PROJECT 16: defining a point

This has been an interesting project for me as I discovered when looking through my archive that I have hardly ever used points as a design element in my photography.  In most of my landscape photography I have always used lead-lines and angles rather than points. This is quite a revelation and will open up all sorts of new opportunities. Jotting down a list of situations in which you can use a point is of course endless.  I had made two columns, the first is of specific examples and the second is the type of environment in which it might work:

Examples:
sky and cloud, sky and moon, grass and mushroom, jumper with hole, stone on sand, solitary person on mountain, sportsman on cricket field, child on rug, building in large empty landscape, postbox in wall, tummy button, rock protruding from water, tree in field, person in swimming pool, bread dough on table, window in wall, books on shelf with gap, boat on lake.

Situations:
with contrast, a hole, a change of pattern, different texture, different colour, different shape, point of difference, a change, an alteration, a chink, a flaw, a spot

Examples:
Very, very small points

Image 1

Image 2

Image 3

 

I had to really dig deep to find any points at all, and the very, very small variety are thin on the ground and you could argue that image 2 has a significant foreground so doesn't really count.

Small points

Image 5

 

Image 6

Images 5 and 6 are probably the best examples from my collection of 'points' that are not so small they're nearly invisible but small enough to be defined a point.

Larger points

Image 7

Image 8

Image 9

I have more images with slightly larger points, but image 9 in particular is getting much less 'point-like' given that it is so much bigger.

Multiple Points

Image 10

This is an example from my portfolio using more than one point, creating a triangular shape.

Examples from other artists

For other examples I browsed through the Bruce Silverstein Gallery online for inspiration.

Todd Hido  is a landscape photographer who has "focussed his attention on the American landscape, a subject explored in his widely acclaimed series Roaming. . . Looking from the vantage point of his car seat, and shooting outward through ever changing layered mixtures of condensation, grit, and reflecting glare upon the car’s windshield, Hido masterfully transforms the mundane terrain peripherally sandwiching the myriad of roads typically dotting the outskirts of American cities, into inexplicable poignant images, filled with cinematic gravitas and dream-like sublimity, often “crossing the double lines’ between painting and photography". 

Studying his recent collection 'A Road Divided', Hido uses lead-in lines frequently with the roads.  But 'points' are visible by way of tree blossom, a vehicle, trees, telegraph poles, car headlights. What is interesting is the placement of the 'points'  which is often extreme on the edges of the photograph so that the whole object is purposefully not visible to the viewer.

Maria Antoinetta Mameli illustrates very clearly the use of points and the absence of any other distractions whatsoever. "By cutting everything off, I remove every possible element of distraction to focus on reality and surrounding emotional life through a telescope, so that space and time become non-existent. My subjects are made not only of forms, but shadows. The forms and their shadows being inextricably linked like body and soul, life and death. By reducing the subjects to minimal size, I force the viewer to get closer to my work not only physically, but also emotionally. I created my aesthetic space where the facets of human condition are under the sharp scrutiny of my lenses".

In her collection, there are extreme examples of how 'points' can be used.  They are most often placed centrally and very, very small.  This illustrates how 'less can be more' and by excluding all distractions your eye is automatically drawn to what the photographer wishes. The photographer can therefore push the boundaries of how small the subject or point can be. I like the concept and the impact the pieces have, however the finish does appear 'over-processed' or artificial.

Richard Misrach provides another good example of how 'points' can be used. He has taken an aerial view over beach/sea scenes to achieve the effect.  Again the points vary in size but still have impact when very small. This is a good illlustration of how points can be used effectively.

In conclusion, I intend to use points more in my own photography as there is a noticeable absence in my own portfolio.  In addition, without too much research I have found various examples of how points and where they are place can make for an interesting composition and perspective.

PROJECT 11: it's a balancing effect

I'm feeling the blues today - hence the blue ink (how profound!!).  Without dwelling on all my woes, which we all have, I will continue to write up this project which I enjoyed.  My only woe I will share is that this 'crappy' weather means no photography.  My attempt at photo-journalism and photographing the aftermath of the floods just feels wrong to me.  Instead, I used my morning to collect up lots of clothes, towels, bedding and toys and delivered them to the flood relief centre.  That feels more right to me.

Anyway, I'm lacking material at the moment given many other distractions. But this idea of balance really appeals. I like symmetry and balance, circles and finished lines!!  The project required you to take half a dozen of your own photographs and decide how the balance works in each one.  It doesn't matter whether the main elements in the picture are masses of colour or tone, arrangements of points and lines.  What seems dominant in the pictures? 

Image 1

This was taken in Cockermouth several days after the flood.  It was taken fairly quickly and with a road between me and the bus I didn't have much option in terms of where to stand. I mentioned previously and I still struggle with this, is how to focus the eye when there is so much 'noise'/congestion in a picture.  This is a classic example, the tree adds nothing to the picture but in terms of balance it is very dominant and therefore I composed the picture with this in mind.  Also the background is distracting.  I have already used a shallow dof to focus the camera on the bus.  In terms of balance, the bus is the large focal point and takes the larger part of the image.

Image 2

Indoor shots have been the order of the day.  Image 2 will be used for my christmas cards hopefully.  It is three composite images put together.  As I do not have a studio kit and it was a very wet, dull day when I took the photos the background came out grey and not white which is what I wanted.  So I have had to increase the exposure significantly, increasing the blacks and contrast, and reduce brightness.  This creates a high-key effect which I like although unfortunately with this manipulation I have lost some quality and realism. Composition and the rule of thirds does intrigue me when it comes to portraits as I find the rules harder to apply.  Although in image 2 it is straightforward as there are three subjects.  My eldest child is taking up the most space on the right and my youngest is sat lengthways so the balance is symmetrical.  However, I am still confused when it comes to a portrait of one person.  In most 'head' portraits, the subject is in the middle of the frame unless the environment has something else to offer.  But this then makes for a static image doesn't it? While I'm writing this, I am beginning to recall some diagrams of the Mona Lisa and the golden section - aah yes, here it is. But this does follow the rule of thirds, the head is in the top third of the picture.  What about this twiggy portrait, yes this does too. And the Afghan Girl, Sharbut Gula (National Geographic 1985), mmm, not central either.  Keep going. This Jack Nicholson portrait is slightly different.  It is such a close-up that the face is central in the image.  However, the focus in the image is the eyes which is not central and again, follows the golden section.  So, for portraits, it seems the golden section is still followed either by including a certain amount of the body for the face to be off-centre or close-up so the point of focus is not central.

I've gone off the point a little. Moving on to image 3.

Image 3

This is a grocers in Whitehaven which I think is just fabulous.  The reason I like so much from a photographic point of view is that the building in which the grocery inhabits is lovingly looked after.  It is 'pristine', well painted, clean and colour-coordinated.  And then next door, damn it, is an uninhabited terrace, empty shop that is short of love and a lick of paint.  Sometimes, the grocers extends his goods infront of this redundant building.  I love the contrast, the yin and yang and particularly like how the christmas lights are attached to the redundant part of the building. It also doesn't seem to be a temporary arrangement. I was pleased with this image in horizontal and similar vertical one. 

To start with, image 3 interests me from a balance and golden section perspective. Firstly, I was concerned that I sliced the image in half which compositionally should be weak.  I guess from a balance point of view this works.  However, I still really like this image despite the central cut between the two sides of the building. I think perhaps why it may work is that the windows and various floors of the building are not central and create pattern and further interest between the two sides.

An alternative of the same image is below:

Image 4

Image 4 is not sliced down the centre.  I have moved it to the left in order to 'fit' the rule of thirds more closely. The balance still works as the larger, cream building is dominant.  This should, according to the rules work better from a balance and compositional perspective. But I don't like it as much.

And finally Image 5, a reject from assignment one, at first glance shows equal balance on the scales. I should be happy with this, however, I am concerned that in many of my shots I do cut the image symmetrically, either horizontally for horizons or for portraits and studio shots.  This does sit uncomfortably with the rules of thirds.  I am hoping that the following section of the course will help with this. 

Images such as the Arbus Identical Twins image seen here uses symmetry to assist the viewer in seeing the differences.  However, Bill Brandt (1904-1983) who was a master at both portraiture and landscape used high contrast techniques and as seen here his nude portraits use lines and shapes rather than symmetry. I need to be careful not to overuse symmetry in my photography which by nature I seem to be drawn to.

PROJECT 14: vertical and horizontal frames

For this project, the purpose was to take 20 photographs vertically and consider the restrictions.  Did I position the main weight of the image towards the bottom?  Then you were required to take the same subject but in a horizontal format and then decide whether taste, habit and preference are more restrictive than the orientation of the image itself.

My wide-angle lens still hasn't come back from the doctors so I used my 50mm prime for the following photos.  This limitation was in many ways more frustrating than the vertical format!

I took myself to Whitehaven for the morning.  The seafront and harbour has been developed beautifully with many unique features that add so much interest. Today, I was with my youngest tucked up in the pram.  So laden with nibbles to keep her temporarily happy and wrapped up like an onion as it was a wee bit parky this morning, I started clicking.  However, because I was with child, I swiftly moved from subject to subject not taking the same time or thought in composing the shots. 

On the cobbles at the harbour there are a number of metal fishes embedded in the cobbles.  They are really attractive.  For this particular subject a vertical or horizontal frame (images 1 and 2) doesn't much matter.  It is a fairly abstract and small subject. For both images I have converted to b/w given the lack of interest in the colour and distorted the angle slightly so the lines of the bricks run straight. I'm undecided which I prefer.  The lines of the bricks in image 1 run nicely up and down.  However, in image 2 there is space in the direction the fish is facing but the lines of the bricks run in the opposite direction 'creating tension?!? (I've seen that term written a lot in photography books!!).

Image 1

Image 2

For the next subject (images 3 and 4), I wanted to capture primarily the enscription on the bench: '1910 Wellington Pit explodes taking the lives of 136 men and boys'. What would our health and safety bods have to say!! There are numerous benches dotted around, all with a little piece of local history, a nice touch.  In addition, I love the shape of the bench and how it resembles the tail of a whale.  I have saturated the blues too.  I didn't have the right lens for this subject which means I haven't got the whole bench in the shot, particularly noticeable with the vertical image (image 4).  Infact image 4 (the vertical frame) fails to achieve what I intended as the words are lost completely, the composition is poor although inadvertantly the shape of the tailfin is more visible than in image 3.  Having taken these two shots, I have learned that the vertical composition is significantly harder to achieve well with a subject that has predominantly horizontal lines.  

Image 3

Image 4

Walking further down the harbourside I came to the start of the c2c - still on my list of 'things to do'.  I am disappointed with these two images (5 and 6). The lighting was good today, it is a photogenic 'sculpture' (for wont of a better word) and nice setting.  And I've made it look incredibly ordinary, flat and yes, dull! To do this justice, I would need to come at the beginning or end of the day when the light provides more contrast and colour between fore- and background. I would probably try to reduce the dof so the background becomes blurred.  I may also try a long exposure too to blur everything behind further so your eye is drawn only to the 'c2c'. 

But maybe that's because I'm used to photographing emptier and larger landscapes. Busy and urban scenes I am less experienced with and I find more challenging. I struggle with so much 'clutter' and 'stuff' in images like that. I find it really hard to get the photo to talk in a coherent way - there are so many messages that I lose the point of the image. And this is without the wide-angle lens!! I undoubtedly need more practice with this type of photography. I also suspect I have a preference for more minimalist, spacious and less busy scenes.  I'm sure I'll begin to consider these thoughts more as the course progresses.   

Anyway, back to images 5 and 6, I marginally prefer image 5.  As the course material implied, vertical objects are more suited to a vertical frame and this has been the case here. I have also naturally positioned the sculpture towards the bottom of the frame. In image 6, the sculpture is a a little squashed top and bottom, and for me there is too much noise around it, although compositionally it is stronger.

Image 5

Image 6

For the following two images, I looked down at the ground again - not my normal choice of subject. However, so much effort has gone in to the cobbles, designs and shapes, it deserves photographing.  I have upped the colours in images 7 and 8 to accentuate the lines and colours.

Image 7

Image 8

The curves in the cobbles create a lovely shape. There is no specific focus in these images (7 and 8), it is more designed by shapes and colour. Both are generally balanced however, I wish with image 7 that I had caught the red brick border completely in the bottom right. For me, it looks cut short and wrong. However, this has nothing to do with the vertical orientation and more to do with weak composition by me. I think also that I do prefer image 8 as the lines flatten and curves veer away to the left and your eye is taken further than in image 7.

Next stop was this bike rack - again, very unique but I don't think I've done it justice.  I went for the more abstract approach. This was neither tall or wide so the benefit with orientation was negligible.  I prefer image 9 as what attracted me to this subject was the glass shapes and the light shining through and this image means more panels are visible. Although image 10 has some sort of 'human' factor and the smile of the fish becomes the focus - not intentional but quite nice.

Image 9

Image 10

A very noticeable landmark at Whitehaven is 'the Wave'. When lit up at night it is spectacular.  Here is an image I've taken in the past of the wave. Again, the shape of the wave - a long, horizontal line is conducive to the landscape orientation.

Image 11

Image 12

Image 13

I have lost sight of this particular project as events have taken over here.  But when I get back out, I'll try a few more of these images in vertical and horizontal frames.

PROJECT 8: a dry interlude in Cockermouth

On Thursday morning I had the kids in the car taking them, as every week day, to school.  But today, when I left the house I forgot my phone (again!), it was raining heavily and the road was already a river.  The small road below our house was flooded.  I got to the main road and thought 'today is not the day to leave without a mobile phone'. I turned tail to get my phone.  On returning home and picking up my phone, my phone was flashing - there was a message from school informing us it was closed due to flooding.  The kids faces looked at me disbelievingly and rather excitedly.  Since then, we haven't left the house, keeping safe, dry and out of harm's way. The weekly shop would have to wait.

At first, Thursday was just like every other rainy day in the Lakes, of which there are many.  However, as the day progressed, the volume of water was clearly causing problems. 

We live on a hill in a village, a five minute drive from Cockermouth. It was wet here, but the water tends to just stream down the hill along the road and through the sodden fields.  However, images of Keswick seriously flooding started to come through and then I was glued to the news bulletins.  I watched in disbelief as the images of oh-so-familiar Cockermouth high street started to filter through.  Water half way up the windows of the shops - unbelievable.  I texted to offer help to several friends who I knew had houses that would be in danger. One was already sheltering at a friends house.

Friday morning we wake to hear that the flooding had worsened significantly overnight and had become a one in a thousand year flood, a policeman missing, bridges collapsing and the flood water having risen to the top of the shops and hundreds being rescued.  A shock is an understatement.  I could not quite comprehend the shocking images on the telly and the fact they were a stone's throw away.  My natural instinct was to get my bucket and help - not that I would be much help.  More sensible, stay at home.  Another friend rang, the flood waters overnight had reached 1.5m around their house, pouring in through the cat flap.  And it had receded enough for them to start the clear up.  So Friday, we looked after their little girl.  All day on Friday I could concentrate on nothing, news24 was on all day and we watched in horror. PC Bill Barker so bravely doing his job. I can't stop thinking about him and his family.  Strangely, the weather on Friday was lovely and from our window it seemed impossible that all the emergency services were still rescuing people, the high street still under water.

Today is Saturday,  we were completely out of milk, bread and other supplies.  I also knew that another wet weather front was on its way (it's here now as I write) so this morning I got up early to get to Sainsburys and maybe take the opportunity to take a few snaps.  Sensibly the whole of Main Street was cordonned off (although I admit I was a little disappointed) so the opportunities for snapping were limited. 

So this morning is my first attempt at recording a sequence of shots.  The sequence is cut short by the lack of accessibility but over the next few weeks and months it would be nice to record how Cockermouth rebuilds itself, which it undoubtedly will. The lights are due to be switched on at Cockermouth tomorrow night which of course will now have to wait.

I don't know why but I feel very self-conscious and uncomfortable taking photos in public places.  I sort of feel I'm invading peoples privacy and being nosy.  I don't want to be one of the 'paparazzi' or 'the crow attacking the roadkill' metaphorically speaking.  I do need to practice this as it is inhibiting.   Recording an event seems less important when so many emergency services are providing so much help.  Anyway, these are my shots.

RNLI rescue boat in Sainsbury's car park

Rescue Service: free hot soup and drinks

dozens of emergency vehicles line the street

Cockermouth fire station becomes the base of the emergency services

The clean-up begins. Wordsworth house and Main Street is still closed

an emergency centre is set up

There are some phenomenal images that have been taken of the floods.  These are pretty feeble in comparison, but I stuck tight when the floods hit.  I have to say, there was a really small part of me (the photographing and inquisitive part) who wanted to see it.

Anyway, to finish this, I am not satisfied with any of these images  so will return another day to continue with this project. Praying now that the rain passes quickly . . .