Project 2 – Lens Work
Brief – To do some research into some of the photographers mentioned in this project (course book) Click on name to go to research
To look at my own personal archive of photographs and try to find a photograph that could be used to illustrate one of the aesthetic codes discussed in Project 2. Whether or not I had a similar idea when I took the photograph isn’t important, find a photo with depth of field that fits the code I have selected.
Add the shot to my learning log and include a short caption describing how you re-imaged your photograph.
The photograph on the left was taken from our narrow boat, early one summer morning, as we passed a disused lift bridge. I chose this one because of the aesthetics. I think they mimic Ansel Adams and Fay Godwins landscape work, in as much as I have used hard contrast together with soft tones, letting the natural light do the work for me, in bringing together a tranquil scene. Keeping the image monotone adds mystery, allowing the viewer to let themselves get lost in the fairy like moment of the dawn.
Although it is deep dof field, like Ansel Adams tree reflected in the water I have allowed the mist in the trees to give depth, taking you around the corner and further along the canal. I feel the composition in this shot is well balanced, with the gap between the old bridge and the bank, taking you by the hand and leading you on. It takes me back to my comments about Fay Godwins, Callanish after the Hailstorm, the standing stones, and the comment that I felt it was bottom heavy, yet the clouds somehow gave balance. I feel that here in my shot, the same principle applies, with the trees in the background giving balance to my shot.
The photograph on the right, was taken the same morning as the one above. The canal was very still, which allowed me to get a good reflection of the bridge. I was too close to get all the reflection in the shot, so I sat down and used the dark contrast on the each edge of the tow path, to lead the way forward, acting a funnel for the eyes, taking the viewer right through to the trees in the distance. This funnelling helps give depth to the scene and the tow path gives scale. The leading lines from both the tow path and the trees each side, again reinforce the way forward.
Most of my canal photographs were taken on the move, as I would sit in the well (bow of the boat), as we travelled along, snapping away.
Mist seems to be the order of the day. The photograph on the left was taken at one time or another, I cant quite remember where, but with the high shadow, I would imagine it was late morning. The bright haze in the distance adds an air of mystery, with the trees in the foreground acting as a natural frame, leading the eye to the building in the distance, just off centre. The slight shallow depth of field, soft tone colours and the natural light add aesthetics the the scene, hopefully provoking the viewer to appreciate the tranquil beauty that I felt at the time. When I saw this view I wanted to capture the feeling that ran through me, a little like Ansel Adam, with the statements he made when he first went to Yosemite with his parents:
Quote; ‘the splendour of Yosemite burst upon us and it was glorious…….. one wonder after another descended on us….. there was light everywhere’
This exercise has really made me think about what type of photography I want to develop, working with light and landscapes seems to bring out the best in me, although…….. most things I am experiencing in my learning curve, fill me with a healthy motivated excitement……..