Photograph 6 for me contained the most considered and powerful foreground in this set of photographs. This was because the foreshore/foreground (consisting of a set of eroded tinder stumps – presumably an old jetty) made a very obvious triangle shape, where the triangle ‘started’ at the base of the frame and traversed ‘into’ the frame to a point right in the centre of the photograph. This was a deliberate attempt by me to create a focal point, which attracted the viewer’s eye, similar to the stereographs’ compositional device of: ‘an object the focus of the viewer’s attention; often placed centrally and as the single focal point’. I had come across this type of compositional device while reading though Krauss’ 1982: ‘Discursive Spaces’ essay.
My intentions for Photograph 6 were to use this strong focal point as a point of reference for this ‘view’ and then lead the eye up towards the Tate Modern landmark in the distance because of the triangle shaped lead-in line. I felt this was unsuccessful because the Millennium Bridge kind of got in the way of this. However, the central foreshore ‘stump’ at the point of the triangle was conveniently a similar shape and luminosity as the Tate Modern in the distance. This was further accentuated by the black and white treatment, where a colour treatment wouldn’t have rendered this similarity nearly so obvious in my opinion.
I had to blend two images together to make Photograph 6. My reasoning for this was the foreground was a strong compositional element but when exposed ‘properly’, it made the upper half of the image ‘washed-out’ and (for me) quite bland. When the sky and water were exposed correctly, the foreground was too dark for me and so blending two images I felt was one way of achieving a well-balanced exposure. To get the final photograph with a higher dynamic range (similar to Photographs 2 and 3), I simply opened up the two exposures in Photoshop as layers in the same document, made sure they were aligned and started painting one exposure of the desired areas of the other using a layer mask.
Lastly, both exposures for Photograph 6 were taken using a 10 stop neutral density filter to get long exposures in the daylight; the darker exposure to get movement in the clouds above around the Tate Modern and the lighter exposure to get the misty effect of the water at river’s edge.
Technical information for Photograph 6 was:
Darker exposure – f11, 33s, ISO 100, focal length 15mm
Lighter exposure – f11, 91s, ISO 100, focal length 15mm
Krauss, R. (1982). Photography’s Discursive Spaces: Landscape/View. [online] Available at: http://dm.postmediumcritique.org/Krauss_PhotographysDiscursiveSpaces.pdf [Accessed 21 Nov. 2014].