Feedback from my tutor for my TAOP Assignment 1.
This is my learning log for TAOP Assignment 1, Contrasts. The assignment asked me to make 8 pairs of photos, with each pair illustrating a contrast chosen from a pre-defined list of 20 different contrasts, such as “large/small”, “high/low”, “light/dark”, and so on. Additionally I was to make an extra photo, illustrating one of the contrasts in a single picture.
I have finally re-started the photography course I signed up to last year, and I’m getting ready to complete my first assignment. It would be great if you could spend 5 minutes giving me a helping hand.
After the court injunction preventing publication of pictures from the riot-causing car-free Sunday in Essex has finally been lifted, I hurry to bring you pictures of the the busiest road in the country, void of traffic. And of the armed forces ensuring that only emergency vehicles were allowed on the roads.
I went to Southend-on-Sea to take some long-exposure shots of the sea. It wasn’t all plain sailing, but 8 seagulls helped me to get a picture that communicates “continuous water” as intended (sounds weird? I know….)
Two very different pictures of a cucumber to illustrate the contrast between “straight” and “curved”. As well as off-camera flash and home made reflectors, the shoot also involved the creation of a cucumber salad. Yummie!
Five similar pictures, with the horizon in different places. It’s not rocket science, but if it’s good enough for Steven Spielberg, it’s good enough for me.
An analysis of balance and imbalance in six pictures. The purpose of the exercise is to understand what makes a picture feel balanced, and to become able to use this understanding when composing pictures.
Two experiments with focal length and viewpoint is used to establish a rule for what governs the perspective of a picture. It is always the viewpoint and never the focal length.
A series of images from a model shoot. I tried many different compositions, and when I eventually found the one I liked, it used components and ideas from several of the failed attempts.
This exercise experiments with placing an object in different positions in the frame. The analysis concludes that the “best” placement depends on subject.
Four different views of a headstone from a nearby churchyard and an assessment of which suits the subject best: One without much consideration, one where the subject fills the frame as much as possible, a close-up of a detail, and one where the subject is shown in the environment.