Payday Loans Payday Loans
Well life and other photography bits took over and the course has suffered terribly as a result. I am now back though!! And hope to get cracking again ASAP so watch this space.. well maybe not this one but the one above it
Just so you know I wasn’t slacking entirely when I wasn’t here, have a look at my new website for some of my newer images. I’ve included a few examples below:
This exercise asks for 6 photographs, 3 using real triangles and the other 3 using implied triangles.
Photo A is my example of a real triangle converging bt perspective towards the top of the frame. The building and the main subject in the image both form a triangle by perspective as required (the main subject is more of a implied triangle rather than a real triangle). The image was taken on my Canon 60D with an 18-55mm IS lens, the photo was taken at 18mm to help give the extreme perspective.
Photo B is the photo I have taken to show a subject which has real triangles in the detail, I surprisingly struggled to find something that was a real triangle or had triangle in the detail and eventually borrowed a crystal from my Mum.. not really a great photo but it serves the purpose thanks Mum!
Photo C shows a still life arrangement producing a triangle with the apex at the top, I like the fact that the frame cuts out some of the implied triangle here leaving the viewer to imagine the rest of the triangle. For me the framing helps make the photo more interesting, the slight angle gives it a more dynamic feel. Definitely not my favorite image from this exercise as even though I like the shape and the simple tones it just isn’t exciting enough. The implied triangle shape do however help what would be quite a dull photo come to life a little.
Photo D is from a wedding I photographed recently, the implied triangle while not very large is there and I it does seem to help the photograph. I’m not sure where I read it but somewhere I read that objects work better in odd numbers? Well I agree as 3 always looks better than 4, maybe it’s because the eye has somewhere to focus (between the two people?) where as if there where four the eye would just dart about?
I found a really great animation made using long exposure photography with light and stencils, the animation is by a street artist going under the name pahnl. I love the unique use of photography in the animation it’s brilliant and I would love to have a go at this myself. Click on the snap shot from the animation below to visit pahnl’s website to view.
Today while using stumbleupon.com I found a moving article on a photographer named Jamie Livingston. Jamie was a photographer based in New York, in 1979 Jamie was given a Polaroid camera and went on to take a photo a day through illness, marriage until the day he died of cancer in October 1997.
I recommend visiting the website to view the photos. I love the feel of all the images, they are so very personal and casual and tell a real story.
This exercise is about various ways photographs can show implied lines, first of all below I have indicated below where I believe the implied lines are in the exercise example photos:
In the image of the Bull fight the implied line is from the movement of the bull, this is because the viewer can see the implied movement (from the raised dust and the stance of the bull) and the matador is holding out the red cloth in a way so the eye is expecting the bull to run in the same direction. After viewing the photo a few times I wonder if there is also an implied line from the matador’s to the bull as this is the direction the matador is looking towards.
The second image is of two horses with a man practising lungeing with them, I believe there are three implied lines here. The first is from the man to the first horse as this is the direction he is looking in, the second is from the horse on the right to the man as he is looking towards the man. The last implied line is from the horse on the left to the other horse, again line of sight. There is possibly one more implied line which is hard to show in the digram as the horses seem to moving towards the photographer.
The photo above was taken for my example of an implied eye line, I wanted to try something different and I recently bought this toy (known as a Danbo) and thought it would be fun to use it an some of my exercises. The photo was taken on my 400D with a 50mm lens with light from a normal tungsten bulb. The idea of the photo was to tilt Danbo’s head up so his eye line was looking up to the owner of the feet in the image creating an implied line, I feel that the image works quite well especially so as the feet are pointing to Danbo which helps the composition.
The photo above was also taken with this exercise in mind, I wanted to include it just to show the alternative portrait crop. I really like this image also and feel the implied line between Danbo and the owner of the feet is quite strong.
I will finish this exercise as soon as I have my image for the 2nd photo showing the extension of a line, or a line that points.
Unrelated to OCA exercises or projects but relevant to comfort and functionality when taking images.. I wanted to post regarding a new piece of equipment I got recently that I felt was an excellent buy. I really don’t like carrying my DSLR around my neck by the default strap, it felt clunky to me and a felt like a bit like a tourist! I also tried a friends hand style strap but didn’t like this either.
I decided to buy a sling style strap so I read a ton of reviews and eventually decided to buy the Optech Utility Sling strap .. it works really well and even though it’s not cheap (I got mine for about £30 from Ebay) in my head it was worth it. I chose this particular strap as it was one of the only ones I could find that can connect using both the loops on the side and the bottom of my camera.
It’s soo nice to have it hanging at my side rather than on my chest, you almost forget it’s there. I’m going to stop ranting about this now as I sound like a dodgy advertising channel but if your in the market for a strap the Optech is pretty good.
This exercise like the previous two exercises asks for examples of lines in photographs, but in this exercise the brief asks for curved lines.
Photo A was taken in the crypt section of Rochester Cathedral, it was taken with my 50mm lens (I needed a really wide aperture due to low light) on my 400D. I really like this shot as it has many different curved lines all leading the eye, starting from the first arch leading to the brightly lit column with curved architecture and then even the final wall at the rear of the image has a curved line leading from the wall around the window. Even though the subject isn’t dynamic I feel that the lines make the image dynamic. The only thing I am unsure on is the angle of the photo, I am not sure if the angle adds anything or just makes the shot feel odd. I didn’t take a vertical version and I was unable to crop this version as it ruined the composition by cropping out too much of the photo. Overall though I really like the shot.
The image above was taken in London, I actually didn’t take this image with this exercise in mind but I wanted to use it as I really love the curved roof line and the curved glass front of the architecture and after editing it recently I felt it worked really well for an example in this exercise. The image was taken near London Victoria station on my 400D with an 18mm lens. The rain was added with the gritty processing after I took the image as even though I love the shapes of the building I felt the processing added some much needed drama to the shot. I think this image is a great example of how curved lines can lead your eye around a photograph.
Photo C was taken in Whitstable on my 400D @ 18mm. While the curves in this image are fairly subtle I think they work well enough for this exercise as the eye does tend to follow the lines of the boat. This is my least favourite image demonstrating curves as I feel that the curved lines don’t stand out quite enough and the photo feels a bit too busy for me.
This exercise like the previous asked for examples of lines in photographs, but this time diagonals. As the exercise brief suggests I did not find many natural diagonals, but it is very easy to create diagonal lines within an image by by changing angles and viewpoints.
Diagonal – Photo A was taken in Rochester Cathedral and the main subject is of ornate looking organ pipes pointing towards a stained glass window. Now obviously the original window and pipes are actually vertical lines naturally but I purposely took this image at this angle and I believe that it actually works quite well. The images was taken on my 400D but with a 50mm lens, the only reason I used a 50mm lens as because it is really good with low light areas such as this cathedral because of the 1.8 aperture. This was taken at ISo 400 @ 1/25 hand held if I had used any other of my lenses then I would have had to either raise the ISO to a level that created too much noise for my camera or used a tripod. I like the image, I desaturated the majority of the photo and then added some colour back in key areas to draw the eye to the diagonal pipes pointing to the window.
Diagonal – Photo B was taken in Whitstable, the main subject of the groynes caught my eye as I walked towards them as they create a clear contrasting line. Depending on the view\angle used could have meant that this photo would have been vertical (the upright groynes), horizontal (a shot of many of the groynes from the side) and lastly diagonal. I chose diagonal as it seemed the least obvious, I had to change the camera angle to create a diagonal line from the intermittent groyne pieces as well as trying to frame the main line from one corner to the other (creating yet another diagonal). I like this image and feels it works well for diaganol, if you look closely the main diagonal line is actually leading the eye to a horizon with sail boats.
Diaganol – Photo C was also taken in Whitstable, the photo is off sailing boat masts which I used in a different way for the previous exercise. In this exercise they are naturally occurring diagonals, I took quite a few photos of this shot at different spots but felt this was the best. I like the fact that the diaganol mast in the bottom right of the images goes direct from the corner, it seems to make the composition complete. The five or so diagonals on the left of the image really create a dynamic feel for me because both lines on either side of the photo force your eye up and down the lines. The processing of the image was chosen to bring out the bright white lines against the dark sky, in the original photo the white masts did not contrast against the blue sky as clearly so I used a dark blue filter with a black and white conversion. I like the image as a whole, the only improvement might have been a wider angled shot.
The final image, Photo D was taken in Whitstable. I couldn’t decide whether to use this image originally as when I saw this I felt it worked really well for diagonal as the white lines of the lifting equipment on the dock seemed to contrast nicely creating clear diagonal lines. After downloading the image to my machine it didn’t seem to work as well as I originally saw it, I believe this was because the diagonal lines in my image are lost somewhat against the bright structure of the main lifting machinery behind the bottom of the crane arm. A better angle of the machinery where the main diagonal crane arm contrasted against the sky completely would have helped .
This exercise asked for examples of vertical and horizontal lines, while I found plenty of examples for both I did struggle to find what I would consider good clear examples.
This image of Rochester Cathedral (Vertical – Photo A) was taken on my 400d with an 18-55 lens at 18mm. I decided to take the photo at 18mm as I really wanted the distortion and extreme view this lens gives at the wider end.
I took quite a few different examples but felt that the rotated view of this worked better, maybe its because it gives the image a more dynamic feel? I just felt that the vertical version felt dull, I do also have a bit of a thing for angles pointing towards the corners of images (not sure why I just sits right with me).
As the exercise texts suggests this image did work better in black and white as it helps the the lines of the vertical architecture contrast against the sky much better. In the colour version the colour took away the eye from what the photo was really about (the lines). While the photo isn’t amazing I like it, it feels very Gothic.
Vertical – Photo B was taken in Whitstable with my 400D, I spotted these boat masts (is masts the right word? I’m not the sea fairing type!) all vertical and thought this would make an excellent example for this exercise. Again I used my 18-55 at 18mm, I used this wide angle as I needed to try and fit in as much of the mast as possible (and as many masts as possible). The image doesn’t feel very dynamic although I think it does shout vertical, I think maybe a shot closer to the boats with a more extreme perspective might have worked better.
Horizontal – Photo A was taken in Whitstable on my 400D at 55mm. I actually struggled to find interesting horizontal images where as vertical images seemed to be more obvious or available. I thought that a coast line would be ideal for horizontal images but without something in the foreground the horizon just looked uninteresting. This image looked far more interesting to me than when I got it home, the man on the right was looking through binoculars at the boats sailing near the horizon. At the time this seemed like a good photo, I think the reason it now seems to fail for me is possibly because you can;t make out that the man is actually using bonoculars so the eye doesn’t get pulled towards the horizon like mine did at the time.
The exercise brief asked for four images each of horizontal and vertical so I will publish the other photos as I get them.