|
|
Loki wrote:
> It's a sweet pic, no doubt about it.
>
> A point on composition though. The symmetry of the road, signs and so on is
> very eyecatching. The use of converging lines in film is common, to draw
> the eye to the point of interest. My only criticism here is that there is
> nothing at the convergence in this pic - the eye is being drawn to an empty
> point in the distance, which is a distraction from the nice detail in the
> foreground. Unless you plan to put something in the deep background where
> the perspective converges I'd suggest moving the camera to destroy the
> symmetry, allowing more focus on the detail - perhaps lower and off-centre
> to give a closer view of a car. You could maybe place the camera on the
> left carriageway say, and place a car in the right-hand-lane of it (as we
> look at the scene) so that the strong lines of the central reservation are
> obscured a little by it.
>
I am not sure I agree, While other angles for the shot may well get
some fruitful results, there are some great compositional elements at
play here. Not just the symmetry you mention, but the rectilinearity
with the picture plane of the signs, wires, and shadows of the wires,
that tease the eye in a subtle way. As far as what it at the
convergence point, I think there is some very interesting things, or
themes that are interesting to me at least. That is the sense of detail
that is barely perceptible and therefore puzzling to the mind. I try to
identify the nature the structure of what appears to be a distant span
of some sort. We always gaze toward the horizon a try to discern the
most distant of details. It is often key to our survival.
Post a reply to this message
|
|