Exercise - Implied Lines

In the picture to the left, there appear to be two dominant lines.  One is a continuation of the curved line in the dirt, up the yellow edge of the cape to the yellow marking on the bull.  There is also a clear line along the back of the bull, across the matador's shoulders and extending along the edge of the cape.

 There are several eye lines at work in this scene, although the two indicated are the strongest, leading the viewer from the edges of the scene into the main points of interest, around the food prearation.

The direction of the walker leads the viewer to the other figures by the steps and then up to the house.

Although the sheep on the left is also looking towards the camera, the sight lines of the two other sheep match up to create one strongly implied line.

2012.07.22.ImpliedLines-EyeLine
f/22  1/320  ISO-1000

The position of the person's body and angle of their head implies an eye-line towards the structure in the top right corner of the frame.

2012.07.22.ImpliedLines-LinesThatPoint
f22  1/320  ISO-500

The three lines of gaps and joins of the jetty direct the viewer to the small sail boat in the distance.  The slight curve of the lines towards the end adds some tension and movement to the shot.

Exercise - Curves

2012.07.15.Curves-Arches
f/8  1/40  ISO-100

2012.07.15.Curves-SaatchiEntrance
f/8  1/40  ISO-125

2012.07.15.Curves-PeterJones
f/8  1/40  ISO-160

2012.07.07.Curves-Footbridge
f/9  1/80  ISO-400

As with diagonals, curves creat a feelikng of movement, which can be strenghtened by adopting a acute angle of view.  In the above image of a footbridge, the curvature of the railings dipping away is enforced by the low perspective of the chosen viewpoint.

Examples

Cartier-Bresson, H.  (1999).  The Europeans. First Edition.  London: Thames & Hudson.
In image 22 - Hyeres, France, 1932, Cartier-Bresson uses the curvature of the kerb and bend of the stairs to direct the viewer to the cyclist.  The cuves add to the sense of movement of the slightly blurred cyclist, and help bring the whole scene to life.

Cotton, C. (2009). The Photograph as Contemporary Art.  Second Edition.  London: Thames & Hudson.
126. James Welling, Ravenstein 6, 2001
This photograph makes use of the natural curvature of circles, with one inside another, the repetitive curves create a spiraling effect, almost sucking you in.

Study Visit: Out of Focus - Saatchi Gallery

The first thing to say is that this is a massive exhibition.  There was a lot to take in and a wide spectrum of work.  This exhibition really showed how the digital era has made all things possible; there really are no limits, expect perhaps in personal taste.

I do feel that the boundaries between photography and digital art are somewhat blurred, at Saatchi at least.  Some of the works here were to me really digital art, or mixed media, rather than photography,
Mariah Robertson's MR1, MR2 & MR3 for example.  John Stezaker's collages were for the most part put together cleverly but is it really photography?  He basically stuck postcards on old photos.  It is interesting work, but he hasn't actually taken any photos in the whole collection.

Katy Grannan's portraits were large prints displayed on every wall in Gallery One.  As they were all shot in a similar way, in bright sunlight against white walls, yet each of the subjects very individual, the whole collection was quite striking.  The emphasis was very much on individuality and the subjects certainly appeared unique characters.  They aren't flattering shots, although you do get a sense that Grannan has captured the personality of the subject.

Matthew Day Jackson's The Lower 48 at first glance appeared to a bit of a mish mash of photos of rocks.  Look closely though, and you can see a face in each one.  I must admit that standing close to this display I didn't notice the faces in the gallery.  It was later on when looking through the book that I suddenly saw what these images were about.  So a lesson learnt, look for the point of an image or collection.

The largest exhibits were from Mat Collishaw and they certainly warranted a wall each.  These ceramic mosaics were impressive close up and appreciated from afar.  You could say that you need to take a few steps back to appreciate the whole exhibition, as there is so much work on display and such diversity.

Exercise - Diagonals

2012.07.01.Diagonals-Wall
f/8  1/640  ISO-400

2012.07.07.Diagonals-Bench
f/9  1/80  ISO-640

2012.07.07.Diagonals-BurntField
f/9  1/80  ISO-125

2012.07.15.Diagonals-Balconies
f/8  1/40  ISO-160

A few examples of diagonals in the book I'm currently reading, Charlotte Cotton - The photograph as Contemporary Art:

1) Page 50 - Jeff Wall, Insomnia, 1994

Diagonals are created by the positioning of the table, chairs and even the body on the floor.  Also, the viewpoint creates diagonals on the edges of the oven.

2) Page 155 - Yang Yong, Fancy In Tunnel, 2003

The angle of view to the wall has created many diagonals along the lines of tiles and the edges with the floor and ceiling.

3) Page 180 - Allan Sekula, Conclusion of Search for the Disabled and Drifting Sailboat 'Happy Ending', 1993-2000

The middle and bottom images both make use of a high viewpoint looking down to make strong vertical lines from beams.

The use of diagonals can be seen widely used in the work of Henrie-Carier Bresson.  In Palais-Royal, Paris, France, 1959* a series of diagonal lines in the form of tree tops, windows and balconies flow from the bottom left of the frame to the top.  Extra interest is added, with the help of perfect timing, to capture the figure walking through the gap towards the bottom left and several more distant figures in the background.  The diagonals in this image are created by perspective.
*Clair, J / Cartier-Bresson, H. (1999). First edition.  London, Thames and Hudson Ltd.

 

Exercise - Horizontal & Vertical Lines

30.06.12.Horizontals-Trees
f/5.6  1/1000  ISO-200
In this image, a line appears across the base of the trees and shadow, running parallel with the frame.

23.06.12.Horizontals-PierRailings
f/9  1/160  ISO-100
The man made feature of the three parallel lines create divisions and frames within the frame, leading the viewer to boats and horizon.  The plain bottom frames and the less crowded middle frames add some depth.

27.06.12.Horizontals-Colour&Pattern
f/16  1/200  ISO-160
I confess that this was originally taken as a vertical shot.  Playing around with the image, I felt it worked much better horizontally.  The contrasting horizontal line is not just created by the different shades but also the difference in texture and pattern.  The line having no pattern.  There is also the lines of the layers of the "brickwork Style" pattern forming horizontal lines.

24.06.12.Horizontals-OldPier,Swanage
f/16  1/200  ISO-200
OK, this is also a man made structure but the big difference to the railings picture is that the horizontal lines are behind one another.  You have the two clear horizontal lines of the top bars of the pier remains, the front one contrasting with diagonals below, as well as converging points on the new pier behind to the left.  There is also of course the horizon.

17.06.12-Verticals-Trees
f/13  1/200  ISO-2000
The tree creates vertical lines through their physical form, and also the dark contrast against the lighter tones in between.  The gaps between trees also create some vertical lines.

20.05.12.Verticals-Figure
f/11  1/20  ISO-6400
A vertical line extends from the fish at the bottom, up the arm of the sculpture.  Also, lines run up the legs and  the  general shape of the figure.

30.06.12.Verticals-ChurchWindows
f/18  1/100 ISO-3200
Thick vertical lines are simply created by the tall narrow shape of these church windows.  It is the  lines that grab the attention, before looking up to the smaller windows and then back down to observe the finer details of the windows.

2012.07.07.Verticals-FieldLines
f/5.6  1/50  ISO-250
These track lines through a wheat field were fairly equally spaced apart from each other.  Initially I was positioned at the far end of the lines but the low viewpoint made the lines more diagonal.  I walked up to the highest vantage point possible.  Choosing this perspective, I created a virtually true vertical line on the left, with the right hand line starting as a faint curve before becoming a more prominent straight line.
This view point also had the advantage of more background interest, which the viewer is led to by the lines.  There is also a clear contrast with horizontals lines, although I feel the verticals dominate.  

 

Examples of other work:

Clarke, G.(1997) The Photograph. First Edition. New York: Oxford University Press Inc.
Walker Evans: Graveyard, Houses, and Steel Mill, Bethlehem, Pennsylvania, 1935.
Looking beyond any message or meaning to this image, there are some distinct lines.  Horizontal lines form from the row of windows and the poles / structure at the front of the main building in the middle ground, as well as the chimneys and horizon beyond.
The chimneys also appear as a series of vertical lines.  The telegraph poles, although vertical lines, are not strong as the white cross dominates.

More distinct vertical lines can be seend in Lewis Baltz' Power supply No.1, 1989-92*.  The diagonal lines created by the perspective showing these rows of vertical lines, and the stripes on the floor, add tension to the rather sterile room.
*Cotton, C (2009) The Photograph As Contemporary Art.  Second Edition.  London: Thames and Hudson Ltd.