Shot as jpegs, with in-camera Monochrome setting.
Four things from a Ben Long and Richard Klein discussion about architectural photography that apply to pretty much anything.
1. Decide what’s the the one big thing.
Just like all the other courses and tips, the starting point here is also to be decisive about the one thing that’s going to be the subject of the picture. Of course, it could just as easily be a thought or feeling rather than a physical subject.
2. Focal length
The focal length decision is going to depend on the subject decision. If the subject is in the foreground, its importance can be exaggerated by using a shorter focal length. The compression effect of longer focal lengths will even out the difference in emphasis between foreground and background.
3. Build the shot around the subject.
In this discussion, the suggestion was that this is the point at which you consider the geometric aspects of composition.
4. Add depth
The geometrical arrangement is, first of all, going to lead to a pleasing two-dimensional representation of a three-dimensional space. To add depth (if that’s the goal) avoid lining up straight edges. Then use the light. Rather than aiming for a uniformly lit scene, use light and shadow to add depth.
Once upon a time, not so long ago, there was a little pub called the Lamb and Flag. The Lamb and Flag sat on a busy street corner, looking out over a dockyard full of giant shipping containers.
Here’s a list of regulars at the Lamb and Flag:
Anyone calling in around five-ish was sure to find the regulars at the bar. Except on Fridays, of course. On Fridays, they made their weekly pilgrimage to the Hand and Raquet to play the Noël Edmonds quiz machine.
Here’s a tip: watch out for camera shake, even an apparently safe shutter speeds.
I’ve been trying to find a way to take a tree picture against a cluttered background for a while. This one had the potential to work out quite well. But it’s shaky. Boo!
Thinking about it afterwards, it all boils down to taking more time. Quite a few recent photos could have been better had they been less rushed. As well as setting aside time to consider composition properly, it’s also worth slowing down to make sure the camera’s being held in a really stable position.
