Considering the Aspects of Light: part 4 - Composition
Jun 5, 2018 22:09:36 #
fergmark wrote:
Funny you should bring that up. For years I tried to get interesting shots from bonfires. The brighter the fire, the more light you have. But, the flames move faster. They don't look like much blurred, so the speed has to go up. The iso goes up. The aperture needs to stay pretty small. It's a vicious circle. When you do get a good one its cool. I would call these attempts.
I think those are great! Especially the first one, but the second is intriguing, as well.
Jun 6, 2018 00:36:38 #
Linda From Maine wrote:
Thank you so much, Phil. That is very gratifying to know! But I also think, based on the photos you shared in the last chapter, you probably do have one or two to show us 
Linda, I had to dig deep to meet your challenge. I went back to your OP and tried to find some examples that reflect your key points.
"Focal Point - Our eye is naturally drawn to the brightest area of the image"
The 'light at the end of the tunnel' on the first one doesn't just draw you into the image, I think it offers a glimmer of hope and graciousness beyond the grimy alleyway.
"Depth - Light can be used to draw us into the frame and give a three-dimensional feel"
In the second one, the splashes of red and the light in the far window draws you through the multiple layers - the reflection of the building and trees in the glass, the pews in the interior, the window at the far side of the room and back out to the exterior. This is a really complex picture if you take the time to 'walk' though it.
"Distribution of light - Does the distribution of bright/dark areas feel balanced or unbalanced?"
#3 I think I posted this one on one of the earlier chapters. I feel the bright and dark areas are in perfect balance. OK - so it is just a fern, but the dark areas frame the feature frond and I like the gradient of light across the face.
"Atmospheric perspective In fog, mist and haze, elements lose contrast, color saturation and color temperature as they recede in the distance."
#4 - Fog, leading lines, lighthouse - what's not to like?
"Tonal perspective ...... warm colors tend to advance and cool colors recede"
#5 The colors regress from the warm setting sun on the foreground rocks to the cool blues of the sky. OK - maybe this one is a stretch - its the couple at the end of the rocks that make the picture. I just like it and wanted to post it. (You need to download this one)
Thanks again Linda for doing this. Really enjoyed the topics and the great examples posted.
Jun 6, 2018 05:47:56 #
fergmark wrote:
Eric, I really like your "Come on in". There are so many dimensions to store fronts. There's a little world in them with people and mannequins. Multiple light sources guaranteed to all be in many colors. Reflections in the glass. On and on. This is the one that probably got me hooked.
Nice example. I think it would be interesting to do a study of storefronts. I'm going to be in Europe at the end of June. I just might take some photos of storefronts to create a comparison to what we have here. Might be interesting.
Erich
Jun 6, 2018 05:54:14 #
ebrunner wrote:
Nice example. I think it would be interesting to do a study of storefronts. I'm going to be in Europe at the end of June. I just might take some photos of storefronts to create a comparison to what we have here. Might be interesting.
Erich
Erich
By all means. Its a very interesting form of street photography.
Jun 6, 2018 05:58:37 #
I've noticed that when I photograph glass, something that really intrigues me, it is all about the light. The glass is often clear to the point of disappearing and we are left by subtle shadows and highlights to define the image. Here is an example of that idea exaggerated by applying an effect from PS only on the top of the glass. Kind of fun.
Erich
Erich
Jun 6, 2018 08:08:13 #
Off to Vt for several days. Hopefully come back with some images I like.
One more here. diffused light. Fog at night
One more here. diffused light. Fog at night
Jun 6, 2018 08:11:16 #
Anvil wrote:
Your suggestion and fergmark's fascinating bonfire shots echo one area I originally thought about including in chapter 4. My list included sun rays, out of focus Christmas tree lights and candle flames. One more could be the sun, diffused - such as through fog or smoke, but that's probably not exactly Anvil's idea....but also the light is about the only thing in the shot? I can think of one example -- fireworks. I figured that any examples of fireworks might derail the discussion, but the topic of light being the story AND the subject might be interesting.
In the meantime, I've received a pm suggesting a thread dedicated to just reflections - another wonderful idea. And I like a strictly b&w "light and shadows" course of study
Obviously, even with four chapters we've not touched on everything possible (see some of the essays in chapter 1 by E.L. Shapiro and burkphoto). But just as obviously, there is a lot of interest, so there's no reason to not figure out a way to keep going - though maybe after a short break, lol.
There are a few considerations, not the least of which is attracting other participants. FYC, like all the specialty forums that have been created after the initial two or three, is not easily found. Topics don't show up in either the daily digest or "newest topics" unless you're subscribed.
Most folks on UHH seem to be very comfortable exactly where they are, and while many came to this series - or a single chapter of this series - specifically at my request, they have time constraints and other interests.
I don't want to see these threads become similar to the hugely popular weekly "Challenges." Those threads go for 30 pages, but are almost exclusively about posting as many photos as one can with little to no in-depth commentary. I am as "guilty" as anyone else in these light chapters, starting out with a lot of discussion about my own photos, but slowly reducing my words - and the same with commenting on photos that others post, unless those photos are the first of a particular bullet point or new idea.
So, we have a few challenges to address, as well as more inspiring topics to explore. Onward!
Jun 6, 2018 08:23:46 #
repleo wrote:
Phil, you found some fantastic examples of those points; thank you! And yes, your allowed to add a favorite photo that's a "stretch" Linda, I had to dig deep to meet your challenge. I went back to your OP and tried to find some examples that reflect your key points...
The curved architecture of #1 adds a lot of interest to your long tunnel, and yes - so interesting to think of how differently we perceive light at the end rather than dark (you have a dark one in last chapter, though not a long lead up + a larger opening).
#2 - I have a photo with similar set-up! Shooting into a room where you can see the exterior in bright light through a window on the other side, and then all the reflections around you. How fun is that?! (and goes with Erich's idea of "storefront" shots and the pm I received about reflections)
The ferns - yes, a gentle gradient + additional interest in the patterns created by shadows under each leaf.
Thanks again! So glad you're enjoying the series, really appreciate your support.
Jun 6, 2018 08:28:25 #
ebrunner wrote:
I like because we know what the object is, yet it's an abstract interpretation. I'm with you on the fascinating properties of light on, or behind, glass. I did a b&w film shot (decades ago) of a pretty vase that was lit from a flashlight lying on the same table. Shadows on the wall behind + the lighted curves within the vase + additional light and shadow after passed through. (yeah, wish I still had the print...)I've noticed that when I photograph glass, something that really intrigues me, it is all about the light...
Erich
Erich
edit - reading whwiden's framing suggestions, I like his ideas as well as the original. One thing to mention about the original: the out of focus area of light on the left balances the composition really nicely, as does the slight amount by the base of the glass. But a shot totally without additional light would work too. In other words, you could spend many creative hours with this single subject, Erich!
Jun 6, 2018 08:37:53 #
fergmark wrote:
A beauty!One more here. diffused light. Fog at night
While we're on depth as achieved by weather conditions (fog), here are three showing distinct foreground subjects with the background slowly disappearing. Additionally, the white horse is standing in an area where the sun was breaking through, making it naturally spotlighted.
Jun 6, 2018 08:37:54 #
[quote=repleo]Linda, I had to dig deep to meet your challenge. I went back to your OP and tried to find some examples that reflect your key points.
"Focal Point - Our eye is naturally drawn to the brightest area of the image"
The 'light at the end of the tunnel
Very much like The 'light at the end of the tunnel'. with the geometry going on. Simple colors allow it to be about the forms
"Focal Point - Our eye is naturally drawn to the brightest area of the image"
The 'light at the end of the tunnel
Very much like The 'light at the end of the tunnel'. with the geometry going on. Simple colors allow it to be about the forms
Jun 6, 2018 08:43:19 #
ebrunner wrote:
I've noticed that when I photograph glass, something that really intrigues me, it is all about the light. The glass is often clear to the point of disappearing and we are left by subtle shadows and highlights to define the image. Here is an example of that idea exaggerated by applying an effect from PS only on the top of the glass. Kind of fun.
Erich
Erich
That is a nice idea for a photo. As to composition apart from light, to my eye it would benefit from more space around the subject/glass. I am trying to work on that in my own photos as I have a tendency to zoom too much. I think more space would emphasize the light. Another idea would be to zoom more and just have a triangle of interesting light.
Jun 6, 2018 08:47:57 #
fergmark wrote:
Off to Vt for several days. Hopefully come back with some images I like.
One more here. diffused light. Fog at night
One more here. diffused light. Fog at night
In addition to the light, there is a nice spacial relationship of the objects to one another within the frame. The dark objects devoid of detail allow one to focus in on the geometry of the photo.
Jun 6, 2018 09:54:23 #
Linda From Maine wrote:
A beauty!
While we're on depth as achieved by weather conditions (fog), here are three showing distinct foreground subjects with the background slowly disappearing. Additionally, the white horse is standing in an area where the sun was breaking through, making it naturally spotlighted.
While we're on depth as achieved by weather conditions (fog), here are three showing distinct foreground subjects with the background slowly disappearing. Additionally, the white horse is standing in an area where the sun was breaking through, making it naturally spotlighted.
I love the fog photos, but that last one really hooked me. The fence seems to be acting as a barrier to the encroaching fog.
The only times I am ever in the fog is when it rolls in, in the morning, and I go out to get the paper. In such cases, the fog is a nuisance. I am rarely in a setting in which the fog becomes but one actor in the scene. Photos like these are a good reminder that fog can be very useful, photographically speaking.
Jun 6, 2018 10:08:32 #
Now that I'm home, with access to my photos and internet (!) I'll post a few that I think fit this chapter of the discussion, about the role light can play in composing an image. I tried to pick different kinds of examples that I think may apply.
1. Canyons are hard to photograph unless you can get hold to some light that will define the rock shapes, textures and colors of the sides of the thing. If you walk as far as you can down this one on the Rio Grande you eventually find a turn that lets you get some reflection and some light/color to work with. But without the light this would have been just a jumble of shapes.
2. These are the same kind of tree, but the sunrise light coming over a slight rise behind me put the taller one in different light up at the top, which I thought made it a little quirky and maybe more interesting.
3. The light in this one doesn't land on one single point, but instead paints the rumpled fields in the Shenandoah Valley with just enough yellow sunrise light to define the shapes and give more interest.
4. Of course there's gotta be a dam bird. This one is not one of my favorites but was a favorite of quite a few of the viewers. The light comes through this "window" predictably at specific times and weather conditions, and I just wait for some bird to wander into the beam. It was there this morning, but alas, no birds, just the beam, which is far less interesting without my feathered friends. But if you identify a "light spot" that is predictable, it's worth it to pay attention to what weather conditions, what time/what season it works best and put it on your drop-by list.
1. Canyons are hard to photograph unless you can get hold to some light that will define the rock shapes, textures and colors of the sides of the thing. If you walk as far as you can down this one on the Rio Grande you eventually find a turn that lets you get some reflection and some light/color to work with. But without the light this would have been just a jumble of shapes.
2. These are the same kind of tree, but the sunrise light coming over a slight rise behind me put the taller one in different light up at the top, which I thought made it a little quirky and maybe more interesting.
3. The light in this one doesn't land on one single point, but instead paints the rumpled fields in the Shenandoah Valley with just enough yellow sunrise light to define the shapes and give more interest.
4. Of course there's gotta be a dam bird. This one is not one of my favorites but was a favorite of quite a few of the viewers. The light comes through this "window" predictably at specific times and weather conditions, and I just wait for some bird to wander into the beam. It was there this morning, but alas, no birds, just the beam, which is far less interesting without my feathered friends. But if you identify a "light spot" that is predictable, it's worth it to pay attention to what weather conditions, what time/what season it works best and put it on your drop-by list.
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