Part 1 The Frame; Project:Cropping and Extending

Exercise: Cropping

Objective: To look again at three images and find improved or different pictures within them. I have chosen one recent photograph from a series I took for the different focal lengths exercise that I didn't use and two from recent trips to Cornwall and Montenegro.

4153: 1/320s f5.6 200mm

This folly on the Downs above South Harting was photographed at the limit of my zoom lens and more that half the image is dominated by the foreground trees. there is also some reflected light  on the right edge of the frame. I decided to keep the aspect ratio and cropped as shown by the crop frame below:

This crop frame image is a screen shot of the crop tool in use in Capture NX2 where I do all of my image editing of NEF raw files. Having saved the screen image I then paste it into a new canvas on Photoshop, save it as a JPEG and resize it.

The file size was sufficient to give a good quality image when printed at A4 size. I have put the prints in my display folder. The comparable sized image is shown below.

2441: 1/400s f10 32mm

Bude Bay: This was the first of four in a panoramic series. Taken from Compass Point in Sept 2010 of a clearing sky after a previous day's rain. I wanted to bring the headland and houses in the mid ground forward, lose most of the bank in front of me and the boat at bottom right which is a distraction. I decided to keep the two figures for interest. The rivulets of wet sand make dynamic shapes in the foreground. I have lowered the horizon and kept most of the sky.

Again, the file size was sufficient to enable a comparable size print to made and placed in my display folder:

2002: 1/100s f4.8 56mm

Alley in Kotor old town: This was just a tidy up, removing the rusty iron reinforced corner and pale strip of stone to the right and the part door frame on the left. I decided against maintaining the aspect ratio by cropping the bottom or top as I wanted the irregular vaulting and the multicoloured flagstones in the foreground to emphasise the height of the alley

What did I learn? Using the crop tool can be useful for tidying an image after shooting, especially when viewpoints are limited and you have to include details on the edges of the frame in order to achieve detail at the top and bottom of the frame, as above. Using zoom lenses can reduce the need for cropping if used well but making small changes to improve an otherwise satisfactory image can be easily achieved using the crop tool.

Extending: Image 2441 (above) is the first in a series of four that I took for a panorama. It is quite successful considering it was taken "freehand" i.e without a tripod.

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Part 1 The Frame; Project: Frame shapes and sizes

Theories of frame division
I have read about the size and shapes of frames and been introduced to the idea of the Golden Section (a traditional rectangle of pleasing proportions 144:89) and the theory of Fibonacci divisions. The maths of these theories escaped me and the explanation in The  Photographers Eye was sketchy but I was previously aware of the use of the division of the sides of the frame into 3 and the use of the intersections of these thirds to place points, lines, objects etc to make pleasing compositions. I was also aware that like all aids to composition, they should be used selectively and in relation to the subject matter and not as a 'rule' for composition which would result in formulaic compositions.

Exercise: Vertical and Horizontal Frames
Objective: To take a series of photographs using vertical format and then repeat each frame in a horizontal format. It should be possible to achieve some good compositions using the vertical format and in some cases, a good result may be achieved using both formats.

I went to the village of Selborne, walking through the village and into the churchyard. My camera was set in programme mode and although I intended to use a fixed focal length lens to discipline myself to frame images consistently, it soon became apparent that because of the narrow working space in the village street, I would need the wide angle end of a zoom lens. Shown below are two 'contact' sheets from both parts of the exercise.

Vertical

Horizontal

I have selected  three subjects which have worked reasonably well in both formats and shown them below.

The Plestor Green from the churchyard: These two vertical images made pleasing compositions. The second was rather spoiled by the  the yew branch at the top but the third and forth, horizonal format from the gate are an improvement.

4229: 1/500s f5.6 62mm

4232: 1/250s f8 50mm

4228: 1/500s f5.6 62mm

4233: 1/200s f7.1 50mm

Plestor Green 2: This alternative view of the green using the tree as a dominant feature seems to work well in both alignments too.

 4227: 1/250s f8 22mm

 4226: 1/250s f8 22mm

Church Meadow: Again I have chosen a tree as the feature of this landscape which works well in both orientations.

4238: 1/200s f7.1 29mm

 4239: 1/160s f6.3 29mm

What did I learn? Over many years I learned to use the vertical format in many situations. I find it  instinctive to turn the camera to the vertical position to frame a shot if necessary. In this particular location, most of  the buildings favoured the horizontal format as they were close to the road with little in the way of foreground interest. I wasn't until I got to the Plestor Green that the forground became more interesting and could  be included.

Part 1 The Frame; Project: Dividing the Frame

Exercise: Positioning the horizon

Objective: To take a sequence of photographs of a landscape with the horizon in different positions to evaluate them and decide how many of them work.

I climbed Wheatham Hill, overlooking Oakshott and Hawkley and recorded the following  five images. Unfortunately the foreground was in the shadow of the hill so the contrast changes dramatically as the sky occupies less of the frame. Camera set on programme mode, wide angle zoom. Click on any image to see a larger version. Click the back button on your browser to return to this page.

Image 4169: 1/320s f9 18mm

This low position gives prominence to the sky but cuts off the detail at the bottom of the frame. I need to know what is below the trees.

Image 4170: 1/200s f7.1 18mm

This puts the horizon just below half way and reveals the details amongst the trees and the slope below the camera position. This appeared to be the natural  "eye level" from this position.

Image 4171: 1/160s f6.3 18mm

At the vertical mid point the composition is static, revealing more detail at the bottom of the frame and more of the path down the slope.

Image 4172: 1/160s f6.3 18mm

With a lot more of the foreground included, different textures from the frosted leaves are revealed. I think this is as much of the foreground as I would like to include.

Image 4174: 1/25s f 11 18mm

There is too much foreground here. The dynamic has shifted and my eye is drawn to the middle gound and without the sky the landscape lacks depth.

My preference is for image 4170. It has all of the detail, the sky graduated  at the horizon gives depth to the picture and the deep blue at the top of the frame seems to balance the foreground.

What did I learn?

The position of the horizon is important and is one more element which can effect the balance of the image. Placing it low can give an image stability. If there is a lot of detail or contrasting colour in the sky this can be effective. Placing it high will enable you to include more detail in the foreground but the camera position (i.e. high or low) governs how effective this will be. In this example, the ground falls away immediately below the camera position enabling a lot of the foreground to be included.

Part 1 The Frame; Project: Dividing the Frame

Exercise: Balance
Objective: To be able to identify the dominant parts of some of my recent images and interpret how this may be used to establish whether the image is balanced or not. I have read a lot from "The Photographers Eye" to try to come to terms with the concepts of balance and dynamic tension. I have made some notes which I think are relevant, for each image I have analysed.
Image 1

I have identified the two dominant objects. Both are centrally located, grouped around the centre line of the image, they appear to balance. The diagonals of the tree line (right), the kerb side and road markings lead the eye to the right giving some dynamic tension to an otherwise statically balanced composition.

Image 2

There is only one dominant object here which is off centre and that results in tension. The horizontal banding, blur  and the drivers eyline reinforce the movement right giving dynamic balance. 

Image 3

This was more difficult, looking at a single object that virtually fills the frame. It seems to be placed with equal bulk either side of the centre line. However, the upward curve  and the strong diagonal point to  the top right hand corner introducing tension giving dynamic balance.

Image 4

This was the simplest to analyse being a single object which has dynamic balance with the empty space and  the shadow line to the right. See exercise notes: Here

Image 5

The dominant feature (the village) and the cultivated fields (contrasting colour) suggest static balance but the lines of the field boundaries and wooded slopes introduce tension, moving your eye from the dominant spire  diagonally to the top left.

Image 6

Static balance is achieved by the silver birch tree and the sunlit wall to the right. Although the building dominates the frame, it is not central. Horizontal shadows provide a base and strong verticals suggest rigity.

I have looked at he three examples given in the course notes and decided they are balanced as follows:

On Sussex Downs: The dominant features are the track and the beech hanger on the horizon, the one leads the eye to the other giving dynamic balance.
Farmyard: Symmetrical balance is achieved between the buildings on the left and the tree and silo on the right.
Quintin Hogg QC: There is dynamic balance here. The seated figure dominates and my eye is constantly drawn to the face. However, the hat below the paler wall to the right keeps attracting my eye but  it immediately returns to the figure.

What have I learned? This was not an easy exercise. There are many factors which can effect the balance of an image, the placement of objects, the flow of lines, the position of points, the shape and contrast of areas of colour, light and shade. All play their part. As indicated in the exercise notes, simple uncomplicated images are the easiest to analyse. It would have been easy to search my archive for simple images to analyse but I stuck with images I have taken for the previous exercises.

From “The Photographer’s Eye” I have read, learned and made rough notes about the following:

Balance: The resolution of tension – is at the heart of composition “opposing forces that are matched to provide equilibrium and harmony”. Balance is harmony. Resolution = a condition that seems intuitively pleasing. Balance can apply to any of the graphic elements of the picture (see chapter 3). Balance is resolved by looking for the visual centre of gravity of an image using the weighing scale analogy (see examples  above).

There are two kinds of balance; symmetrical or static where everything falls away equally from the centre. Placing objects in the centre creates this. Arranging equal sized objects around the centre has the same effect.  The second kind of balance is dynamic balance where opposing weights or forces that are unequal are arranged around a fulcrum so that they appear balanced. See example above:

Imbalance shifts the view to one area of the image. See examples 2 & 4 above.

Ratios, Harmony and Balance

Natural harmony can be extended to music and visual proportions as well as colours. Successful expression does not always mean harmony, expression can also require tension. The extremes are symmetry and eccentricity. Symmetry must be precise or it appears sloppy.

Bilateral symmetry: boats, buildings.

Balance and gravity. Strong verticals express up /down movement, horizontals provide a firm base. c.f. standing upright on level ground.

Part 1 The Frame; Project: Focal Lengths

Exercise: Focal lengths with different viewpoints.

Objective: This exercise will demonstrate the effects on perspective of changing both your viewpoint and your lens (or focal length of your zoom lens).

Camera Settings: I used programme mode for this exercise. The camera settings are attached to each photograph. The two images were taken at zoom settings of 82mm at a distance and at 18mm close to the building. I chose to photograph the Chichester Festival Theatre. It is a hexagonal building and I thought it would enable the effect of perspective changes to be seen clearly.

4160: 1/320s - f5, 82mm Perspective: The short telephoto image was taken about 250m from the building. You can clearly see three of the hexagonal sides and the roof lantern. The trees and the flagpole in front on the building seem fairly close to it. The roof line where the centre and left sides of the building meet has a very shallow angle. The viewer would feel quite a distance away from the building. The horizontal shadows in the foreground reinforce distance

 4163: 1/160s - f6.3, 18mm Perspective: The wide angle view was taken between 20 and 30m from the building. From this angle of view, only two of the walls can be seen, the third is hidden behind the right corner. The roofline is also curved and the other side walls appear to be at a more acute angle. The flagpole is not in shot and only three of the smaller trees appear in front of the building. Lines and surfaces that we know should be vertical and horizontal appear to be pushed out of shape. As the building's shape has been pushed up (the roof latern is no longer visible) the viewer's impression of proximity will be confirmed. Curiously, the area of the frame dedicated to the foreground is the same, although the distance represented is much less.

What did I learn? Wide angle lenses can be used very creatively especially at the extreme end. Telephoto lenses can flatten perspective. Both have advantages and can be used creatively with line and form.

Part 1 The Frame; Project: Focal Lengths

Exercise: Focal Lengths, the angle of view.

Objective: This will demonstrate the simplest effect of changing between lenses of different focal lengths or in this case, the effect of a range of focal length settings on a zoom lens.

Camera settings: An open scene with distant views was chosen and a 18-200mm lens was attached to the camera set on a tripod. I chose seven settings as marked on the barrel of the lens. The camera was set to programme mode and ISO 200. The settings are listed with each photograph. I recomposed the photograph where appropriate as the focal length changed.

4146: 1/125s - f8, 18mm

4147: 1/250s - f8, 24mm

4148: 1/250s - f8, 35mm

4149: 1/250s - f8, 52mm

4150: 1/500 - f5.6, 75mm






















4151: 1/400s - f5.6, 135mm

4152: 1/400s - f5.6, 200mm

What have I learned? Using a loupe as suggested, I can see that there is no change in the relationship between elements of the picture, i.e.. the church spire's relationship with the surrounding trees is constant. the angle of view of the scene has changed from about about a mile and a half (in the middle ground) at 18mm to approximately half a mile at 200mm. As I was so high up and I wanted to keep the church spire in the right third of the frame, the horizon has risen out of the picture. The hillside in front of the camera and the copse below it as also dropped out of the frame as I re-composed the image to keep the church as the centre of interest.

Part 1 The Frame; Project: Looking through the viewfinder (continued)

Exercise: A sequence of composition.

Objective: To help in and record, the practical process of composing an image.

Location: Alton Farmers Market, Saturday 08/01/11. The market was extremely quiet and the light was not ideal. I waited around a lot for the forecast sunny spells but only one arrived. I have shown below the sequence of images that I took and a larger version of the final image.

Camera settings: As I wanted to work quickly, I set the camera to Programme mode and the ISO setting to automatic (to cope with the low light and the sudden change that occured when the sun shone). That way, I could concentrate on framing the shots. Below are two contact sheets of  the sequence of shots that I took. Clicking on each one will open a larger version:

 As alluded to in the course material for this exercise, I did find it difficult to concentrate on framing a shot. There were a lot of false starts and distractions on the way but I have extracted a sequence and annotated it:

4124  1/250s f8, 40mm As the sun came out, I was by the bakers stall and framed this shot:

4125 1/500s f5.6, 150mm I zoomed in on the loaves to his left:

4126 1/200s f7.1, 32mm Deciding I wanted to include the bread  the baker and a customer, I moved around the stall:

 

4127 1/160s f6.3, 34mm The baker has bagged the customers purchase, I zoom in a bit closer:

4128 1/160s f6.3, 34mm The customer is handing over her money - sale complete:

4128 Final Image: After making a few adjustments to the levels and curves and a final crop, this is the result. I have recorded the bread, the stallholder and a customer.

What did I learn? The lady in the background with the red anorak is a bit of a distraction but otherwise I'm quite pleased with this outcome. When I get another opportunity, I will repeat this exercise, putting in to practice the the lessons I have learned about deciding on a subject and concentrating on working towards one final shot.

I also learned how to print contact sheets "to file" in my photo editing software, which makes producing thumbnails for this blog much quicker.