Objective: To produce four photographs which use diagonals as a dominant part of the composition.
4841: 1/320s f5.3 112mm
The roofline gables and first floor box windows give a strong diagonal from a low viewpoint and acute angle. A focal length of just 112mm was sufficient to compress the perspective enough to produce the desired effect.
4844: 1/500s f5.6 56mm
This image clearly shows diagonals from normal perspective. Despite being cluttered with traffic, you can see converging lines towards the horizon, not only of the road but of the rows of lamp posts as well.
4850 1/250s f8 18mm
This well trodden path across a field takes your eye from the gate to the second large tree in the distance and the wood beyond. By changing the viewpoint, you can increase or decrease the angle of the diagonal line. This line appears as a distinct change of colour along it's length.
4866: 1/60s f4.8 62mm
The rows of coppiced chestnut provide a diagonal line across the frame indicating a path through the trees.
Diagonals in images in the course book
I have looked through the photographs in the course book and almost without exception they all contain a diagonal line or lines within them. The lines are either implied by the relationships between objects, true diagonals (structures etc) or diagonals created from vertical and/or horizontal lines resulting from changes in focal length or changes in viewpoint. All add something to the composition of the image.
What have I learned?
Diagonals provide movement and direction in an image. They can be derived by the methods indicated in the previous paragraph. I am learning to look at all lines in the viewfinder and to think about how they can be used to enhance the composition and whether such lines can be the sole basis and dominant part of an image.