The Art of Adventure Photography

The Art of Adventure Photography

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Design: The Relationship Between Points

Exercise Positioning a point
3 photographs

This exercise is experimenting with the different positions in which you can place a single point in the frame.

There are essentially three classes of position: in the middle, a little off-centre, and close to the edge. Placing a point in the centre very rarely works, because of the static nature it produces, although this is not a rule and you might justify it on the grounds of being unconventional. What was learnt about balance and proportion in Part one applies here.

There are two important relations, to do with movement and division. The sense of movement – a slight one – is created by drawing attention towards the point from thesides. The strength of this sense of movement is in proportion to the distance from
each side. The division is easier to see if you make a sketch of the position of the point, and then draw a line vertically and a line horizontally through this. The point implies a  division, as in the exercise: Positioning the horizon. The idea of things being implied in composition is an important one, and you will see it at work throughout this part of the course.

Exercise Multiple points
6 photographs

With several points the relationships are not so predictable. A group of objects implies
a network of lines, and can also create a shape – again by implication. In still-life
photography, one of the basic skills is to be able to group objects together in such a way
that they are linked attractively, in a relationship that is active rather than obvious and
static. This is essentially a problem of placing several points.

Set up your own still-life, with a background that is unfussy but not entirely plain. Use
between six to 10 similar-sized objects, each compact in shape. You should fix the camera
firmly in one position, aimed down at the background (ideally, use a tripod). The idea
is to control the composition by rearrangement, not by changing the framing with the
camera.

Begin by placing one object; make a record of this by taking a photograph. Then add
the second, then the third, and so on; each time, take one photograph. The aim is to
produce a final grouping, which is not so obvious as to be boring (avoid regular shapes),
but which hangs together visually. The process will take some time, if you give it proper
thought.

Consider each move and the effect that each new addition has on the overall grouping. You will almost certainly have to re-adjust objects that you have already placed, and may change your mind several times. This is perfectly normal in still-life photography.

When you have finished, you will have a blow-by-blow sequence of photographs that records your decisions. For the finalphotograph draw a sketch, indicating the ‘lines’ that relate the objects, and any basic shape or shapes that they form.

Cropping Guide

First post for 2013 and I have stumbled on this image from a series of info-graphics on DigitalCamera.com

http://www.digitalcameraworld.com/2012/03/30/free-portrait-photography-cropping-guide/

It clearly shops the optimum crop limits for different portrait shots both landscape and portrait formats.

Positioning a Point

Elements of Design: Positioning a Point

To illustrate this the following images have been created with a single point as a focal point.



In this image the position chosen was to get the bike and rider into the top horizontal third slightly off centre with the reflected light leading the eye up the image. Also after an attempt at using blur to empahsie the water flow it was found that using a faster speed gave a sharper image and the increased feeling of motion by clearly showing the bow wave and hence the mechanical speed of the vehicle against the organic flow of the water.



 This subject again uses a fast shutter speed but in this case to keep the background clear. I wanted to emphasise the contrast between the colour of the shirt and the "softness" of the person on the bike against the "hardness" of the steel water wall and slate paving floor. Also by placing the subject in the right hand vertical third it gives another  take on motion within an image.



This image utilise the use of colour and texture to isolate the yellow poppy against the green of the other foliage. I used the first vertical third division to isolate and emphasise this against the green. I feel that by doing this you become aware of the subject then aware of the surroundings.

Points

Elements of Design: Points

To appreciate this element of design we need to examine the potential for a "focal point" or central point" of interest within an image.

The reason a focal point is important is that when you look at an image your eye will generally need a ‘resting place’ or something of interest to really hold it.

A focal point can be virtually anything ranging from a person, to a building, to a mountain, to a flower etc. Obviously the more interesting the focal point the better – but there are other things you can consider when using this including:

• Position – Place it in a prominent position –  This ideally using the "rule of thirds" or the "golden section" to establish the correct position.
• Focus – Using "Depth of Field" to blur out other aspects in front or behind your focal point.
• Blur/Motion – Isolate the subject using shutter speed to blur the surroundings/background or alternatively capture the motion.
• Size – making your focal point large is not the only way to make it prominent – but it can help if it remains within context.
• Colour – using contrasting colours to isolate or seperate your point of interest apart from it’s surroundings.
• Shape – contrasting shapes and textures can make a subject stand out – especially patterns that are repeated around a subject.
• Context -  or using the unusual. This can be accomplished by placing the subject in an unexpected setting or against a background that contrasts with the subject context.

Cropping and Extending

Cropping an image has already been covered in other exercises but to recap:

Cropping can be used to;

• Remove unwanted edge detail
• Restore balance
• Improve composition
• Change aspect ration or format
• Change context/meaning of image 

This last one ,particulary in journalism is often perceived as a legitimate tool. However how it is perceived by the intended audience is often in a negative way e.g  Reuters use of cropping being accused of bias

I decided to investigate extending the image by compiling a series of images to create a panorama.

Following on from the previous exercise I used the two formats to compile the images.First using landscape images , once aligned they need to be quite heavily cropped and some details  are lost as the image is long and narrow.

When the images for the panorama are taken in the vertical or portrait format the resulting panorama is wider and easier to align with less need to crop the final image and less detail is lost.

In conclusion cropping can be use to "repair" an image but also can be used to create a new context or composition . Extending the image is also useful to create a larger format to ensure the subject is fully recorded when it far exceed the available mediums proportions. e.g. Landscapes or interiors

Vertical and Horizontal Frames

This exercise is to encourage the use of a portrait(vertical) frame vs. a horizontal (landscape) frame which given the shape of the standard SLR viewfinder is the most "natural" orienation to use.

To do this the requirement was to take 20 images each with a vertical and horizontal shot. Below is a slide show of the 20 examples I have taken.

Also besides the obvious use of the vertical orientation for tall objects and standing people I also have considered the following when choosing the subjects above;

• The subject is already vertical
• Height needs defining
• Motion of the subject is vertical
• Defining direction of subject gaze - up or down
• Directing the viewers gaze within the image
• In portraits it can be used to retain tighter control of basic composition rules e.g. the rule of thirds
• Isolate a feature of the subject
• Defining the position/boundary of an object within it's containing space.

Positioning the Horizon

Horizon - This exercise is to explore different positions of the horizon and and how they affect an image.

Placing the horizon line at the top of the image purely draws attention to fore ground and near distance subjects. It heavily depends on foreground interest to give impact. I also find it contains the image within a defined boundary.

Balance

Balance in the image - taking six photographs from previous exercises I re-examined how the balance works in each one.

As per the course notes it is easier to see how the balance and elements that make it up appear within the shot.

As can be seen in the shot above, the main element of the main object is in the middle with two lesser elements "weighting" the edges of the image. This works as the main object is filling the frame and is symmetrical. This balance works best with objects like this.

Focal Lengths and Different Viewpoints

This exercise was to compare the effects of how your physical viewpoint needs to change when shooting with different lenses.

Using a 105mm lens , the focal length at the extreme of my zoom lens, I took this first picture.

Balance

In this exercise the instruction is to examine six previously taken images and decide how the balance works in each one.

I haven't exactly conformed to the letter on this one as one of the images is crop taken as part of another exercise , but it does have relevance.

A Sequence of Composition Take 2

Taking the exercise one step further I saw a fairly unique custom built machine on display and moved in using the viewfinder.

First I went in close but felt it was not showing the machine in the best way...

A Sequence of Composition

The object of this exercise is to try and use the viewfinder to compose the shot... not wait for it but try to find the ideal shot and record the process. By shooting the nearly moments it is hoped to see the process as it develops.I started this sequence with around 25 shots and I edited down to the 18 you see here. I decided the ones with arms and legs obscuring the shot didn't really count...

The sequence started with a crowd gathering to see a rare Indian motorcycle being started at a classic motorcycle open day...

I changed angle to try and get more shots of the faces of the crowd as the anticipation of hearing it run started to build

Fitting the Frame to the Subject

The object of this exercise is to see how you can use the viewfinder to frame a subject.



The camera I used for this exercise has a 98% coverage viewfinder which I found interesting to see how it would change what I saw against what was produced.

Also the advise about tilting the camera missed out some another pertinent fact, some times you need to tilt yourself to get the shot. Even simply moving sideways changes what is in the viewfinder and what can be included in the image as it unfolds before you. Or in my case lying down and tilting me and the camera!

First image is just taken, without any concious effort, just a snapshot of the object as you first see it.

Focal Lengths

For this exercise I took six pictures at different focal lengths of the same subject. While the central subjects of the images stayed the same there was a distinct shift in peripheral details as well as the depth of field of the central part of the image.

I find that the boats in the image taken at 105mm become the main subject but in the one taken at 24mm the overall landscape is the main subject. This continues until we get to the last shot at a "normal" angle of view (70mm) then after that the central object appears flatter in relation to the background and more isolated.

Focal Length - 24mm

Focal Length - 28mm

Focal Length - 35mm

Focal Length - 50mm

Focal Length - 70mm

Focal Length - 105mm

Object in Different Positions in the Frame

This is an exercise to study how an object fits it's position in the frame taking a an object against a plain background you can , by positioning it in within the frame change its dynamics.


Taking a shot right in the centre of the frame has no real dynamic input it merely shows this is the object.

Moving the main subject slightly to one side starts to add a more dynamic feel , making you look at it is as well as the background.

Moving it again to the top right corner of the frame adds another element as the eye moves up the image.

Moving it down adds another not so dynamic experience

Positioning of an element centrally has the effect of neither the background or the subject having a distinct priority. The attention flicks between the subject and the background. Moving the subject off centre actually makes you start to look at it more. However depending on the position as the image is "read" can also affect this. I think moving to the right either to the edge or either corner draws the attention where as on the left we still get the same effect of the "flip flop" between subject and background.

Hers and his lo-fi

Hers and his lo-fi, originally uploaded by Graeme Hoose Photographica.

Hers and his lo-fi

Shutter Speeds:Summary

As regards my favourite prints from the two exercises I have chosen number 8 from the Shutter Speeds exercise  I like the feel of the blurred movement combines with the sharper elements. I like the combination as it gives a feeling of speed and the disturbance of the water. Not totally a smooth extended exposure of water , as is often done with the sea and waterfalls, but a way of implying the force as well as the speed of the water.



However I prefer the sharper elements of image number 6 of the Panning series,the car being sharper and the blurred background and wheels give a better feeling of the motion. Not really speed, but the fact it is a moving car and not a static object. The kind of combination that would be ideals for photographing motor sport, particularly on a bend so the vehicle can be followed through and captured on the apex and the follow throgh allows the photographer to follow a natural curved movement. Which is a lot easier then trying to capture the image going directly across the field of view

Shutter Speeds Panning

This exercise is to see the effect of following movement as it moves across the focal plane of the sensor/film.

Following the motion with the subject as near to the centre of the fame as possible, before firing the shutter (panning) I tried to stay as close as possible the same combinations of speed and aperture I did in the previous exercise.

I tried to choose moving subjects at roughly the same speed for the following images:

Shutter Speeds Panning - 1


Exposure 1/3200 sec
Aperture f/4.0
All movement has been frozen which almost make the car look static, no real feeling of speed or any movement.

Shutter Speeds Panning - 2


Exposure 0.001 sec (1/1600)
Aperture f/4.0

A combination of frozen movement and the narrow depth of field required to give the fast speed to take this shot still don't combine to give any indication of speed or movement.