Design - Elements of Design (Assignment 2)

Requirement

10 photographs of a similar subject, incorporating the following effects:

• Single point dominating the composition
•  Two points
•  Several points in a deliberate shape
• Combination of vertical and horizontal lines
• Diagonals
• Curves
• Distinct, even if irregular, shapes
• 2 types of implied triangle
• Rhythm
• Pattern

Chosen from one of these groups of subjects

• Flowers and plants
• Landscapes
• Street details
• Raw materials of food

Summary notes/ Images

I chose urban landscapes as the subject of my assignment. All the images were taken in London.


Tutor's feedback
Strong, thoughtful work, well presented.  You've created a visual essay for street views that could be developed further, perhaps using the following themes:

• People resting in a busy city – the contrast between being colourfully dressed for leisure and the solid grey working environments.
• People (their postures, figures, forms) against the hard grey matter of the city.  People are often isolated here.
• The way people ‘fit in’ to urban environments, often seeming to be players in a stage set.

Blog
Include more about your choice of subject.

Sources of new ideas
Look at: 

• 'Street Photography Now' - Sophie Howarth, Stephen McLaren
• Toshio Shibata - see work on ‘isolated’ forms like dams and concrete river works that resemble sculptures.

Pointers or next assignment
Look at advertising photography. It makes strong use of colour to lead your eye. 


Single Point

• Relatively small area constrasting with its background but with strong impact
• Choice of position - centre, off-centre, edge - must support purpose
• Movement created by tension with frame - up & down and left & right
• Direction - organises/divides frame horizontally and vertically

Lunchtime reader relaxes at the base of the 'Pineapple'* in Paternoster Square

Warm advancing colour of the subject's T-shirt and
interest in the human figure provide the contrast
to set up the subject as a point. Placing him in bottom left
encourages the eye move between him and background.
His shape implies a weak triangle.

* The 23m tall Paternoster Square Column. Made of Portland stone topped by a gold leaf covered flaming copper urn, it bears the nickname the 'pineapple'.

Strong image.

Two points

• Points have 3 relationships: (a) with the frame, (b) with each other (implied line) and (c) with surrounding space
• 1 of the 2 points will dominate the other if (a) closer to foreground, (b) nearer to centre or (c) bigger
• Tension betweeen points can energise image

Shadows of commuters on pavement outside Chancery Lane Tube station

The shadows make 2 points on the pavement with
the larger, nearer one dominating. The difference in size and proximity
of the 2 commuters helps to convey motion. Although they are walking out of the frame, their shadows hold the eye within it

Well observed. Keep your eyes open for more such imagery. When you find a successful theme, keep snapping it until one finds the best of the bunch. 

Multiple points

• The eye follows a line. It also tries to create a line(s) from appropriate suggestions: the brain and the eye work together to resolve incomplete forms
• Implied lines between points create impression of shape, if suitably organised

4 clocks at Canary Wharf

The clocks act as points of light on a dark background.
The camera angle sets them in the shape of a
parallelogram, although one might also see 2 triangles.

Nice. However, try it in black and white or at least de-saturate the coffee stall on the right so that it doesn’t pull the eyes over there.  

Combination of vertical and horizontal lines

• Lines often edges of objects and reinforced by frame
• Graphic effect - divides frame, helps locate elements, gjves sense of direction
• Expressive value - horizontal lines (stable, static, have weight)/ vertical lines (moderate sense of movement, upright, strong)

Early stage in the building of The Pinnacle, Bishopsgate

The horizontal silhouette of the outside fence
contrasts with the mainly vertical lines
from the surrounding buildings and
cranes

Even though I prefer the images with people in the city, this image fills the frame and is a well composed collection of shapes and lines. Try removing the word on the crane. 

Diagonals

• Dynamic - leads the eye
• Creation largely by camera angle and perspective (lens)
• Wide angle lens - close to edge or surface to emphasise linear perspective
• Telephoto lens - used at angle to parallel lines, edges, rows of objects to give powerful effect of compression and repetition

Walkway to road bridge across Upper Thames Street

The wooden fencing around the steps shot
sideways provides a strong diagonal of mid-tone
browns against the dark green glass of
the nearby building. 

Clean, well ordered composition. But it does look a bit soft – is a high ISO setting?  Try to keep your camera steady – even prop it on something to steady it.  

Curves

• Dynamic - leads the eye
• Often low viewpoint gives acute angle to strengthen curvature

Steps leading to the London Assembly building

Shot from a low angle to emphasise the curvature of the steps
and the edge of the Assembly building. The climbing
figures adds to the sense of motion provided
by the curved steps

Good use of wide angle to exaggerate the curve.


 

 

Distinct shapes 

• Dynamic - leads the eye

Birds eye view of people eating their lunch near the Monument

The pillars set up one irregular, close triangular
shape, whilst the 2 banks of chairs imply
semi-circles which echo each other

Well ordered. Was there no way to include the whole object on the right?

Implied triangles

• 4 most common clues that create implied lines are – (a) a row of points (or objects) (b) line that points in a certain direction (c) suggestion of object in motion (d) the direction of the human gaze
• Triangles often seen as 'pointing' - low viewpoint = upward pointing, high viewpoint = downward pointing

Detail of front elevation of 6 More London Place

The change in tones and the framing sets up
several triangles of different textures

These are four very evident triangles.  Implied triangles are made between three separated objects – three people for example.  If you draw a line between them you form a triangle

Rhythm

• Dynamic repetition
• 4 types (a) elements regularly alternating, (b) change in shape at regular intervals, (c) change in colour or size at regular intervals (d) different elements that echo each other, esp. in shape
• Encourage viewer to imagine that rhythm continues outside image (no space between pattern and frame)
• Rhythm may need a constrasting element to break repetition

View down street near Green Park

Use of telephoto lens at acute angle to a section of
terraced buildings. Leads eye towards the Union Jack. Flag breaks rhythm but adds interest 

Most obvious and clichéd of your images – the telephoto lens squashing the vertical lines of houses into a steady rhythm of lines.  When you know something has already been done – avoid it and try something new!  

Pattern

• Static repetition - does not encourage movement of the eye
• Usually best used as a secondary element
• As elements of pattern become more numerous, tend to become a 'texture'

Adelaide House on north bank of London Bridge

Symmetry of windows sets up the pattern. Continuity
outside the frame by framing within the building edges

Features like the statue could be lifted subtly with a bit of dodging.  It would be nice if that stood out a bit more.  

Rhythm and Pattern (2.5)

Requirement

At least 2 photographs, one showing pattern, the other rhythm

Purpose

To show how to create interest when photographing design elements massed together.

Technical learning

• Repetition has strong appeal in photography – a visual beat as opposed to a musical one
• Repetition comes in two forms:  pattern and rhythm
• Pattern is static, rhythm creates 'movement'
• Movement  is the path the viewer’s eye takes through an image, often to a focal point: it can be directed along lines, edges, shapes and colour
• Key to drawing out repetition is (a) distance from subject and (b) choice of focal length

Pattern

• Pattern is static repetition: i.e. it does not encourage the eye to move in a particular way
• Pattern is usually used as a secondary element: images which use pattern as their main element tend to be monotonous
• You can encourage a sense of continuation (beyond the frame) by excluding any space between the pattern and the edge of the image
•  As the elements (of a pattern) become more numerous, the viewer tends to see them less as a 'pattern' and more as ‘texture’

Rhythm

• Rhythm is dynamic repetition: i.e. it prompts the eye to move in a certain way around the image and/or to settle somewhere important
• Rhythm can be classified into (a) attention rhythm (elements regularly alternating with each other) (b) progressive rhythm (change in shape of elements at regular intervals) or (c) rhythm sensation (change in elements’ colour, size and shape at regular intervals) depending on the way and rate at which the image's elements repeat themselevs.
• More subtly, rhythm also extends to different elements that repeat, yet imitate each other in the photo: e.g. curves on branches might be echoed in the shapes of distant mountains. 
• Whilst the frame may limit any rhythm to a fragment, composition should encourage the viewer to imagine that movement continues beyond the frame
• When the rhythm is predictable it may need a contrasting element to break the repetition and so add interest

Project and review

Shoot one example of a pattern, another of showing rhythm. Pattern - Fill the frame and eliminate boundaries that break the pattern so that viewer can imagine pattern continues beyond the frame. Rhythm - Capture a sequence so that the eye will follow a direction and feel an optical beat. 

Sherlock Holmes tiles at Baker Street Station, London

Pattern: The motifs on the tiles
create a regular but static image.
The impression of continuation occurs
 by cropping across them.

Cloister in Paternoster Square, London

Rhythm: the repeating columns and
orange flanges move the eye along the
cloister, reinforced by the pedestrian
walking into the frame
 

Shapes (2.4)

Requirement

6 photographs

Purpose

To show how to use basic shapes – triangle, rectangle and circle – to bring order and clarity to an image,  especially in still life or in a potentially untidy setting

Technical learning

• Shape can be (a) the outline of an object (like a silhouette) or (b) an enclosure which implies shape (like arms forming a triangle)
•  The more regular a shape, the stronger its effect in an image
•  Light plays a significant role in strengthening shape
•  Basic shapes are of three types: triangle, rectangle, circle
• Other shapes are combinations of these basic types

Creating shape in image is often a case of simplifying composition to remove distracting elements, by: 

• Altering viewpoint
• Moving closer to the subject
• Using telephoto
• Rearrange objects in view
• Change lighting (or waiting for it to change)

The role of shape in composition is to:

• Organize elements of an image
• Enclose so they help elements cohere
• Add clarity in an untidy world

Triangles 

• Occur most frequently
• Most valuable shape
• Have the lowest number of sides and corners of basic shapes
• Comprise ‘active’ diagonals
• Often created by linear perspective (and so add depth): i.e. lines converge to a vanishing point
• Often appear to be ‘pointing’: if viewpoint is low, linear perspective gives an upward pointing triangle; if viewpoint is high, triangle will point downwards
• Examples: group of 3 people, corner of a building photographed from a low angle, hill set against 2 edges of image frame
• Important to distinguish between ‘real’ (i.e. clearly visible edges) and ‘implied’ triangles (i.e. any 3 prominent points will imply a triangle)

Rectangles

• Rectangles have expressive associations of being formal, static, precise, enclosing, artificial
• Usually man-made forms, rarely found in nature, and so tend to be artificial
• More complex than triangles (4 sides, 4 corners), but less dynamic - mimic the shape of the frame
• Horizontal and vertical lines, which when intersecting create rectangles, are the simplest way of dividing the frame
• However, they demand precision since they must be parallel with the relevant 2 frame edges: they need to be photographed face on

Circles

• Rarest of the basic shapes to find
• Usually only arises with circular objects
• Tightest, most compact and enclosing of shapes

Project and review

Produce 3 images each of real and implied triangles

(a) Real Triangles 

Mercedes Benz World, Brooklands 

Triangular subject: the corner of the showroom
has an acute angle. The strength of the triangle
gets prominence by shooting it head on. The 3 rows of
cars on display adds to this effect.

The Shard, London Bridge under constuction

Triangle by perspective, converging
to the top of the frame: Skyscrapers are an
obvious choice. The triangular shape of the building
adds to the impact. However, the 2 cranes weaken
the effect

View from a hotel room 

Inverted triangle by perspective,
converging towards the bottom
of the frame: the downward view from the
12th floor of the hotel creates a strong perspective
and the impression of a triangle. This helps fix
the eye in the frame as well as proide a
leading line towards the street below

(b) Implied Triangles 

Grapefruit in a supermarket

Implied triangle with apex
at the bottom: The grower's label, suitably arranged
as a still life, draws out the triangular shape.
These act as strong points due to the colour contrast
(violet on yellow) 

3 workmen on a building site

Implied triangle with the apex at the top:
The gaze and body shape of the workmen
prompts the triangle of interest for
the eye

Lunch conversation near Borough Market

3 people in a group: the direction of their heads
create an implied triangle. The eye moves round
the triangle, pulling attention towards that space 

Using lines (2.3)

Requirement

2 photographs

Purpose

To show how to use implied lines to energise an image

Technical learning

• The eye follows a line. 
• It also tries to create a line(s) from appropriate suggestions: the brain and the eye work together to resolve incomplete forms
• 4 most common clues that create implied lines are – (a) a row of points (or objects) (b) the extension of a line(s) that points in a certain direction (the eye keeps on traveling) (c) the extension of visible movement (a car moving, a person walking) (d) the direction of the human gaze (eye line)
• Lines can animate an image, most effectively by using diagonals and curves and particularly if the movement is outward, i.e. it leads the eye towards the frame. The eye the moves back into the frame to see more. This to-and-fro effect creates tension and activity

Project and review

Look at 2 pictures in manual: show the implied lines in a small sketch. Find any 3 photos of your own and perform the same analysis.  Take 2 photographs that use the following implied lines to lead the eye: (a) an eye line, (b) extension of a line, or lines that point.


Photographer with model

The gaze of the photogarpher at his model sets
up an implied line. It would have been stronger
if she was looking directly at him and her eyes
were visible in the image

Close up of war memorial, Vivary Park, Taunton

The S of the names creates 
an implied line that reaches beyond 
the top of the frame

Lines (2.2b) - curves

Requirement

4 photographs

Purpose

To show how curves create movement and direction within an image

Technical learning

• Curves operate like diagonals in creating movement
• Useful in composition because they lead the eye strongly
• Often using a low viewpoint gives an acute angle of view along the lines and strengthens their curvature

Project and review

Take 4 separate images of curves to show movement and direction.


View from lay-by on the A39 near Bawdrip, Somerset 

Showing the curve of the bend in
the road around the field

Display of spices, Borough Market, London

Each sample serves as a point
on an arc like arrangement

Boats moored off the River Wey, Surrey

The boardwalk and line of boats
both create curves that
contrast with each other

'Boris bikes' on their stands

Looking through the rear wheels of
the bikes shows a series of curves

Lines (2.2b) - diagonals

Requirement

 4 photographs

Purpose

To show how:

• Diagonals are often created from linear perspective (linear perspective adds depth to an image)
• Diagonals add movement to an image

Technical learning

• Creating diagonals in photography depends largely on camera angle and perspective: diagonals are less common in real life than vertical or horizontal lines
• Diagonals create a stronger sense of movement and direction than vertical and horizontal lines do: (a) they contrast more strongly with the edge of the frame and (b) they are associated with being physically unstable, even of falling
•  Wide angle lenses used close to an edge or a surface creates strong diagonals (sense of perspective), whilst telephoto lenses used at an angle to parallel lines, edges, rows of objects, can give a powerful diagonal effect by compression and repetition

Examples

• Straight edges (e.g. flat top of a building, top of a wall) become diagonal lines if you photograph along them towards the distance, due to perspective in 2D images
• Vertical or horizontal lines in a close up shot become diagonal if you rotate your camera
• Vertical or horizontal lines in long shots taken from a high point become diagonal if you move the camera sideways

Project and review

Take 4 photographs with strong diagonals.

Used cars at Brooklands, Weybridge

Row of objects shot with a telephoto lens
with frame cropped to 2:1 ratio

Statue of Sir Joshua Reynolds outside Royal Academy, London

Focus from a low viewpoint
on arm of statue creates
a diagonal line

Late evening strollers along South Bank, London

Setting sun throws diagonal shadows on
the paving stones of the embankment

Promenade at Sidmouth, Devon

Telephoto lens used at an acute angle to
the terraced buildings and railings creates
a diagonal subject

Lines (2.2a) - vertical and horizontal

Requirement 

8 photographs

Purpose

To show the impact of on an image of using strong vertical and horizontal lines

Technical learning

• Lines are often the edges of objects: contrast makes them stand out
• Lines in photographs are reinforced by reference to the edges of the frame
• Lines have 2 qualities: one graphic, the other expressive
• The graphic qualities - divides the frame, helps locate elements within the frame, gives a sense of direction (along the line)
• Expressive impact - varies with type of line

Vertical lines

• Expressive impact: provides moderate sense of movement, confronts viewer
• Examples: walls, posts, trees, standing human figure, road seen from high viewpoint, a row of objects seen from a high viewpoint

Horizontal lines

• Expressive impact: strong locating impact, natural base for objects to stand on, seen as static, stable, having weight
• Examples: horizon line, man-made flat surfaces, long shadows (light at low side angle), row of objects at same distance from camera, mass of objects seen at a low angle

Lines also occur by implication: our imagination makes connects individual points.

Project and review

Look for specific examples of vertical and horizontal lines: discover how some design elements occur and how common or rare they are.  Shoot 4 different examples of horizontal lines and 4 of vertical ones. Make the line what the viewer sees first.

Horizontal


Leeks in supermarket display

Regular stacking of leeks create
powerful horizontal lines

Wooden roof

Shadow on edges of wooden strips on roof create
a series of strong horizontal lines

Steel and glass roof of Canary Wharf DLR Station

Steel supports for intricate
glass panels of roof produce sillhouettes
of thick, irregular horizontal lines

Ornamental egg and against Venetian Blinds

Daylight on the edges of the closed Venetian Blinds
creates a series of horizontal lines (as
well as shadow lines on the egg)

Vertical


TV masts in Dorset

Masts dominate naturally dominate landscape, so
eye level viewpoint is enough to make them 
appear prominent

Wooden Yogi Sculpture

Shot from a low angle with
a macro lens to emphasise
height of sculpture

Trunk of dying tree 

Grain of wood runs vertically,
empahsised by converting
image to black & white

Water gully at One More London

Wide angle lens close to surface of gully
emphasises the lines. Also works as a triangle