For Photograph 5, similar to Photograph 4, I used the foreshore element itself to draw the viewer’s eye toward the one landmark: St. Paul’s Cathedral. I lined the shot up so that the lead-in line (an old pipe) of the foreshore would meet the cathedral if the line was extrapolated. I thought this worked well, especially since that part of the foreshore (the pipe) was the only part of that stretch of foreshore I observed could be used as a strong compositional device.
The misty effect of the water at the river’s edge featured yet again. I felt it helped lead the viewer’s eye up form the rocks, past the foreshore to the river and then finally St. Paul’s Cathedral (with the Millennium Bridge helping to lead the eye to this landmark, which incidentally took up a small part of the frame). I did feel this photograph was void of a little bit of ‘drama’ but it fit in very well to the theme I’d chosen in my opinion; where compositional devices were used to draw the viewer into the relationship between landmark and foreshore. The part of foreshore I had chosen (the old pipe) did look somewhat ominous to me though and its composition was somewhat reminiscent to me of Turner’s ‘Rain, Steam and Speed – the Great Western Railway’, exhibited, in 1844. However, here the diagonal line led to St. Paul’s Cathedral, rather than the mostly bare and expansive sky of Turner’s painting.
Once again, I made use of my 10 stop neutral density filter to create a long exposure in the daytime.
Technical information for Photograph 5 was:
f11, 52s, ISO 100, focal length 11mm
Turner, J. (1844). Rain, Steam, and Speed – The Great Western Railway. [Oil on Canvas] London: The National Gallery.