A sequence of composition (1.1c)

Requirement

20 - 30 photographs

Purpose

To practice composing an image from the moment you first spot a potential image until the final best image

Technical learning

Develop your eye by practice and review of decision-making on composition

Exercise instructions

Pick a situation which involves people, perhaps in a street, parade or market. Use the viewfinder to identify t possible pictures.  Take pictures as you go  This will show how you moved around to find the best image

Images and Review

Trafalgar Square in London is a magnet for sightseers and street entertainers, especially in the summer. So, I went there on the way home one afternoon at the end of August, Canon compact camera in hand, to see what I could see through its viewfinder.

A scene setting shot of the Square, taken from the balcony of the National Gallery (sharp elbows needed). Used  a vertical frame to  capture the almost unnatural height of Nelson's column. The triangular shape of the space leading up to the column adds some depth. The random movement of people conveys the to-and-fro of its many visitors. 

Picking a brighter day would have brought out the colours and contrasts of people against buildings

Soon after 4 break dancers turned up below the balcony. Having attracted a crowd, I shot the opening of their show. The crowd acts as a partial frame to hold attention on the 4 dancers.

A slightly closer crop to exclude the space behind the crowd at the top of the frame would have made a more effective image.

The show gets under way. A fair shot of a more interesting move. Placement of the dancer bottom left creates some tension.

Nevertheless, the feet top left are a distraction: either leave them out or better include more of the standing crowd. Also, the move was more spectacular than a top down shot can capture.

Improves on its predecessor.

However, a little more of the crowd would have been even better.

Time to leave the balcony to capture the crowd appearing to watch the crowd (except of course they are looking at the dancers)

Moving to the left of this scene, 2 isolated spectators. Father and son perhaps.

A vertical frame would have been much more effective - too much grey space in the right half.

Fortunately the horizontal shot allows a vertical crop to prove the point

A couple from the balcony framed by the pillars supporting the facade of the National Gallery.

Shooting directly head on would have improved the balance.

Moving towards to centre of the square. One of the Olympic countdown displays. Interesting shape. Used more as a bench to rest weary legs.

Bad error - cut off top of display.

Close up to the column to get a sense of its great height. That works.

Even so, where has Nelson gone? His absence weakens the shot. A better comprise might exist by moving back from the column to capture some of the detail of Nelson's statue.

A close-up of the engraving on one side of the plinth of the column. The excellent composition of the scene around the cannon is the statue makers not mine!

Eager parents using the lions as a prop for photos of their children. Shooting behind mother was an effective viewpoint.

Nevertheless, the background building is too larger and detracts from the images impact.

A statue overlooking one of the famous fountains. Yes, movement in showing the jets of water across the image. 

But, frankly the photo is dull. An unorthodox angle of view might increase interest

A little girl watches a man playing a clarinet. Nice contrast between the musician and the child, including the implied line of her gaze.

However, this image could have been so much better composed by moving closer to the scene and shooting downwards over the head of the musician

I turned the frame from vertical to horizontal, just to see the impact, and, as I moved closer, the musician looked up at me. Instinctively I triggered the shutter. I like the result. It holds the attention.

This girl's turquoise head scarf caught my eye amongst the grey of the flagstones. The vertical lines of the steps give contrast to the triangle of her form.

A busy artist works on several masterpieces in front of a crowd. Orange is a colour you cannot miss!

Moving in closer to focus on him at work

Charlie Chaplin was using his eyes and facial expression to communicate to a mother dithering over the portrait with her children. Not sure quite what this facial expression means.

Now we are ready...smile please. Hey, the kids are not paying attention, except for the little one in his arms!

Would have been cleaner without the child in the foreground

A contortionist starts his show. Nice triangle, thank you. 


Zooming closer would have had more impact. (Find the zoom on the compact hard to control as tightly as I would like). As would leaving out the red basket, which distracts from the subject

Too close, now - image just does not work

Thanks for moving the red basket.


Slightly closer would increase impact. 

That's about right for distance


Image looks unbalanced. Really needs subject in the centre with audience above him.

Enthralled spectators.


Shame they are slightly out of focus

I like the buttons on your waistcoat Mr Washington.

The golden android awaits his admiring crowd...

Interest starts to increase...

Now for his first visitor...

The secret language that only the very young understand

Who put all those coins into his bowl? I reckon he put in most to encourage passers by to be more generous.

Further learning

• Pull in closer to the subject when the background lacks any relevant or interesting features
• Be alert to distracting features at the edge of the frame, be ruthless in removing them
• Be patience in waiting for a significant moment

Object in different positions in the frame (1.1 b)

Requirement

4 photographs

Purpose

To show how to place the subject in the frame and the impact which this choice has on the message and impact of the image.

Technical learning

• Every shot requires a decision where to place the subject in the frame
• Why not just site it in the centre every time?
• The subject will certainly be conspicuous. Nevertheless, bull's eye composition makes an arbitrary choice of background: by definition, it will surround the subject equally.
• Sometimes this may work, more often not, unless you want to produce only single point of interest, static, predictable images.
• Placement is an active choice: it should serve the message and the impact which you want the image to have
• This becomes increasingly important as the subject becomes smaller in the frame and, as a result, composing the elements within image becomes more complex

Exercise instructions

Pick a clearly defined subject against a plain background. Take 4 images with the subject in different positions. Shot 1 - compose quickly and naturally, a reference for others. Shot 2 - subject dead centre. Shot 3 - slightly off-centre. Shot 4 – near an edge or corner.

Images and Review
I found this point on the screen fencing a building site for a new office block in Holborn, London. Usually these screens are single colour painted board. However, this one was intended to catch the eye.

Centre point

Off centre - intersection on Rule of Thirds

At the edge

• The subject - a point - is sufficiently large and has enough contrast with its background to dominate the image
• The centre point sits balanced in the image, free of any tension
• The off center point creates more interest but still sits comfortably in the frame (because it lies on an intersection of vertical and horizontal lines under the Rule of Thirds, the relationships to edges and corners are proportionate)
• The 3rd image places the point at the edge, physically as well as mentally.  A tense unbalanced image.

Further learning - the single point

• The point is the most basic element of design
• Depending on its position in the image, a point has a number of relationships both with the edges and corners of the frame
• Equal relationships with each create harmony, sometimes dull predictability
• On the other hand, unequal ones create tension for the eyes roughly in line with the level of inequality

Fitting the frame to the subject (1.1a)

Requirement

4 photographs


Purpose
Train your your eye to see potential images in most situations and do so quickly, precisely, and with the impact required


Technical learning

• Composition is an act of selection, a key skill in producing good photographs.
• This skill only comes with practice. And a lot of it.
• In shooting-to-the-final-image, the photographer must pick both what to include and what to exclude.

Exercise instructions

Select a clear but compact subject (e.g. car, handbag, person, ferry), accessible both close up and at a distance. Visualise 4 different photographs of your subject. Shot 1 - place the entire subject in the frame with some space around it, to act as a benchmark for other images. Shot 2 - locate the entire subject in the frame without space around it (either vertically or horizontally, depending on its shape). Shot 3 - take a close-up to exclude the edges of the subject in the frame. Shot 4 - pull back so that subject occupies about 25% of the frame to make a composition that shows the subject in its surroundings

Images and Review

I shot different viewpoints of several subjects. 

'Young lovers'

6 Aug 11, Canon


George Ehrlich's 'Young Lovers' at the Festival Gardens in the shadow of St. Paul's Cathedral produced the most interesting images. This sculpture stands for peace and love amongst the madness of the surrounding financial centre of London, of which there is precious little.

First glance 

Full view

Close Up

Context - view of church

• The first glance and full frame shots give most information overall, but are the least interesting ones of the series, being relatively static compositions
• The close-up shows the intimate shape of the lovers' embrace as does placing the woman's hands near the lower left corner of the frame.
• The context image has an implied line (of sight) between the woman and the church in the background. What does this suggest about her relationship with the church? Just curiousity, perhaps? Romantic hopes for marriage?

Further learning

• Cropping alters composition 'after the fact', including the option of changing frame shape,  if the image needs it for greater impact
• However, cropping is not a cure all
• Whilst it changes what gets left out of the final image, it cannot add what was missed when the shot was taken.
• How much should photographers rely on cropping? A matter of personal preference, of course. 
• Perhaps the photography student, like me, should see this as a cat should see each of its 9 lives. Something only to use sparingly. Otherwise, relying on it to keep rescuing badly composed original images creates a lazy eye and stunted technique.

Other images

Statue of Sidney Herbert at Crimea War Memorial, Waterloo Place, London. 
3 Aug 11, Canon


Sidney Herbert sent Florence Nightingale out to Scutari in the Crimea,and with Nightingale led the movement for Army Health and War Office reform after the war. The hard work entailed caused a breakdown in his health and he died in August 1861.  This statue by Foley was placed in front of the War Office in Pall Mall, London. After that building's demolition, it was moved next to the statue of Florence Nightingale in Waterloo Place, and behind it the Crimean Monument. Wikipedia

First glance - who is looking at whom?

Full view

Close-up - a romantic view of the wounded in Crimea

Context

• The first shot, where the viewpoint is upward from the base of the statute, engages the viewer. The folds of the statues clothes have a tactile quality
• The third image focuses on the engraving of a field hospital scene. Suspect the nurse, top right, is Florence Nightingale. A noble, rather than a realistic view. The glory of war, not its shocking brutality and pain. However, like the sense of movement within the scene
• The second and fourth shots tell the story twice, where once will do.

Mr Union Jack, entertaining tourists in Trafalgar Square, London
3 Aug 11, Canon

First glance

Full view

Close Up - like the cheesy smile for 50p?

Full View

Green chairs in a modern square off St Giles High Street, Central London

29 July 11, Canon

First glance

Full view

         

Close up

Context