Monday, 26 November 2012
Index of my blogs for the art of photography
The Frame: http://artofphotography-jofford.blogspot.com
Elements of design: http://artofphotography2-jofford.blogspot.com
Colour: http://artofphotography3-jofford.blogspot.com
Light: http://artofphotography4-jofford.blogspot.com
Narrative and illustration: http://artofphotography5-jofford.blogspot.com
Thursday, 26 January 2012
Assignment 1: Contrasts - final selection
1. Few / Many
2. Pointed / Blunt
3. Liquid / Solid
4. Smooth / Rough
5. Strong / Weak
6. Light / Heavy
7. Still / Moving
8. Straight / Curved
9. Large / Small in one image
Wednesday, 25 January 2012
Balance
Analysis of a selection of photographs taken for other projects
1)- Bric-a-brac stall
The image is balanced by having the two main elements, the people, evenly distributed either side of the obvious central element, the statue's head.
This is even more obvious when the composition is simplified by close cropping. Not only is the image balanced, attracting the viewer to look equally to all parts of the image, the eye is also guided around the main elements by the triangle created by the three heads.
2)- Falcon and handler
The smaller element, the bird, is nearer the centre while the larger person is at the edge. In terms of 'volume' this is, therefore, imbalanced. However, the bird is a much more prominent element because it is complete and there is a fair amount of contrast in its plumage. The girl's colour is much more muted, the most prominent part being the face, which is smaller than the bird. Overall, therefore, there seems to be reasonable balance in the image.
3)- Night spider
The balance here is in the symmetry on all axes with the lines of the web radiating from the centre, where the spider, the main focal point, is situated.
4)- Palm leaf
The balance in this image is created by the symmetry around a vertical axis.
5)- Horizons
Neither of these images work because they are imbalanced. The first one is bottom heavy, flat and solid. The lack of sufficient sky reduces the sense of depth. It's just a picture of gravel and scrub.
Whereas this image is top heavy and there's not enough prominence in the sea or the boat to give any sense of a journey into the distance. It's little more than a picture of clouds.
6)- Water-skier
This image may appear imbalanced because there is only one prominent element and it is left of centre. However, the emphasis is on showing movement into space rather than balance, therefore the image works. Placing the skier in the centre would diminish the sense of speed created by the motion blur.
7)- White monument
In this image, also, there appears to be only one major element, left of centre. It is clearly not moving so the question of balance is perhaps more important. The monument constitutes a fairly large area of white, close to the centre and, to some extent, the balance is established by the area of sunlit hillside to the right. It keeps the viewer's eye moving across the whole picture rather than sticking on the monument.
1)- Bric-a-brac stall
The image is balanced by having the two main elements, the people, evenly distributed either side of the obvious central element, the statue's head.
This is even more obvious when the composition is simplified by close cropping. Not only is the image balanced, attracting the viewer to look equally to all parts of the image, the eye is also guided around the main elements by the triangle created by the three heads.
2)- Falcon and handler
The smaller element, the bird, is nearer the centre while the larger person is at the edge. In terms of 'volume' this is, therefore, imbalanced. However, the bird is a much more prominent element because it is complete and there is a fair amount of contrast in its plumage. The girl's colour is much more muted, the most prominent part being the face, which is smaller than the bird. Overall, therefore, there seems to be reasonable balance in the image.
3)- Night spider
The balance here is in the symmetry on all axes with the lines of the web radiating from the centre, where the spider, the main focal point, is situated.
4)- Palm leaf
The balance in this image is created by the symmetry around a vertical axis.
5)- Horizons
Neither of these images work because they are imbalanced. The first one is bottom heavy, flat and solid. The lack of sufficient sky reduces the sense of depth. It's just a picture of gravel and scrub.
Whereas this image is top heavy and there's not enough prominence in the sea or the boat to give any sense of a journey into the distance. It's little more than a picture of clouds.
6)- Water-skier
7)- White monument
Tuesday, 24 January 2012
Positioning the horizon
A Coastal Walk
I took these images during a walk along a coastal path. The walk presented opportunities for varying the position of the horizon in both landscapes and seascapes. I took several sequences and, after analysis, settled on one seascape and one landscape because they presented different aspects to consider when deciding where to place the horizon.
All the images were taken using a 40mm fixed focal length lens. The camera was set to aperture priority and I selected f16 to maximise depth of field. There was no significant cropping of images during editing; only a very small amount on one or two images where I needed to level the horizon.
Sequence A; Landscapes
1)-
2)-
3)-
4)-
5)-
The central horizon (1) cuts the picture in half which is not an attractive composition. It gives equal weight to the land and sky, which are not equal in their impact on the picture. In this case, while there are some interesting low clouds, most of the sky is a featureless blue, adding little to the image. Images 4 and 5, giving prominence to the sky, are therefore the least favourable images. The textures and patterns in the foreground are more interesting, therefore it seems desirable to give this more emphasis. Image 3 goes too far with this, pressing the mountain against the top of the frame and revealing too much uninteresting gravel in the foreground. Image 2, for me, is the best composition as it gives more of a sense of depth and distance in the picture, leading the viewer towards the mountain, giving prominence to the more interesting foreground while maintaining the most attractive features of the sky.
Sequence B; Seascapes
6)-
7)-
8)-
9)-
10)-
11)-
In the seascapes, the sky is obviously the strong point, therefore requires more prominence than it gets in images 6, 7 and 8. While there are some interesting patterns and textures in the rocky beach they don't add nearly so much to the the sense of the small ship disappearing into the distance as the sky does. The sky leads the viewer to and beyond the ship. Therefore, images 9 and 10 provide the compositions with the most impact; 9 is probably the best because it retains something of the expanse of the sea. Image 11, with the very low horizon, is little more than a record shot of the sky; the idea of the long sea journey is diminished.
I took these images during a walk along a coastal path. The walk presented opportunities for varying the position of the horizon in both landscapes and seascapes. I took several sequences and, after analysis, settled on one seascape and one landscape because they presented different aspects to consider when deciding where to place the horizon.
All the images were taken using a 40mm fixed focal length lens. The camera was set to aperture priority and I selected f16 to maximise depth of field. There was no significant cropping of images during editing; only a very small amount on one or two images where I needed to level the horizon.
Sequence A; Landscapes
1)-
2)-
3)-
4)-
5)-
The central horizon (1) cuts the picture in half which is not an attractive composition. It gives equal weight to the land and sky, which are not equal in their impact on the picture. In this case, while there are some interesting low clouds, most of the sky is a featureless blue, adding little to the image. Images 4 and 5, giving prominence to the sky, are therefore the least favourable images. The textures and patterns in the foreground are more interesting, therefore it seems desirable to give this more emphasis. Image 3 goes too far with this, pressing the mountain against the top of the frame and revealing too much uninteresting gravel in the foreground. Image 2, for me, is the best composition as it gives more of a sense of depth and distance in the picture, leading the viewer towards the mountain, giving prominence to the more interesting foreground while maintaining the most attractive features of the sky.
Sequence B; Seascapes
6)-
7)-
8)-
9)-
10)-
11)-
In the seascapes, the sky is obviously the strong point, therefore requires more prominence than it gets in images 6, 7 and 8. While there are some interesting patterns and textures in the rocky beach they don't add nearly so much to the the sense of the small ship disappearing into the distance as the sky does. The sky leads the viewer to and beyond the ship. Therefore, images 9 and 10 provide the compositions with the most impact; 9 is probably the best because it retains something of the expanse of the sea. Image 11, with the very low horizon, is little more than a record shot of the sky; the idea of the long sea journey is diminished.
Changing focal length; impact on amount and depth of view
Cactus Garden
I used a cactus garden for this exercise because it provided a range of shapes and sizes at different depths and I was able to vary the distance from which I photographed it. I took the shots in a hotel garden while on holiday. I used fixed focal length Pentax Limited lenses primarily because they were light and easy to travel with; the focal lengths were 21mm (wide angle), 40mm (standard) and 70mm (medium telephoto). The camera was set on aperture priority and I selected f16 to maximise depth of field. I took the first shot with the 70mm lens, filling the frame, then I took more shots from the same spot using the 40mm and 70mm lenses. These three shots were analysed for the effect of the different lenses on the width of the angle of view. I then walked forward until I could fill the frame with the 40mm lens and did the same again with the 21mm lens. These two shots were compared with the initial shot taken with the 70mm lens and analysed for the impact of the different lenses on depth of view within the subject (perspective). The images were not cropped during the editing process.
1)- 70mm lens
2)- 40mm lens from the same position as (1)
3)- 21mm lens from the same position as (1)
Images 1 to 3 illustrate the point made in the course materials that using a smaller focal length not only reduces the apparent size of the objects but increases the angle of view as well. This clearly provides additional compositional possibilities with more elements in the foreground and background. In addition, in image 3, the wide-angle 21mm lens is beginning to show a "fish-eye" effect by slightly bending the lamp-post in the foreground.
4)- 40 mm lens having walked towards the cactus garden until it fills the frame as in 1
5)- as 4 with a 21mm lens
Looking at images 4 and 5 alongside 1, it can clearly be seen that lengthening the focal length of the lens has the effect of flattening the perspective. Image 5 has considerably more depth than image 1 even though they were composed in the same way.
I used a cactus garden for this exercise because it provided a range of shapes and sizes at different depths and I was able to vary the distance from which I photographed it. I took the shots in a hotel garden while on holiday. I used fixed focal length Pentax Limited lenses primarily because they were light and easy to travel with; the focal lengths were 21mm (wide angle), 40mm (standard) and 70mm (medium telephoto). The camera was set on aperture priority and I selected f16 to maximise depth of field. I took the first shot with the 70mm lens, filling the frame, then I took more shots from the same spot using the 40mm and 70mm lenses. These three shots were analysed for the effect of the different lenses on the width of the angle of view. I then walked forward until I could fill the frame with the 40mm lens and did the same again with the 21mm lens. These two shots were compared with the initial shot taken with the 70mm lens and analysed for the impact of the different lenses on depth of view within the subject (perspective). The images were not cropped during the editing process.
1)- 70mm lens
2)- 40mm lens from the same position as (1)
3)- 21mm lens from the same position as (1)
Images 1 to 3 illustrate the point made in the course materials that using a smaller focal length not only reduces the apparent size of the objects but increases the angle of view as well. This clearly provides additional compositional possibilities with more elements in the foreground and background. In addition, in image 3, the wide-angle 21mm lens is beginning to show a "fish-eye" effect by slightly bending the lamp-post in the foreground.
4)- 40 mm lens having walked towards the cactus garden until it fills the frame as in 1
5)- as 4 with a 21mm lens
Looking at images 4 and 5 alongside 1, it can clearly be seen that lengthening the focal length of the lens has the effect of flattening the perspective. Image 5 has considerably more depth than image 1 even though they were composed in the same way.
Focus at different apertures
Palm trees in Lanzarote
I had a few failed attempts at this exercise in various graveyards and marinas, probably because I was choosing subjects that were too far from the camera and in which the separate elements were too distant from each other. I therefore searched for a subject that I could photograph close up and which had sufficient depth to emphasise the impact of changing the focal length on how much is in focus. A young palm tree at the edge of the swimming pool of a hotel in Lanzarote seemed promising. I could stand over it, focus on the seed pods in the centre and keep the ribbed leaves in front and behind of them in the frame. I hoped the ribbed leaves would emphasise the degree of front to back focus.
I used a 40mm fixed focal length lens, largely because it is very small and light, therefore not putting my baggage allowance under strain. The camera was set on aperture priority and I selected four apertures; f2.8, f8, f11 and f22. I chose both f8 and f11 simply because I wasn't sure which best represented the mid-point. I did not crop the images when editing.
f2.8
f8
f11
f22
The sequence of shots clearly shows that the narrower the aperture the greater the depth of field. The difference between f2.8 and f22 is very marked. I was surprised at the difference between f8 and f11; there is a noticeable difference in the amount of the front leaf in focus. The f8 shot also shows that the amount in focus behind the focal point is greater than the amount in front.
I had a few failed attempts at this exercise in various graveyards and marinas, probably because I was choosing subjects that were too far from the camera and in which the separate elements were too distant from each other. I therefore searched for a subject that I could photograph close up and which had sufficient depth to emphasise the impact of changing the focal length on how much is in focus. A young palm tree at the edge of the swimming pool of a hotel in Lanzarote seemed promising. I could stand over it, focus on the seed pods in the centre and keep the ribbed leaves in front and behind of them in the frame. I hoped the ribbed leaves would emphasise the degree of front to back focus.
I used a 40mm fixed focal length lens, largely because it is very small and light, therefore not putting my baggage allowance under strain. The camera was set on aperture priority and I selected four apertures; f2.8, f8, f11 and f22. I chose both f8 and f11 simply because I wasn't sure which best represented the mid-point. I did not crop the images when editing.
f2.8
f8
f11
f22
The sequence of shots clearly shows that the narrower the aperture the greater the depth of field. The difference between f2.8 and f22 is very marked. I was surprised at the difference between f8 and f11; there is a noticeable difference in the amount of the front leaf in focus. The f8 shot also shows that the amount in focus behind the focal point is greater than the amount in front.
Tuesday, 10 January 2012
Assignment 1; Contrasts - planning
This section brings together pairs of images I have shot over recent weeks with the end-of-unit assignment in mind. A final selection will be printed for submission. I have tried to compose images that convey the quality required, rather than producing record shots of objects that have the quality. As far as possible I have made each pair as similar as I can, apart from the aspects being compared, in order to add greater emphasis to the contrast.
Narrow / broad
The narrowness is emphasised by the height and shape of the arch and the fact that the bend makes it come to a point and disappear quickly. The couple appearing to take up most of the breadth adds to the sense of narrowness. I used portrait format to further emphasise the narrowness.
The broad foreground of the fountain emphasised by the landscape format increases the contrast with the arch.
Another possibility. Again, the breadth is emphasised by having the wall of the fountain take up all of the landscape format. In this image, the fountain does not taper so much and the large building to which it leads the eye maintains the the sense of a wide 'avenue'.
Rough / smooth
The dead tree trunk had tremendous texture in the bark and the wood underneath it. I tried to bring the roughness out by photographing it with light coming from the side.
Two nearby Henry Moore sculptures had broadly similar shapes with a hole in the middle. The contrast of the smooth with the rough is emphasised by the shiny metallic surface and the highlights. The first probably provides the best comparison, being more similar in shape and having a greater surface area.
Straight / curved
Using flash outdoors to capture images of Autumn leaves very nicely captured the colour, shape and right-angled geometry of this leaf.
The same technique created this weird, monster-like image characterised by entangled curves rather than straight lines.
Straight / curved (b)
On a recent holiday I noticed another possibility for demonstrating a contrast between straight and curved.
The straight lines of the aloe vera plants contrast with the patterns made by the curved low level walls built to protect vines from the wind,
Firm / flaccid (or vibrant, alive / dull, dead)
This is not explicitly one of the contrasts required for the exercise, but when I saw it in a flower garden, I thought it was worth a try.
This is not the kind of flower photograph that is normally taken, yet it has as much impact for me as the full bloom with which it shared a bed.
Rounded / pointed
Flash enhanced the colour, shape and texture of these small but beautiful fungi on the base of a dead tree. Their rounded shape lends itself to comparison with many other autumn and winter shapes.
There is some similarity in the colour of these dying leaves in strong autumn sunshine, but the shape provides a strong contrast.
The image above is very similar to one I use in another comparison, so I have included this alternative. Not only is there contrast in the sharp thorns and jagged, straight edges of the leaves, but also in the lack of vibrance in the colour of the dying leaves.
Pointed / blunt
This is another interpretation of a similar contrast to the one above. I have short-listed to two pairs. The first are shots of creatures with very different shaped faces, and this is very much emphasised in the close-up images. On the same day, I was able to take shots of the creatures 'interacting' with their handlers and, although the shots do not add greater emphasis to the contrast, I think they are generally more interesting.
I was trying to go beyond a straight record shot of a horse's face and this one of the horse eating grass by its foot seemed to provide a good opportunity. On reflection, I'm not sure whether the largely white foot isn't too much of a distraction, but the rounded shape of the grass-eating mouth is clear, in stark contrast to that of the bird of prey in the next image.
The sharp meat-tearing beak is strongly emphasised in this image and it is further strengthened by the lighting and the bright eye. The slightly 'blown' white area on the forehead is a distraction and it would be better if the background was a uniform colour.
"Why the long face?" I just liked the image of shared misery, even if the contrast isn't quite so stark.
And I seem to have caught these two sharing a sad moment as well.
And, more recently, I found the following example of a fairly 'blunt' nose which would contrast markedly worth the bird of prey;
When it came to reviewing these images before making a final selection, I wasn't really happy with any of the above images, so I went back to the file of images from the agricultural show where I photographed the horse and the birds of prey. I decided there was a better shot of the horse, but I also found a set I took of Bedlington terriers, which provide a much better contrast with the sharp beak. I also found a shot of the same bird with less intense sunlight on its feathers, so there were no over-exposed areas.
Many / few
This image of silver birches growing in a former quarry could also be used to represent 'straight' in a comparison with 'curved'. The image of straightness and crowdedness is enhanced by the low winter sun and the dark sky in the background.
If I decide to use the silver birches for 'straight' this will be the contrasting 'curvy' image; older oak trees growing near the silver birches on land that wasn't quarried. Their twisting and turning trunks and branches, partly covered in moss and the mossy boulders on the ground provide a slightly eery atmosphere. Again, this is helped by strong sun combined with a dark sky. Another contrast between the two pictures could be along the lines of 'order / disorder'.
If I stick with the many / few comparison, this image will provide a good contrast with the crowded copse of silver birches. The sense of isolation is increased by the misty weather.
This tree could also fit the bill with its isolation emphasised by its black-and-white starkness and the obvious lack of any feature between it and Bolsover Castle in the distance.
Many / few (b)
I recently found another image to go with the one of the three autumn leaves in the sunshine to illustrate the contrast between many and few:
Weak / strong
This image was taken with off-camera flash at night, with the power and position of the flash arranged to ensure a completely black background. This is intended to highlight the web, particularly it's thinness. It's weakness is seen in the gaps and breaks.
Standing underneath an electricity pylon and looking straight up provides an image similar to a spider's web. However, the strands are firm, metallic, thick and unbroken, presenting an image of strength in contrast to the web's relative fragility.
This detail from a fairground ferris wheel provides another possibility for a contrast with the apparent weakness of the spider's web. The overall shape is similar and there is a neat - ish parallel with a creature being present too. The contrast in apparent strength is clear and there is also a striking contrast between the colour of the fairground ride and the monochrome appearance of the spider's web and, indeed, the pylon.
Solid / liquid
Both the subjects are 'behind bars' in these images, however, their different expressions enhances the contrast between the liquid 'bars' and the iron bars.
Narrow / broad
The narrowness is emphasised by the height and shape of the arch and the fact that the bend makes it come to a point and disappear quickly. The couple appearing to take up most of the breadth adds to the sense of narrowness. I used portrait format to further emphasise the narrowness.
The broad foreground of the fountain emphasised by the landscape format increases the contrast with the arch.
Another possibility. Again, the breadth is emphasised by having the wall of the fountain take up all of the landscape format. In this image, the fountain does not taper so much and the large building to which it leads the eye maintains the the sense of a wide 'avenue'.
Rough / smooth
The dead tree trunk had tremendous texture in the bark and the wood underneath it. I tried to bring the roughness out by photographing it with light coming from the side.
Two nearby Henry Moore sculptures had broadly similar shapes with a hole in the middle. The contrast of the smooth with the rough is emphasised by the shiny metallic surface and the highlights. The first probably provides the best comparison, being more similar in shape and having a greater surface area.
Straight / curved
Using flash outdoors to capture images of Autumn leaves very nicely captured the colour, shape and right-angled geometry of this leaf.
The same technique created this weird, monster-like image characterised by entangled curves rather than straight lines.
Straight / curved (b)
On a recent holiday I noticed another possibility for demonstrating a contrast between straight and curved.
The straight lines of the aloe vera plants contrast with the patterns made by the curved low level walls built to protect vines from the wind,
Firm / flaccid (or vibrant, alive / dull, dead)
This is not explicitly one of the contrasts required for the exercise, but when I saw it in a flower garden, I thought it was worth a try.
This is not the kind of flower photograph that is normally taken, yet it has as much impact for me as the full bloom with which it shared a bed.
Rounded / pointed
Flash enhanced the colour, shape and texture of these small but beautiful fungi on the base of a dead tree. Their rounded shape lends itself to comparison with many other autumn and winter shapes.
There is some similarity in the colour of these dying leaves in strong autumn sunshine, but the shape provides a strong contrast.
The image above is very similar to one I use in another comparison, so I have included this alternative. Not only is there contrast in the sharp thorns and jagged, straight edges of the leaves, but also in the lack of vibrance in the colour of the dying leaves.
Pointed / blunt
This is another interpretation of a similar contrast to the one above. I have short-listed to two pairs. The first are shots of creatures with very different shaped faces, and this is very much emphasised in the close-up images. On the same day, I was able to take shots of the creatures 'interacting' with their handlers and, although the shots do not add greater emphasis to the contrast, I think they are generally more interesting.
I was trying to go beyond a straight record shot of a horse's face and this one of the horse eating grass by its foot seemed to provide a good opportunity. On reflection, I'm not sure whether the largely white foot isn't too much of a distraction, but the rounded shape of the grass-eating mouth is clear, in stark contrast to that of the bird of prey in the next image.
The sharp meat-tearing beak is strongly emphasised in this image and it is further strengthened by the lighting and the bright eye. The slightly 'blown' white area on the forehead is a distraction and it would be better if the background was a uniform colour.
"Why the long face?" I just liked the image of shared misery, even if the contrast isn't quite so stark.
And I seem to have caught these two sharing a sad moment as well.
And, more recently, I found the following example of a fairly 'blunt' nose which would contrast markedly worth the bird of prey;
When it came to reviewing these images before making a final selection, I wasn't really happy with any of the above images, so I went back to the file of images from the agricultural show where I photographed the horse and the birds of prey. I decided there was a better shot of the horse, but I also found a set I took of Bedlington terriers, which provide a much better contrast with the sharp beak. I also found a shot of the same bird with less intense sunlight on its feathers, so there were no over-exposed areas.
Many / few
This image of silver birches growing in a former quarry could also be used to represent 'straight' in a comparison with 'curved'. The image of straightness and crowdedness is enhanced by the low winter sun and the dark sky in the background.
If I decide to use the silver birches for 'straight' this will be the contrasting 'curvy' image; older oak trees growing near the silver birches on land that wasn't quarried. Their twisting and turning trunks and branches, partly covered in moss and the mossy boulders on the ground provide a slightly eery atmosphere. Again, this is helped by strong sun combined with a dark sky. Another contrast between the two pictures could be along the lines of 'order / disorder'.
If I stick with the many / few comparison, this image will provide a good contrast with the crowded copse of silver birches. The sense of isolation is increased by the misty weather.
This tree could also fit the bill with its isolation emphasised by its black-and-white starkness and the obvious lack of any feature between it and Bolsover Castle in the distance.
Many / few (b)
I recently found another image to go with the one of the three autumn leaves in the sunshine to illustrate the contrast between many and few:
Weak / strong
This image was taken with off-camera flash at night, with the power and position of the flash arranged to ensure a completely black background. This is intended to highlight the web, particularly it's thinness. It's weakness is seen in the gaps and breaks.
Standing underneath an electricity pylon and looking straight up provides an image similar to a spider's web. However, the strands are firm, metallic, thick and unbroken, presenting an image of strength in contrast to the web's relative fragility.
This detail from a fairground ferris wheel provides another possibility for a contrast with the apparent weakness of the spider's web. The overall shape is similar and there is a neat - ish parallel with a creature being present too. The contrast in apparent strength is clear and there is also a striking contrast between the colour of the fairground ride and the monochrome appearance of the spider's web and, indeed, the pylon.
Solid / liquid
Both the subjects are 'behind bars' in these images, however, their different expressions enhances the contrast between the liquid 'bars' and the iron bars.
Heavy / light
The heaviness of the old irons is emphasised by their hard metallic structure and the fact they are firmly planted on their wide, solid bases. In contrast, the lightness of the leaves is seen in their fragile, almost translucent, structure and the fact that they are hanging from slim stems. Their lightness is enhanced by the strong sunlight, enabling their internal structures to be seen.
Moving / still
The frenetic movement in the hen is seen in the position of the head, the slightly 'manic' look in the eye and the arrangement of the feathers on the neck. The blurring of the background also adds to the sense of rapid movement. The man, in contrast, is obviously still and contemplative. The tight crop on the man's head is to emphasise the facial expression and craggy features, while removing a fairly large expanse of distracting, shiny bald head.
Large / small in one image
I have taken experimental shots of people dwarfed by very large monuments; Gormley's Angel of the North at Gateshead and Borofsky's giant statues at the Yorkshire Sculpture Park.
In the first of the images of the Angel of the North, I used an ultra-wide lens on 10mm focal length, which bent the angel's wings and increased the sense of her towering over the people and appearing to 'threaten' or perhaps 'protect' them. The second image was taken with the lens at 17mm so there is less distortion. Having only one figure in the fairly statue like pose of a photographer draws the eye to the difference in size of the two main subjects.
The child was fascinated by the towering figures and his pose in either of the first two pictures is interesting and emphasises the large / small contrast. I was concerned that the child was too small to the extent that the impact of the contrast was being lost, so I tried cropping the picture into landscape format, showing only the giant's legs. The first image, with the child more in the foreground is probably the best of the three.
One image showing two contrasts: black and white; rough and smooth.
I found this image recently in Lanzarote where very rough volcanic stone is often used to build walls butting up to walls that are rendered and painted white. This in itself provides a stark contrast between black and white and, also, rough and smooth. In this case the contrast is extended by the graffiti and the shadows of the palm leaves to provide a more interesting composition.
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