But first...
Dulltown, UK: Today's apple cart is the one which is very orderly, and has no spillages.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Apparently, you know, if you go on a 'photography course', which might cover the ideas of composition...
Actually, they probably don't teach composition any more; it's like that thing about art school a few years ago, where they stopped teaching people to draw, and paint, and to consider composition - it's to encourage confidence in one's 'self expression', I suppose.
Perhaps there aren't any proper 'rules' any more, for pursuits like pratting about with pencils, paints, and coming up with a work that might be actually engaging to an observer - even, well-known, and successful photographers now, don't seem to be able to produce reasonably well composed pictures!...
Sorry, dear reader, I seem to have drifted off into a rant.
I really wanted to just say something about the composition of today's photograph, below...
I think we'd better have a look at the thing, before I continue:
Look! Look! Tasty snacks, and dinners!
But back to photography:
'Hey, why don't you take a photo of this interesting old wooden sign post, at this well-used, ancient, county crossroads?'
'Alright... Look!... I've done one.'
'Ah, yes, but...'
'But what'?
'Well, one of the old-school rules of composition, is that...'
'Old-school'?
'Yes, see - you've put the very nice old sign, right in the middle, of your picture.'
'Yes, but that is what the photo, is of? Isn't it'?
'I know, but, don't you see, it divides your picture into two exact, not very interesting, halves. The good old human eye has trouble with that - one looks to the left, and then one looks to the right, it doesn't like a vertical division in the middle of the view, especially a long thin one like this sign. You start comparing what's on the left with what's on the right, it's not an easy thing to absorb. One feels a bit stuck.'
'Stuck? Does one'?
'Yes... See, why not have the signpost to the left or the right, of the composition, with some of the old footpath, with the trees, bushes, and gassy fields, and a sheep, in view - see, the sign even has an arrow on it, pointing the way.'
'Oh, so it has.'
'You could 'lead' the viewer, 'into' your picture, so easily'!
'Oh... right.'
'And you can still see all the niceness of the old sign, and it makes a much better, and three dimensional, and, er, interesting, photograph!...'
'S'pose so...'
You see, dear reader, on the shop window photo above I deliberately sliced the composition into two, to make the viewer flick between the halves, as mentioned above, to compare. The half on the left needs very little peering - one glance, and you've got it, and when you look at all the detail on the right - well! See how it all stands out so well, it is 'enhanced' by the bland metal drabness on the left.
It's not a great photo, but it is of some interest.
I think I need a spot of lunch now...
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