Ex 1: Positioning a Point
Ex 2: The Relationship Between Points
Ex 3: Multiple Points
Lines
Ex 4: Horizontal and Vertical Lines
Ex 5: Diagonals
Ex 6: Curves
Using Lines in Composition
Ex 7: Implied Lines
Shapes
Ex 8: Real and Implied Triangles
Rhythm and Pattern
Ex 9: Rhythms and patterns
Ex 1: Positioning a Point
This exercise is to experiment with placing a single point within the frame. Three photographs are to be produced for this exercise.
The first image showes the point placed halfway down the picture and about a third of the way in from left to right. As the boats direction of travel is moving into the frame letting the eye move from left to right even though no other points of interest are present.
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| Ex 1-1 |
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| Ex 1-1b |
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| Ex 1-2 |
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| Ex 1-2b |
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| Ex 1-3 |
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| Ex 1-3b |
We were asked to take between 6 and 12 images of single points and keep them to one side for later. Below is a selection of mine.
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| Ex 1-4 |
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| Ex 1-5 |
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| Ex 1-6 |
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| Ex 1-7 |
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| Ex 1-8 |
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| Ex 1-9 |
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| Ex 1-10 |
Ex 2: The Relationship Between Points
This exercise is to provide three photographs with two isolated objects in the frame. I am to note down which is stronger and why.
Also a photographs of a pair of eyes to show that points that have no domination cause the image not to resolve is to be taken.
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| Ex 2-1 |
The tractor is the dominant point of this photograph. It is closer to the viewer and dominated the image. The boat is moving away from the viewer and so breaking any visual relationship.
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| Ex 2-2 |
This image is can be viewed as two point or multiple point. I view it as two point with a couple and dog in the lower left as one point and the lone figure with dog as a mirrored second. I could be acceptable to argue that the dogs are seperate points themselves, they are small and contrast with the background. But alone they don't add to the design of the image. Again the larger point (lower left) is more dominant.
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| Ex 2-3 |
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| ex 2-5 |
Ex 3: Multiple Points
This exercise was to build up a still life using between six and ten objects. The Exercise is to show a group of objects will have a network of implied lines. The final image is to show the implied lines between the objects.
I repeated this exercise three times. The sequence of images shown below are from the second take. I wanted an end result that wasn't too formal (as instructed) and that looked natural.
The final image showes the indicated "lines" that relate the objects.
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| Ex 3-1 |
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| Ex 3-2 |
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| Ex 3-3 |
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| Ex 3-4 |
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| Ex 3-5 |
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| Ex 3-6 |
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| Ex 3-7 |
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| Ex 3-8 |
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| Ex 3-9 |
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| Ex 3-10 |
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| Ex 3-11 |
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| Ex 3-11b |
Ex 4: Horizontal and Vertical Lines
This exercise is to create eight photographs. Four with horizontal lines and four with vertical lines.
The first photograph is of some flats along the river in London. Bands of concrete laying horizontally divided by rows of windows. A diagonal line is present in the lower third of the image, but this breaks the stillness of the photograph.
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| Ex 4-1 |
This is of West Mersea Beach. A panning technique was used to emphasize the contrasting band of colours.
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| Ex 4-2 |
Again this is a photograph taken at West Mersea. The groins in the background are not only horizontal but are composed of horizontal slats.
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| Ex 4-3 |
Taken in woodland in Lincolnshire the felled trees form a horizontal wall. In the background are vertical lines formed by the trees, but as these have muted colours they are not distracting form the horizontal lines.
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| Ex 4-4 |
Taken outside the Tate Modern London this image has plenty of vertical lines. The tall narrow windows, Silver Birch Trees, two vertical posts and the two figures walking away from the camera.
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| Ex 4-5 |
Masts at a boat yard in West Mersea form many vertical lines.
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| Ex 4-6 |
Taken near work in Colchester. A fence constructed with vertical panels.
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| Ex 4-7 |
Under Clacton Pier. The supports of the pier form a labyrinth of vertical pillars.
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| Ex 4-8 |
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| Ex 4-9 |
This exercise is to take four photographs showing diagonals. This exercise is to demonstrate how diagonals have more movement and direction than verticals and horizontals.
I am also to make notes on the use of diagonals in examples of photographs in the recommended books of this course.
The first image has many straight lines and it is only the perspective that makes them diagonals. Because of the angles the image flows from bottom left up to the horizon and out on the right hand side.
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| Ex 5-1 |
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| Ex 5-2 |
The following photograph of a building doesn't rely on perspective for it's diagonals. The building has panels fixed to it at diagonals all over it as well as not having walls not at right angles to the ground adds to the sense of movement.
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| Ex 5-3 |
This image in the sequence has diagonals and right angles converging together. This brings the eye to the center of the image.
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| Ex 5-4 |
I have added another image just to show that diagonals depend on the viewpoint and how the camera is held. As the photograph was taken with the camera pointing skywards, the diagonals were created just by rotating the camera.
Examples of diagonal some diagonal lines from the suggested reading list are below.
I did think about looking in "The Photographer's Eye. Freeman, M" but I would have found a whole section on them (page 76) I this seemed a little too easy. Instead I have looked through "the photograph as contemporary art. Cotton, C." for examples of diagonals within images.
Untitled (20a) Stephen Shore 1972. (page14) Diagonal s are created in this image by the viewpoint. The work surface, the cooker and the meal tray, all with straight lines forms diagonals throughout the image.
Bread Man Son and Alzheimer Mama, Tokyo. Tatsumi Orimoto 1969. (page28) Because the Bread Man is leaning to put his arm around his Mama diagonals are formed by his torso and free arm. Also the batons of bread form diagonals leading us to the bread in his hand.
Outdoor Sulpture, Erwin Wurm 1999. (page 29) The wall running across the picture is forming a diagonal leading us to the figure and on to the end of the road. Are there any more bodies planted in the wall further around the corner?
Don't Be Silly, Your Not Ugly, Kenneth Lum 1993. (page 34) The fence in the background is causing diagonals that lead us away from the photograph and towards the script. Each time you look at the two figures you are drawn back to the writing.
Ignore This Building, David Shirley 1998. (page 37) Diagonals in this image radiate from the fround up to the sky. This is due to the shape of the building as it's walls are not at right angles to the ground.
This is just an example of five photographs. Many more examples could be found throughout the book.
Ex 6: Curves
This exercise is to take four photographs using curves to show direction and movement.
This first image is of the County Hall London, now home to the London Aquarium.
A view from above show the sweep of the crescent roof. It draws the eye from the right of the picture and leads it to the centre of the photograph and then back out to the right.
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| Ex 6-1 |
The next photograph is of an open book. This photograph has similar properties to the picture above. It draws the eye to the centre of the picture and then makes it change direction.
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| Ex 6-2 |
The Vampire ride at Chessington theme park. This is just an inversion of the photograph of the open book.
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| Ex 6-3 |
The next photograph is of the Chappel Viaduct.
The curves in this picture act in a different way to the previous images. The eye is lead up and down the pillars while the slight diagonal draws the eye across the page. Interest is kept through the pattern of the arches.
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| Ex 6-4 |
These arches run through the pillars of the viaduct above, it is a simple and repetitive pattern, to keep the mind interested I have rotated the image through 180 degrees.
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| Ex 6-5 |
Ex 7: Implied Lines
This exercise is broken into three parts:
- To analyse the two photographs given.
- To provide three of my own photographs and show examples of lines.
- To provide two photographs of my own to show an eye line and an extension line or a line that points.
The first two photographs are showing the implied lines.
I found this exercise a little doubting. I would look at the photographs and then find something else to carry on with.
- How many lines should I find?
- Am I looking hard enough?
- Am I looking too hard?
- Am I reading too much into the photographs?
These are some of the questions that kept going through my head. I think that I have shown all the lines of importance to the images without colouring them in totally.
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| Ex 7-1 |
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| Ex 7-2 |
The next three photographs are ones of my own, implied lines are shown in the second of each pair. I feel looking at the images that maybe more lines are present other than the ones pointed out. For example in Ex 7-3b a diagonal can be seen crossing the image just above half way point. This however does not add to the image. It compliments the shore line and divides the picture into two.
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| Ex 7-3 |
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| Ex 7-3b |
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| Ex 7-4 |
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| Ex 7-4b |
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| Ex 7-5 |
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| Ex 7-5b |
The final part of this exercise is to show two more photographs demonstrating:
- an Eye line.
- the extension of a line, or lines that point.
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| Ex 7-6 |
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| Ex 7-6b |
The next photograph shows a line that points. The eye is drawn along the bridge to St Paul's Cathedral. As the bridge curves it has two opportunities to bring your eye to the point of interest ( at each pillar).
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| Ex 7-7 |
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| Ex 7-7b |
Ex 8: Real and Implied Triangles
This exercise requires six photographs in two sets. Three photographs of real triangles and three of implied triangles.
Real:
- A subject that is triangular.
- A triangle by perspective converging at the top of the frame.
- An inverted triangle also by perspective converging towards the bottom of the frame.
The frame of the wheelbarrow is triangular.
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| Ex 8-1 |
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| Ex 8-1b |
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| Ex 8-2 |
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| Ex 8-2b |
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| Ex 8-3 |
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| Ex 8-3b |
Implied:
- A still-life arrangement of five or six objects to produce a triangle with the apex at the top.
- A triangle as above but with the apex at the bottom.
- Three people in a group implying a triangle.
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| Ex 8-4 |
A still life with medals, correspondence and container.
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| Ex 8-5 |
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| Ex9-6 |
Ex 9: Rhythms and patterns
Produce at least two photographs, one to convey rhythm and the other pattern.
Rhythm
The images that I have shown to demonstrate rhythm are:
- The roof of the British Museum.
- A display at the British Museum called "Journey to The Heart of Islam"
- Windows of an office block.
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| Ex 9-1 |
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| Ex 9-2 |
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| Ex 9-3 |
Pattern
For pattern the photographs that I have used are of:
- A Tarantula.
- A Zebra.
- Lights on a bridge.
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| Ex 9-4 |
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| Ex 9-5 |
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| Ex 9-6 |
Reflection
Points
Ex 1: Positioning a Point
In this exercise two of the photographs follow the conventional rule of thirds while the second photo in the sequence has the point in the centre. While this is not the normal thing to do, I feel that the photograph is balanced in this case. Lines have formed in the sand either side of the point to add to the symmetry of the photograph.
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| Ex 1-6 |
I included further images as we were asked to make a collection for later use. In the fist part of this course I would try to find a scene with only one object in and fail. I found it a little eisier this time, maybe I am looking at things differently.
Of the extra photographs one is out of place, Ex 1-10. This does not fit the notes " for a subject to qualify as a point it has to be small in the frame". Because of this I would not use it as an example as I have.
Ex 2: The Relationship Between Points
I found this exercise harder to capture the photographs for, and as a result I find the first one quite week.
The image of the dog walkers was alot stronger and with an implied line running diagonally through the photograph adds to it's strength. It could be said that the groine at the top of the image is a point, but I feel that it adds no interest to the picture and isn't small in the frame, it can just be described as a line to move your eye back to the left of the image after the diagonal has moved you to the right.
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| Ex 2-2 |
Ex 3: Multiple Points
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| Ex 3-1 |
I found this to be a relatively straight forward exercise. Once I had my subject material (which I borrowed from my Son before he stuck it all together as a school project), it was just a case of setting the scene and grouping the objects. I kept the shells quiet close together so that they would balance the photograph with the seaweed.
Lines
Ex 4: Horizontal and Vertical Lines
Horizontal: I found horizontal lines to be easier to find in man made objects, buildings, walls... all with straight lines and level. Natural objects were harder to find, even in my examples the trees have been felled rather than fallen. Another fabrication of man. The photograph of the seaside maybe classed as a bit of a cheat. It shows the different bands of colour on the local beach and the different colours of the water as the sun hit it. Also on my screen it looks as if it's moving still.
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| Ex 4-5 |
Vertical: Again the photographs I have used for this example shows how man made objects dominate our life's. The only natural objects that I have used are trees.
Most natural horizontal lines that I found needed high view points to stop the distortion of perspective.
Ex 5: Diagonals
This exercise again seemed straight forwards. Using perspective, objects with diagonals, tilting the camera or finding converging angles are elements of my examples. Rather than just using one approach I tried to think of different ways to get angles into my photographs.
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| Ex 5-1 |
The strongest image of this set to me is the photograph of the steps broken on the beach. This is one of my favourite photographs of Part 2.
Ex 6: Curves
I had to think quite hard about this exercise. I had found straight lines, horizontal, vertical and diagonal, but with curved I didn't want to photograph wheels, mud guards, paddling pools or any of the obvious. I was please with the selection that I have to offer apart from Ex 6-4 (the viaduct). This is because it is made of many curves rather than a single one and this may reduce the effectives of the curve.
The extra image that I added (Ex 6-6) has many curves again, but I feel that it has qualities of most the lines mentioned so far. Perspective diagonal, vertical, curved and also has multiple points in the form of the dark crescent shadows.
Using Lines in Composition
Ex 7: Implied Lines
This exercise I found very frustrating. First with the images that I had to show the implied lines on. Was I doing too much? Was I looking to hard, or did I just not get it? I hope the results I arrived at are correct.
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| Ex 7-5 B/W |
More frustration was to come... making photographs with implied lines in too. I just need to keep changing the way I look at scene. I must see hundreds of implied lines... a nod of the head... an evil look... a gesture with a finger or even a foot... but when it came to photographing them they were not to be seen anywhere.
It only came to light as I looked at my pictures from a day out in London with my daughter that the implied lines were there... How could I have missed them all?
Shapes
Ex 8: Real and Implied Triangles
Real: Back to normality now. Photograph Ex 8-2 (path with converging triangles) is a shot that I seem to be collecting. I have a similar picture taken in Canada (except the path was about five miles before it curved slightly) and one in the Falklands.
The slightly hard one o find was the inverted triangle. I was thinking of taking a shot of a flyover from below and this would give the opposite effect of the perspective diagonals on the path. With Colchester not having any flyovers and trips to the City unknown I had to find my triangle another way. The result was a photograph of converging angles.
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| Ex 8-5 |
Implied: I nearly lost my teddy with this one... I could not think of how to form my still life with implied triangles. I think again that I was just wanting to run before I could walk. Again it just came to me and fell into place. The more I try to plan the more frustrated I get. As long as I have a sketchy idea of what I need everything goes ok.
The photograph of the three people playing was just spontaneous and the triangles on the carpet reinforce the shape.
Rhythm and Pattern
Ex 9: Rhythms and patterns
I found this part of the exercises stress free. Patterns can be found all over man made structures whether they are new or old. Nature also holds patterns in many forms.
I finished with a re-shoot of a location that I have already used... this was just to show which direction I am moving.
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| Ex 9-6 |
Plans for my next assignment are under way and I have two ideas in mind. I will shoot both ideas and see which come out best.
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