One of my attempts at getting an abstract painterly effect with photography. This image is pretty much as shot with a bit of cropping and adjustment to the colour.
I made this shot at the National Trust Cragside property. One of the Trust volunteers was curious to know why I was taking a photograph of some wobbly glass. I found that switch off the autofocus helped get the effect you see here.
I also met a fellow photographer there. Aimee Wilson, I’d recommend a visit to her site www.imnotdisordered.co.uk
I like poppies, the scarlet is a perfect contrast to a green landscape. This caught my attention when out walking on holiday in Suffolk, UK.
I could have stepped a few metres to the right or left and captured many more poppies but you can have too much of a good thing. Those of you with a composition mindset will notice the poppies are also placed almost on an intersecting third, but not quite. Again you can have too much of a good thing.
I wanted the contrast to work on a few levels, colour being just one, focus is another. The intimacy of the poppies gradually makes you aware of the open space of the field behind. Notice the horizon, it is right at the top of the image, a thin sliver of darkness against the diminishing blandness of the wheat field. This implies the space behind the foreground is large but not infinite.
Look closer and you’ll notice upward slanting diagonals in the wheat field contrast with the slight downward slant of the horizon. In Northern and Western cultures our visual language interprets a left to right slope as up, optimistic, reassuring. The bright colour against the wheat field is happy, positive, enthusiastic.
I felt good taking this picture and still feel good looking at it now.
Another Easter shot taken in the Yorkshire Dales at Cray near Buckden
Laying down to get this shot with a wide angle lens meant that I could get the foreground detail in focus while still showing the context of the area.
If you look carefully you’ll see the barn in the distance is slightly out of focus, this is deliberate. The contrast in focus makes the foreground seem sharper.
The deep blue sky was enhanced slightly with a polarising filter when I took the shot. An added advantage was that the polariser took out some of the reflections from the grass making the green leaves a more intense colour.
A lovely walk on a lovely day and a nice picture to go with it.
My wife, Jayne, liked it so much she made my Easter card from this picture.
I went to my parent’s house the other day. Mum had been given a bunch of tulips that she had put in a vase by the window.
We are a close family and I’m one of the lucky ones that still has Mum and Dad around and in good health (long may that continue)
As I put on my coat in the hall I happened to glance round at the tulips. The sun shining through the window brought out the intensity of the colours in both the flowers and the garden beyond.
The hall window has patterned glass and the leaf pattern seemed to harmonise with the green of the sunlit lawn beyond.
I’m happy with this picture, thanks Mum and Dad. By the way, this is another one taken on my iPhone. No photoshop treatment apart from slight cropping.
A bit of winter sunshine, taken in Greece.
I was drawn to the simplicity of the stark geometric shapes and reduced colour palette.
This is a block of flats, painted white to reflect the merciless heat of the sun, with a blue sun screen canopy on the top floor.
I thought about photoshopping the bushes that stick out from each floor, but they break up the brutality of the architecture and add interest. These distractions from the strong composition add interest that makes the viewer look longer.
The thought processes can flash through one’s mind – “I wonder what they are, Ah, herb bushes. Someone must look after them. A hint of humanity. I wonder what it’s like to live there…”
Composition is more than pure geometry, it gets engaging when our curiosity is linked to people, even in small ways.
We were staying with some friends in London. I like London a lot. I first came here when I was ten, on a school trip and my love for this city has never left me. I am always impressed by the quiet spaces and secret places that London preserves to insulate us from the noise and rush of the city.
One sunny morning I spent some time in quiet contemplation on the balcony. I was looking at the London skyline and watching the jets glide overhead, wondering where all those people were coming from and going to. Then I looked down.
I didn’t have my ‘proper’ camera to hand, so out came my trusty iPhone again. A quick dust of the lens and I had this picture.
Threes are often quoted as a pleasing number for composing pictures. I do have an iconoclastic streak when it comes to rules, but in this case I’ll go along with that. Especially when it helps to be playful with the language.
This works for me. I hope it works for you too.
Colours and lines attract me.
This picture is a variant on the lead-in style of composition.
I like the simplicity of the composition, the dynamic sweeps of the curves are a powerful effect.
You’ll know I’m quite aware of the horizon in my pictures. In this one the eye searches out a line and the only one that matches our preconceptions is the roughly horizontal line right at the top of the image. This adds to the powerful effect and holds the attention. Well, it works for me anyway, tell me what you think…