs this image in two ways; firstly, it is different in colour; and, secondly, it protrudes from the wall much more than the rest of the stone. The repetition of the wall and its stone, help to carry consistency through the frame and gives the larger proportion of the image a certain banality which aids the accented colour in carrying out its duty.

Conclusions

I have learned, in this assignment, that contrasting colours can be just as harmonious as they can be contrasting and that the word ‘contrasting’ may only be used in an ambiguous sense. I have also learned that not all colour relationships strictly conduct the same principles as others, and the portrayal and psychology of colour used can largely be manipulated by the photographer. I have learned that ratios, vibrancy, shade and intensity all need to be equivalent, or closely matched, to achieve a more harmonious balance of colours. I have found this exercise more difficult than first anticipated, largely because of locating these very unique situations, but also because of the ambivalent and subjective nature of colour relationships; scrutiny becomes a series of contradictory questions.

I have never thought about the use of colour this profoundly and will endeavour to use the fundamental principles described in this assignment and its preliminary exercises when working with colour in the future. I have really enjoyed this assignment as I don’t generally shoot a great deal in colour, and I have to say, I understand it more than I did before.

Colours into tones in black-and-white

This is the final exercise in this part of the course. For this exercise, we are asked to take a photograph of a still life arrangement of brightly coloured objects. We were then asked to convert the image into black-and-white and apply digital coloured filters to scrutinise the effect this has on the colour tones.

I chose to arrange a diverse selection of work tools in a studio environment and to achieve a bright and clear exposure; the less shadow in the image, the bolder the colours seemed to be.

Original

This is the original image, not manipulated, and clearly shows the colours red, green, yellow and blue. I framed the image quite tightly for a better composition and to avoid any unattractive background being in the frame.

Filterless

This image is an accurate representation  of the tonal value of colours in this arrangement. It has only been converted to monochrome, no further editing occurred.

Blue filter 

For this image, I have converted the original image into monochrome and digitally applied a blue filter. The blue objects, such as the box on the right and the handles in the fore part, are lighter. The tones on the box, which were originally red and blue, are now virtually the same.

Green filter

For this image, the original was converted to monochrome and a green filter was applied digitally. This has made the green cap on the copper valve lighter; only a little more than when using the blue filter. The roll of wire on the left appears to be lighter as well, although, this is yellow with only a thin green stripe down the wire. I don’t believe that the green valve is true green, but perhaps closer to blue.

Red filter

Taken from the original filterless image, a red filter was applied, and from this you can see that the red items are m much brighter than in the previous images; a good demonstration in this image is the box on the right, which is much more contrasting to the blue, as the blue was to the red with the blue filter. This is a much more distinct illustration of the effect that using colour filters has on monochrome images.

Yellow filter

A yellow filter was applied, digitally, to the filter less black-and-white image. The rolled-up wire in the top left and the face of the copper coil are now more exposed than before, the pencils are also slightly lighter, although they are orange, they have been exposed more when using both the red filter and the yellow filter. This is because the colour orange is comprised of a mix of red and yellow.

Conclusion

In this exercise, I have learned that applying a colour filter, whether before or after the exposure, allows photons of the matching colour through to reach the sensor or film surface; rendering the corresponding colour to be more exposed than using a different coloured filter. Colours that are further away on the colour wheel than the colour of the filter used are less exposed, rendering a darker tonal value. I have also learned that secondary colours can reveal a similar tonal value with two different filters; the two primary colours that make it. I will use this process in the future to manipulate the contrast in a black-and-white image, as you can give an image more depth and prominence when the tonal values are altered.

Colour relationships

This exercise is split into two parts. In the first part of the exercise, we were asked to take opposite colours in the colour wheel (complimentary colours) and compose three photographs, using the correct ratios of each of the three sets of colours within the frame, given so because of their strength or intensity. The colour combinations and ratios are as follows:

Red: green – 1:1

Orange: blue – 1:2

Yellow: violet – 1:3

In the second part of the exercise we were asked to do a similar thing but with any colours that appeal to us as the photographer, using any ratios we please. This is to demonstrate that there is no ‘right’ or ‘wrong’ when using colour in photography, only guidelines.

Part one

Red: green – 1:1

For the first image, I chose a close-up of a red textured surface with heavy moss growth on it. I think that perhaps the ratio is very slightly more red than green, but it still works very well. Because each of the colours are equally as bold and rich, the ratio also has to be equal to achieve a good balance. The two colours really are complimentary.

Orange: blue – 1:2

The ratio in this image is roughly 1:2 and the two colours complement each other very well. Had the subject been illuminated rather than sitting in shadow, I think that they would have complemented each other better. Overall, a very balanced and pleasing image.

Yellow: violet – 1:3

For this image, I chose a hedgerow plant. It was already displaying the approximate ratio of both colours, which was ideal. I used a fixed focal length lens with an aperture of f/1.8 in an attempt to merge the colours together in the background to cover a larger area and be more perceptible. Superlatively, the other colours in the background have been muted slightly making the violet and yellow more dominant.

Part two

Black, red and white

I know that technically black and white aren’t colours, but I do like them in certain combinations; especially when used together. I like the contrast of the large amount of black and the small amount of white in this image, I can’t quite work out a optimum ratio for these colours, I think perhaps 3:2:1.

Green on green

I think that often more than one shade of the same colour can be a good combination, especially if there are no other colours present in the image. The hose pipe looks almost a blue-green colour against the grass.

Green, yellow and purple

This is a very interesting and colourful image of different types of beetroot growing in a kitchen garden. The combination of yellow, purple and green is one of my favourite combinations of colours to find in the natural world and is very vibrant and engaging.

Yellow, red and orange 

I love this colour combination because all of these colours are all close to each other on the colour wheel, I think that, like opposites work together, so do colours that are similar. It is almost reminiscent of a rainbow taken from a small portion of the colour spectrum.

Conclusion

In this exercise I have learned that there are no rules to adhere to when using colour in photography, but there are guidelines which, when followed, can produce more aesthetically pleasing images. I also feel that there can be combinations of colours that work very well because they are so similar, not just because they are opposites; it is hard for them not to complement each other when they are so similar in my opinion. I think this only works when colours are split into two groups: warm and cool, however, contradictory to my opinion, complimentary colours in the primary and secondary colour wheel are perfect marriages of both warm and cool colours.

Primary and secondary colours

For this exercise, we were asked to photograph each of the six primary and secondary colours on the colour wheel and match them as closely as we could. The assignment was to photograph each one of them three times, varying the exposure by half a stop above and below the optimum to get the closest match. We were then asked to choose one photograph from each set that best matched the colour on the colour wheel. I tried to avoid colours on man-made surfaces such as paint, but this made the assignment quite difficult given the time of year.

Fallen Autumn Leaf (Yellow)

This is an image of a fallen autumn leaf. I chose this leaf because it was amongst vegetation and dominated the image, although there is more green than yellow within the frame. The image I chose from the set was surprisingly the ‘+1 exposure’. I say this because of the lack of correspondence to the objective of the previous exercise. I also think that this is the best exposed image of the set which is also surprising given the experience of the previous exercise, I think that this could be due to the lighting conditions and the minimum aperture of f/5.6 owing to the focal length used.

‘Conen the Barbarian’ (Orange)

The distinctive angry face on this vandalised traffic cone caught my eye as I was on my travels and the colour matches that of the colour wheel very closely. Again, contrary to the experience of the previous exercise, the ‘+1 exposure’ better matched the orange on the colour wheel; however, the conditions and settings were similar to that of the first image.

The Arrogance of Autumn (Red)

Although this rich and vibrant red doesn’t fill the frame, it dominates because of its sheer eloquence. Staying true to the consistency of the exercise, this is a ‘+1 exposure’ as the red best matches that of the red in the colour wheel; a smaller aperture and low lighting conditions were a result of this.

The Veins and Capillaries of The Earth (Violet)

Consistent with the nature of the subject, the colour in this image is very delicate but abundant. projected from the image by the contrast of dark and light, the violet colour dominates the image and is quite close to that of the colour wheel. There are quite a few shades of violet present in this image, but the strongest appears to be the one that closest matches the necessary colour.

‘Reaching for the Sky’

The sky was a natural choice when presented with the task of matching the colour blue. Contradictory to the previous images, I chose the ‘-1 exposure’ for the colour blue because the light was in abundance, partly owing to the larger minimum aperture used. Interestingly, in order to get the close match to blue, I have had to really underexpose the green foliage, almost to the point that it is a silhouette. There is very little light illuminating the foliage.

Plant Harmony

There are a lot of shades of green in the world, this is the colour I found the hardest to match because of this. This was the image that I settled on, although there are a lot of shades of green, the most abundant shade seems to be almost the same colour as that of the colour wheel; I think it is often how the colour is light and what kind of light it is the can determine the shade recorded by the camera. This was a ‘+1 exposure’ again, but it seems to be the shadow detail that best matches the colour. So, why when the highlighted areas are exposed less, does it not match the colour as well? Good question. This bring me back to the type of light used, and I believe that it can also depend on the light temperature.

Conclusion

I have concluded that the shade or richness of a colour can depend on type and temperature of light, from which angle the colour is illuminated and, of course, the exposure. When I looked at the colour wheel, I tried to imagine each particular colour in the context of a photograph. I noticed that when I did that the colours were very bright and in order to achieve a reproduction of each colour, I would have to over-expose the image. I found this exercise quite difficult because I prefer images with little colour or none at all, but I have been very interested to learn, not only how to exemplify colour, but also the emotional stimulation a photograph can give you when using certain colours.

Control the strength of a colour

The objective of this exercise is to demonstrate the impact that exposure has on the intensity of a colour. We were asked to choose one subject with a strong and definite colour, and photograph it five times using the same composition, adjusting the exposure by half a stop each time.

I chose a buoy on the side of the River Trent as my subject and used a tripod to ensure that all of the images were composed exactly the same.

I am going to start with image ‘0’ because this is the optimum metered exposure. This image was shot in bright sunlight and has lost a little detail but most of it still remains. The colour in some parts of the image is almost ‘blown-out’, again, losing detail and also richness.

‘+1 stop’ is very over-exposed with a huge amount of detail lost and the colour very faint, compared to the image with optimal exposure. The lighter red parts of the image are ‘blown-out’ and the white has lost virtually all detail, however, the shadows in the image have gained some detail because these parts of the image are probably 1-2 stops darker than the highlights in the optimal image.

‘+1/2 stop’ has less ‘blown-out’ areas but is still over-exposed. The detail in this image is better than that of ‘+1 stop’, but the optimal image still has more.

‘-1/2 stop’ is much richer in colour tones than the previous images, the shadows are darker but still retain some of the detail. A lot of the texture on the surface of the subject is beginning to appear and give the image some texture.

‘-1 stop’ has the most texture and the richest colour tones of all the images. The surface grain has given the image more detail and the shadows have given the image more depth; a much more accurate rendition, with lots of character.

Conclusion

After analysing this set of images, I drew the conclusion that under-exposing an image gives the best colour tones, saturation, texture and detail; especially when shooting in bright light. Although the image is 1 stop under the optimum exposure, the image presents a “truer” white and still holds detail. Ironically, I have found in the past that this can be the case, and as a result I have chosen higher shutter speeds or smaller apertures to ensure a more veracious image.

Assignment two – Elements of design

Assignment two – Elements of design

I was most drawn to ‘street details’ for this assignment but, after some deliberation, I decided to choose my own subject; ‘Dereliction and Decay’. I decided upon this subject because I live in an industrial town steeped in history and abandoned buildings and, like most photographers, this is one of my favourite photographic themes. I also felt that this subject would be a little more challenging than ‘street details’, and in turn would force me to think a little more about my individual subject matter and composition. All of the exercises prior to this assignment are black-and-white to allow the elements of the composition to speak for themselves, I have decided to introduce a little colour to this set of images to show a little more creativity, however, the colours have been extremely muted in most cases.

Single point dominating the composition

For the first photograph of the set, I chose a fireplace in the bedroom of an old abandoned building. The single point in this image is fairly tightly framed rendering the effect elementary, the contrast between the wall and the inside of the fireplace also helps to demonstrate this. Unfortunately, I think that the image could have been made sharper and as a result, would exemplify the effect. In retrospect, this is the easiest of the effects to achieve, made even easier by the fact that it was quite tightly framed. I could have achieved a better quality image and one that would have adhered to the fundamental rules of technological photography.

Two points

I used an unhinged door on a floor and a window as the two points of focus in this image. With perspective,  the door on the floor plays a very important role in the composition here and helps to lead the viewer into the second point; it also offers fantastic foreground interest coupled with the detritus and debris. The door, in this position, is in a very interesting place and almost looks like it has been kicked into the room off its hinges; it adds mystery to the image and almost leaves you wondering what happened here. The two points in the image are very dominant and the strong contrast helps emphasise the points. This is my favourite image in the set because of the composition and the mood that it conveys.

Several points in a deliberate shape

This effect in theory seemed quite simple but in practice was a little more challenging. I stumbled across a bunch of plastic flowers scattered on the floor illuminated by the late afternoon sun  streaming through a large hole in the wall. All of the flowers lay where they are in the image and no modifications to the composition were made; they are not as prominent in the image as they were to the naked eye, especially since the colours have been muted. Had this image been in black-and-white, it would have had to have been subject to some extreme editing to help the points to stand out in the frame, I wasn’t prepared to expose the image to such alteration as it would have lessened in quality. The image is satisfactory to illustrate the effect but I believe that a better subject, or set of subjects, could have been used.

A combination of vertical and horizontal lines

The subject matter for this effect is a collapsed attic floor exposing the sunlight through a hole in the roof. The photograph was taken from directly beneath a floor from the floor below and reveals the structure of the wooden slats that run both horizontally and vertically through the image. Unfortunately, because of the light conditions, I was forced to use a high ISO which has created a very grainy and soft focused image. I am still unsure whether this adds character to the image or if it has lessened the quality; I think the latter. Perhaps a tripod would have been necessary.

Diagonals

I wanted to use some painted markings on an industrial boat that I had regularly visited since I was a child; it has been moored up at the side of the river Trent for many years. The markings are to warn of danger of some kind and are clearly painted on the platform of the boat. There was once something screwed onto the bars that run adjacent to the painted lines and help to continue the diagonal theme. This is a very simple image but illustrates the effect very well, the two bars in the centre help to anchor the image and give it some stability. The colour has been muted slightly to let the elements of the composition illustrate the effect.

Curves

I decided to use an old, broken barrel that I found on the deck of an abandoned boat. Every line in this image is curved, not one straight, expressing the nature of curves in a very articulate way. I’m unsure what this barrel was used for or of its age, but its character caught my eye. The subject had to be framed quite tightly to emphasise the effect and had to be shot from an angle to accentuate the curves; had it have been shot directly, it would have had a more linear effect. I converted this image to black-and-white to stress the compositional elements.

Distinct, irregular shape

This shape is very distinct because of the difference in pattern between the nice, flowery, undamaged parts of the wallpaper and the rather frail structure that lies beneath the plaster. The contrast of the light wallpaper and the dark shape is another reason that this shape stands out. The periphery of the shape has been made more dominant and obvious by the strong sunlight streaming through the window, illuminating the wall from the side and casting shadows that add definition to the structure. The soft light has created a gradient of shadow that deepens towards the top right of the image. Some of the shadow was lifted in Photoshop when it was converted to black-and-white, however, a fill-flash may have been beneficial to achieve a more even exposure ‘in camera’.

Implied triangles

I have taken two photographs for the illustration of this effect. The first is of  a decaying tractor sitting in an old farmyard. This rather tired looking vehicle exemplifies an implied triangle with the corners at the centre of both wheels and one at the face of the tractor. Although this tractor is very dilapidated, it is very bright in colour; the body is a vibrant blue. I have muted the colours so as to prevent distraction from the demonstrated effect. The triangle has been constructed and strengthened by the solid regular shapes that the corners anchor themselves to.

The second image is of a lobby, taken at the top of a set of stairs in a derelict house. The house has been uninhabited for some years, the accumulation of debris and the slow erosion that the house has been subject to, adds a lot of interest and character to the image. The most obvious implied triangle is constructed by the wall and the ceiling and is completed by an implied line forming between both of these points. The colours in the image have been muted to allow the compositional elements to govern the effect. I believe a deeper depth of field would have helped for these elements to stand out more; a tripod, a smaller aperture and a longer shutter speed may have been beneficial to this image.

Rhythm

 

There isn’t a vast repetition of elements in this image, but the rhythm works because of the angle of them; they almost create momentum with their leaning formation. The viewer’s eye begins in the bottom left corner of the image and is led up the first gravestone, down to the next and carried through the photograph. The tree plays a very important part in this image as it continues the premise. As the viewer, you can very well imagine the rhythm continuing beyond the frame and into the depths of the graveyard, diminishing with perspective. The muted colours have helped, once again, to stress the compositional elements; the tree trunk is a good example of this as it is now virtually the same colour as the grave stones. I really like this photograph as it adds a sense of drama, even light-heartedness to the graveyard; I can almost imagine the dead coming out to dance at night.

Pattern

 

This is the final image of the set for this assignment. This photograph is of a tiled wall in a derelict bathroom, tightly framed and quite compact from the focal length, this image suggests continuity like the last. I like the fact that in this image, the pattern is carried through from: top to bottom, left to right, corner to corner; despite the seemingly consistent repetition, the pattern is broken slightly by the occasional rotation of the tiles. This varies the pattern enough to keep it interesting whilst still being repetitive enough to demonstrate the effect of pattern. It is a very simple image and therefore, there is little criticism I can make to the composition or technical aspects of the photograph; it demonstrates the effect well.

Conclusion

Since the first assignment, I have learned that I need to keep my work much simpler. I believe that I have achieved a far less complicated assignment, yet stuck to the objectives scrupulously.

It was very difficult to get a photograph for each of the effects when having only one subject to work with, however, I found that this opened up my imagination as it forced me to think about every possibility and opportunity to the full. I feel that the technical aspects of my photography have suffered a little because of the restraints of my subject, location or light but as a result I have developed understanding and even a little more style. My next objective is to incorporate what I have already learned with the technical ability that I possess and create exemplary work; I believe that this is simply a case of multi-tasking.

I feel that this assignment has taught me a lot and I have found every exercise in this part of the course very useful.

Rhythms and patterns

Rhythms and patterns

Two images were necessary for this exercise, one to demonstrate rhythm and the other to demonstrate pattern. This is the final exercise in the ‘Elements of design’ part of the course.

Rhythm

The rhythmic beat in this image starts outside one side and finishes way beyond the frame of the photograph, you can almost imagine; its repetitive nature carries the viewer’s eye right through the image and almost leaves the viewer continuing the theme in their own head. It is eventually broken by a group of people on the right hand side; that is if you are going from left to right. If there were no people, the image would be almost perfectly symmetrical; does this mean that everybody’s eyes would be carried through the image in the same direction? I asked a few people which direction they thought their eyes travelled in the image, the answers varied. Most people started in the centre of the image and were inclined to go left, I think this is because of the obstruction the rhythm faced on the right; the people. I tend to agree. I think that the wide focal length has helped to convey the beat that flows through like a small bouncing ball above some music lyrics.

Pattern

For this shot, I decided to shoot a shelving unit full of shirts in a clothing shop. I took a step back from the unit and took the picture with a focal length of 40mm to compress the subject slightly to fit better in the frame. Again, like the first image, you can imagine the shirts towering above, beyond the frame; there is no way of knowing the boundaries of the unit because of the tight frame. It’s a very stable image thanks to its geometric composition. The strong contrast helps the pattern to dominate the image and the patterns on the shirts add interest and divergence, breaking the repetition just the right amount for it to still be considered a recurrence. It is quite a static image and doesn’t have any direction like the first image, the viewer’s eye doesn’t really know where to go and as a result just meanders over the photograph.

 

Conclusion

In this very interesting exercise, I have learned that by using rhythm you give a sense of direction and by using pattern you get a very static image. They are completely opposite in this respect but the same in the sense that they are both conveyed using repetition; without repetition, you could not create either. Incorporating rhythm into an image can create a very melodic and almost bouncy photograph, it becomes fun to view and  a very innocent and child-like sense is born. Pattern is a lot more serious and is assumed, like rhythm, to be continued beyond the frame.

 

Real and implied triangles

Real and implied triangles

This exercise requested two sets of three photographs, one set of ‘real’ triangles and one set of ‘implied’ triangles; each with a triangular composition. I’ve split the images up into the two sets and labelled them accordingly.

Real

Reflection of Dead Wood (subject itself triangular)

These dead and dry branches shape a few triangles in this image but they are formed with a little help from either a reflection or the edge of the frame. The contrast has really helped to pick out the fashioned shapes and have given them definition. The shapes above the water are mirrored in the reflection on the surface. Initially, when you first look at this image, you see four or five; the more you look, the more they just keep appearing; I have counted in excess of ten triangles in this image.

The Exchange, Nottingham (triangle converging at the top)

By perspective, four converging triangles have been formed in this image. The most dominant triangle and the one we are focusing on for this part of the exercise, is the triangle at the bottom of the image; this is the centre’s floor. With the floor being lighter, clearer and free of detail, it has governed the image; it has defined itself and is the first thing the viewer notices. This triangle adds strength, stability and power to the image.

Victoria Centre, Nottingham (triangle converging at the bottom) 

Clearly, this triangle dominates because of its sheer size and how much space it exploits in the frame, it is also helped to be noticed by the lights that run through the centre of it. The viewpoint is much different from that of the previous image, perhaps the previous image may have benefited from a similar viewpoint but in reverse. The contrasting contours on the periphery of the triangle help to shape it.

Implied

Still life project forming a triangle with the apex at the top

The edge of the table acts as the base of the triangle and the tip of the wine bottle as the apex. Each object has been strategically placed so that its highest or most outwardly point helps to construct an implied line and therefore, a triangle. The knife has been deliberately positioned to carry the viewer’s eye into the centre of the image and has helped fabricate an apex of the implied triangle.

Still life project forming a triangle with the apex at the bottom

The dried damson at the forefront of the display act as the apex of the triangle, completed by the two flower heads furthest away from each other. Although the stems of the flowers contour two of the three sides of the triangle, it doesn’t stand out more than the one in the previous image.

Three people arranged in a group

For this picture, I took a candid shot of three people all sat in a beer garden on a rather gloomy day, I thought this shot had character. It’s quite a simple shot and demonstrates the objective very well; the triangle, with its apex at the bottom, is formed by the eyes and heads of the group as they look at each other. To reinforce the theme, I decided to include the little triangular flags in the top right of the image to repeat the premise.

 

Conclusion

I have learned in this exercise that incorporating a triangular shape into an image can add stability and interest. Stability can be introduced by the use of a level base, which we already know from the ‘vertical and horizontal lines’ exercise; formed by perspective, they can add a sense of direction or movement. I think that everything that we have learned separately in ‘vertical and horizontal lines’ and ‘diagonal lines’ we have learned to incorporate into one image in this exercise, if the triangle is cleverly formed. This, of course, wouldn’t work in every scenario. The triangle is a very simple shape to integrate into an image and so versatile and easy to create, but the result of the image can be very profound and complex. I will strongly consider using triangles in more of my images as the results are so diverse that a triangle could benefit an image more often than not.

Implied lines

Implied lines

The first part of this exercise is to illustrate the implied lines in the two images provided in the course material; Threshing Corn in Sicily by Gotthard Schuh and Corrida by Michael Freeman. I have sketched the two images, scanned them into the computer and then illustrated the lines using arrows in PhotoShop. The second part of the exercise requests that we use three of our already taken images and perform the same analysis and illustrate the results, the third and final part is to take two photographs that use the following kinds of implied lines to lead the eye: an eye line and the extension of a line.

Part 1

The following two images of ‘Part 1’ of this exercise are sketches of the images provided in the course materials with illustrations of the implied lines.

Threshing Corn in Sicily by Gotthard Schuh

The strongest implied line in this image is from the closest horse to the man, since the horse’s head is the largest and most dominant thing in the photograph; the second is that from the man to the horse. I have illustrated an eye-line from the horse at the back and three more lines demonstrating the direction in which all three objects in the photograph are travelling or facing. All of the lines in the image suggest a entire choreographed story to follow.

Corrida by Michael Freeman

The strongest implied line in this image is in fact a definite line that points into the centre of the image; this is the reason for its strength. Each of the lines in this image either point to the centre or point to another line that does, leading the viewer directly to the image’s focal point. There is implied movement from both the toreador’s cloth and the bull and therefore implied lines appear in these areas of the image. Just like ‘Threshing Corn in Sicily’, you can’t help but imagine the entire choreographed story that follows unfolding before your eyes.

Part 2

The following three images were taken from my existing portfolio to demonstrate implied lines (illustrated).

Polish Artists on the Streets of Wroclaw

This image’s lines are mostly eye-lines: the artist to the left looks at his subject, the artist on the right looks at his work; the ‘passer-by’ looks at the artist’s work and so on. There are only minor extensions of lines from the artist’s feet and legs that don’t lead the viewer to any distinct focal point; the viewer’s eye almost flickers over the whole image in a very erratic fashion.

Big Issue Seller

The biggest implied line in this image is clearly the woman’s gaze to the floor as she looks down subdued. The second strongest lines are implied by the lines and cracks between the slabs on the floor that, by perspective, lead the viewer in and out of the image. There is an extension of a line emanating from the tip of the woman’s foot, however, this line could just as easily lead the viewer’s eye in the other direction up the woman’s figure to her face and then away with her gaze.

The Butter Market, Newark

All of the implied lines, but two, are formed by perspective in this image, one of the remaining lines is an eye-line from the dressed mannequins to the left of the image; the other, a line from the top to the bottom of the stairs at the end of the hall. All of the implied lines lead to the centre of the image, to the focal point; the door at the end. The perspective of the camera has almost formed a centrifuge of lines around the door. There are also faint, thick lines across the pillars that almost join perfectly to form a two lines running horizontally into the centre of the image.

Part 3

This part of the exercise requested that we take two photographs, one to illustrate an extension of a line and one to illustrate an eye-line.

Extension of a line 

The road in this image of a man jogging implies a very strong line which bends to the right carrying the line with it. The line is very directional and leads the viewer straight through the image to the jogger and then the end of the road; even the periphery of the trees in the top of the image lead the viewer to that very same place in the image and the jogger’s eye-line does too. Perspective has allowed a much easier entry to the image for the viewer’s eye as it wanders in from side-to-side.

Eye-line

Averting the gaze of the audience is Robin Hood, outside Nottingham Castle. Three of the four people are looking straight into the face of the legendary character whilst the fourth is studying a guide book of some sort, we can tell all this from the implied eye-lines in the image. Robin clearly has something far more important to focus on; me, it would seem. The three implied eye-lines from the audience are all equal in strength rendering the image to have no dominant implied line.

Conclusion

I can honestly say that after this exercise, I will never look at a photograph in the same way again; I will be building a network of implied lines in my head to form a structure on which to build my composition on. After doing this exercise, I realise the importance that lines have on the structure and composition of an image; more importantly, however, how a story can so easily unfold before the viewer’s eyes with clever and strategic use of implied lines. I will be shooting with close consideration for the things that I have learned in this exercise.

Curves

Curves

This is the final exercise in the ‘Lines’ project. The objective of this exercise is to capture four images employing strong examples of curved lines. Curved lines have a totally different value than straight lines as they convey more motion and direction and do this in a very elegant way; they almost give a sense of destiny.

With each of the following images, I have tried to use a very different form and style of curve to present a diverse collection of photographs; I feel I can study the nature of the curve more accurately and effectively this way.

Maggie’s Cancer Centre, Nottingham City Hospital

The curved lines in this image lead the viewer from the bottom of the image to the top, each line in the image leads to the same place; this is aided by a shadow/reflection that forms an apex with a summit that indicates the exact focal point of the photograph. The curves give this image a very calming, inviting and encouraging feel and add a sense of comfort and hope.

Spiral Staircase, Bromley House Library, Nottingham

The curved lines in this image are much tighter and give the image a sense of melancholy with its downward cascade; quite the antithesis of the previous image. There is an element of elegance and grace captured in this image, its curves are smooth and gentle and in some respects calming; it almost makes you want to accept.

Both banisters of the staircase lead the viewer into the centre of the image, each of the lines created by the edge of each step also helps the eye meet the image’s focal point.

Meandering Brick Line 

This is a very simple image of a gentle and smooth line of bricks set into the ground of a children’s play park. The smoothness and grace of the line convey distance, direction and the suggestion of a destination, all of which are optimistic. There is no focal point as such, that is to say there is no object that the viewer’s eye is led to, the eye is just led straight through; this adds mystery to the image. The viewpoint of the camera has given the image distance, the nature of the line itself has given direction and the sense of a destination comes from the fact that the line is reminiscent of a road or river.

Corrugated Roof 

One continuous, undulating curve has been captured in this image passing through from side to side. The curve almost reminds me of the sea as it consistently ebbs and flows through the image almost creating a horizon. Like the sea, this wavy line is soothing and relaxing in its bobbing motion. The definition of the curve is greatly improved by the strong contrast and is the first thing the viewer notices.

Conclusion

I found this exercise the most difficult of all the ‘lines’ project, I think it is because there is so much more to explore and the nature of a curved line is much more complex than that of straight lines. Now I understand the complexity of the curved line, I feel that I can express so much more in my imagery and I am more inclined to think about my composition.