Archive for the ‘ Golden ratio ’ 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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Aqualescence

Time to catch up with posting again, so here is a stunning piece of work from my Flickr friend Ethan, whose Burmese travels have produced a plethora of beautiful compositions.

Aqualescence

There are three compositional techniques used within this shot, turning something serenely simple into a powerhouse of interest. Most obvious is the pairing of silhouette (the man in his boat) and layers (which is really a subtle form of silhouettes, where light is diffused in between the masking elements. The majesty of the landscape is given definition through the layers of hills that descend to the water’s edge, one so close that it is nearly as dark as the primary subject. And so the subject merges into the natural scenery; the man-made in harmony with its surroundings.

The third attribute is the golden ratios. These are not quite as obvious as one might expect, but fully appropriate to the scene: the boat between (but not quite reaching) primary and secondary horizontal, and sitting on the secondary vertical (yes, the boat, rather than the horizon). This interestingly puts two of the background peaks on the vertical primaries.

That the boat is between primary and secondary golden ration, moving out of the scene, breaks the rule that the subject should be entering the frame, but it also adds a sense of story; that this is a timeless life, repeated father to son for countless generations.

Wonderfully peaceful

Bow Glacier Falls

It has been a few months since I last featured any of Keith Rajala‘s work, but that does not mean there has been any let-up in his quality.

Bow Glacier Falls

Reminiscent in some ways of Adams’ mountain shots – simple, compelling, with very carefully managed tonal ranges to bring out the finer details – this shot provides a sense of majesty, but controlled enough not to be overbearing.

As is de rigueur for a scene like this, it is perfectly proportioned: the foreground interest anchors in both lower corners, drawing the eye up against the water’s flow to the lower left intersection of primary golden ratios, where the detail in the tonal range keeps the eye endlessly occupied. Every part of the centre of the image includes a detail of form or texture – or nature’s rugged beauty – that could be studied indefinitely. And then the eye finally finds the falls themselves: hanging from the intersection of the right primary and upper tertiary golden ratios; a sweeping arc that tumbles lazily down the cliffs until to sweeps into the foreground path to complete a stunning S-curve.

Without doubt, a masterpiece of mountain scenery.

photometry

Returning after a short break (at least from being featured here), we have more from compositional star Jenny Downing.

photometry

While the concept of a still life comprising a pair of empty wine glasses is nothing new, this has to be one of the best results I have seen in the area. As can be expected from Jenny, the placement of the subjects plays on golden ratios: one glass straddling the left horizontal, while the right divider sits perfectly atwixt the glazen subjects. Vertically, the primary golden ratios provide the containment for the main body of the containers, the lower being positioned at the top of the refracted patterns which perch atop the glass’ stems.

From a subject positional perspective, there is not much else to say. The image, however, has more going for it. Predominantly, this is in the form of the Chiaroscuro tone, offset by the subtler shades to be seen within the window’s light. That, negative space, balanced against the rim-lights of plates providing foreground interest, frames the subject very well, drawing the eye in to contemplate the distortion of pattern that decorates the subjects.

Perhaps the best use one can put wine glasses to…

Washer Woman

Another shot from my Flickr contact Ethan‘s trip through Burma – it’s all in the little details…

Washer Woman

There are three parts to this image, though most people probably only notice the first – the most prominent – which grabs the viewer’s attention. That primary element is the subject: the washer woman, in stark silhouette, but distinct enough in form that there is no doubt what she is doing, or of her role in society. She is the balance that holds all else together: yin to society’s yang, which is reflected in the wrapping curvature of her body shape and the complementary form that is not silhouetted.

The placement of this balancing symbol perfectly on the intersection of lower primary and left-side secondary golden ratios is a clear element of mathematical balance. Though the image might still work otherwise, the impact would be nowhere near as evocative.

The second element is the secondary scene: the land beyond the lake, with its faint layering of trees: a cascade of softer shadow-silhouettes as one climbs above the secondary golden ratio that is the water’s edge, towards the far distance of the sky.

And lastly, the emptiness of one of the most powerful framing elements of all: negative space. The expanse of water fills at least half the image, and yet it is not there, but for the texture that gives it scale.

Undeniably powerful.

3 Mallard Ducks

In what is sure to become a regular featuring within these postings, recently added contact Adrian shows off more stunning composition and general photographic appeal.

3 Mallard Ducks

The basics of this image are very straightforward: we have a silhouetted foreground subject which provides a subtle diagonal over a soft and dreamy scene, lit by a newly risen sun placed on the primary golden ratio intersection. Already, it is textbook – contrast of solidity countering the softness of the tones employed.

And then the whole is taken up a notch, beyond the serene, by the inclusion of the titular ducks! The triplet, balances across the right-side secondary golden ratio (for added value, the balance between the single lead bird and the trailing two is naturally much closer to the lead, and that is exactly where the GR is), moving into the scene. A counterpoint within the negative space of that half of the image which manages to flip the composition completely, making the extras into the key subject and the foreground silhouette into framing.

Fabulous.

Cascade Ponds

Next up, a powerfully alive landscape shot from Canadian Wendy Erlendson

One might think it easy to shoot a strongly composed landscape. That perception is nothing if not deluded. While a landscape may not be in motion, while it may simply be a case of getting into the right position, landscapes have many parts that all need to line up just right. It takes time to get from where you are to where you need to be; if even you know how the scene will evolve as you reposition yourself. And in the time it takes to get the static elements into place, the clouds and light can change enough that the shot no longer works.

In order to pull together a scene that makes people feel that they want to step into it, one needs to use a range of compositional elements. Clearly, having majestic elements helps, but in itself it is not enough.

Here, Wendy has started with the majesty of the mountain, the summit positioned on a golden ratio, and played on the reflection in the rippled waters. The duplicate ridge line runs parallel to the foreground shore, even going so far as to echo its unevenness. That foreground interest element, even though no more than a patch of grass, provides a further anchoring element as it nestles so tightly into the lower left corner. And finally, running back along the shoreline, we arc around the end of the water, and reach an actual as well as metaphorical bridge between fore- and middle-grounds. We arrive in a refined scene of pleasant calm – a small filed edged with trees – amidst all this majesty.

The additional processing here to emphasise the texture of the clouds does not so much enhance the composition as reinforce the original majesty of the setting.

Powerfully peaceful.

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