Project: Shapes - Triangles

The text says that "in theory at least, triangles of one kind or another can be found photographically in many places".  That is at least until you try to find them and they become incredibly elusive! 

Triangles, whether physical or implied, give structure to a photograph and therefore the viewer can clearly see what is intended.  It is equally true whether the photograph is that of fashion or a family portrait.  It could also be a landscape or a still-life.

An exhibition I went to in January of last year had many examples of the use of triangles in some of the most successful or iconic photographs.  The first of these is that of Sienna Miller, photographed for American Vogue in Rome, 2006 by Mario Testino.  It can be seen here. Sienna Miller in her dress creates the triangle.
In the photograph called Friends of the Spanish Press, 1968, by Malik Sidibe, even though the group portrait has 4 subjects, the structure is such that a triangle is formed.  It can be seen here. 

The photograph, The Qajar Series, 2001 by Shadi Ghadirian, seen here, makes use of an inverted triangle, joining the faces of the two women to the small table below them which is covered by a white table cloth.  As the image is in black and white, the link between the faces and the table is natural.

Don McCullin used triangles in many of his constructs, for example, the photograph of the shell-shocked soldier in Vietnam.

Exercise: Implied Lines

The brief required me to:

1. look at the two photographs, the bullfighting scene and Threshing Corn in Sicily, and find the implied lines, sketching them for the purpose of the learning log;
2. perform the same analysis on three of my own photographs; and
3. take two photographs where the following kinds of implied line lead the eye:

• an eye-line; and
• the extension of line or lines to a point.

1.  Text photographs

Bullfight

In the Bullfight scene above the implied lines converge into the centre of the photograph.  There are two lines directly associated with the bull's movement, the eye-line of the matador and the lines constructed through the "sticks" supporting the red "flag".  I have also made use of the curved line traced in the sand to extend into the "stick" held in the matador's left hand.  This adds strongly into the dynamics of the photograph, bringing the focus into the centre.



Gottard Schuh, Threshing Corn in Sicily

The implied lines in Schuh's photograph are primarily eye-lines.  I have constructed these on the photograph above.  The most dynamic of these are the ones from the two horses, which, combined with the angle of their bodies provide a strong perception of their movement in a curve.  This is added to by the feeling that the farm-worker  is at the pivot of this curved movement and this is addressed through his eye-lines leading to the horses' hooves.

The main eye-lines of the lead horse and the farm-worker create a triangle adding a further design element to the photograph, bringing order and structure.

2.  Analysis of own photographs




Wood carver:  ISO 3200 70mm f16 1/30

This photograph of a wood carver in Thailand is a straightforward image.  The eye-line clearly takes us tothe point of what he is doing - carving intricate patterns and sculptures in a block of wood.  The lines of his hands and the motion of his hammer provide further accent as shown by the arrows.  There is also a triangular structure created with the lines of his arm, torso and eye-line.

I was shooting indoors, so had a high ISO setting, but here I also wanted to show some movement if possible, so I used a fairly slow shutter speed.  The downside of this is that the f-stop is higher than I would have wanted, bringing a distracting background more into focus.




Group photo:  ISO 200 300mm f6.3 1/1000

This photo is all about eye-lines.  The girl at the front of the row had taken a group photo from that position.  With the exception of the lady on the right, all the eyelines lead to the camera providing , as well a small inverted triangle of two ladies and the man in the group.  This ensures that the point of interest through these implied lines is the camera.  All of this is further accentuated by the close grouping and the way the hands, arms and shoulders create further lines in the same direction.

The photograph was a candid "street" photo, so I took advantage of the structure as it happened - The aperture was one stop in from fully open - this also ensured I did not suffer from camera shake at this point. 



Black and Orange:  ISO 500  28mm  f3.5  1/60

Another straightforward image.  The Buddha's eyes leading to the orange flowers.  I liked the monochrome look here and kept my aperture wide open as I wanted the accent on the flowers, throwing the Buddha slightly out of focus.  The closeness of the wide-angle lens at this point further brought the flowers to the fore and pushed the Buddha into the background.  The main connection being established through the eye-line.

3.  Newly taken Photographs

Battle:  ISO 200 400mm f5.6  1/1600

 The photograph of the two lady re-enactors at a medieval fair at Castle Hedingham has the eye-lines leading to a point out of frame. This is also supported by their stance.

I was using the lens at its widest aperture as I was keen to throw the distracting background out of focus and also provide a fast shutter speed to freeze the action and, in this case, I also wanted to have no camera shake.

Walled garden:  ISO 200 24mm  f16  1/30

Taken at Cressing Temple, the lines initially established by the bench and the brick flower border on the right are continued into the distance to the tree growing above the wall.

The implied lines are accentuated by using the wide angle lens and, as I wanted to ensure sharpness throughout, I used f16 as my aperture, knowing that this would give me a good DOF.


Project: Using Lines in Composition

Up to this point, we have been examining lines in their own right and how they add to composition.  So:

• Horizontal lines - these give breadth to a photograph and there is also implied strength and stability;
• Vertical lines - these naturally provide height, but there is also implicit strength and power;
• Diagonal lines - these provide strong dynamics and tension.  Through this tension there is drama;
• Curved lines - like diagonals, these provide movement, however instead of the direct movement associated with diagonals, these are more graceful and smooth and could suggest relaxation.

In the previous exercises, these have been generally complete, however lines can also be implicit.  In other words they may either be incomplete or they can be suggested through movement, direction in which a person, animal or any object which has sight associated with it, is looking. 

The purpose of all of these is to endeavour to convey a story to the viewer, by leading him, using these methods in the direction where you consider the focus of the photograph exists.  Of all of these implied lines, I consider those constructed as a result of where an individual is looking to be the most powerful.  This is so as we have a natural affinity to a person's eyes, or that person's line of sight.

Taking an example, using one of my favourite photographs by Robert Doisneau - Fox Terrier on the Pont des Arts.  This is a rather curious title as the dog, though in the photograph has really very little to do with the photograph.  There is a great number of questions about the artist, the nude he appears to be painting and the extension of the nude in the painting through to the foot which can be seen just past the artist's left knee.  All of this is very important to the construct, but for me, the highlight is the man with the dog and the lines down which he is looking.  We cannot see his eyes, but these lines, or his line of sight, are constructed by interpreting the angle of body and the position of his head.  The big question is, is he simply trying to see the painting on the easel, or is he trying to look around the easel at the nude woman (perhaps) on the bench.  A copy of this photograph can be seen here.

Inverted Triangle!

Reading through the May edition of the Journal of The Royal Photographic Society, I noticed the photograph below, which I felt supremely illustrated one of the design concepts discussed in this part of TAOP, namely that of the inverted triangle.

This photograph by Scott Barbour was the inaugural winner of the Wisden & MCC Cricket Photograph of the Year Award.  The images were all about capturing the the joy, spirit and essence of cricket.  To me, this photograph has great dynamism and the photographer caught the delta or V formation of the team members running towards the bowler at just the perfect moment.  The strength is not just in that, but also in the powerful dynamism of the inverted triangle.

More photographs from this competition can be found at http://www.lords.org/latest-news/news-archive/wisden-photo-of-the-year-2010,34,PS.html

Curiously, or perhaps not, the second-placed photograph of 4 players forming a triangle whilst making an "appeal" is also incredibly powerful.  This underlines how the triangle as a design element is visually so powerful.

Succesful preparation for Assignment 2

It seems as though I have jumped ahead of myself, but my trip to Cressing Temple proved very fruitful despite there being a very poorly attended antiques and collector's fair in progress.  I believe I have obtained a good set of images which fulfil the criteria for Assignment 2.  The most difficult one to find was an image which demostrated the relationship between two points.  I am not entirely happy with what I have so will revisit that.  Another image which is causing me trouble is that for rhythm.  I have an image, but did not consider my camera settings adequately, so the net result is an image where all of it is not in focus.  That will have to be re-done before submission.

I am planning to go there again next weekend to complete and correct the images.  I noted that there will be a Medieval Fair held there, so there may be good opportunities for some "Street Photography" as well.

I am also re-reading the relevant sections of "The Photographer's Eye" to ensure I have correctly understood the design concepts.

Next weekend is going to be really busy as I am now away from home for the rest of this week, so do not have much opportunity to progress things.

Preparing for Assignment 2

I have really got into this section and thoroughly enjoying it.  Looking ahead to Assignment 2 I am considering taking these in and around one Cressing Temple.  Cressing Temple are two barns and a walled Tudor garden. This is one of the most important sites containing traces of the Knights Templar and has a lot of interesting features which I am hoping to use for the assignment.  If nothing else, working in a small area will focus my mind on the task in hand.  I will shortly be visiting Cressing Temple to survey the site and maybe even make use of the fine weather and available time to compile the required set of photographs.

Exercise: Curves

The brief for this exercise is to take 4 photographs which use curves to emphasise movement and direction.  Curves are another form of line and these can take in circles.  Where circles are found, these are more used in the form of a cone where attention is drawn by using a conical perspective.  The photographs below illustrate curves used as a design element.


Benches:  ISO 400 32mm f10 1/80

The benches I found in Colchester town centre - a brilliant design feature by the town planners for a change!  I found that these were visually very powerful, the curve grabbing you and projecting you off the end!  I used a wider angle here to exaggerate the curve and the flow which was repeated by several such benches being lined up along the pavement. 


Castle Hedingham:  ISO 400 190mm f16 1/250

 Here, in a source of much inspiration for me, I found the grass in the moat area, following the line of the moat and directing the viewer to the bridge at the end.  I used a longer focal length to compress the scene sufficiently to give greater value to the bridge and in particular its arches, which themselves suggested circles, thereby giving greater depth into the photograph.



Mansion door:  ISO 200 300mm f8 1/320

In this shot I am experimenting with using a circle to draw the eye to the central object which is the door to the mansion in the grounds at Castle Hedingham.  I am using the trees and shrubs to form a circular window through which the door is being viewed.

Staircase:  ISO 800 16mm f3.2 1/30

Circular staircases are a natural curve which draws the viewer along and, as in this case, up the stairs.  I have, here exaggerated the curves by using the 16mm end of my wide angle lens.  There is strong movement and direction up the stairs taking the viewer to the top left.