One way, three elements

One way to view a carpet of leaves:

We used to be told that there is a rule of photographic composition (as if there could be any such thing as a rule!) that there must be one subject.  Each picture should have one clearly perceptible object that is most important.  Well, it's a very good guideline that can be helpful in many situations.  "What are you hoping to show with this photo?  What do you want to draw the viewer's eye to?  What can you keep out of the field of view to avoid distracting from what really matters?"

On the other hand...(you knew there would be a contrary thought, of course) sometimes the point of an image is a pattern, a symmetry or a break from symmetry, or even a competition between two elements.  Or three.

I think, so far, that what I tried this afternoon works pretty well.  I was drawn to the pattern of fallen red leaves that were interspersed with green/blue-green ivy.  A clump of green tree leaves sticking up from the "carpet" seemed like a suitable subject, but one that needed to remain integrated with the pattern, and not completely dominate the scene.  I decided also to include the sun, which was very near the local horizon created by the hill.  So, I set things up as you see, and to me, it keeps my eyes moving about between the competing elements of leaves and sun, and following the lines in the pattern on the ground.

Permalink: http://jilcp.blogspot.com/2014/11/one-way-three-elements.html

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Abstract enjoyment from a soccer tosser

Why do I like this picture?

When I shoot soccer games, my goal is usually to catch players at moments of peak action while they are facing more or less in my direction. I want the faces to be clearly visible. Those are the "keepers" (in photographic terms, not goal keepers). Shots that only show the backs of players are generally "tossers". During breaks in the action, I'll turn my attention to getting candid portraits, bits of humorous goings on, and so forth. Every once in a while, I'll get a serendipitous composition that interests me for reasons other than athleticism or emotion. The one I'm about to show you may look as if it had little to do with organized soccer, aside from the uniforms, and it certainly doesn't look like a typical action shot.

Well, this was in fact shot during a recent game, and though the compressed perspective (telephoto lens) makes it appear that they are romping off into the rough, the ball is actually still within bounds on the level field. The girls are attempting to "save" it before it crosses the chalk line. I followed the action because I knew there was a chance there would be a stop and pivot right near the line. That didn't happen, but this photo resulted.

What I enjoy about the picture is a mix of a few somewhat abstract factors. Because of what we know about human locomotion, there's a clear sense of movement away from the viewer, toward the path. The path, through its curve, the perspective of narrowing and increasing blur with distance "catches" the movement directly into the frame and guides it up and to the right. I also like the placement of objects - the little tree neatly framed by the players, the path in the "right place", one player's arm to the left, one to the right. I even like the types of textures in different areas of the unkempt grass.

It might be meaningless to most folks, but as I said, I like it. And yes, even though they are actually on the field, I love the look of a spur of the moment game wandering casually off toward the pathway home.

Permalink: http://jilcp.blogspot.com/2013/09/abstract-enjoyment-from-soccer-tosser.html

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Bearded Iris

This large Bearded Iris was far later in blooming than various smaller irises around it, not to mention similar ones I've seen in passing around town. Yesterday, it "suddenly" opened in the late afternoon. I feel very lucky that I had a chance, today, to photograph it while it was still fresh and beguiling, and the light was soft and beautiful. How could I dislike rainy weather when it yields such results? It was also fortunate that the wind didn't reach the point of tearing delicate features.

Composing the picture was a matter of seeking a view that would show a lot of curves, a mix of overlap and edges for dimensionality, balance of weighty shapes and negative space. I don't think about these things while shooting, or rather they mostly flit around in my subconscious. After years of explicitly critiquing my own work in these terms, I'd like to think that some benefit is beginning to show up in my "automatic" choices. At any rate, this is something that I'll always be able to work on, no matter what happens in the realm of camera technology.

Permalink: http://jilcp.blogspot.com/2013/05/bearded-iris.html

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