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 :
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
