Produce at least 2 photographs, one should convey rhythm, the other pattern. Remember that that in rhythm there needs to be a sequence in the picture so that the eye will follow a direction and experience an optical beat. For the pattern photograph, be careful with the framing […] so that the eye can imagine it continuing well beyond it. – AoP Coursebook
Produce 10-15 photographs, all of a similar subject…
Flotta – Friday 1st August 2014
…between them they will show the following effects:
1: single point dominating the compostion
I thought long and hard about using one of the shots of the wind turbine, with its nacelle as the point, but in the end decided that a: the square view through the window and the doorway of this small brick hut (a sentry hut?) was “pointy” enough and b: that this was a much stronger photo than any of the turbine pictures. I particularly like the way moving your eyes over its surface generates a strong sense of refocussing (as discussed in part 4 of Shore’s The Nature of Photographs) and the way the various horizontal and vertical lines in the picture reinforce the idea of the frame. The point possibly becomes a punctum, leaving us with a picture about pictures hung on (or here, in) a wall, with the almost central positioning of the point achieving a sense of uneasy stillness which works nicely with the flatness of the view.
2: two points
Two water tower supports, out towards Stangar Head. I think these qualify as points because of the way the crumbling concrete contrasts with the softness of the land and the lack of any obvious focal point out towards the horizon. This is probably a bit soft, when viewed at print size, a warning not to use a heavy 35-70mm zoom handheld with a shutter speed of 1/80th sec. The framing of this is key: I spent a reasonable amount of time with the camera, judging how close to the edge the two structures needed to be to achieve some sense of balance; I then carried on this process cropping a bit more off the the sides and bottom of the image in Lightroom. I hope your eyes travel along the horizon from the larger tower to the smaller one, and then back again…
a combination of vertical and horizontal lines
A natural triptych which – like 1 – creates a very strong sense of planes. Taken inside a searchlight emplacement (the light would have split into 3 strong beams as it passed through the vertical slits) I used the camera’s flash throttled back to minimum intensity to get some sense of texture on the inside wall helped by the black staining, which is presumably carbon deposited by the arc-ing rods that made the beam of the searchlight. It was hard getting the colour temperature right here, something that wasn’t made easier by the chromatic aberration visible down the verticals of the slits, that I only noticed when I got the second version of the print back. I’ve corrected it on the file uploaded here, and will get a new print made when I get the prints made for assignment 3.
several points in a deliberate shape
Two triangles combine to make a quadrilateral tilted away from the viewer like a ceiling over the ludicrously busy field. Your eye either moves round the edge of the shape, or zigzags up from the pole on the right, to the windmill, down to the power post and back up to the other smaller windmill. The slight a-symmetry of the distances off to the left and right edges of the shape make it more interesting than if I had moved off to the left, when I would have lost the way that the field above the road and the sky area locks jigsaw-like into the foreground bit of field with its run-to-seed docks and yellow flowers.
distinct, even if irregular, shapes
I took advantage of the 10-15 picture scope for this assignment to add all three of these – a building of unknown purpose at Stangar head, the inside of the buried nissen hut that acted as the magazine for Buchanan Battery and a recycled nissen hut spotted on my way back to catch the ferry. I think compositionally the three work as a sequence, with the centrally placed doors of 5 and 6 creating a similarity with the curve of the nissen hut in 7 echoing the corrugated ribs in the roof of 6.
5 and 6 are fine (and I like the green object in 6 – a Heineken can? – in the lit part of the spill of earth into the hut, wishing the coke bottle in deep shadow over to the left was equally lit) but I’m particularly happy with 7 where planes merge into one another making shapes out of things that would have simply seemed unrelated if I hadn’t moved left and right, back and fore til they lined up and worked as a 2D arrangement…
Here, I think the viewer’s eyes starts at the top left of the frame and follows the zig and the zag of the road down to the bottom right; the fence post directs the eye up to the cottage and then you track up the gentler curve of the horizon back to the top left. And then you do it again. It would be slightly better if i’d taken half a step to my left, lining up the ruined cottage’s chimney with the fencing stab, I think, but I can live with it as it is. Definitely among my favourites out of the pictures in the assignment.
I spotted the playpark as I walked through the village and realised it was perfect for doing something that collapsed the many planes formed by the various bits of equipment into something much flatter. It was then huge fun to move left and right, step back and take a half step forward again, squat down, stand up, lean and lean back before taking each of the 3 pictures I took here. This is the one that creates the nicest chaos of diagonals, I think.
The only bit that I feel unhappy with is the very top where I can’t quite work out where the exact point to cut off the confluence of the near poles should be. As a result, it’s an ‘almost’ rather than a ‘definitely’. Getting it right would involve going back though, and I won’t be able to do that until next year now.
at least two kinds of implied triangle
Another group of 3 to take advantage of the 10-15 limit, as 10 manages to get the asked-for two with the obvious vanishing point of the road tailing off towards the horizon, and the inverted triangle formed by the two cottages on either side of the road and the inverted Stop! Children sign painted on the road. 11 was included as the first thing I thought when I noticed the two cottages and the bloke in a red caghoul, fixing a fence was “triangle!” – it proved a lot harder to get the red of the caghoul light enough and red enough (and the landscape light enough for it to show up strongly) than I thought it would. 12 is there because i like the way that the bank opening up to the concrete shelter on the right seems to lack any sense of depth, while pointing the way to a vanishing point somewhere off to the left. Also, it rhymes beautifully with the triangle formed by the washing lines in…
…this one! Here I took several other shots, trying to get a fully left to right waveform from the clothes on the line; this was the one that worked best. Also, the way the gaps in the breezeblock wall and the fencing stabs below the washing move left to right in some sort of counterpoint helps the rhythmic feel here. the way the washing pole seems to bend into the picture helps too.
As I said elsewhere, brick isn’t really a particularly Orcadian building material and is only really found in the wartime buildings that dot the landscape. I wish I’d been able to find a more imaginative pattern somewhere, but I didn’t, so here’s a section of the wall of the Fleet Communications Centre. After 70 odd years, at least the pointing is holding up…
Lastly, I confess that I have deviated from the order these are given in the Assignment Brief, as the images seem to flow better this way: eg the final implied triangle matches the way the washing lines fill the upper half of rhythm; the first four pictures go obviously one, two, three, four; diagonals goes quite naturally to the first implied triangle, and not just because they’re the only ones in portrait format.
At any rate, if I were to hang the prints on a wall, this is the order I would like you to walk past them.
1: Real Triangles –
Find a Subject which is Triangular
There are loads of triangle in the left half of this – shot upstairs in the Pier Arts Centre in Stromness, but the best two are the one made by the vertical line of the wall and the slope of the roof and the the one made outside the banister. Continue reading
There’s nothing to add to what I’ve seen in other people’s logs about the two pictures (the bullfighter and the circling horses) at the start of the exercise (Part 1), so straight on to three examples of my own (Part 2):
1: Orkney is notoriously flat; Flotta is even flatter. (Ha!)
A friend from University whose dad worked for years making documentaries in Scotland told me that cameramen used to refer to an “Orkney Shot”; a shot framed so that something – anything – acted as a stop on one or other sides of the frame, to stop the eye just sliding through and out. This is maybe a bit unfair on Orkney, but once you’re out of the towns, there is an awful lot of sky over quite flat horizons and – if you want to take a picture of some foreground thing, it is likely to have sky behind it. My first thought almost all the time was to make sure that the sky didn’t simply blow out, and in processing the pictures back at my sister’s house, to keep some interest in the overcast sky, while raising the general lightness of the the land and the objects on it. Also, on an overcast day, there isn’t a lot of contrast around as the sky acts as an enormous soft box, spilling diffused light over everything; black and white was not going to work for my Flotta pictures and anyway, the muted range of August colours is quite attractive. All the assignment pictures therefore remain in colour.
2: Generally, I took fewer photographs of each thing than I did during assignment 1. To an extent, I think this was a result of limited time on the island concentrating my mind somewhat, but it also marks less of a tendency to think that tiny little things – marginal reframes, a slight shift of my weight – will result in a profoundly better photograph; rather the pictures where there a many shots were taken because of something I was consciously trying different things with: the windmill shots were repeated to try and vary the timing of the blades in relation to the corners of the frame, and the pictures inside the searchlight emplacement (# 3 in the final selection) were trying different flash settings, trying to get a still dark inside, but not black balance between inside and outside and a couple of different lenses. On the whole, i think I was much more consciously taking pictures, rather than just concentrating on what was in the frame. It also felt more like fun at times. I hope this shows in the pictures.
3: Buildings in Orkney were traditionally made from stone, and now tend to be made from breeze-blocks and then harled. The wartime installations used that most uncharacteristic material brick, with some parts made from reinforced concrete. There were a lot of corrugated iron nissen huts too. Quite a few nissen huts are still in use, and the brick buildings have lasted well despite wind and rain and neglect. The reinforced concrete is starting to go though (and signs are going up saying, don’t enter the buildings because they’re dangerous) but you can still see that the batteries were designed by people who’d recently qualified as architects and were throwing their dreams of Bauhaus into the war effort.
4: It’s remarkably easy to lose track of time when you’re walking and taking pictures, and thinking and looking. It’s easy to see fro the contacts that the amount of time spent getting to Buchanan Battery far outweighed the time I had to get back to the ferry (even if you allow for some of sheet 1’s pictures being taken on the boat back to the mainland). While taking the pictures on sheet 6, I had a late lunch; sheet 7 was all taken as I walked, picking up my pace as time slipped by. I still managing to stop to take some, but not that many pictures, although a close look shows that they’re much more rushed than the earlier ones, and there were glaring things I missed, like the spot of rain on the lens spoiling some farms set among rather nice overhead cable geometry). The two shots of the ferry approaching the slip on sheet 7, show how close I came to missing it. Really, I should know better…
Alice, my daughter, aged 18 months, woke up disgustingly early on Sunday (4.30 am) and my partner, Fiona, very nicely looked after her til a more reasonable breakfast time. In order to give Fiona a chance to go back to bed and have a sleep without any interruptions, Alice and I went out and headed down to Leyton and the central line and St Pauls, then across the river to Tate Modern. Alice likes running around in the wide open spaces of the turbine hall; I was hoping to get a first look at the Malevich Retrospective. Neither of us was disappointed… Continue reading
In the feedback for Assignment 1 Dave, my tutor, suggested that for the next one, I limit myself to an area one kilometre square, to try and establish more thematic continuity between pictures than I had managed in the first assignment. Fairly early on during part two, I had identified that I should be able to get all the elements needed for the pictures in Jubilee Park, Leyton and had even begun to take some pictures as ‘sketches’ for the early point pictures.
Then I went off on holiday to Orkney.
At this point, I had pretty much all the photographs I needed for the first 5 exercises of Elements of Design, and some for the remaining three exercises. During the first week in Orkney, I got quite a few of the others. While I did manage some sorting and editing of pictures, I had also intended to spend some of my time writing up the exercises and the reading I’d been doing in my log, but of course time in the evenings seemed better spent with relatives or drinking beer with friends or just staring into space. Which is as it should be on a holiday, really.
Then the one large chunk of time I was going to get to spend on my own (abandoning children, partner and all for a whole day) came round with a forecast of clear weather. I decided to go to take a ferry to one of the smaller islands and spend the day exploring and taking pictures. The idea that I could take the assignment pictures there began to form in my head. I wrote down the photo requirements for the assignment in my day book, charged batteries and made sandwiches, and set my alarm to allow me to catch an early ferry.
The island I’d decided to visit was Flotta…
The word Flotta means “flat island” in old norse and at its highest point, the island is only 59m above sea level. From the trig point you get a very good idea of Scapa Flow laid out around you: there’s the two main towns on the mainland – Kirkwall and Stromness – and also have a great view southwest into Longhope bay and of the various even smaller islands scattered to the north and the south.
The mouth of Longhope bay is guarded by two martello towers built to protect convoys before they set out for Canada during the American war of 1812. During the two world wars, you’d have seen the fleet at anchor in Scapa Flow, and also the boom defences (big, heavy steel nets, hung from floats) used to close off the two main ways in and out of the anchorage. There were gun batteries built on the east and south sides of the island and the fleet control centre stood at the south-east tip. There were anti aircraft batteries and searchlights and barrage balloons. It was a busy place during the war, and there was a large (1800 seat) cinema and concert hall, over by the two piers on the west side of the island. Many of these buildings and emplacements are still there, and in a fairly good state.
Now, the boats anchored in Scapa Flow are likely to be tankers, waiting to be loaded with crude from the Flotta Oil Terminal, whose rows of storage tanks are fed by a pipeline from the Forties field in the North Sea.
These waves of activity – war, war, oil – have fed into Orkney’s economy topping up the islands’ finances way beyond the level that it could have reached relying on agriculture alone. Flotta has been at the centre of all this, as it is at the centre of Scapa Flow. It’s population is low (under 80, I think, and most of them retired), and the primary school closed a couple of years ago when all the children on the island had gone to the secondary school in Kirkwall. Most of the oil workers commute out from the mainland, but the island isn’t completely dead. There’s still a post office; land is farmed; boats come and go.
On Friday 1st August this year, I was heading out from Lyness on one of them, with 7 hours to explore and take pictures before the last boat back in the afternoon.
The ferry puts you ashore on a slip in the middle of the western side of the island and I had decided to walk round the southerly loop, only going out along the thin peninsular to the north if I had time before the ferry returned to take me away in the afternoon. On my way, I intended to visit as many of the gun batteries on the east side (overlooking Hoxa Sound towards South Ronaldsay) and the south side (overlooking Switha Sound towards Hoy) as I could. I also wanted to take in the Fleet Direction Centre at Stangar at the south east point of the island. Then I’d follow the coast back round to the slip, passing the airstrip that had been built for the construction of the oil terminal in the 70s and the cinema on my way.
As always, I was wildly optimistic (or easily distracted) and after detours to the wind turbine by the trig point, off to investigate a nissen hut near the village and other bits of general looking at stuff and thinking about things and taking pictures and that, I only really managed to take in the first battery (Buchanan), the signal station (where I had my lunch) and the airstrip. It was enough – just – to get the pictures for the assignment, but another hour or so would have been nice…
I have read (and re-read) the first two chapters of both Photography: a Critical Introduction (ed Wells; Routledge, 4th Edition 2009) and The Photograph (Clarke; OUP, 1997) as I have gone back and forth, to and from work, while I have been working through Part 1 of The Art of Photography. Both books cover similar things here – photography itself and how it developed over the first 150 or so years of its existance, the relationship between pictures and the things they depict, what makes a photograph a photograph and what difference do all these things make to the way we think while looking at pictures.
Alongside this, I have also read bits of Understanding a Photograph (John Berger; Penguin, 2013) and The Nature of Photographs (Stephen Shore; Phaidon, 2010); the combination of all these has, I think combined to change the ways I view other people’s photographs, although I don’t think it has fed into my own work in any tangible way yet…
…or so I wrote in the middle of July, while I was waiting for the feedback on my first assignment. I intended to come back and expand on this, but I didn’t.
Foolish, forgetful Simon! Continue reading