Jun 14th, '08, 00:06
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silverneedles
Jun 14th, '08, 00:26
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trent
The second one is definitely more dynamic than the 1st b/c of the greater emphasis on the diagonal lines, but it is still somewhat static. It would help if both lines lead out of the lower left+right corners (or if they followed the golden rectangle diagonals), and if the curve of the handle didn't break up the line leading to the wall. Maybe, the line leading to the wall should go into the gap between the handle and base. Also, you could re shoot at a different time of day when the shadow on the wall better mirrors the shape of the waterer (or whatever its called).
I'm taking apart every piece of your photo, not because it's bad, but because it provides suggestions for ways to make dynamic compositions.
I'm taking apart every piece of your photo, not because it's bad, but because it provides suggestions for ways to make dynamic compositions.
Jun 14th, '08, 00:32
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Geekgirl
First off, they are both great photos and I love the spots of patina on the watering can. Of the two, I find that the first one is better compositionally in my opinion. I find that the stripes on the wall move my eye down the lines to the watering can, but the spout on the watering can moves my eye back up to the marks on the wall in a nice circular pattern that makes me want to continue to view the photograph. The placement of the watering can with the spout towards the right hand corner is great since it brings the viewer back into the picture and keeps the focus from falling off the page. Both pictures have that in the composition, but the circular path is easier to find in the first one than the second one for me, most likely because there is a larger piece of wall on the right side of the second picture. Since the piece of wall past the spout of the watering can has less prominent markings, I find myself ignoring that section of the piece as if it is not supposed to be there. The markings towards the right side in the first picture are more visible and help in moving my eyes around the picture.
I don't know if what I just typed made any sense. I took a course a few semesters ago called "Color and Design" in which we learned all about art composition. My professor would be proud that I remembered some of it.
Jun 14th, '08, 00:50
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scruffmcgruff
Haha, it's interesting you caught that. I did that on purpose because of one little problem: the spout is broken.GeekgirlUnveiled wrote:Also I'd change the angle of the can, so the spout is pointing slightly toward the viewer instead of away.

I appreciate all the comments made so far; I'll definitely keep them in mind next time the camera comes out. I have a couple of questions, though (bear with the noobie):
First, what about this light is "flat"? I'm not disagreeing with you, Geekgirl, I'm just curious what non-flat light would look like. Second, what are these golden rectangles you speak of, trent?
For some reason, I get the feeling I should google this instead of pester you all with questions. You all seem to really know what you're talking about though.

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Jun 14th, '08, 01:24
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Jun 14th, '08, 01:31
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scruff, my terminology may be wrong. I think photographers (real ones! Ha!) regard "flat" light as desirable for contours and lack of shadows. For example: shooting on an overcast day.
What I meant by "flat" light is probably better called "harsh" lighting. The overhead sun creates hard shadows, and glare that removes dimension from the colors and objects in the photo.
What I meant by "flat" light is probably better called "harsh" lighting. The overhead sun creates hard shadows, and glare that removes dimension from the colors and objects in the photo.
Jun 14th, '08, 12:50
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trent

http://en.wikipedia.org/wiki/Golden_rectangle
That's the golden rectangle... a rectangle whose side lengths are in the golden ratio, 1:\varphi (one-to-phi), that is, approximately 1:1.618.
A distinctive feature of this shape is that when a square section is removed, the remainder is another golden rectangle, that is, with the same proportions as the first. Square removal can be repeated infinitely, which leads to an approximation of the golden spiral.
http://photoinf.com/Golden_Mean/Eugene_ ... ction.html
Here's some info about how it applies to photography. (basically, compose along the lines in the rectangle)
Jun 14th, '08, 13:32
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scruffmcgruff
Ah, thanks trent. Now that I see it, I had heard of the golden ratio before, I just didn't associate it with photography. Looking through some of my other photos, it's interesting how much those angles show up, even though they were taken without knowledge of them! Most, like the one above, are way off, but still. 
I wonder... should we have a photography forum instead of just a thread? I forsee this thread getting very big very soon if I keep asking my noobish questions. Well, unless you all start ignoring me.
Anyway, I took another shot at the watering can this morning, and I'll try a couple more times today to see if I can improve it. Thanks again for all your pointers.

I wonder... should we have a photography forum instead of just a thread? I forsee this thread getting very big very soon if I keep asking my noobish questions. Well, unless you all start ignoring me.
Anyway, I took another shot at the watering can this morning, and I'll try a couple more times today to see if I can improve it. Thanks again for all your pointers.
Jun 14th, '08, 14:20
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tenuki
The golden mean was covered here. Seriously, if you are interested at all in composition, you should read through this summary.tenuki wrote: Pretty decent summary of the topic of composition here:
http://photoinf.com/General/Robert_Berd ... Design.htm
ps: I like your new icon and think it is the best composition of that water can yet.

Jun 14th, '08, 14:37
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Nice, that one is definitely getting memorized and bookmarked. Thanks tenuki.tenuki wrote:The golden mean was covered here. Seriously, if you are interested at all in composition, you should read through this.
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Jun 14th, '08, 14:43
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scruffmcgruff
Well, my dad likes to garden, so that helps.brandon wrote:Scruff's place in CA seems to have an endless supply of lovely photographic subjects.

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