Composition 101 [was Re: [Leica] Nobska Light]

[bdcolen at comcast.net (B. D. Colen)]

It is interesting indeed. I was seeing the zigzag path of fence, which I
wanted freed and complete, but I don't think I was consciously seeing the
path you see. However, now that you articulate it, I wonder if that's what I
was subconsciously going for. Interesting. And thanks for taking the time
with this.

B. D.


On 10/6/05 12:16 PM, "Richard S. Taylor" <r.s.taylor@comcast.net> wrote:

> Not to beat this photo into the ground, but Adam's comment about the
> Nobska Light photo being a "formal" image triggered something in the
> back of my mind.  Also, after B.D.'s comment earlier yesterday, I was
> mystified as to why he choose one particular crop and I chose another.
> 
> Here are the two:
> 
> B.D.'s crop (at least I think this is what you meant, B.D.):
> 
> http://gallery.leica-users.org/SAILING/03_9_0071_bd_crop
> 
> My crop (Actually I cropped this is even tighter than the the image I
> first posted in order to emphasize my  point):
> 
> http://gallery.leica-users.org/SAILING/03_9_0071_rst_crop
> 
> After staring at the two of them side-by-side for a while I realized
> that in B.D.'s crop, my eyes tended to follow a zigzag path along
> fence to the lighthouse.  In mine, my eye motion was almost all
> vertical, up along the fence posts to the tall structure.  In B.D.'s
> there was, figuratively speaking, a path open for the viewer to
> approach the lighthouse around the fence post to the right, in mine
> there was none.  The fence became a barrier.  B.D.'s says, "Come in,"
> mine says, "Don't."  There is more motion in B.D's, more stillness in
> mine.
> 
> Not sure just why I chose the tighter crop.  It was not made with
> much thought beforehand.   It just seemed more appropriate to the
> photo in question, and possibly, to the site as well.  (There were
> lots of fences and a many No Admittance signs around.)
> 
> It's been an interesting discussion.  Thanks.
> 
> 
>> Thanks for your response and your alternates, Richard.
>> 
>> In my experience a formal image - like the lighthouse - is about
>> shapes and textures and light and dark and stillness. People, almost
>> always, bring motion and focus - our pattern recognition engines want
>> to SEE them and know what they're doing.
>> 
>> Obviously, as in nude fine-art photography, all of those things can be
>> a part of the composition. But nudes seldom have faces and seldom are
>> "in action" although I can think of exceptions to both of these.
>> 
>> Of course you framed your image with those folks in mind, but I like
>> both your suggestion and B. D.'s as well.
>> 
>> Thanks!
>> 
>> Adam
> 
> 
> (snip)