Posts Tagged ‘ grass ’

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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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.

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