July 1, 2013 at 6:42 am #4498July 1, 2013 at 5:55 pm #4524
It has been remiss of me not to have contributed very much before so let me be first with this one!
They do say we can find subjects anywhere!July 1, 2013 at 7:09 pm #4525
So good to see our Chairman taking part and I do like the image,would I have turned the cup round 90 degs? No, I think its fine the way it is and I do think that the mono works well.July 1, 2013 at 7:29 pm #4527
Very nice indeed … but I have to ask ….was the clipping of the saucer intentional? If it was I may learn something here 🙂July 2, 2013 at 10:16 am #4531
It wasn’t a carefully set up studio shot, I only adjusted the spoon a bit to line it up with the cup handle. The cropping I suppose is to show that the attention should be on the shape in the coffee froth, the rest gives context. I also liked the transition between the table top visible on the left and the black napkin on the right.
Technical details: Panasonic GF1 20mm, LR4.4, Tate Café, Liverpool.July 2, 2013 at 11:11 am #4532
I love the composition. Such a simple but great image. I was just thinking that I would probably have had to stand on a chair to get the edges in shooting from above (which you probably wouldn’t want to do in the Tate cafe :-)) or put the cup and napkin on the floor and wondering if you had the same problem or it was a conscious decision. As you are considerably taller than me I suspect not 🙂 Somehow the clipping works very well in this instance and provides a lead in / break in all the swirls and circles. If you had the edges would you have cropped them off? I definitely learnt something.July 2, 2013 at 5:56 pm #4540
To my mind, having the edges of the saucer out of the frame has the effect of drawing attention to the existence of the frame itself. We then actually experience the frame as selecting a part of the world for us to pay attention to. This device works just as John describes: it makes the shapes on the surface of the coffee more important. If all of the saucer were visible, we’d tend to perceive this as a picture of a cup, and our attention would be pushed less strongly to the surface shapes.
A very neat monochrome composition, John!July 2, 2013 at 7:16 pm #4541
Well spotted John. Personally I would have liked to have seem the complete saucer and would have flipped it 180 degrees so the spoon and handle lead in from the bottom left and the ‘heart’ would be the right way up. How about giving it a coffee tint? It shows how we see thing differently.July 3, 2013 at 2:45 pm #4556
Some curves to gaze on, although maybe the first two should be in a group called bends.
I would appreciate thoughts on which of the first two are considered best re’ composition.
Canal Curve 1
Canon EOS 1100D, EF-S 18-135mm, 87mm, f/22, Tv 1/90, ISO 400, Natural Light
Canal Curve 2
Canon EOS 1100D, EF-S 18-135mm, 135mm, f/19, Tv 1/90, ISO 400, Natural Light
Curves & Straights
Canon EOS 1100D, EF-S 18-135mm, 24mm, f/13, Tv 1/90, ISO 400, Natural LightJuly 3, 2013 at 2:49 pm #4557
Pete said “the ‘heart’ would be the right way up”
Surely it’s a bodhi leaf, not a heart, Pete? So it is the right way up! 😉July 3, 2013 at 3:04 pm #4558
Dennis said, “I would appreciate thoughts on which of the first two are considered best re’ composition.”
What I notice, Dennis, is that the thing that grabs your attention – the narrow boat with its bright red stern – is pretty much in the middle of the frame in both photographs. That would perhaps work if the pictures were strongly symmetrical; but they aren’t really. The centre isn’t the strongest place in the frame compositionally to put the main interest when there’s not much symmetry around the vertical or horizontal central lines.
In contrast, in your third photograph, the diagonals converge from the top and bottom right corners towards the centre of the left-hand edge of the frame, and that works quite well to give a dynamic tension or energy to the picture, especially as the lines run against the more usual left-right reading of a picture. It seems a better composition to my eye. What do you reckon?July 3, 2013 at 3:19 pm #4559
Ian >> I was meaning the difference between the two re’ the top one shows more canal to lead in and Sky as well, were as the second one looks squat to me with the trees cropped and very little sky but the boat looks larger.
In other words I think the top one is a more complete scene encompassing all of the elements in the viewers vision.
PS re’ John’s coffee, first thoughts were of some buttocks or a garlic bulb.July 3, 2013 at 3:28 pm #4560
OK, Dennis, from that point of view the middle one seems better to me, as I read the picture as being something to do with the boat (and perhaps the person on the bank in relation to it? Has the woman been dumped? Is he driving off in a huff?)
Anway, its something to do with the boat on the canal. In that regard, the greater expanse of water in the foreground in the first version doesn’t seem to be contributing much to the story. The important elements get more focussed attention in the second photograph.
(Would you give it more oomph! and include more sky by moving the whole frame up by about a quarter of the length of the short side, I wonder?)
Well, that’s my two penn’orth!July 3, 2013 at 3:48 pm #4561
Dennis I have done a different crop (forgive me) on both. I think this works a bit better for me. The crop has made them lower res. The row of hedges works as it is.
Re Johns … I also thought of an emerging Rubenesque rear or an onion. I am not sure either belong in a coffee cup though. I tried the cup turned 180 and sepia and prefer the original version. The heart looked a little too top heavy.
I’m not brave enough to post Johns reworked even to settle an argument! 😉July 3, 2013 at 4:03 pm #4562
Must admit I prefer the third one as well. It seems stronger some how.Perhaps it the repeating forms of the Tres that sits more comfortably in the shot. Think I would have tried a crop as well, but good images Dennis.
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