Research notes on exercises 2.1 – 2.7 part II.
General notes around research for this section.
I have set up a file on my computer known as ‘works of other photographers’. In this file I keep any relevant images for themes being studied.
- Explored photographers that used the given technique
- Questioned and explored my initial response to the work.
I explored the work of a few photographers that had used these techniques to make images to different ends as a start to my research.
Below an example of shallow depth of focus used to initiate and trick the eye. Here we feel that we are looking into the horizon at the sea when in fact the background is a studio set up for vogue magazine. There is also restricted viewing before the figures which are clearly the focus for the frame, indicating shallow D.O.F.
Below image by Horst P. Horst
This image I like and more so because I know that I am being visually coned into believing that I am seeing one thing when in fact it is quite another. From the point of view of how I respond to the image, it is the same. If I had not know that it was a beach scene (having an affinity with the sea and open spaces) I would still respond as if it were so. I longing to be in that open space opens up in me.
- (Horst P, 1930)
This image below by Watkins also opens up for me a similar sense of space although this time seeing the distance with clarity because of the depth of focus. Although the focal point is the rock, the secondary focal point is the waterfall in the distance. It conjures a relation between the static and dynamic, close and far. Opposites that create an attraction in viewing.
Image of deep depth of field
2. Watkins C. 1878, Agassiz Rock and Yosemite falls
On Low camera angles
3. Below is a chart that indicates different camera angle views. Note in particular low angle and worm’s eye view.
The Low Angle (vertical orientation) Exercise 2.3
In exploring this angle of view I revisited some of my previous photos to see if I had used this perspective in the past. I had used it only a few times but not entirely consciously. Below, I found an article that articulates some of the potential effects of the low angle view:
‘Whatever it is you’re photographing – be it human on not – low shots, as a type of subjective camera angle, create the feeling that the subject is big, high, powerful, dominant, imposing, authoritative, or menacing. In the shot of the young women on the monkey bars, there is a sense of empowerment, freedom, and flight. Standing up, the young man is actually above them, but the fact that he’s further away from me in my low camera angle position makes him appear smaller than the young women, which emphasizes their power.
By contrast, the viewer of low camera angle photos might feel weak, powerless, insecure, helpless, or overwhelmed in relation to the subject. You are in the position of the child, or standing in the land of the giants. You are, literally, “looking up” to the subject, perhaps out of respect.
Low camera angles of a person or object above us tends to isolate the subject from the surroundings. The sky or a ceiling forms the backdrop, against which the subject stands. That can be a convenient camera angle for eliminating an otherwise distracting or irrelevant environment. The minimalist background might take the subject out of context or accentuate the importance, distinctiveness, and power of the subject. In some cases the low angle might be disorienting, which could be a good or bad thing, depending on the intent of the shot.
In cities or landscapes, the very low camera angle can create feelings of awe, wonder, excitement, or being overwhelmed by the grandeur of one’s surroundings. In a garden or room, a very low camera angle will help the viewer appreciate the scene from the perspective of a cat, dog, or insect. Flowers and chairs look huge. Ordinary aspects of the environment not noticed or appreciated from a standing position, especially the underside of things, now take on intensified importance.
When shooting from a low camera angle with a wide angle lens, including a nearby subject and a background extending into the distance – e.g., a foreground flower with a desert landscape reaching towards distant mountains – the resulting image acquires a theatrical story-telling quality. Here, right in front of us, is the subject, but we see it within an expansive scene that provides us the background context of where this subject fits in, where it might have come from, where it is going, and why it might be here.’ (Suler J. date unknown)
The example in this foto is more akin to a worm’s view than simply a low angle of view which is what the brief of the exercise demands. However, there are obviously characteristics in common with any low angle view taken with the camera. The main quality that one notices is that the figure takes on a certain grandness of scale that they may not have in their real life or (neutral level framed) perspective. Depending upon the context i.e. background, the effects will be different. If the background is very low and indoors, it could be less intimidating than for example a city scape that also view high rise buildings above the person. Or a mountain in the background that would accentuate the tallness of the person further. So context therefore will also influence the way that such an image is perceived.
Above my image taken for the exercise. I asked the subject to keep a neutral look so as to add to the feel of the picture. I used the stairs as a backdrop to emphasis upward movement and to support the upward angle for the framing.
Exercise 2.4 Portrait
The shallow depth of field in the image brings into relief the strength of the face of the person being photographed. Therefore in order to provide a portrait that is clear and vivid this technique of shallow d.o.f. works well to reduce background distraction. Personally I like the effect of a shallow background view. It has become so commonplace as an image, one might cease to see it afresh and pay attention to the background in many cases. Therefore the background does need to have something to add to portrait in my opinion.
5. Example below from ‘living exposed’:
Exercise 2.5
Example from my own exericse:
At f/3.2 as with such a long distance behind the main subject, the depth of field only reveals an outline of what is there in the background. I attempted to balance the shot in terms of symmetry by centring the mountains and putting the cross to the middle of the frame. On second thoughts it would of been more interesting not to do that but to place the cross to one side.
At f/3.2 with infinity set in the lens the object (given the nature of it) almost disappears from the frame.
Exercise 2.6/2.7
Using respectively wide aperture and long focal length and then small aperture and wide lens (greater depth of field) I explored the environment where I stay.
2.6 Composing the background that is out of focus is not as easy at it first sounds. Usually my approach has been to more or less incorporate the background in a random sort of way. Focusing more on the subject has been more important.
I first thought that the background ought to say something about the subject. There should be a communication between subject and context. So, in some of the examples given in the exercise 2.6 I have worked to include more of a compositional feel into the background.
In the blog section for this image I give a diagram explaining the composition.
2.7-Below one example from my series related to 2.7 on depth of field. Here I took an image and filled the frame consciously to explore if the frame remained with depth of focus throughout the different aspects of the picture. Also, as mentioned in the exercise this image has no one-point-of-focus. It is deliberately composed to give the eye a roaming and viewing experience.
Conclusions and summary for exercises 2.1 – 2.7
The exploration of depth of field and angles of view have been the subject of this section of the course. The use of greater, or lesser depth of field can change dramatically the interpretation of the image as seen. Also we have explored the use of the out of focus background as part of the composition and different focal lengths to explore how this interacts and changes the space of the photograph.
References
1. Horst P, photography the whole story, (2012) Juliet hacking : 262 (Thames and Hudson)
2. Watkins C. Agassiz Rock and Yosemite Falls from union point, (1878) The whole story : 134, Juliet Hacking (Thames and Hudson)
3. Camera angle views found on web [accessed September 2016] https://es.search.yahoo.com/yhs/search;_ylt=A7x9Un1I_s9XuRUAWUK_.wt.?p=camera+angle+down+looking+up&fr2=sb-top&hspart=GenieoYaho&hsimp=yhs-fh_
4.Suler J. Photographic psychology,internet article [accessed September 2016] http://truecenterpublishing.com/photopsy/camera_angles.htm
5. Living exposed, internet [accessed September 2016] http://www.living exposed.com
6.From:http://www.techradar.com/digitalcameraworld [accessed Sept 2016]
OCA log level 1 Photography 