Archive for the ‘ Centred ’ Category

Nature’s “A” Frame

Continuing with the work of one of the newest-featured photographers on this site, whose work is constantly of high compositional quality, we have another of Adrian‘s sunrises…

Natures "A" Frame

While the colours captured here might be enough to enthral the casual viewer, it is the compositional quality that really gives this image its power. Yes, the primary subject – the arc of the title, not the sun – is generally centred on the horizontal (it and the sun are both fractionally off, which helps give the scene a natural feel), but it is on the vertical that the scene really plays out.

The sun sits, as is to be expected, perfectly upon the lower primary golden ratio, with the shoreline directly beneath it on the lower double. The top of the arc comes in at a further subdivision of that double’s opposite (the double’s outer-most tertiary?)

The other interesting feature has already been mentioned: the slight offset of the centre line on the image. In itself, this is nothing fancy. But if we consider the tightening of the shore’s silhouette from right to left, it is only natural that the image’s balance point have been pushed slightly off kilter.

Simple, strong and peaceful

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fenced in

First featured only four posts ago, Adrian gets another mention…

fenced in

This is an interesting shot, in the way the interplay between the two subjects works.

On the one hand, we have a centred sun, a ball of luminescence that actually has texture to it, which is surrounded by bordering elements: the negative space outside the silhouetted fence. In the lower left side, the fence additionally provides framing in the form of the curved wire.

The second subject is the fence itself, and the finer details of the coarse vegetation that accompanies it – black-lined details against a very simple background. The part where it interacts most directly with the background, despite being but tracery besides the more solid forms of posts and barbed wire, is fascinating. Because of this double-subject, the fence falls into the rarely seen compositional category of subject as border.

It is impressive that something as easily overlooked as a rough section of fence could hold such visual fascination.

Stray teardrops..

The outpouring of excellent composition continues, and I fall further behind, with this artistic work from Ananya Rubayat (dream_maze).

Stray teardrops..

The beauty of this shot is in its simplicity: that there are only two elements – the branch and the rain. The mind does not need to wonder where the eye has to go: there is only the small area between two tear drops in focus, and the crayon-streaked lines of falling water. The extent of the focus is perfect, being between the centre line of the image and the right-side primary golden ratio, and vertically sitting comfortable on the middle line. Meanwhile, the clearest streaking of falling tears spans that same golden ratio, from the centre line beneath the branch, to the secondary above.

The lines of the rain are a fabulous touch herein, providing not only the sense of direction in their long-exposed fall, but also the variable texture resulting from their shapes changing as they tumble through the air. And all of this on soft background which provides encompassing negative space.

Wonderfully pristine.

brumous

The trend of excellent posts continues, with this effort at linguistic education, from Jenny Downing. And to think she repeatedly claims not to know what she is doing…

brumous

While there are only a few elements to this image – if we assume that each blade of grass does not count as an individual element – the whole is fabulously complex in its composition, layers of intrigue. There is form – a roof, possibly – that, out of focus, provides a starting point for splitting the image into a diptych of dark and light along the diagonal. This provides a sense of direction along that diagonal, an echo/continuation of the one created by the foreground (but to that later). The simplicity of the distance makes the setting abstract, which works also to push attention to the foreground, the opposite corner, where the details are sharp.

In the middle distance, we have the specular highlights of a the out-of-focus dew drops, drawing us gradually, right to left, from the abstract to the focused: to the dominant subject that reaches up along that diagonal: the one blade of grass in sharp focus, its tip clad in a droplet of liquid that reaches the slightest fraction across the centre of the image.

Truly mesmerising – only a foggy mind would find it otherwise.

invisible force

Keeping up with the run of recent post, now we return to black and white with an interesting piece of work from Jessica Islam Lia (evening sun.).

invisible force

There is perhaps not a lot, from a subject perspective, to this image. It still manages to be a excellent piece of composition. The razor-thin depth of field gets the subject to stand out starkly in the sea of soft tones, and the variance in focus creates two triangles that point inexorably to it. The expansion of that line, of course, allows it to connect on either side, if only virtually, with opposite corners, thereby setting up a strong diagonal through the whole image.

An interesting detail about the focal point is that it sits very nearly on the horizontal mid-point, and the vertical golden ratio; the abstract nature of the whole meaning that the precision of these alignments is not necessary – the hint of them is sufficient.

There is, moreover, another compositional element within this image – one many people may not immediately notice: a very subtle framing that also tilts the frame of reference. There are echoes, in the soft variance of tone, of a mesh structure, albeit only one vertical and one horizontal line of each, lower left, tilted slightly clockwise. The dominant intersection of these shades is on a primary/secondary golden ration intersection, for good measure.

Far more depth than the sliver of focus first implies.

Tide

Thanks to a small break in my other schedule, there is a moment… to again pick on Aftab Uzzaman (aftab.) and highlight another of his powerful compositions.

Tide

On sign of a strong composition is that the subject can be rendered in black and white, without the emphasis of dazzling colour, and still it holds our attention. This is a prime example of that: the blues and browns and greens are washed away, and still we are drawn by lines into the distance, and the magic that sits upon the horizon.

The clearest elements used here are the quintuple leading lines of the jetty – virtual to boot – and the choice to centre the scene. This latter element works for two reasons: the first is more obvious, in the tone of the clouds, which are brightest where the lines target them and more dynamically expressive on the sides; the second reason is because of the anchoring of the outer leading lines provided by the jetty – virtual anchoring, perhaps, but firmly planted into the corners.

The whole is not harmed by the contrast within the wood… or should I say between the wood and the bird droppings that crown each in whiteness. That the beach is kept in the frame, providing a baseline of foreground interest that then extends though the ruined structure, also gives the image strength. And yes, as mentioned, there are the clouds, roiling with excitement, to cap the entire experience.

Another masterful piece of work.

Sun bathing

My Flickr contact Allison (snippets_from_suburbia) may not be the most frequently featured in this blog, but when she shows up, there is a sweet harmony to her work.

Sun bathing, by snippets_from_suburbia

The first thing about this image that jumps out is the Spartan feel – an immense field of darkness within which the subject has found the one tiny band of warm light, and so settled down to enjoy every bit of it. This minimalism of subject within such negative space draws the eye in, especially as assisted by the horizon line (the lit floor): there is so much room to wander, yet one is drawn inexorably to Domino.

The minimalism is also present in the tones: black, white and a few hints of soft brown. Oh, plus one piercingly blue eye.

The use of the centre line for vertical alignment, rather than a golden ratio or such, works specifically because of the floor surface, and the blurred reflection that results. The pool of brightness sits comfortably in the middle, balanced by its non-uniformity.

And lastly, we have the precision of the crop that makes this image work so well. There are subtle golden ratios at play here: the length of Domino’s tail is a golden ratio of the distance from his butt to his eye (the one in darkness), which happens to be perfectly positioned on the double golden ratio. And from the eye to the right edge is – yes – the same distance as from the tip of his tail to the eye. He is curled up around the gold.

Purely priceless.

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