Someone placed this shell on one of the sand fence posts on a beach in Norfolk, UK.
The texture of the posts caught my eye and I used a wide aperture to put the background out of focus.
You’ll also note that there is no horizon line in this landscape photograph.
I was told a long time ago that odd numbers, particularly things in threes and fives work well in compositions. I have no proof of this, it is a purely subjective statement but I’d be intersted to know what you think. Please do leave a comment if you know.
The main compositional device is one of vertical tension emphasised by placing the horizon low and using portrait format.
I thought you’d like to see the original image, so I have attached a jpeg that shows how the picture looked before the post production processing.
You can see the original is less dramatic than the final,
(Canon 6D with an EF24-105mm lens at 40mm, with polariser and lens hood, ISO 200 f8.0 1/640s)
I used Affinity Photo to improve the image. I thought you’d like to know how the transformation was done.
The original RAW image was rather dark because the camera light sensor was exposing for a bright sky. Affinity photo allowed me to make a copy of the file with an exposure setting one stop higher. This is one of the advantages of using RAW files. I saved this image and then used the High Dynamic Range (HDR) tool to merge the dark photo with the lighter one. This essentially retained the best bits of both, improving the tonal range of the image.
A final touch was a minor crop to the left and right sides of the picture removed distracting figures. The other figures were deliberately left in to provide scale and interest.
HDR is a useful tool. I tend to use it sparingly because when I look at others’ work I see the HDR treatment first, then take in the composition of the picture second.
I’m learning when to use the technique so it enhances rather than distracts from the effect I want to create.
If you’ve ever been disappointed with an overcast cloudy sky, it is worth noting that the calm even light is very good for details in a landscape.
Translucent glass at night makes for some attention grabbing photographs. This one was taken with my iPhone outside the Tate Modern in London. I’d been in to get my fix of the Rothko paintings, I find them deeply calming and never tire of them. When I came out it was dark and as I walked down the side of the building this window caught my eye. People occasionally walked past on the other side. There was something other worldly about the way the figures moved on the other side of the frosted glass. As for the composition, I pondered whether to remove the vertical lines, and dark square shape at the bottom right. I decided to leave them in as they connect and frame the main elements of the picture. Namely the warm light, the figure the light rectangle in the background and dark black square in the foreground. There is a slightly sinister touch of mystery that I find appealing about this picture. Hope you like it too.
For successful pictures, conventional wisdom on composition dictates that you need:
- Foreground, to contain detail
- Middle ground, to convey depth
- Background, to add context
Then you need:
- Lead-in lines to further create depth and guide the eye through the picture
- Colour contrast for interest, if a green landscape, add something red.
- Use the golden section to set the dimensions of the image and place points of interest within it for beauty.
Hmmm.. this is all very nice and will produce pleasing images. However:
- Everyone learns these rules in the same way, from textbooks, magazines and how-to sites
- We absorb these rules by looking at images that surround us, particularly those that win competitions
So many pictures, and yet isn’t it surprising that so few are memorable?
So much for the words, how about putting into action, I hear you say..
Well, how about this picture:
This follows few, if any of those rules, It shouldn’t work, but it does.
On another level, I wonder how the photograph he is taking of her came out?
Learn the conventional wisdom or rules, such as they are. Then you are in an informed position to try something new.
If it works for you, tell me about it, I’d be fascinated to see what you create.
I’m realising that questionning the assumption of sharpness in photography can be quite liberating.
Here is another straight shot:
I’m interested in what you think.
The landscape view
I liked this view of the boat, looking at it from below against a blue sky is an effective device.
Isolating the prow of the ship and including the mooring lines in the frame helps create a simple composition.
There is literal tension from your knowledge as a viewer that the mooring lines are stretched taut:
The Portrait View
I like this view even more.
Using the portrait format allows an even more dynamic view.
The tension in the picture is increased because including more of the mooring lines makes it look as though the ship is rearing upwards trying to pull free from its restraints.