Assignment 1: Tutor's Report

I was pleased that my tutor felt that this assignment was a good start to the course and with his permission enclose his comments below for the record.

TUTOR'S REPORT

Overall Comments

This is a good start to the course. You have submitted a good set of images for this assignment ; various subjects viewed from a range of angles; all in all a well-considered approach, backed up by accompanying notes in your online learning log.  I think, in terms of presentation, it would be worth printing a copy of these notes and images for submission – most helpful for me, rather than moving back and forth and trying to locate appropriate material from three different media. 

Your main interpretation of contrast is from a literal point of view, and as such this works well.  You could, of course, also look at a contrasting pair from a symbolic or metaphorical point of view.

The images on the Blog do have some technical detail as a caption, and it would be worth including the ISO setting and focal length of the lens.

You also include a selection of printed images; do you have any thoughts about these; for example a qualitative comparison with the digital images?

Feedback on assignment

Contrasts

You have clearly spent some time thinking about the nature of ‘contrast’ and how that might be applied to pairs images, and the results are good. 

Straight / curved

P 136

 

You found an interesting subject to illustrate ‘straight’ and the frame for this composition works well; a crop at the top to eliminate the car would help focus the viewer on this subject.  The composition, with a strong diagonal across the frame, emphasizes the white line.  The quality of this image, light, brightness and colour might be improved with a ‘levels’ adjustment in Photoshop or similar digital darkroom application.  You make no note about any post-production adjustment, so I assume you haven’t made any.  If you do, it would be useful to document that process in your reflective notes.

P137

 ‘Curved’ captures the railing and shadows sweeping in arc around the frame very well, there is a real sense of movement here, which is enhanced by the dark downward ramp and architectural feature to the right of frame.  What do you think is the focal point of the image; what would you like the viewer to focus on?  I say this, because although this image works very well for the respective image, it isn’t a stand-alone image, as such; one that you might choose to exhibit?  It’s always worth approaching every element of the assignment with this in mind (although I wouldn’t expect you to that for the exercises)

High / low

P138

The angle for this shot clearly captures the perspective of the church tower, the rising lines, the diminishing tiers drawing the eye to the splendid designs on the roof.  But why show just two-thirds of this, when the whole would create a string focal point for the eye? So, a tighter, more considered composition would improve the shot. 

P139

‘Low’ is nicely captured with a figure bending to deliver something through a low positioned letterbox, and captures the sense of the word.  The high angle works well to emphasise this.  The composition might be improved by cropping this image to give a tighter and more focused feel; try some cropped variations and see which feels best for you.

Smooth / rough

P140

The two types of fruit you chose for this contrasting pair work very well together, with the colour and smooth textures and markings of the mango nicely rendered here, and similarly, the contrasting textures of the lycee.  With the former, the subject might be placed in a better context rather than on a paper napkin, but with the latter, the grouping of a number of fruits serves as a context in itself, and gives a sense of depth to the shot. 

P141

There is a minor focus issue with this image, though, with part of the central fruit in soft focus; best to consider the focal plain or to increase your depth of field.  In the printed image this can be clearly seen and is more likely to be motion blur.

Hard / soft

P142

Hard and soft work very well, and by selecting close detailed shots of relatively indistinguishable objects, you create abstract forms, which can be considered for their formal elements of shape, form and texture. The detail in ‘hard’ is very good indeed, with subtle variations in colour and line. 

P143

 With ‘soft’ the texture is beginning to become evident, but here you might think about how the strength and position of the light affects this – just rotate the stick of floss in your hand and watch the textures and shapes change.

Light / dark

P144

Another good pair, with contrasts in subject, scale and location; and as such always an opportunity to explore and investigate the different methods of approach.  With ‘light’, you select a group of tea candles and calculate the exposure very well to provide a nicely balanced image. The composition is well considered with the eye being drawn back into the photograph to the last of the candles.  Again, a slightly increased depth of field would bring the foreground element into sharp focus. 

P145

 With dark, another well exposed image, you capture a range of detail in this subway, and draw the eye to the silhouetted figure in the background.  Here you can see how your camera functions when the dynamic range is stretched.

P146

Diagonal / rounded

  

With ‘diagonal’, the figure ascending the stairs brings a sense of scale to the image and the structure, and the steps are clearly identifiable in this nighttime shot.  While the portrait frame works well from a compositional point of view, think about the top and bottom of frame – would it be better to crop neatly to capture a complete floor at top and bottom? 

P147

 ‘Rounded’, this capstan is quite a difficult object to photograph, and in this shot you explore the relative position of the camera, using a tilt, which emphasizes both artifacts shape and its context, and you use a nicely balanced position in the frame.  The plain background helps to further define this shape.

  

Many / few

P148

Both of these shots are good examples of how tricky it can be to capture an image where there is no real discernable focal point.  In ‘many’, the eye is drawn to the circular shape of the headphones worn by the figure in the bottom third, and in few it is drawn out of the frame by the half cropped car on the left. It’s good to consider this when you’re in a situation where no immediately apparent focus point presents itself, and worth looking at how to construct the frame in terms of foreground, mid and background detail.

P149

Always ask yourself ‘What am I looking at?”

Transparent / opaque

P150

I like both of these images, they are atmospheric, moody and mysterious, as indistinct semi-transparent figures often are.  However, I think they are both ‘transparent’.  In the first, the pattern of rain on the window is nicely captured, and the viewer moves between foreground and background. 

P151

With the second, similarly, we are drawn between the shadowy figure behind the window, and the shape and patterns on the window itself.  This also has a great range of colour and diffused light to generate atmosphere.

P152

Rough and Smooth in one shot works very well; a little more decorative detail would begin to create a narrative of sorts – tropical, sunshine, holidays.  It feels contrived, of course, but fair enough, it demonstrates the contrasting elements together very well.

Once again, well done.  There is some good work here.

Learning Logs/Critical essays

Your Logs are good and through exercises and research demonstrate a thoughtful approach to the course, and a good level of understanding.  You also use links to some of the sites you have used for research and this is a good extension of the learning process.

Suggested reading/viewing

I recommend to all my students the following link :

http://www.magnumphotos.com/

There is an excellent archive of work here from photographers who work with varied subjects and genres, all of whom are at the top of their profession and craft.

Pointers for the next assignment