Project 4: Shapes - Exercises and Notes

Exercise: Real & Implied Triangles

Brief: Produce two sets of triangular compositions in photographs, one using ‘real’ triangles, the other making ‘implied’ triangles.

‘Real’

1. Find a subject which is in itself triangular

The Deserted Factory

1/125 sec at f5 15mm ISO 200

Taken at Worcester on 12/2/2011 to complete this exercise.  The actual exercise was not that difficult to complete, but I wanted to find a subject that deserved the title, also wanted to add an bit if vibrancy and punch to the photograph.  The image was given extra vibrancy, increase of depth, contrast and blacks in Lightroom 3.3.  I think it deserves its title.


2. Make a triangle by perspective

The Bridge

1/100 at f5.6 18mm ISO 200

This is the new bridge at Worcester that shows two triangles by perspective, merging to the top of the frame.  Taken with my wide angle lens on tripod.  I positioned myself so the photograph was symmetrical and powerful to show not only the details but also the strength.  Taken on my SLT which I have found is extremely good with these wide angle close up shots, giving a little more depth and detail than my A100.

3. Make an inverted triangle, also by perspective.



Rollright stones

There are some issues with this photograph, my focal length was not correct nor my position, but taken at the Rollright Stones in Oxfordshire it was -1 and I was freezing.  However, it has the effect that I was looking for, so with that I am satisfied.

Taken in out local church today, thought it made a really good example even though I already had one.


‘Implied’

1. Make a still life arrangement of five or six objects to produce a triangle with the apex at the top

2. As above, but with triangle inverted, with the apex at the bottom

Sunday Lunch

3. Arrange three people in a group picture in such a way that either their faces or the lines of their bodies makes a triangle.

The R&C Boys

Conclusion

Consider the underlying reason for shape in design.  Why bother at all?

Shapes bring an extra dimension to the photograph with the setting of mood, power and structure.  They can add contrast and are the initial eye response to identification, movement and control of the photograph.  I look at subjects now with shape in mind and it has transformed my ideas considerably.