The final exercise of this project makes use of the viewfinder grid display of a digital camera. This function projects a grid onto the viewfinder screen to help align vertical and horizontal lines, such as the horizon or the edge of a building, with the edge of the frame. If your camera doesn’t have a grid display, imagine a simple division of the viewfinder into four sections.
Dungeness is a quite a wide pebble beach area with various boats, buildings and abandonded boats. I found this exercise slightly challenging as I struggled to find a suitable object to divide in the viewfinder. I finally settled on the boat with the track leading around it and various discarded fishing nets.
Here is the set of images I used to demonstrate frame and using the grid to isolate in my case the boat and move into the various positions.
Formalism: prioritisation of concern with form rather than content. Focus on composition and the material nature of any specific medium. (Wells, 2009, p.347)
Select six or eight images that you feel work individually as compositions and also together as a set. If you have software for making contact sheets you might like to present them as a single composite image. Add the images to your learning log together with technical information such as camera settings, and one or two lines containing your thoughts and observations.
My final set of 6 images all taken at Dungeness using various techniques, lenses and filters. Lightroom was used to edit all images in the panel.
Top Row Left to Right
‘End of the Line’ – Nikon D610, 16-35mm f11 Exposure 1/20sec ISO100
End of the Line draws the eye into the frame due to strong rail tracks and onto the derilict shed.
‘Footpath’ – Nikon D610, 16-35mm f13 Exposure 1/25sec ISO100
The footpath has a natural leading line to the horizon and while I like that it goes nowhere I deliberatly positioned my tripod to ground level to fill the frame and give a different perspective. If I were to retake this image I would try and link something to keep the viewer looking at the image rather than just ending abruptly at the horizon, however, the sky adds a dimension and pulls in the opposite direction to the path. So, in some way the eye doesn’t necessarily leave the frame.
‘Rebecca’ – Nikon D610, 16-35mm f11, 16 Stop Lee filter Exposure 807sec ISO100
Rebecca, stood out against the very dark skies and I felt made a good focal point against the sweeping shoreline and receeding tide. The rope I believe helps to maintain the focus back to the boat without leaving the frame.
Bottom Row Left to Right
‘Going Nowhere’ – Nikon D610, 16-35mm f11, Exposure 129sec. ISO100
I used this boat in the earlier exercise because it’s such a large object and no matter what part of the frame I placed it, it still dominated it. This helps to draw the viewer from the left to the centre image and because of the old track takes the eye away to the horizon but the long exposure has created the streaks in the clouds.
‘Steadfast’ – Nikon D610, 16-35mm f11, Exposure 564sec. ISO100
Although the boat is central to the frame and nothing around the edges I feel that this works. The long exposure and the direction of the clouds creates movement in an otherwise still scene. The two lines, winch and boat work as a triangle.
‘Abandoned’ – Nikon D610, 16-35mm f11, 1/80 ISO100
The abandonded ships on the pebble beach and the old winch each slightly smaller create a neat triangle for the viewer. There is a great deal of intrest in the nearest boat that forces you to look again and again.