This was an interesting exercise, something I had never done before. I do feel that my skills in framing are lacking and looking at objects in this way so that the object of the photograph is not necessarily in the centre of the picture was new to me. I chose to photograph the fountain in the formal gardens at Blenheim Palace. These pictures were taken on a sunny day with the camera on Aperture Priority, and auto focus.
I feel the first 3 pictures of the fountain are dominated by the box hedge and stone wall. The fountain is squashed into an area at the top of the picture. Pictures 7, 8 and 9 show too much of Blenheim Palace in the background and again dominates the pictures. My preference is picture 6. The fountain is clearly the object of the picture, and there is a feeling that there is more to see to the left, particularly as a tourist can be seen heading in that direction.
I thought I understood the principles of lines and how they draw the eye into the picture, but I there is one aspect I hadn’t thought about: the line should not disappear out of the frame as there is no way back into the frame. I realised that one of my photographs shows that principle, so I have included it as an example of how not to photograph lines. (photo number 5).
In this exercise the lines are parallel and disappear out of the frame. Much of Laszlo Moholy-Nagy’s work consisted of parallel lines, photographed from above. I tried to recreate his photograph of boats in Marseille using small fir cones instead of boats. To obtain the results I wanted, ie: defined texture of the fir cones, I used an off camera flash. This had the added benefit of creating shadows in lines in addition to the fir cones themselves.
I found this concept difficult to evaluate as to whether the “point” or item placed within the frame is relative to the frame or not. I took a series of photographs at Shipton Weir Lock on the Southern Oxford Canal showing a blue rubber glove in different parts of the frame. In each case the glove was not intended to be part of the composition but your eye is drawn to it because of its colour. I then took a series of photographs at Bakers Lock on the Southern Oxford with a white plastic mug in different positions. Again I felt although the cup was of no relevance to the composition your eye is drawn to it because it has no link with the lock. The cup was larger than the glove so it may be described as a shape rather than a point. I concluded from this that the “point” in a composition is the item(s) which draw your attention, whether intended or not.
Shipton Weir Lock, Southern Oxford Canal
Bakers Lock, Southern Oxford Canal
These three pictures were taken overlooking the lake at Blenheim Palace. The camera was set to auto as instructed, and settings on the camera changed very little, so there is little difference in the histograms. However, in each one the ducks and birds have moved around resulting in minute changes to the composition. The histograms are shown below each photograph.