View allAll Photos Tagged Composition
I should probably give some context to this image and the Golden Spiral hairline that is superimposed on it.
Composition is a constant refrain in my photographic work. I've taken classes in it, read alot about it and indeed teach composition for photographers as well.
I've been mentally visualizing formal compositional geometries on the viewfinder for several years and it has become a habit whenever I pick up a camera. Nevertheless, it's often a surprise when I look at an image in the processing phase to see just how strongly those forms are embedded.
This shot is a good example of that mental process. When I took this shot I was concerned with getting the area of highest contrast in the picture, the bowsprit, somewhere near one of the golden section line intersections. I was also concerned that the angle of the steel work on the bowsprit point up towards the upper right corner of the frame. I took about 3 shots of this scene, varying the exposure a bit each time but altering the view point only a tiny bit in each. In the end, I wound up selecting this particular image as the best of the batch.
As the hairline on the image shows, the bowsprit fitting is located nearly perfectly on the origin of the golden spiral. Similarly, the curve of the hull of the boat follows the outward track of the spiral as well. As t turns out the diagonals of the bowsprit fitting point directly to the corner fairly precisely. The combination of the golden spiral and diagonal elements working with the forms of the boat in the image give the image, at least to me, a sense of proportion and of completeness.
For those that are interested in the processing, the above image is a screen shot from Lightroom 3, with a slight neutral gradient applied to the sky, as well as corrections for lens distortion, a little noise reduction and a little sharpening. In my normal workflow, this image, with this amount of processing, would then be exported into Photoshop 5 for additional color work (using Nik Viveza), converted to black (using Nik Silver Efx 2) and then toned, with a final pass of sharpening and watermarked. You can see the result of that workflow in the final image.
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My photo meets the project goals by using symmetry to make the image look more appealing. I first went to my garage, set up a tripod, attached my phone, made an invention (attached led lights to a metal rod), then made the shutter speed 10 and proceeded to wave the rod until I got the shape I wanted. I think I did really well in managing to make the light create a nearly perfect circle. I would’ve liked for it to be a little less grainy in most areas.
The standard resistor of the 1950s to early 1970s. Make from a ceramic tube filled with a mixture of carbon and filler materials (the "composition"). Lack of a tolerance band means they're +/- 20%.
Played with the colours to overstaurate for your viewing pleasure. The oversaturation is on purpose.
The chateau was established as a French style Gothic castle in 1300 with a ring composition broken up by many towers. Later it underwent some architectonic reconstructions. At the first third of the 18th century it was converted into Baroque chateau and at the turn of the 19th and 20th centuries restyled in neo-Gothic. Significant changes were carried out, when it belonged to the successor of the Austrian throne, Archduke Franz Ferdinand d'Este, assassinated in Sarajevo in 1914. Archduke was a passionate collector of hunting trophies, historical weapons, paintings, furniture, china and St. George statues. The major part of his collections is on display in the representative halls of the chateau. The chateau is set amidst a magnificent park with a rose garden and with greenhouse founded by Archduke himself. Under the Chateau, partly integrated in the park, there is a big lake there. Inside the Chateau, you can expect richly decorated rooms, with original furniture and many valuable pictures and other artifacts. Walking through the interiors will turn you back to the times of the former owners of the Chateau. And as you will see, they lived well here, in the best comfort, even with very modern bathroom for that time of the 19th century. On the walls of the Konopiště chateau, there are also over 3000 trophies from the original collection of the last owner Franz Ferdinand d'Este. The Chateau is located in a virgin nature, surrounded by deep forests, which used to be an ideal place for hunting. In the main courtyard of the chateau, there is an original shooting range of the passionate hunter, still functioning.
This is a medium shot of Segui in front of the shed. I like the way the medium shot allows us to see some details in his face, like his dripping nose and slightly squinting eyes, as well as some detail on his back (like the shedding hair). In terms of composition, I like the soft vertical lines in the background, and I think Segui's placement in the frame works well (his body forms somewhat of a square in the bottom right of the frame, and the background makes somewhat of an upside down L).
Ala, goddess of all living things.
Sandsation 2008.
Sculptures out of sand and water.
Sculptur by Etual Ojeda and Manuel Jesus Ojeda Alonso (Spain)
In an artistic environment that at present seems to favor 'story' over the individual 'good picture' I continue to pursue the latter. This arrangement of compositional elements begged me to capture it. Leica M3, 50mm Summicron, Kodak Double X.
© All Rights Reserved. Please do not use or reproduce this image on Websites, Blogs or any other media without my explicit permission.
The renovations at Lightwoods Park appear to be complete.
Lightwoods House is now completed and open.
Lightwoods House looks amazing now that it is fully restored!
I had a look in the Shakespeare Garden. Only open on weekdays Monday to Friday 10am to 2pm.
fountain
Lightwoods House from the back.
Grade II listed building.
Lightwoods House, Lightwoods Park, Smethwick
SANDWELL MB HAGLEY ROAD WEST (off)
SP 08 NW
Smethwick
9/81 Lightwoods House,
21.3.49 Lightwoods Park
II
House. Late C18, re-fronted mid-C19. Brick with stucco dressings and slate
roof. A symmetrical composition of two storeys and five bays, with chamfered
quoins. The three central bays project, also with chamfered quoins, and with
a pediment. The ground floor windows have rusticated surrounds and keystones.
The first floor windows, above a cornice, are sashed, have segmental heads, and
are flanked by pilasters with triglyphs over. Each has an apron with blind
balustrade and a segmental pediment with scallop shell motif. The porch has
rusticated engaged columns, triglyph frieze, and balustrade. The doorway has
a round head. Set back to the left is a one-bay pedimented pavilion, remain-
ing from the C18 building. At the rear is a Venetian stair window with Doric
columns as mullions. The VCH gives a sketch plan and elevation of the original
house, showing the extent of the C19 alterations. They state that a brick to
the east of the porch is inscribed: "Jonathan Grundy, June 19, 1780". (VCH,
pp 101, 102).
Listing NGR: SP0203886012
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.