I've been working hard on the first assignment, contrasts. I think I have all the pairs of contrasts, but I'm not sure if I have the best shots for each one. One of my big takeaways from this assignment is how hard it is to pull it all together.
First, there's the concept, and there's the execution. I've had ideas that I thought would work, to show soft, or diagonal, or whatever, then when I take the photo, it doesn't really come across, even if the shot is well executed. I've discovered that sometimes the concept doesn't work because it's either a cliche, or on the end of the spectrum, comes across as too hokey, sophomoric, or silly. I would also say that I'm still getting used to the idea of creative shots, so I don't have much of a feel for how well the subtleties will come across. So there's this balance on the conceptual side between being creative and unique, but also communicating clearly without laying it on too thick. I guess a lot of the decisions along these lines begin to reflect my style. Perhaps as I get more experienced and develop and become aware of my style, I will gain more confidence.
Then there's the execution. It's amazing how often I got the concept right, but either the light wasn't quite right, or my camera wasn't quite level, or I got a kink in the film while I was loading it onto the spool. Or there's dust on the negative I just can't get rid of. Or the shot's not composed just right. So many factors, and each one of them is a place where it can go wrong. I've discovered that I'm a real perfectionist!
Then there's deciding which are the best examples of each shot. After looking at so many shots for so long, I think I'm beginning to lose perspective.
I would say that working on this assignment for the past month has literally made my eyes open wide. I started out having a hard time thinking of or seeing examples of many of the contrasts. But now, I can be driving down the street and see something out of the corner of my eye that looks like it might work for one of the topics. It's also amazing how you can find examples of these contrasts in a very limited geographical area. I could have done all of them at the nearby marina, if I wanted to. When I first started this project, I never would've believed that. And while I'm seeing what I'm looking for, I'm also just seeing much more. I notice the subtle changes in the light right away. I see small details on the sidewalk while I'm walking down the street. I see the relationship between an object and its shadow. Pretty cool.
Exercise: Vertical and horizontal Part 2
Went back to the marina and took a sequence of photos using a horizontal frame. Again, I used the digital and took many photos. I tried to get some of the same shots, but horizontally. For the most part I was able to get many of the same subjects, but a few boats were gone the second time.
Interesting how the boat doesn't feel as long taken horizontally.
I used a wide angle here, because without it really wide this would've been a really uninteresting photo.
This dinghy feels smaller and you don't get a good feel for the lines in the boat.
I think this would work better closer in. One of the more interesting elements is the buoy hanging down in the middle, but from this distance, it's lost.
I think this worked much better vertically. In this shot, there's too much extra space that detracts from the interesting part of the photo. I wasn't able to get the fish and the block above it, with some of the pier above and below, unless I pulled back and got all that distracting boat in the background.
Interesting how the boat doesn't feel as long taken horizontally.
I used a wide angle here, because without it really wide this would've been a really uninteresting photo.
This dinghy feels smaller and you don't get a good feel for the lines in the boat.
I think this would work better closer in. One of the more interesting elements is the buoy hanging down in the middle, but from this distance, it's lost.
I think this worked much better vertically. In this shot, there's too much extra space that detracts from the interesting part of the photo. I wasn't able to get the fish and the block above it, with some of the pier above and below, unless I pulled back and got all that distracting boat in the background.
Exercise: Vertical then horizontal frames
First up are the vertical photos. For this project, I took a sequence of photos framed vertically at the marina, which is one of my favorite places to shoot. The exercise is designed to help me think more about composing vertically. The text says that we have a tendency to think first about framing horizontally, in part because that is a more natural way of looking at the world. So this project was designed to get us to think more about composing vertically.
At the marina I found no shortage of subjects that lent themselves to a vertical composition, all the piers and masts going up would naturally call for a vertical framing in many instances. So, I conciously decided to seek out other subjects to compose vertically. I used the digital camera and took literally hundreds of photos, but will only post 5 here.
This first one has a tall pole would naturally called out for a vertical composition.
This is a dinghy, that by shooting vertically seems to give it a longer feel to it.
Front of wooden sailboat.
Front of motorboat, with anchor. This vertical orientation makes the boat feel really long, it's actually much shorter than it appears here.
This is my favorite. I like the mix of shapes and textures, and also the contrast of the lighter fish shape on the darker pier. I think the vertical orientation helps give the right space for the shapes to work together in a balanced way.
At the marina I found no shortage of subjects that lent themselves to a vertical composition, all the piers and masts going up would naturally call for a vertical framing in many instances. So, I conciously decided to seek out other subjects to compose vertically. I used the digital camera and took literally hundreds of photos, but will only post 5 here.
This first one has a tall pole would naturally called out for a vertical composition.
This is a dinghy, that by shooting vertically seems to give it a longer feel to it.
Front of wooden sailboat.
Front of motorboat, with anchor. This vertical orientation makes the boat feel really long, it's actually much shorter than it appears here.
This is my favorite. I like the mix of shapes and textures, and also the contrast of the lighter fish shape on the darker pier. I think the vertical orientation helps give the right space for the shapes to work together in a balanced way.
Exercise: positioning the horizon and experimenting with cropping
For this project, I experiment with placing the horizon in the middle, top, and bottom of the frame. Then I added a subject on the left side and repeated the exercise.
The horizon in the middle is generally boring unless there is some compositional reason to place it there. When I was composing for this exercise, it was very hard for me to just put it in the middle without anything else in the photo, so I lined up the three boats. I found that with this composition, it made the horizon in the top the most boring.
Using my wide angle on the zoom (with the digital camera), I added the boat at the dock on the left. It's up close and adds some interest regardless of where the horizon is placed. With the compositional element in the foreground, the placement of the horizon works or doesn't work based on how it relates to that compositional element.
I added the boat to the left which brings some interest into the foreground. This is with the zoom set on 18mm. I like the wide angle used close up on a subject.
This probably my favorite shot of the sequence. I like the boat on the left, and the lineup of boats going across towards the top right of the photo. The clouds are interesting in the top portion of the photo. Even though there's nothing happening in the lower right portion of the photo, I think it's okay. It gives a feeling of space. Might be better with the bottom cropped some though, so the boat in the foreground touches the bottom edge of the picture.
This just seems odd. I like how the boats are lined up again, but I think we don't get enough of the boat in the foreground. And with this framing, it emphasizes the lineup of boats. I think it's because the decks of each boat feel lined up and the deck of the boat in the foreground is emphasized so that's where the eye starts. It makes the eye sort of skim from one boat to the next. Might have worked better if I crouched down to take the shot. I like the sky though, and the American flag is also interesting.
I cropped some off the bottom of the second horizon/top shot so that the boat touches the bottom edge of the photo. I like the feel of it. Also like how the angle of the bottom of the boat is now more emphasized and points towards the other boats. That line craws the eye as much, if not more than the line created by the deck. Either way, both lines point towards the series of three boats in the distance. But I do miss the curve on the bottom of the boat that is now missing. I might try to crop it so that is retained. And without the extra water, you get less feeling of open space. It feels less expansive. I guess that's one of the tradeoffs.
In this one I cropped of some of the bottom, but didn't bring the boat to the bottom edge of the photo. I like the other two versions better. I don't think this works because it's too low to get a feel for the curve off the bottom of the boat, but not low enough to bring in the new dimension that's created by having it extend beyond the bottom edge of the photo.
The horizon in the middle is generally boring unless there is some compositional reason to place it there. When I was composing for this exercise, it was very hard for me to just put it in the middle without anything else in the photo, so I lined up the three boats. I found that with this composition, it made the horizon in the top the most boring.
Using my wide angle on the zoom (with the digital camera), I added the boat at the dock on the left. It's up close and adds some interest regardless of where the horizon is placed. With the compositional element in the foreground, the placement of the horizon works or doesn't work based on how it relates to that compositional element.
I added the boat to the left which brings some interest into the foreground. This is with the zoom set on 18mm. I like the wide angle used close up on a subject.
This probably my favorite shot of the sequence. I like the boat on the left, and the lineup of boats going across towards the top right of the photo. The clouds are interesting in the top portion of the photo. Even though there's nothing happening in the lower right portion of the photo, I think it's okay. It gives a feeling of space. Might be better with the bottom cropped some though, so the boat in the foreground touches the bottom edge of the picture.
This just seems odd. I like how the boats are lined up again, but I think we don't get enough of the boat in the foreground. And with this framing, it emphasizes the lineup of boats. I think it's because the decks of each boat feel lined up and the deck of the boat in the foreground is emphasized so that's where the eye starts. It makes the eye sort of skim from one boat to the next. Might have worked better if I crouched down to take the shot. I like the sky though, and the American flag is also interesting.
I cropped some off the bottom of the second horizon/top shot so that the boat touches the bottom edge of the photo. I like the feel of it. Also like how the angle of the bottom of the boat is now more emphasized and points towards the other boats. That line craws the eye as much, if not more than the line created by the deck. Either way, both lines point towards the series of three boats in the distance. But I do miss the curve on the bottom of the boat that is now missing. I might try to crop it so that is retained. And without the extra water, you get less feeling of open space. It feels less expansive. I guess that's one of the tradeoffs.
In this one I cropped of some of the bottom, but didn't bring the boat to the bottom edge of the photo. I like the other two versions better. I don't think this works because it's too low to get a feel for the curve off the bottom of the boat, but not low enough to bring in the new dimension that's created by having it extend beyond the bottom edge of the photo.
Getting a digital camera
Up to this point, I've been using my old Nikon and Hasselblad for this course. But I decided to acquire a good digital to help with this course. After a bunch of research, I decided on a used Nikon D200 in excellent condition with a 18-55 zoom.
I basically had two reasons for getting the digital. First it would allow me to take and process more photos. I figure the more photos I take and review, the more material I can learn from. I'll experiment more, which is something that's harder to do with film.
Secondly, I'll get more immediate feedback, which will help with the various exercises. Being able to look at the results right away on the screen will help me understand at the moment the various points of the exercises.
I've also been using is to help research the shots I'm planning to submit for the assignment.
My first impressions after taking a bunch of photos with the digital is that I really, really enjoy film! It makes me appreciate film even more than I did before. Even thought it's an excellent learning tool, for the purposes I described above, I just enjoy the feel of film more.
I basically had two reasons for getting the digital. First it would allow me to take and process more photos. I figure the more photos I take and review, the more material I can learn from. I'll experiment more, which is something that's harder to do with film.
Secondly, I'll get more immediate feedback, which will help with the various exercises. Being able to look at the results right away on the screen will help me understand at the moment the various points of the exercises.
I've also been using is to help research the shots I'm planning to submit for the assignment.
My first impressions after taking a bunch of photos with the digital is that I really, really enjoy film! It makes me appreciate film even more than I did before. Even thought it's an excellent learning tool, for the purposes I described above, I just enjoy the feel of film more.
Exercise: focal lengths and different viewpoints
For this exercise, I changed lenses as I changed positions. First, I used my 105mm, then I moved in and took a shot with the same basic framing using my 28mm. This was a very interesting exercise and I was surprised with the results.
In this shot, I'm using my 105mm.
Then I walked in and shot the same basic scene, but I captured a lot more to the left side then before. I probably could've gone in even further, and I realized this at the time, so I did the exercise again from a different perspective. I was surprised at how wide it is.
Same basic location but from a different spot. First is the 105mm.
Then I walked in closer with the wide angle and got almost the identical edges on both the left and right, so I was happy with that. I am really struck at how much the wide angle changes the perspective (and with the distortion on the sides). My other big impression is how much more interesting the shot is with the wider angle. It's a lot more dynamic. In particular, there's a lot more energy around the rough lines, especially the lower one on the right side. With the 105, that roof line was entirely static. But with the 28, it has a lot of energy. And so does the lower roof line on the left.
I think I've underused my wide angle close up. I have a tendency to think of it as just for getting in the whole scene and really haven't thought much about how to use it creatively, especially closer-up.
In this shot, I'm using my 105mm.
Then I walked in and shot the same basic scene, but I captured a lot more to the left side then before. I probably could've gone in even further, and I realized this at the time, so I did the exercise again from a different perspective. I was surprised at how wide it is.
Same basic location but from a different spot. First is the 105mm.
Then I walked in closer with the wide angle and got almost the identical edges on both the left and right, so I was happy with that. I am really struck at how much the wide angle changes the perspective (and with the distortion on the sides). My other big impression is how much more interesting the shot is with the wider angle. It's a lot more dynamic. In particular, there's a lot more energy around the rough lines, especially the lower one on the right side. With the 105, that roof line was entirely static. But with the 28, it has a lot of energy. And so does the lower roof line on the left.
I think I've underused my wide angle close up. I have a tendency to think of it as just for getting in the whole scene and really haven't thought much about how to use it creatively, especially closer-up.
Exercise: Focal lengths, changing lenses
For this exercise, I took a series of photos of the same subject with different lenses. I stood at pretty much the same spot and simply changed lenses and recomposed. I used a 28mm wide angle, a 50mm standard, and a 105mm telephoto.
For my subject, I chose some interesting looking tanks in an industrial area of downtown. It was a bright, sunny day, and I was using a red filter.
The first shot is taken with the wide angle and captures the entire series of tanks, starting with the two big ones on the left, a medium one in the middle and a bunch of smaller ones to the right. Photo would probably work better if some of the left side was cropped off. I'm used to printing 35mm prints on 8X10 paper, which usually means I need to crop something off, so when I compose I generally build in some areas to crop. It's second nature at this point, but I'd like to start thinking about it more consciously.
This photo was taken with the standard lens. I decided to compose vertically in order to capture the entire tank. I really liked the staircase, and how it wrapped around the tank.
In this last shot, I used the 105mm, and discovered there was a seagull there. I also needed to step to the left a little bit because there was some activity at my location. It's interesting to me how the tank on the left is almost identical in tone to the sky. It makes it very disorienting in some ways. I knew they would be close, but didn't think they'd be this close. I like the seagull there at the top!
For my subject, I chose some interesting looking tanks in an industrial area of downtown. It was a bright, sunny day, and I was using a red filter.
The first shot is taken with the wide angle and captures the entire series of tanks, starting with the two big ones on the left, a medium one in the middle and a bunch of smaller ones to the right. Photo would probably work better if some of the left side was cropped off. I'm used to printing 35mm prints on 8X10 paper, which usually means I need to crop something off, so when I compose I generally build in some areas to crop. It's second nature at this point, but I'd like to start thinking about it more consciously.
This photo was taken with the standard lens. I decided to compose vertically in order to capture the entire tank. I really liked the staircase, and how it wrapped around the tank.
In this last shot, I used the 105mm, and discovered there was a seagull there. I also needed to step to the left a little bit because there was some activity at my location. It's interesting to me how the tank on the left is almost identical in tone to the sky. It makes it very disorienting in some ways. I knew they would be close, but didn't think they'd be this close. I like the seagull there at the top!
Exercise: A sequence of composition
The idea of this exercise is to record the way we approach and photograph a scene. For this assignment, I was instructed to take a series of photographs, taking the photographs as I went along, without spending too much time composing.
I chose a farmer's market on a crowded, busy weekend, and was immediately drawn to a vendor making interesting things out of balloons for children. I thought the balloon shapes might be interesting, as well as the reactions of the people. I felt self-concious, however, and this feeling definitely made me tentative and hesitant to get in to the best angles. I felt like I was intruding on their space, and I also felt like I was in the way. It was tough to get to spots that allowed me good views in without being out in the middle of the flow of people, or in too close for comfort. I definitely need to work on figuring out how to feel more comfortable photographing people in public.
Anyway, here are some samples from the series.
This shot captures people waiting in line to get a balloon.
A girl walks away with the balloon figure on her head. I would've liked to have captured the top of the balloon. It might work without it, however.
In this shot, I'd hoped to capture the girl's face as she was watching the guy make her balloon, but I didn't feel comfortable getting in close. After this, I swapped lens and went with my telephoto. It's only 105 mm so, so I still need to be relatively close in order to get the shots I was looking for.
With the telephoto on, I was able to get in a bit closer and get the facial expressions. I decided that this is what I found really interesting about the scene.
This was my last shot. I like how the guy is looking at the kid, and the kid and his dad are looking up at a balloon sculpture, I believe. The shot would have worked better if I had the object of their gaze in it. That way there would've been three points of interest: they guy looking towards the kid (but you can't see what he's actually looking at), the kid and his dad looking up, and the balloon sculpture that the guy had made. Would've been three points of interest all tied together. Oh well.
If I had composed that way, it would've had the added benefit of placing the balloon guy lower and to the left, which I think would've worked better.
I still think this works though, because we can use our imagination to wonder about what they are all looking at. As it stands, this photo raises questions. What is the balloon guy smiling at, another kid there? Are the kid and his dad looking at a balloon sculpture they like? Another person up there?
But at this point, I felt like I was wearing out my welcome and headed out.
I cropped the shot by eliminating some of the useless area on the left, which helps make it more balanced, and brings more attention to the fact that we can't tell what any of the people in the photo are looking at.
I chose a farmer's market on a crowded, busy weekend, and was immediately drawn to a vendor making interesting things out of balloons for children. I thought the balloon shapes might be interesting, as well as the reactions of the people. I felt self-concious, however, and this feeling definitely made me tentative and hesitant to get in to the best angles. I felt like I was intruding on their space, and I also felt like I was in the way. It was tough to get to spots that allowed me good views in without being out in the middle of the flow of people, or in too close for comfort. I definitely need to work on figuring out how to feel more comfortable photographing people in public.
Anyway, here are some samples from the series.
This shot captures people waiting in line to get a balloon.
A girl walks away with the balloon figure on her head. I would've liked to have captured the top of the balloon. It might work without it, however.
In this shot, I'd hoped to capture the girl's face as she was watching the guy make her balloon, but I didn't feel comfortable getting in close. After this, I swapped lens and went with my telephoto. It's only 105 mm so, so I still need to be relatively close in order to get the shots I was looking for.
With the telephoto on, I was able to get in a bit closer and get the facial expressions. I decided that this is what I found really interesting about the scene.
This was my last shot. I like how the guy is looking at the kid, and the kid and his dad are looking up at a balloon sculpture, I believe. The shot would have worked better if I had the object of their gaze in it. That way there would've been three points of interest: they guy looking towards the kid (but you can't see what he's actually looking at), the kid and his dad looking up, and the balloon sculpture that the guy had made. Would've been three points of interest all tied together. Oh well.
If I had composed that way, it would've had the added benefit of placing the balloon guy lower and to the left, which I think would've worked better.
I still think this works though, because we can use our imagination to wonder about what they are all looking at. As it stands, this photo raises questions. What is the balloon guy smiling at, another kid there? Are the kid and his dad looking at a balloon sculpture they like? Another person up there?
But at this point, I felt like I was wearing out my welcome and headed out.
I cropped the shot by eliminating some of the useless area on the left, which helps make it more balanced, and brings more attention to the fact that we can't tell what any of the people in the photo are looking at.
Thinking about the first assignment: Contrasts
I've been giving a lot of thought to the first assignment: contrasts. I've gone out shooting on a number of occasions, looking for the various contrasts the assignment calls for. My first thought is how different it is to go out shooting when you're looking for something specific. In the past, I've just gone out with my camera looking for interesting things or scenes to photograph. Now I'm actually looking for specific things.
My second thought is that I find myself thinking about how I could compose various shots when I'm not out with my camera. It reminds me of when I learned to type back in the 9th grade. Once I got the hang of typing, I used to think about how I would type all the words in my thoughts. Every thought I had, I would type out in my mind as I was thinking it! It was actually quite annoying! Later, when I was learning French, I would think how I would type my thoughts in French...now that was really annoying! I find myself doing the same thing now with composing shots.
My third thought is that the assignment is in words, but the actual work will be images, and this involves a translation. The assignment calls for certain contrasts: diagonal/rounded, heavy/light, broad/narrow, etc...The book talks about how these words are only representation of something, that you could take a photo of a weight that is heavy, but if it doesn't look heavy that heavy is only a label. I've noticed this in my shot selection. I have to ignore the labels my mind puts on the objects and see them as they are. In order to do this, I have to translate the word diagonal into the actual meaning of it. And then I have to translate the thing that has meaning back into a visual language. I've found that this is a very challenging mental exercise. I wonder if the project would be easier if the assignment was given in photos and not words. I like the exercise, but it is definitely work!
My second thought is that I find myself thinking about how I could compose various shots when I'm not out with my camera. It reminds me of when I learned to type back in the 9th grade. Once I got the hang of typing, I used to think about how I would type all the words in my thoughts. Every thought I had, I would type out in my mind as I was thinking it! It was actually quite annoying! Later, when I was learning French, I would think how I would type my thoughts in French...now that was really annoying! I find myself doing the same thing now with composing shots.
My third thought is that the assignment is in words, but the actual work will be images, and this involves a translation. The assignment calls for certain contrasts: diagonal/rounded, heavy/light, broad/narrow, etc...The book talks about how these words are only representation of something, that you could take a photo of a weight that is heavy, but if it doesn't look heavy that heavy is only a label. I've noticed this in my shot selection. I have to ignore the labels my mind puts on the objects and see them as they are. In order to do this, I have to translate the word diagonal into the actual meaning of it. And then I have to translate the thing that has meaning back into a visual language. I've found that this is a very challenging mental exercise. I wonder if the project would be easier if the assignment was given in photos and not words. I like the exercise, but it is definitely work!
Exercise: Different positions in frame
For this project, I'm experimenting with placing the subject in different parts of the frame. In order to get a good feel for the different placements, I used a relatively uniform background. Although plain, the white wall is interesting, especially the cracks. But don't they don't take away from the main subject, which is the parking meter.
In this first shot, the subject is pretty much right in the center. It looks somewhat awkward, and given that the subject isn't all that interesting by itself, this picture sort of asks, "why are you taking a picture of a parking meter?"
In this second shot, I placed the subject a little bit to the right of center. It is a little bit more interesting, but still rather dull.
In this third photo, I placed the subject left of center. I like this one the best. It feels more balanced. It feels more natural to read the photo left to right, so having something of interest on the left feels better to my eye. I also like how the weeds are now more visible, and they are pleasant to view and add a nice contrast to the parking meter.
I took some other shots that I haven't posted here, and it's fairly consistent that it is kind of boring to have the main subject right in the center of the photo. It looks boring, frequently causes the photo to appear out of balance, and makes it harder for the eye to move around the picture, so you miss some of the other interesting details. One exception I've come across is that sometimes it's necessary to place the subject right in the center in order to achieve a more balanced photo, or to capture some other part of an image that's important for showing the context.
In this first shot, the subject is pretty much right in the center. It looks somewhat awkward, and given that the subject isn't all that interesting by itself, this picture sort of asks, "why are you taking a picture of a parking meter?"
In this second shot, I placed the subject a little bit to the right of center. It is a little bit more interesting, but still rather dull.
In this third photo, I placed the subject left of center. I like this one the best. It feels more balanced. It feels more natural to read the photo left to right, so having something of interest on the left feels better to my eye. I also like how the weeds are now more visible, and they are pleasant to view and add a nice contrast to the parking meter.
I took some other shots that I haven't posted here, and it's fairly consistent that it is kind of boring to have the main subject right in the center of the photo. It looks boring, frequently causes the photo to appear out of balance, and makes it harder for the eye to move around the picture, so you miss some of the other interesting details. One exception I've come across is that sometimes it's necessary to place the subject right in the center in order to achieve a more balanced photo, or to capture some other part of an image that's important for showing the context.
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