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Nikon F Micro-Nikkor 55mm 3.5 (Non AI) XP2-400
Waist Level Prism
On the Towpath Trail, just outside of Canal Fulton, Ohio
I wanted something a little different from the usual blossom photograph. Not just the detail, and not just the wider scene, but both held together in the same frame.
Then this branch drifted in front of me as it moved in the breeze and suddenly the composition locked into place.
The blossoms fill the foreground like a curtain opening onto spring itself. Light, colour, texture, and that brief moment where everything lines up exactly as hoped.
(Published in Advanced Photographer, December 2012)
(Explore #21, Front Page)
Black and white photography is (as you may have guessed) by far the most compelling medium for me (although I have a near-complete colour version of this image which I was tempted to post as an alternative!), and typically the advice when shooting is to seek out strong, contrasting colours and tones that convert well to shades of gray for a balanced tonal range. I am of course simplifying things greatly, but those of you who regularly shoot with the intent to convert to mono - and I understand there's something called 'film' too which apparently comes in black and white, what will they think of next? - will I'm sure have by now trained your eye to see in a grayscale colour space. Of course, this is easier said than done - there are scores of awful looking flat, washed out black and white photos created by those who give no consideration to their craft. I met another photographer whilst out on a shoot recently who expressed an interest in what I was taking, so I showed him some of my work via my iphone. He was (or claimed to be!) impressed and told me he'd previously thought of black and white shots in terms of what I've just described; wishy-washy and lacking the impact of their more colourful and vibrant cousins. Step forward anyone who converts to mono simply by just tugging at that little saturation slider - hang your head in shame...
This image was shot on the same foggy morning as 'Something In the Way', and I incurred similar decision making issues during post production (I'll ignore my capture process for the purpose of my point) with both shots, due to the effect of the foggy weather conditions. Don't misunderstand me - fog and mist are a photographer's dream, but I think because of the dampening effect they have on contrast, detail, pattern, texture and line, I believe it's perhaps easier to produce a pleasing picture in colour. As with 'Something In The Way', my challenge then was to try and introduce enough in the way of contrast to the scene to warrant the mono conversion. Some of you are very good at injecting punch into landscapes captured during these conditions, and for my personal preference I enjoy photographs where this level of contrast has been created subtly, so as to allow the poor atmospherics to still take precedence in the image. I'm not entirely sure I succeeded at this with either of these shots (and I might yet post a third from the same morning), but the challenge was an enjoyable one at any rate.
...What do you mean, you can only see four seagulls?!
Photographers are like scientists. They look for order out of chaos in the world. Try to find pattern, orderly arrangement of things and simiplicity in your scene.
This is the first lesson on composition from my teacher.
Then I learnt from another experienced photographer. You need to find the break-out from the pattern, from the orderly arrangement. That will offer more interests to your picture viewers.
What can be used as the break-out from patterns? How should they be positioned in the scene?
A shot taken at Iona Beach Rark Richmond.
The scene brings back to me the questions about composition.
Took me about 12 shots of this street to get a nice composition of the cars. The shield on the left, displaying a camera, is a funny feature in the picture.
I was drawn to this composition and image by that hole in the rock in the foreground and the dark green seaweed at its side in contrast to the other color throughout the scene.
Taken a few weeks ago during another sunrise outing at Newcastle South Beach, NSW; Australia.
Accompanied by friend and fellow flickr photographer Paul Hollins we did get wet thanks to the the rain being brought to shore from the cloud you see towards the horizon!
Thanks for any comment, viewings or favorites - hope you like this one!!
Hope you had a great weekend - all the best for a terrific week ahead!!
from my archive..it is for my same contact friends..Because they have a request from me..They would like to see my fruit photos.
With my best regards...
Abstract graphical compositions sometimes happen 'naturally'...
See more Seascapes here
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