22.02.12.
TAOP. Level
Looking Through the Viewfinder.
A sequence of composition.
Equipment: Canon G12.
As I said earlier in the blog I had problems finding a crowd. A day in Canterbury gave the following.
In the Cathedral grounds was a group on a guided tour. The first picture was taken with a view to locating them at Canterbury. As each picture was taken I both moved in and zoomed in.
The second shows them to be a group concentrating on the Cathedral. All facing the building.
The third shows the face of the tour guide saying her lines.
For the forth I moved round to the right to obtain a shot of the face of one of the party listening to the guide.
For the fifth I moved further to the right so as to see the the guide as well as the audience.
I was pretending to take pictures of the Cathedral but was aware of becoming intrusive and left the group to their tour.
TAOP Level 4.
16.02.2012.
TAOP Level 4.
Assignment 1: Contrasts
For this assignment I managed to assemble about 12 pairs of photographs that fitted the criterion from within my existing portfolio. This did not feel very satisfactory so I launched forth into Deal to seek inspiration.
Each of the pairs I have produced have both a link and a contrast. I was particularly pleased with the Liquid/Solid pair.
Straight/Curved.
I set out on this assignment to find two man made objects that would meet the criterion. The two objects I found were Deal Pier and a 1920s shelter.
The pier was built in the 1950s and replaces an earlier structure. It has all the brutal design of the time with its unadorned concrete legs and bare deck leading out to the angular cafe at the seaward end. There is not a curved surface to be seen. Even the shore line seems to reflect this with its straightness. The pier has a look of plain functionality with little warmth about it.
The shelter is also built of concrete but is from a different age. The whole structure is built in the round. The roof is a circle, the outer edges of the supports are curved, the upper part of the central pillar is curving out like the branches of a tree. The shelter has a welcoming feel about it the the pier will never attain.
Liquid/Solid.
For this I have chosen to compare the way light acts with different media.
The one is the shadow of an empty window cast upon a stone wall. The picture tells a tale of decay and past glory but still manages to have a feeling of permanence. Every time the sun passes the window the picture is repeated.
The picture of the light passing through the smoke is all about the passing moment. The picture I took can never be repeated. A similar shot my be taken but never that one. It took many hours to obtain this shot. If I waited for the perfect shot it had gone before I could react. When I tried to anticipate the action of the smoke it often came to nothing.
Rounded/Diagonal.
For this I selected two aspects of the same feature. The groynes on the beach are there to prevent the ferocious cross current from washing away the sand and gravel. The mostly wooden structures are held in place by massive wooden piles that are driven into place by powerful machines. Strong steel rings are placed round the tops of the piles to prevent splitting. These round topped piles are a feature of the beach and are used as seats, tables and play things for children.
Once finished the groynes themselves make diagonal patterns down the slope of the beach. They break up the otherwise plain line of the beach adding interest to an otherwise dull scene.
Light/Heavy.
Who would feel threatened by the approach of the blue wheel? The soft pastel shades and the roundness of the edges proclaim it to be safe and light. When I was setting this up I was able to place the trike where I wished. The wheel looks what it is, a plastic toy.
The red wheel is clearly meant for business. The polished steel coupling rods, the harsh red of the wheels and the size of the brakes all give a feeling of weight and power. Even taking this shot I stood back in awe of what it represented. This is not a thing to be played with.
Few/Many.
Flowers can be beautiful as either individuals or en masse. I have tried to demonstrate this in these pictures. In the one I have photographed three orchids on one stem making the central one the feature. The details of that one bloom are clear and is distinct. The other two blooms act only to support it.
The second picture is of a mass of flowers on an epiphyllem. Here the individual flowers are lost in the whole. The beauty here is in the patterns formed. My aim was to have a flow of colour from bottom left to top right. The shape of the green stems assist in taking the eye in that direction. I have tried to balance out the black void in the top left by revealing the blue pot in the bottom right. The beauty of a singe epiphyllem in a setting like this is nothing compared with massed colour of a group like this.
Smooth/Rough.
The two panels are sections from two doors. Both are made of wood and are painted. What do they tell us?
One has not seen a paint brush in many years. What paint remains is dirty and streaked. It speaks of decay and lack of care. What would we find behind that door?
The other is newly painted and washed clean. It speaks of cleanliness and care. What would we find behind that door?
I make no judgements but merely ask the questions.
Thick/Thin.
To express thick and thin I used the medium of the drawn line. I used finely sharpened crayon pencils to demonstrate thin and square pastels to demonstrate thick. I sometimes sketch out an idea for a photograph in pencil but I have not used artist crayons for years. I was surprised how tactile they felt in use, not only leaving their own mark but also showing the nature and texture of the paper. This interaction is far more pronounced that between ink and paper when processed through a printer.
The thin line suggests a light touch and detailed work. An outline perhaps to be filled in later, a sketch.
The thick line suggests boldness and a heavier hand. The heavy hand is amply demonstrated by the two broken pastels. Only a very confident artist would dive in and make an initial mark using these.
I had some problems lighting these sets as I do not have studio lighting. I used the continuous strobe function on my Metz to paint them with light and thereby obtain the sort of flat lighting I was after.
When I printed out the pastel picture on matte paper the texture made it look as though the mark could still be smudged.
Pointed/Blunt.
Here I have chosen two vertical structures, both are man made, manufactured from metal and dominate their surroundings.
The first is the Spinnaker Tower in Portsmouth. This is a most imposing piece of art with a series of viewing platforms towards the top. Its height is not truly apparent until one stands at the foot of one of the legs and then looks up. It is meant to resemble, as its name implies, the billowing spinnaker of a racing yacht. The spike on the top of the tower accounts for about a quarter of its height and, in itself mirrors the masts and rigging of the ships in The Historical Dockyard. It was designed to look beautiful and impressive.
The second is the gas holder in Deal. Its sits like a fat toad in a rather run down part of Deal, rising and falling to its own rhythm. When full it can be seen from most of the town but when empty it slinks away beneath the roof tops and becomes invisible. It was designed to fulfill a function and that’s what it does. Tall it may be but a thing of beauty it is not.
Strong/Weak. In one.
The last picture is of one my grandson holding his father’s thumb on the day he was born. The contrast between the strong protecting hand of the father and the weak vulnerable hand of the infant is universal and eternal. It doesn’t need too many words.
Contrasts Assignment. The ones that didn’t make it.
As was suggested in the notes I went through my previously taken photographs and paired some up. These are three such pairs that didn’t make it.
Sweet/Sour.
The two pictures look at a quick glance to be of similar subjects. They feature a group of people dress in bright clothing, in a procession and led by a man who is obviously directing ceremonies. The difference is that one is of the Spring Flower Festival in Nice and the other is of a Sri Lankan funeral.
Many/Few.
These are pictures I took whilst living in Biggin Hill. The many is represented by a rape field that had been invaded by poppies. The contrast of the red against the yellow was stunning. A single poppy, although a beautiful thing, is nothing compared with the sight of a field of them. The few is demonstrated by a single bee orchid. This is such a fantastic flower that the presence of others would only detract from the image and add nothing.
Large/Small.
Here I compared the picture of a two animals in flight. The first is a grey heron and the second a hover fly. One has a wingspan of over 6ft. and the other of well under an inch. The heron’s flight is majestic and steady while the hover fly’s flight is characterized by short dashes and, of course, the hover.
Straight/Curved.
The two pictures were taken in parks. One in Nice and the other in Port Douglas, Queensland. The first is all about looking inward away from the outside world. The seats round the park were all facing inwards away from the world. The feeling of looking inwards was magnified by the curved structures that also focused inwards. The whole feel of the park, and I hope the picture, is one of introspection.
The second is a line of tall trees through which the mountains in the distance con be seen. The presence of the two young people and their cycles speaks of looking outward and of future exploration.
I would have happily used these contrasts but I thought it better to take up the implied challenge of taking new pictures.
