Amra jara dekhiyachhi

And returning now, jsut as I thought I was running out of images to post, the ever-dependable Aftab Uzzaman (aftab.).

Amra jara dekhiyachhi

As with so many of Aftab’s images, this has both powerful composition and a colour palette that makes it enrapturing; shooting into a setting sun, in autumn, with a wide angle lens, is bound to create a dramatic scene. There are so many elements at play here that it is hard to decide which to start with. I suppose working from outside to in, picking out the more subtle compositional mechanics is as good a place to start as any.

With that, we have borders – delicate and barely noticeable, but nonetheless there, providing an edge where the eye can stop. One might ask whether they are needed; I think that the unorthodox placement of the image’s focal draw calls for them. One could consider the swathe of tree in the top left corner to be framing, but I would say that is more a bit of background; an element that happened to be there, but not itself the compositional core. The framing, as it happens, is provided by one half of the foreground interest: the larger tree shadow, which stretches across some 60% of the width. The split shadow, pointing in – triangular – is the dominant directional element.

I mentioned that there are two elements of foreground interest: the second is the scattering of leaves, which provide colour within the darkness of asphalt. From here we move forward, along the shadows’ leading lines (they have many compositional behaviours, it is true), to the subject of the image, the wide expanse of Earth’s curvature, from the fields of a life-sustaining farm to the reminder of each’s mortality: the graveyard. (And there you were thinking the subject was the sun, and the trees.)

Now, at last, we come to the sun, placed perfectly between the primary and secondary golden ratio lines, casting the three dominant trees into sharp silhouette, haloed in a fire of glowing red foliage. And the reason the trees are themselves so well balanced? It should be obvious that their placement – the gaps between them – mark out another perfect golden ratio.

A masterwork of photographic philosophy.

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