Archive for the ‘ Triplet ’ Category


Adding a new name to those featured here, a recently added Flickr contact, Ali Azimian gets his first outing…

While this may at first appear to simply be a gorgeous portrait shot, it is far more than that. Yes, the subject is a beautiful lady, and that fact alone helps make the image appealing. But it is the right half of the image as negative space that ensures the eye is directed at the model.

The high key processing is an interesting feature, as it largely masks the subject’s features, leaving only the subtlest outline to define her nose… it becomes a process of discovery to obtain definition. This then leaves the face defined by eyes and mouth – a sharply focused triplet without distrcation, the whole wrapped in a border of mostly softly blurred hair.

A stunning entrance; subtle yet 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.


Volleyball at Dusk

After a very long wait, here’s a rather active image from my Flickr friend Allison.

OK, let’s admire the gradient colours of the sky for a moment. It’s not like I can draw your attention away from that. Now, let’s move on to the composition that takes advantage of that ever-so-vibrant lighting…

It is really quite impressive to see that a black dot against a coloured sky – a complete absence of anything to look at – can so completely give the impression of motion and action; of tension and expectation. While the nature of silhouettes provides form without disruption, the combination of anti-detail used here ends up telling a superior story.

Mostly, this has to do with the interaction of a triplet – the players – and a triangle – between players and ball. A double dynamic using very similar elements. That the whole scene occupies only a central band of the image, bounded top and bottom by so different forms of negative space, serves only to make obvious the openness of the playing environment, lending the scene gravitas.

Beautiful Morning

And I finally manage to catch up on the back-log with a post from another first-time-featured photographer, Adrian.

Beautiful Morning

Clearly, the dominant compositional aspect of this image is the use of negative space – the V-shaped prominence of cloud that creates a foil to direct the eye downwards, the to triplet of subtle, silhouetted subjects. That cloud reflects, duplicating the negative space within the river and thereby providing texture and foreground interest. The whole scene as we drift up the river, past the swans, is a gentle S-curve: barely perceptible to the inquisitive eye, but undeniable in the flow it induces in how one sees this colourful scene.

Also of interest is the second – more important but not quite so blatant – triangle, as formed by the line of swans and the new-risen sun. While the sun itself is very nearly centred, the slight off-centre placement allows it to act as a supporting element rather than the dominant focal point of the whole scene.

Another element, very powerful but so rarely employed, is the layers of this image: not just those resulting from cascade of hazed silhouetted, but also the horizontal stacking of cloud and water.

You might ask why the third swan, the one trailing, is more prominent in this scene. The answer is double: firstly, there is the obvious emphasis provided by its wake (which the other two lack); also, it sits on the intersection of horizontal primary golden ration, and vertical secondary (the horizon-line, beneath the buildings, sits on the primary).

A powerful composition, combined with very attractive colours. No wonder it was short-listed.

Essence Of Venice..

I was recently introduced to the work of Stockholm-based photographer Peter Levi, whose work tends towards the black and white – simply because it lets the spirit of the scene shine though.

This image is more than just a solid composition: it is an inspirational technique; an approach to capturing the essence of a setting that I have hot seen before, but which is perfectly suited to the Venetian mystique. San Giorgio Maggiore sits in sharp focus, in the distance, the horizon almost on the centre line, surrounded by the gaping expanse of negative space that is a cloudy sky and the silvery waters of the Laguna Veneta. The monastery’s façade and bell tower are placed perfectly on primary and secondary golden ratios, balanced by the lower profile of the isle extending right-wards.

But these elements are only a part of the scene. The real magic is in the foreground, blurred by both depth of field, and the motion of a the waterways during a 79 second exposure. The triplet of gondolas, ghosted in their gentle sway, truly does capture the spirit of this sinking city…

A masterpiece of imaginative technique enhancing composition.

Sunset Light On Four Mile Beach

There was a recent post from Andy Poupart (andy_57) that I very nearly posted. Luckily, I passed it up, and this gem, even stronger, came along.

Besides the all too obvious stunning colours captured here, three is some marvellous additional elements of composition that play into the image. Perhaps the most obvious is the triplet of stones in the lower left corner. These achieve many things at once: they are foreground interest, anchor, and the traces where the surf has run off them provide a very clear direction/leading lines. This sense of direction is supported by the foreground interest on the other side of the image, where, thanks to a suitably low shooting position, the flow-lines created by the water in the sand are an enthralling texture (view it large to see).

And so far, we have not extended any mentionable distance into the image. Going further, some of the gems of the lighting show up: the backlit wave breaking and the glowing cliff-face that finds itself reflected in the middle distance. The image is so full of detail that nothing can count as negative space. As well as the sense of direction from the lower left corner, we have a similar diagonal running the other way across the image, formed by the combination of shoreline and cliff.

Lastly, the pairing of the cliff on one side and the break in the clouds on the other, where the setting sun makes the heavens glow, act as border elements to draw the eye into the heart of the image, through the gap in the rocks.

So perfect a location, wherein one could easily abandon a soul.


After his last featuring for organic death, Florian Sprenger (mav_at) gives us the purely geometric, with a twist… of sorts.

stepsThere are no prizes for knowing that one of the primary compositional elements here is the diagonal. However, this is far more than that – that it passes from nearly-corner to corner is not enough. It is the zip-like effect of the cast shadow that converts simple geometry to active, directional interest. The way the lighting is provided is key to this – a sharp spotlight that provides a parallax shadow, diverting from the implicit line; is the wall curving away, or the stairs curving towards the viewer? The mystery enhances the sense of wonder.

This widening of the shadow, though only a hint, provides a triangular element; the shadow of the bannister turns the diverging lines of steps and shadows into a triplet. And the whole is wonderfully stark within the light-dark diptych of negative space that is the illuminated and dark wall.

A compelling climb into the abstraction of geometric form.

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