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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.
Prints for sale can be found at www.pacificaphoto.net and www.thephotocontinuum.com/
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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%.
Direction: Front, Upwards
Quantity: Lots (Natural light)
Quality: Harsh
Day: Morning
Large scale
Narrow DOF
Gouache on paper
9.5 x 8.5 inches, 2010
This piece + other studies will be on display in Miami, with What It Is @ Verge, Dec 2nd thru Dec 5th. Catalina Hotel, rm 112. wot-it-is.com
Composition techniques:
- Foreground Interest and Depth
- Leading Lines
- Diagonals and Triangles
- Patterns and Textures
- Leave Negative Space
- Simplicity and Minimalism
- Isolate the Subject
- Change your point of view
Intervenção artÃstica na casa que pertenceu ao Dr. Wauthier, na Av. Rio Branco, 303, que será demolida brevemente. Participaram do evento, que durou vinte e quatro horas - desde as seis horas da tarde de sexta-feira até as seis horas da tarde de hoje, dia 23, professores e alunos da Ufsm e artistas da cidade e região: Helga Corrêa, Mara Torrico, Jorge Gularte, Mirieli Costa, Dany Quiroga, Roderick Steel, Rebeca Stumm, Tatiana Vinadé, Fabricia Wesling, Alice Neocatto, Carlos Hoelzel, Sérgio May, Vani Foletto, Aline Arend, Kadu Medina e Neida Morales.
Esclarecimento: os tacos aqui fotografados esperavam a mão da artista, Helga Corrêa. Eu apenas os aproveitei para fazer uma foto, já que não pude testemunhar o trabalho da artista.