Category Archives: Assignment 2

Assignment 2

The brief:

The idea behind this assignment is to incorporate the insights you have learned so far on the course into a set of photographs directed towards one type of subject. You should 10 – 15 photographs, all of a similar subject, which between them will show the following effects:

  • single point dominating the composition
  • two points
  • several points in a deliberate shape
  • a combination of vertical and horizontal lines
  • diagonals
  • curves
  • distinct, even if irregular, shapes
  • at least two kinds of implied triangle
  • rhythm
  • pattern

Choose from these groups of subjects:

  • flowers and plants
  • landscapes
  • street details
  • the raw materials of food
  • if you prefer, choose your own subject.

Having had a couple of false starts to this assignment, I decided to choose the raw materials of food. Details of my planning can be seen on my Assignment 2 – Planning posting. As mentioned there, I have looked at the following photographers for my inspiration:

  • David Loftus
  • Beatrice Peltre
  • Carl Warner
  • Keiko Oikawa
  • Mittongtare Studio
  • Jean Cazals
  • Anders Schonnemann
  • Clara Gonzalez
  • Alexandra Grablewski
  • Mythja
  • Clare Barbosa

I found that I was really inspired by the fresh, airy feel that many of the photographers had in their images – very much like a bright summer’s day. I was also intrigued by some of the dark, moody photographs that were more gritty in nature. I learnt from researching these photographers that most photographs are taken from a 45 degree angle, face on and level with the food, or from overhead. With that in mind, I decided, as a theme, I would shoot raw food using natural light only and try to keep props to natural elements as far as possible. I also wanted to reflect arrangements that looked natural. My only lighting equipment that I used were white foamboard bounce cards, three black foamboards and a diffuser and some crumpled tinfoil. I used a tripod for most of my shots, with the exception of the overhead ones, where I climbed onto a ladder and hand held the camera. All post processing was done in Lightroom 5.

Fig 01 - Single point

Fig 01 – Single point
f8, 1/20, 50mm, ISO 400

My inspiration for this photo (fig 01) was drawn from an image I had seen where an old packing crate was stood up against a shed’s wall with one shoot of asparagus propped up inside. I wanted the Indian eggplant to be given prominence, so placed it in a shadow box frame. I believe that even though there is an extra element in the frame, namely the picture frame, this still qualifies as a single point, because the eye is immediately drawn to the vegetable. The fact that the eggplant is contained within the frame also fools the eye into thinking that it is one element. My light was coming from two windows – from the left of frame (8 o’clock position) and from the top of frame (12 o’clock position). I took this shot from the top of the ladder, however I don’t think I was not sufficiently centred over the frame as there is a slight angle at the top of the frame, even after I straightened out the vertical and horizontals in post processing. I wanted everything sharp for the overhead shot, so used an aperture of f8. Post processing involved boosting the contrast a little, bumping up the shadows, clarity and adding a touch of vibrance. I also set the white and black points.

Fig 02 - Two points

Fig 02 – Two points
f6.3, 1/8, 135mm, ISO 100

I liked the play of light around the ridges of these acorn squashes (fig 02) and played around to get an optimum composition. I elected to put on squash lying flat facing the camera and the other on a cutting board upright to create a bit of height in the image. I purposely did not include the whole upright squash to create a more asymmetrical balance. Both stalks on the squash form visual points to lead the eye forward and back. I used my tripod and remote shutter release as I was shooting a a slow shutter speed. The light source was from camera right (3 o’clock position) and camera left (11 o’clock position). A little light was blocked by standing my husband in front of the door as the ridges on the left hand squash were blowing highlights. Post processing involved boosting the contrast and clarity to make the image pop. I also decreased the shadows so that the ridges of the squash would be enhanced. I then made sure that my white background was uniformly white, dodging where necessary.

Fig 04 - Several points in a deliberate shape

Fig 03 – Several points in a deliberate shape
f8, 1/10, 180mm, ISO 100

In figure 03 I focused on the heirloom tomatoes in the background as I liked the close contrast with the red colander and green basil. I have attempted to create a few planes in this photograph as there are three surfaces visible as well as differing heights of the fruit, herbs and utensil. Both red tomatoes on either side of the yellow tomato form triangles together with the yellow tomato which is the apex of both triangles. Again my camera was on a tripod and I used the remote shutter release. The light source was from camera right (4 o’clock position) and camera left (11 o’clock position). Post processing only involved boosting contrast and clarity minimally as the colours are nicely saturated and there are sufficient highlights in the image and minimal shadows.

Fig 04 - Combination of vertical and horizontal lines

Fig 04 – Combination of vertical and horizontal lines
f2.8, 1/50, 50mm, ISO 100

I arranged a bunch of spring onions (fig 04) in vertical orientation with their roots facing the camera as I liked the tangled detail that the roots present. I then put a similar bunch in horizontal orientation, but that didn’t look quite right, so I then spread the onions out, lining them up neatly and sliced off their ends, placing those at the far end of the cutting board and placed a knife down as if I had been interrupted in the middle of the task of chopping vegetables. I used a shallow depth of field here so that the ends of the vertical onions and the chopped bits and knife would be blurred slightly. This brings the eye back down to the front of the image again. The diagonal lines of the table top also lead the eye in to the vertical arrangement. The light source was from camera right (3 o’clock position) and camera left (11 o’clock position). Post processing involved boosting the contrast, bringing down the highlights a tad, lifting the shadows and boosting the clarity. Again tripod and shutter release were used.

Fig 05 - Diagonals

Fig 05 – Diagonals
f5.6, 1/15, 50mm, ISO 100

For my diagonals image (fig 05), I placed a round cut from a tree trunk as my plane, then simply dropped cinnamon sticks from a low height in front of it and left them where they fell. They had all fallen in a diagonal orientation. I then took a handful of cloves and let them fall onto the tree trunk and finally I used an old chef’s tasting spoon to scoop up a spoonful of the cloves and placed that on the tree trunk in a diagonal orientation as well. All the elements in the photo (except the tree trunk) are diagonally oriented. I wanted to blur out the background a little, but not too much, otherwise the cloves would just be one black mass and they would lose their identity, so I used an aperture of f5.6 which gave sufficient blur in the rear of the image to keep the focus on the spices in the front. I shot this image at differing angles (overhead and from the front low down, but this angle best suited the display of the diagonals. The light source was from camera right (3 o’clock position) and camera left (11 o’clock position). Post processing involved boosting contrast, shadows and clarity and a little vibrance was also added. Tripod and shutter release were used.

Fig 06 - Curves

Fig 06 – Curves
f8, 1/10, 160mm, ISO 100

I wanted to emphasize the rounded shape of this little watermelon (fig 06), so chose to shoot only a portion of it filling the frame. With my camera on the tripod and using the remote shutter release I aimed downwards so that I could include the diagonal lines of the table to contrast against the curve of the watermelon. The watermelon was backlit by the window, with sunlight pouring in. In post processing I cropped the image a bit to exclude part of the table, boosted contrast, brought down the highlights and shadows, added clarity and vibrance.

Fig 07 - Distinct, even if irregular, shapes

Fig 07 – Distinct, even if irregular, shapes
f2.8, 1/100, 50mm, ISO 100

Mini peppers (fig 07) have a very distinctive shape (almost conical) and as I had a whole bag of them I decided to put some of them in my little red colander to enhance the colour contrast between the orange, yellow and red peppers. The diagonally oriented peppers create a good design contrast contained in the round container. I threw a bright yellow tea towel next to the colander to offset the orange peppers. I placed the colander so that it was overhanging on the cutting board to create more visual interest. Then it was up the ladder for me again to get an overhead shot, handheld. The light source was mainly from camera right (3 o’clock) and camera left (11 o’clock position). I brought up the exposure by a third in post processing, boosted the contrast and highlights, opened up the shadows quite a bit and added clarity and vibrance.

Fig 08 - Distinct shape, even if irregular, shape - fennel

Fig 08 – Distinct shape, even if irregular, shape – fennel
f5.6, 1/50, 75mm, ISO 100

There is probably not another vegetable that has such a distinct shape as fennel (fig 08). It is hard to describe its shape – possibly fan shaped? To show off the feathery fronds, I chose to backlight the vegetable by placing it on a cutting board in front of the windows. I then tossed a yellow cloth behind it to add some depth and contrast to the image. I then chopped off a few fronds and dropped them in front of the vegetable, letting them spill over onto the table and finally I placed a knife on the cutting board. I used a tripod and remote shutter release. In post processing I lowered the highlights a fraction and opened up the shadows quite a bit. I then added clarity and some vibrance.

Fig 09 - Implied triangle - beetroots

Fig 09 – Implied triangle – beetroots
f2.5, 1/125, 50mm, ISO 400

For this overhead shot (fig 09)  I arranged three beetroots to form an implied inverted triangle, overlapping their stalks to form complementary lines, the apex of the triangle being the centre beetroot. I placed them on a black slate tile in order to contrast their bright colours. The light sources were at camera left (9 o’clock position) and from the top of frame (12 o’clock position). I also placed a black foam board at camera right to darken the right side of the frame slightly. I boosted the contrast in post processing, brought the highlights down quite a bit, set white and black points, and boosted the clarity and added a touch of vibrance.

Fig 10 - Implied triangle - garlic, mortar and pestle

Fig 10 – Implied triangle – garlic, mortar and pestle
f2.8, 1/100, 50mm, ISO 100

I shot this photograph (fig 10)  fairly low, on a tripod using my remote shutter release. I, once again, used my tree trunk platter and placed a garlic bulb on it, first scrunching the garlic so that the skin would come loose and which fell in front of the bulb. I then placed another bulb with its roots toward the camera and broke a few cloves loose from another bulb and scattered them in front of the platter. To create some height in the image I placed a mortar and pestle behind the platter. The pestle and two garlic bulbs form an isoceles triangle with the apex of the triangle being the tip of the pestle. I then focused on the garlic bulb on the right. The front cloves were blurred slightly to draw more attention to the implied triangle. The light source was from camera right (3 o’clock position) and camera left (11 o’clock position). In post processing I boosted the contrast, lifted the highlights and shadows a bit, set the black and white points and added clarity.

Fig 11 - Rhythm

Fig 11 – Rhythm
f2.8, 1/60, 50mm, ISO 200

I think this is the image (fig 11) that I struggled most with. While I get the concept of rhythm, it is not so easy to translate it in an uncontrived manner using food. I lined up all sorts of food, bumping an item out of sync, but that simply did not work for me, even slicing them and arranging them on a cutting board, but then realised I was probably overthinking the whole thing. I took a carton of eggs out of the fridge and removed an egg. Standing on the ladder again, I filled the frame with the egg carton. The rhythm is broken when the eye comes to rest on the empty slot and then continues to the two final eggs. The light sources were from camera right (3 o’clock position) and from camera left (11 o’clock position). I bumped the exposure up by a two-thirds stop in post processing, added some contrast, and lifted the shadows very slightly and added a bit of clarity.

Fig 12 - Pattern

Fig 12 – Pattern
f8, 1/10, 190mm, ISO 100

I noticed the irregular pattern on the skin of this small seedless watermelon (fig 12) which draws the eye across the frame, so with my camera on the tripod and using the remote shutter release I filled the frame with the pattern. The light source was from camera left. I made a small crop in post processing, boosted the contrast, added some highlights, lifted the shadows and added vibrance and clarity.

As it is stated in the course manual at the beginning of Elements of Design, colour can be a distraction when working on these design elements. I have, therefore, created a  set of black and white versions of the photographs above, (some extra processing was needed in the way of tonal adjustments to each image) for comparison purposes in order to see what the effect would be like in monochrome. For ease of viewing I have put these into a slideshow. It is obvious that those photographs where texture is more prevalent, for example, the two points and the implied triangle of the beetroot images, work well in black and white.

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Discard Images

My discard images can be seen in my Flickr Food Photography album.

ASSESSMENT CRITERIA

Demonstration of technical and visual skills (materials, techniques, observational skills, visual awareness, design and compositional skills)

I used two lenses for this assignment, namely a 50mm f1.8 and a 55-200mm f4-5.6. Having the camera on the tripod for the most part forced me to check the edges of my frame for any distractions and edges of equipment like foamboard creeping into the shot. I took my time with this assignment as I was limited to the hours when the sun would come into the room so I did not rush it at all. I took my tutor’s advice from the feedback on Assignment 1 and studied Laura Letinsky’s work and I hope I have taken some of the pointers that he made on board in this assignment. I feel my observational skills have definitely improved as I am definitely more aware of the direction of the light and have tried to use that to bring out highlights and shadows in my images. I feel that my still-life compositional skills have definitely improved as well.

Quality of Outcome (content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas)

My blog is coming along nicely. I am enjoying the process and I believe that it is laid out well and is easy to navigate. I have applied all knowledge learnt up to now in this assignment to the best of my ability, having never attempted a subject like food photography before. My aim was to convey raw food in natural light in as natural setting as possible and I believe I have succeeded in that.  Although I don’t really like still life/product photography, I really enjoyed this assignment and will probably dabble again. I also have so much more appreciation for all the food photographers out there. It is not an easy task. I have brushed up on my Lightroom skills a bit and have been able to better fine tune my images in post processing than before and I believe the quality can attest to this.

Demonstration of Creativity (imagination, experimentation, invention, development of a personal voice)

Having never done any food photography (the odd snap of someone’s meal in a restaurant not being taken into account) this was quite a challenging assignment for me. I spent a lot of time researching various food photographers and inspecting their images closely. Notwithstanding I tried to come up with some different items to include in my photographs in the way of natural elements for some of my props. I do feel that the collection of photographs in this image are part of an individual style.

Context (reflection, research, critical thinking)

I am now comfortable with my learning blog and find that I use it more than my physical notebook. I still need to work on keeping the notebook with me. I have downloaded Menderley, a PDF/bookmark manager, that Stephanie dh recommended in the Flickr Content and Narrative discussion forum and I find that this has helped me organize my life a bit better. I have been to two exhibitions: Faces of Humanity: in black and white – An Exhibition by David Bong and Gu Xiong: a journey exposed and reviewed both of them. My review on David Bong was read by his office and I was contacted and thanked for my accurate review. Needless to say, that made me feel pretty good. I have watched the following videos to help me with this assignment: Sebastião Salgado: The silent drama of photography; An Interview with Laura Letinksky; Food Photography Without Expensive Gear – Chris Marquardt; Story on a Plate: Food Photography & Styling, as well as a video about Jacques-Henri Lartique. Because I was not able to get to too many galleries this summer, I reviewed the Russian photographer, Elena Chernyshova’s series, Days of Night/Nights of Day. My write up was quite long and I couldn’t link to any of her images (they were in a slide show) so I contacted her asking her permission to use one of her images on my blog. She was extremely pleased that I had asked and gave me permission to use some of her images, which I have done, with the necessary credit to her and explanation of my usage. I reviewed Stephen Shore’s The Nature of Photographs, and also John Berger’s Understanding a Photograph. Most of the research articles I found about food photography did not really help me much. They were more geared towards tricks of the food stylist, historical/political trends in food styling, some really complicated techniques such as food stacking and levitating food, a project someone had done on rotten food, the revamp of Bon Appetit magazine, the need to share your meal on social networks, and the role of the food stylist. All extremely interesting reads, but not quite what I was looking for. Nevertheless, some snippets were helpful. Going forward I plan to attend more exhibitions and get through this pile of books that is on my desk waiting to be read.

Bibliography

Barboza, Clare. (2014) Clare Barboza Photography [online]. Available from http://clarebarboza.com/ [Accessed 27 July, 2014]

Carafoli, J. F. (2003). Tempting the Palate: The Food Stylist’s Art. Gastronomica, 3(2), 94–97.

Dunea, M. (2014). Food for Photography. Nielsen Business Media, 12.

Feliciano, K. (2009). Raw Food Photography. Photo District News, 29(2), 24–26, 28.

Fredrickson, L. (2012). Food Pairings. Popular Photography, 76(1), 24–25.

Fredrickson, L. (2013). Plated Waste. Popular Photography, 77(2), 20–21.

Freeman, Michael (2007). The Photographer’s Eye: Composition and design for Better Digital Photos, The Ilex Press. Lewes, England.

Grablewski, Alexandra. (2014) Alexandra Grablewski Photography [online]. Available from http://www.agrablewski.com/ [Accessed 29 July, 2014]

Goldwasser, A. (1998). Fashion plate. I D, 45(6), 58–59.

Kelby, Scott (2014). The Adobe Photoshop Lightroom 5 book for digital photographers, New Riders.

Kolonia, P. (2013). Thought for Food. Popular Photography, 77(10), 54–59.

Loftus, David. (2014) David Loftus [online]. Available from http://www.davidloftus.com/food [Accessed 28 July, 2014]

Margolis, L. (2013). Back to Basics: Food Photography Lighting & Styling. PhotoShelter Blog. Available from: http://blog.photoshelter.com/2013/05/back-to-basics-food-photography-lighting-styling/ [Accessed 29 July, 2014]

Matalon-degni, F. (2010). Trends in Food Photography. Gastronomica, 10(3), 70–83.

Milano, D. (n.d.). 10 Tips for Mouth Watering Food Photography. Digital Photography School. Retrieved August 14, 2014, from http://digital-photography-school.com/10-tips-for-mouth-watering-food-photography/ [Accessed 29 July, 2014]

Mittongtare, Pornchai. (2014) Mittongtare Studio [online]. Available from http://www.mittongtarestudio.com/ [Accessed 28 July, 2014]

Mythja (2014). Mythja Photography [online]. Available from http://mythja.com/ [Accessed 29 July, 2014]

Oikawa, Keiko. (2014) Keiko Oikawa Photography [online]. Available from http://www.keikooikawa.com/ [Accessed 28 July, 2014]

Peltre, Beatrice. (2014) Beatrice Peltre Food Styling & Photography [online]. Available from http://www.beatricepeltre.com/ [Accessed 28 July, 2014]

Ramelli, Serge. (2014) The Art of Black and White Yesterday and Today!  [online] available from http://photoserge.com/tutorial/the-art-of-black-white-yesterday-and-today/ (accessed 11 August, 2014)

Schonnemann, Anders. (2014) Anders Schonnemann Photography [online]. Available from http://www.schonnemann.dk/ [Accessed 29, July, 2014]

Warner, Carl. (2014). Carl Warner [online]. Available from http://www.carlwarner.com/foodscapes/ [Accessed 28 July, 2014]

Workshop, Todd Porter and Diane Cu-Porter – Story on a Plate: Food Photography & Styling [webcast, online] Creative Live, Seattle, USA, June 2014. 32 minutes: 48 seconds. https://www.creativelive.com/courses/story-plate-food-photography-styling-todd-porter-and-diane-cu (accessed 27 July, 2014)


Assignment 2 – Tutor Feedback

I was rather anxious while waiting for my tutor’s feedback on my assignment 2. I had gone outside my comfort zone and chosen to do raw materials of food. (In retrospect, I should have stayed with my initial idea of doing landscape). While I enjoyed doing the assignment I couldn’t help but feel rather restricted in interpreting raw food in an arty way. I had looked at various food photographers and cooking books and tried to base my interpretations on that type of photography.

My tutor was rather critical and said that although my photographs do fulfill the design considerations of the brief they were very tame and reminded him of supermarket photography. He had, during assignment 1 feedback, told me to look at Laura Letinsky’s work and especially the way she makes use of planes. I did so, but obviously I did not have the correct understanding of “planes” and got it wrong in this assignment. I have now clarified this with my tutor and have a better understanding of this technique.

As far as the mood and the lighting of my photographs went, he said I made a fairly accomplished assignment.

Single Point

He liked the idea of placing the aubergine in a frame and creating a frame within a frame. The design was emphasized well with the light and dark areas.

Two Points

The second point is quite peripheral. He suggested placing the objects together like two people talking to each other. The light and dark areas work well in the composition, but the bright white background is competing with the star shape of the squash. He suggests that if the background is toned down a bit, the form of the squash would be more emphasized.

My response: I subsequently did a quick test on a copy of the image and found that the star is brought out more if the background is a tad grayer. So I will come back to this image at a later date.

A deliberate shape

There were too many points to make out the two intersecting triangles.

Verticals and Horizontals

The tutor said the composition of lines here was not perfect, the knife was half in and half out of the shot. He went on to say that “generally such rigorously straight verticals and horizontals would not be used in product photography as it reflects too readily the line of the frame and feels somewhat arbitrary and forced considering the subject.”

My response: my objective was to make photographs that did not look too contrived. The idea behind this photograph was that I wanted it to look as if I was busy in the kitchen chopping onions and had been interrupted and had to step away from the chopping board. In practice I do usually line beans, carrots, onions, etc up like this when dicing and slicing.

Diagonals

This was one of my more successful images.

Curve

My tutor commented on the fact that the curve was fading into background too much and thereby more emphasis was on the pattern of the watermelon than the curve.

Irregular Shapes

“You’ve combined way too many shapes here that are competing with each other.”  It seems that the colander and the cutting board were competing with the peppers and overwhelming their shapes. I should probably have used less props with this image and singled out one pepper.

Distinct shape

My tutor liked this image, but drew my attention to the fact that the light behind the fennel at top left was a bit too bright. I should have positioned the fennel so that the backlighting was more behind the fennel. The yellow cloth was also too bright and the knife was picking up a bright highlight.

My response: Point taken about the yellow cloth. In hindsight I do agree with that. I also take the point about the knife being a bit bright. However, it wasn’t clipping any highlights on my histogram and I had burned the blade quite a bit, but obviously not enough.

Implied Triangles

My tutor said that my beetroot image is more of a triangle than an implied triangle and that an implied triangle is three more or less equidistant points. (Yet the course material states on page 90 that “Basically, any three prominent points imply a triangle”.) My second photo is not an implied triangle at all as he says it doesn’t have three distinct points but many more that move in a circle.

My response: I tend to disagree with the last statement. I had taken the trouble to poll a few people when compiling my images and asked them to comment on what geometric shape they saw in the image and all saw a triangle. I will probably revisit these two images later.

Rhythm

The eggs were a good example of rhythm.

Pattern

My tutor thought the image looked underexposed

I was advised not to research commercial photographers and take their work as a standard. I do have to admit there were hardly any journals on food photography in Jstor, so any suggestions where to find fine art food photographers would be very welcome.

My tutor remarked that my research looked good. He noticed that I had put up a couple of reviews of William Eggleston and Stephen Shore, but was concerned that I had not responded personally to Eggleston’s work. In my defence, my research on Eggleston is actually for assignment 3 and I had only commented on two documentaries that I had watched shortly after submitting assignment 2. I have yet to respond on his work, which I am planning on doing in more detail before assignment 3.


 

Assignment 2 Revisited

As the time is drawing closer to assessment, I have been looking back on my blog and realised that I had commented in my feedback to my tutor’s report that I would address a few images.

Two Points

My tutor remarked that the second point is quite peripheral. He suggested placing the objects together like two people talking to each other. The light and dark areas work well in the composition, but the bright white background is competing with the star shape of the squash. He suggests that if the background is toned down a bit, the form of the squash would be more emphasized. Winter squash is now out of season, so I have not redone this shot, but have done the post processing that was suggested.

Two points reworked

Fig 02 – Two points reworked
f6.3, 1/8, 135mm, ISO 100

Curve

My tutor commented on the fact that the curve was fading into background too much and thereby more emphasis was on the pattern of the watermelon than the curve. To fix this I added a local adjustment to the background to bring the exposure and highlights down. I also added a couple of local exposure adjustments to the edge of the watermelon to emphasis the curve better.

Fig 06 - Curves reworked

Fig 06 – Curves reworked
f8, 1/10, 160mm, ISO 100

Distinct, even if irregular shapes

Fig 07 – Distinct, even if irregular, shapes - revised

Fig 07 – Distinct, even if irregular, shapes – revised
f2.8, 1/40, 50mm, ISO 100

My tutor had commented that I had too many competing shapes in the original submission so I have replaced the original image with this one (Fig 07), which was taken at the same time. It highlights the shape of the individual pepper which is separated out from the peppers in the background. The curve of the pepper is accentuated by the light catching the edge of the pepper. In post processing I brought down the exposure and highlights of this highlighted section by applying a local adjustment to the highlight. Hopefully this is an improvement on the previous image.

Distinct Shape

My tutor liked this image but remarked that the light behind the fennel was too bright. The yellow cloth and knife were also too bright. I have done local exposure adjustments to rectify this.

Fig 08 – Distinct shape, even if irregular, shape Reworked

Fig 08 – Distinct shape, even if irregular, shape Reworked

Implied Triangles

My tutor said that my beetroot image is more of a triangle than an implied triangle and that an implied triangle is three more or less equidistant points. Furthermore, my second photo is not an implied triangle at all as he says it doesn’t have three distinct points but many more that move in a circle.

Fig 09 - implied triangle - revision

Fig 09 – implied triangle – revision
f7.1, 1/50, 200mm, ISO 200

I have retaken the implied triangle photos. Fig 09 featured many implied triangles within a circle. Post processing involved increasing exposure by half a stop, decreasing highlights, boosting the shadows a bit, adding contrast, clarity and a bit of vibrance.

Fig 10 - implied triangle - revision

Fig 10 – implied triangle – revision
f5, 1/60, 65mm, ISO 400

Fig 10 features three apples arranged in an implied triangle.  There is separation between all the apples so the implication is there. In post processing shadows were opened up, highlights decreased, exposure increased by a third of a stop and a bit of contrast, clarity and vibrance was added.

Pattern

My tutor thought this image looked underexposed. I have increased the exposure and contrast, opened up the shadows and added a bit of saturation to improve the image (fig 12).

Pattern reworked

Fig 12 – Pattern reworked
f8, 1/10, 190mm, ISO 100

Even after these revisions, I am still of the opinion that I really don’t like still-life photography, but I suppose this is something I should try and work on.