* Visual Structure: Movement *

[NRich]

In my previous thread we identified visual components of a photo. Here we are putting attention on movement, or rhythmic flow within the visual structure. We can improve our images through awareness of dynamic visual relationships within our photos. The Intent in this thread is to transpose elements of our three dimensional world, to the two dimensional requirements of the photograph, and explore movement.

We can refer to images as exhibiting tension among the components within a picture space (photos, paintings etc.) This tension translates into visual activity, which may be referred to as “movement”, or flow within an “energy field”. Visual structure may, in part, be thought of as a dialogue of directional forces within a photo, that vary in strength. Photos range in their energy and movement, and in the ways visual dynamics are at play in an image.

In this exercise I would like to explore perceptual movement through relationships of subject(s) in the space of their surroundings. You are all welcome to participate as we look for, and discover energy, and interplay of visual elements within our photographs. We will identify and consider some of the directional forces.

A.... Choose a photo (other than family photos) with interesting visual elements. Post a color or a B+W version of a photo you wish to discuss and you would be willing for us to work with you on. In photo editing software click on the paint brush, -choose a color such as red in the tool box - with curved and straight arrows - diagram the main flow of movement you see in this image.

If you do not have editing software post a free form description in writing as how you would be inclined to draw in these arrows.

B.... On the copy of your chosen image(s) -draw arrow diagrams of varying thickness (strength)and length (travel) to represent speed, strength, and the directions of visual movement in your photo. For simplicity use a minimum of three, to a maximum of 7 arrows.

Pay special attention to rhythmic movement: to form more so than detail, the push/pull of elements, and the course your eye travels in looking at the image. Take the time you need to diagram using these arrows, or describe this interplay of movements as you see them, and post back the results to share and discuss.... Its an open playful exercise

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[Bill Borne]

original

http://www.pbase.com/image/10921944

 

[NRich]

original

http://www.pbase.com/image/10921944

Bill,

Good launch - We'll gravitate as we go along toward simplifying understanding of directional forces,rhythm, and movement in our photos. If other posters include a link to an original, as you have, occassionally I'll provide directional arrows on an alternate version to facilitate a dialogue.

For those who haven't already, its usefull to have a location for images where you can store learning examples, studies etc. You can do this in pbase by simply opening a new "gallery" and leave the box unchecked that says open to public viewing.



You've noted the complexity of a full range of directional energy in the photo. Here are 7 principle lines of movement as I read the image. I've numbered the 7 lines in my version of the image above and in the description below, with the intent of simplifying further.
1. Srong visual path - lead in up ramp to the building door.

2 . A parallel movement running along the outside of the ramp - continuing
on the same plane along the bottom of the building.

3. A long light toned brick edging, moving right to left.

4. Movement from the far lower right -from the right sailboat, ( the bow acting as a pointer) through and around to the hotizontal band of skyline.

5. Follows the roof curve ( strong angular contrast with the lighter sky) over to...

6. ...and down the mast, where we see a triangulation of forces -comprised by the boat hull, the retaining wall, and the adjoining ramp.

7. The right sail boat mast thinner light er point - directional force upward,in paradoxical contrast to the larger left sailboat where the directional line of force runs down the mast.

Try another photo .... ( using up to 7 lines

Regards
Norman
--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[Bill Borne]

original

http://www.pbase.com/image/10921944

Bill,

Good launch - We'll gravitate as we go along toward simplifying
understanding of directional forces,rhythm, and movement in our
photos. If other posters include a link to an original, as you
have, occassionally I'll provide directional arrows on an
alternate version to facilitate a dialogue.

For those who haven't already, its usefull to have a location for
images where you can store learning examples, studies etc. You
can do this in pbase by simply opening a new "gallery" and leave
the box unchecked that says open to public viewing.



You've noted the complexity of a full range of directional energy
in the photo. Here are 7 principle lines of movement as I read the
image. I've numbered the 7 lines in my version of the image above
and in the description below, with the intent of simplifying
further.
1. Srong visual path - lead in up ramp to the building door.

2 . A parallel movement running along the outside of the ramp -
continuing
on the same plane along the bottom of the building.

3. A long light toned brick edging, moving right to left.

No matter how I view the photo my eyse are drawn to the boathouse. Then move right along the bricks, never left. Can you claify this for me, Norman?

4. Movement from the far lower right -from the right sailboat, (
the bow acting as a pointer) through and around to the hotizontal
band of skyline.

5. Follows the roof curve ( strong angular contrast with the
lighter sky) over to...

6. ...and down the mast, where we see a triangulation of forces
-comprised by the boat hull, the retaining wall, and the adjoining
ramp.

7. The right sail boat mast thinner light er point - directional
force upward,in paradoxical contrast to the larger left sailboat
where the directional line of force runs down the mast.

Try another photo .... ( using up to 7 lines

Regards
Norman
--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

--
Bill B
http://www.pbase.com/bill_b

 

[NRich]

original

http://www.pbase.com/image/10921944

Bill,

Good launch - We'll gravitate as we go along toward simplifying
understanding of directional forces,rhythm, and movement in our
photos. If other posters include a link to an original, as you
have, occassionally I'll provide directional arrows on an
alternate version to facilitate a dialogue.

For those who haven't already, its usefull to have a location for
images where you can store learning examples, studies etc. You
can do this in pbase by simply opening a new "gallery" and leave
the box unchecked that says open to public viewing.



You've noted the complexity of a full range of directional energy
in the photo. Here are 7 principle lines of movement as I read the
image. I've numbered the 7 lines in my version of the image above
and in the description below, with the intent of simplifying
further.
1. Srong visual path - lead in up ramp to the building door.

2 . A parallel movement running along the outside of the ramp -
continuing
on the same plane along the bottom of the building.

3. A long light toned brick edging, moving right to left.

No matter how I view the photo my eyse are drawn to the boathouse.
Then move right along the bricks, never left. Can you claify this
for me, Norman?

Reading an image involves a blend of relative and personal perception,(more subjective ) along with perceptual understandings of the inherent nature of shapes and forms ( more subjective.)

The long base triangle narrows to the right, leads eye movement out of the image - arrow to the right. This triangle may also be perceived as a visual peripheral ramp, directing us (rapidly) to where the information is heavily weighted, the left half of the image, or as you point out the boat house and the adjacent boat.- arrow pointed left.

IMO we could conceiveably have an arrow head at either end of this line. Or this line might not be drawn in , or passed over it so quickly, as to find it doesn't rate in the first 7 directional movements reported.

We are exercising perceptual awareness here, with no right or wrong answers.......Its more visually exploratory - here the intent is to be aware not on what is seen ( the last post ) but rather how we see visual relationships. ..movement inherent in the relation of subjects themselves, along with our personal perception.... all valid

4. Movement from the far lower right -from the right sailboat, (
the bow acting as a pointer) through and around to the hotizontal
band of skyline.

5. Follows the roof curve ( strong angular contrast with the
lighter sky) over to...

6. ...and down the mast, where we see a triangulation of forces
-comprised by the boat hull, the retaining wall, and the adjoining
ramp.

7. The right sail boat mast thinner light er point - directional
force upward,in paradoxical contrast to the larger left sailboat
where the directional line of force runs down the mast.

Try another photo .... ( using up to 7 lines

Regards
Norman

--
Bill B
http://www.pbase.com/bill_b

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[Marcel-Etienne56998]

Sorry, but I couldn't make it earlier (busy day + some problems at downloading some new pictures and my first attempts on pbase). Here we go:



http://www.pbase.com/image/9788006



http://www.pbase.com/image/11472585



http://www.pbase.com/image/11473377



http://www.pbase.com/image/12999652
--
Marcel-Etienne
http://www.pbase.com/braudel2001

'I don't believe in the absolute picture. There can only be approximations, experiments and beginnings, over and over again.' (Gerhard Richter)

 

[Erichatch]

Norm, I';ll gladly participate ASAP -- have to say, though, that some of your motion arrows strike me as entirely fanciful.

e

In my previous thread we identified visual components of a photo.
Here we are putting attention on movement, or rhythmic flow within
the visual structure. We can improve our images through awareness
of dynamic visual relationships within our photos. The Intent in
this thread is to transpose elements of our three dimensional
world, to the two dimensional requirements of the photograph, and
explore movement.

We can refer to images as exhibiting tension among the components
within a picture space (photos, paintings etc.) This tension
translates into visual activity, which may be referred to as
“movement”, or flow within an “energy field”. Visual structure may,
in part, be thought of as a dialogue of directional forces within a
photo, that vary in strength. Photos range in their energy and
movement, and in the ways visual dynamics are at play in an image.

In this exercise I would like to explore perceptual movement
through relationships of subject(s) in the space of their
surroundings. You are all welcome to participate as we look for,
and discover energy, and interplay of visual elements within our
photographs. We will identify and consider some of the
directional forces.

A.... Choose a photo (other than family photos) with interesting
visual elements. Post a color or a B+W version of a photo you wish
to discuss and you would be willing for us to work with you on. In
photo editing software click on the paint brush, -choose a color
such as red in the tool box - with curved and straight arrows -
diagram the main flow of movement you see in this image.
If you do not have editing software post a free form description in
writing as how you would be inclined to draw in these arrows.

B.... On the copy of your chosen image(s) -draw arrow diagrams of
varying thickness (strength)and length (travel) to represent speed,
strength, and the directions of visual movement in your photo. For
simplicity use a minimum of three, to a maximum of 7 arrows.
Pay special attention to rhythmic movement: to form more so than
detail, the push/pull of elements, and the course your eye travels
in looking at the image. Take the time you need to diagram using
these arrows, or describe this interplay of movements as you see
them, and post back the results to share and discuss.... Its an
open playful exercise

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[David_S85]

Alright, I confess I don't really know what's going on in this thread. Best I can tell its a sort of Fen Shui for photographs.

So here's my feeble attempt at this arrow flow excercise...



Am I doing it right?

• David

NRich wrote:
In my previous thread we identified visual components of a photo.
Here we are putting attention on movement, or rhythmic flow within
the visual structure. We can improve our images through awareness
of dynamic visual relationships within our photos. The Intent in
this thread is to transpose elements of our three dimensional
world, to the two dimensional requirements of the photograph, and
explore movement.

We can refer to images as exhibiting tension among the components
within a picture space (photos, paintings etc.) This tension
translates into visual activity, which may be referred to as

“movement”, or flow within an “energy field”. Visual structure may,
in part, be thought of as a dialogue of directional forces within a
photo, that vary in strength. Photos range in their energy and
movement, and in the ways visual dynamics are at play in an image.

In this exercise I would like to explore perceptual movement
through relationships of subject(s) in the space of their
surroundings. You are all welcome to participate as we look for,
and discover energy, and interplay of visual elements within our
photographs. We will identify and consider some of the
directional forces.

A.... Choose a photo (other than family photos) with interesting
visual elements. Post a color or a B+W version of a photo you wish
to discuss and you would be willing for us to work with you on. In
photo editing software click on the paint brush, -choose a color
such as red in the tool box - with curved and straight arrows -
diagram the main flow of movement you see in this image.
If you do not have editing software post a free form description in
writing as how you would be inclined to draw in these arrows.

B.... On the copy of your chosen image(s) -draw arrow diagrams of
varying thickness (strength)and length (travel) to represent speed,
strength, and the directions of visual movement in your photo. For
simplicity use a minimum of three, to a maximum of 7 arrows.
Pay special attention to rhythmic movement: to form more so than
detail, the push/pull of elements, and the course your eye travels
in looking at the image. Take the time you need to diagram using
these arrows, or describe this interplay of movements as you see
them, and post back the results to share and discuss.... Its an
open playful exercise

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

--
David

 

[Bill Borne]

We can refer to images as exhibiting tension among the components
within a picture space (photos, paintings etc.) This tension
translates into visual activity, which may be referred to as
“movement”, or flow within an “energy field”. Visual structure may,
in part, be thought of as a dialogue of directional forces within a
photo, that vary in strength. Photos range in their energy and
movement, and in the ways visual dynamics are at play in an image.

In this exercise I would like to explore perceptual movement
through relationships of subject(s) in the space of their
surroundings. You are all welcome to participate as we look for,
and discover energy, and interplay of visual elements within our
photographs. We will identify and consider some of the
directional forces.

I'm not sure if I'm grasping the concept here but here goes;
I think we are mapping out the structural "flow" of the photo.



Original
http://www.pbase.com/image/12986141

 

[NRich]

Hello Eric

Pick a few arrows you find "fanciful" , be specific, and lets discuss them

There are compositional understandings, understandings of visual structure familar to painters, to visual artists, relatively unknown, not readily understood in photographs. This exercise is at once easy, also very challenging.

Certain images are keepers, others are throw aways. More often than not its visual structure that makes crucial differences. Understanding movement within the pictoral space of the rectangle matters. Here is an opportunity to explore this.

Do the exercise with an open mind, provide an original, and we can work on this together, if you like.

Regards,
Norman

Norm, I';ll gladly participate ASAP -- have to say, though, that
some of your motion arrows strike me as entirely fanciful.

e

http://www.pbase.com/image/12871019 .
http://www.pbase.com/image/12914678 .
http://www.pbase.com/image/12914661 .
http://www.pbase.com/image/12871034 .

A.... Choose a photo (other than family photos) with interesting
visual elements. Post a color or a B+W version of a photo you wish
to discuss and you would be willing for us to work with you on. In
photo editing software click on the paint brush, -choose a color
such as red in the tool box - with curved and straight arrows -
diagram the main flow of movement you see in this image.
If you do not have editing software post a free form description in
writing as how you would be inclined to draw in these arrows.

B.... On the copy of your chosen image(s) -draw arrow diagrams of
varying thickness (strength)and length (travel) to represent speed,
strength, and the directions of visual movement in your photo. For
simplicity use a minimum of three, to a maximum of 7 arrows.
Pay special attention to rhythmic movement: to form more so than
detail, the push/pull of elements, and the course your eye travels
in looking at the image. Take the time you need to diagram using
these arrows, or describe this interplay of movements as you see
them, and post back the results to share and discuss.... Its an
open playful exercise

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[Erichatch]

Hi, Norm

Here's an image I rather like. It has event, design, consequence, color, and substance. However, its motion is primarily static. Actually, it's all downhill from here!

I should have entitled this "entropy" or something similarly grandiose, but "hard work when you have do do it this way" will cover it.

I'll try this again with something more serious... when I get some energy.

eric

In my previous thread we identified visual components of a photo.
Here we are putting attention on movement, or rhythmic flow within
the visual structure. We can improve our images through awareness
of dynamic visual relationships within our photos. The Intent in
this thread is to transpose elements of our three dimensional
world, to the two dimensional requirements of the photograph, and
explore movement.

We can refer to images as exhibiting tension among the components
within a picture space (photos, paintings etc.) This tension
translates into visual activity, which may be referred to as
“movement”, or flow within an “energy field”. Visual structure may,
in part, be thought of as a dialogue of directional forces within a
photo, that vary in strength. Photos range in their energy and
movement, and in the ways visual dynamics are at play in an image.

In this exercise I would like to explore perceptual movement
through relationships of subject(s) in the space of their
surroundings. You are all welcome to participate as we look for,
and discover energy, and interplay of visual elements within our
photographs. We will identify and consider some of the
directional forces.

A.... Choose a photo (other than family photos) with interesting
visual elements. Post a color or a B+W version of a photo you wish
to discuss and you would be willing for us to work with you on. In
photo editing software click on the paint brush, -choose a color
such as red in the tool box - with curved and straight arrows -
diagram the main flow of movement you see in this image.
If you do not have editing software post a free form description in
writing as how you would be inclined to draw in these arrows.

B.... On the copy of your chosen image(s) -draw arrow diagrams of
varying thickness (strength)and length (travel) to represent speed,
strength, and the directions of visual movement in your photo. For
simplicity use a minimum of three, to a maximum of 7 arrows.
Pay special attention to rhythmic movement: to form more so than
detail, the push/pull of elements, and the course your eye travels
in looking at the image. Take the time you need to diagram using
these arrows, or describe this interplay of movements as you see
them, and post back the results to share and discuss.... Its an
open playful exercise

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[NRich]

Hello Marcel

When I wrote this thread I recall wondered - how difficult, how challenging will it be - Is this exercise do able in the context of STF? Your 4 images below gives me considerable optimism - it can be done, and in your 4 images -consistently so.

I would ask others to refer to the ways you have identified the flow of movement in these images.- simply , and quite perceptually accurate, to my eye.

One concideration I would point out here is that there is a trade off with quickly sketched lines, while they benefit from spontaneity, a little slower drawn lines will likely fine tune the process even more.

As you do get it - I'd appreciate you posting other images in the exercise, and in writing convey more of what is being pursed here in your own words, and why it matters visually from your realm of experience.

Norman
--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

p.s. I am fond of your accompaning quote below emphasizing creativity: "approximations, experiments, and beginnings - over and over again."

http://www.pbase.com/image/9788006



http://www.pbase.com/image/11472585



http://www.pbase.com/image/11473377



http://www.pbase.com/image/12999652
--
Marcel-Etienne
http://www.pbase.com/braudel2001
'I don't believe in the absolute picture. There can only be
approximations, experiments and beginnings, over and over again.'
(Gerhard Richter)

 

[NRich]

Hello David

The references used here are from the world of fine art, as my experience originates from a 30 year arts background. A great many visual structure issues of composition carry over from painting to photography. Please feel free to refer to my pbase galleries for my orientation.

In your fine photo I see large dark and light elements in high contrast folding in on each other. This to my eye is at the structural core of the image. this larger drama I don't as yet see represented in the directional arrows used.

I would suggest using three arrows only, and in some way represent the large driving force, of this interplay of opposites. the figure (person/railing) and ground.(sky) - and repost. If you post an original I would be willing to work with you on a copy toward further understandings.

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

So here's my feeble attempt at this arrow flow excercise...



Am I doing it right?

• David

NRich wrote:
We can refer to images as exhibiting tension among the components
within a picture space (photos, paintings etc.) This tension
translates into visual activity, which may be referred to as
“movement”, or flow within an “energy field”.

In this exercise I would like to explore perceptual movement
through relationships of subject(s) in the space of their
surroundings.

Pay special attention to rhythmic movement: to form more so than
detail, the push/pull of elements, and the course your eye travels
in looking at the image.

(above highlighted from first post introduction)

David

 

[NRich]

We can refer to images as exhibiting tension among the components
within a picture space (photos, paintings etc.) This tension
translates into visual activity, which may be referred to as
“movement”, or flow within an “energy field”. Visual structure may,
in part, be thought of as a dialogue of directional forces within a
photo, that vary in strength.

I'm not sure if I'm grasping the concept here but here goes;
I think we are mapping out the structural "flow" of the photo.

Compositionally "mapping out the structural flow "- I like that anology.

...And I like this ice and leaf image. I enjoyed the follow -up and the time spent with it. I see an interelation of three distinct pictoral elements at work here. I approached this exercise with this image by putting attention on the interaction of these three elements, numbering the arrows.
A . The leaf, B. The ice C. the background.

I've diagramed the image below, an approximation as it visually reads for me.



1. the rich orchre leaf - a snake like horizontal rythmn enveloped by...

2.... a surrounding field of ice on nearly 3 of 4 sides. The movement - clockwise. I suppose this movement could read counterclockwise, if we discount the weight and pull of gravity downward of the ice form itself.

3. the two number 3 arrows recognize this pull through - flow of movement in this direction.

4 and 5 ....are lines of tension, a push upward, directing us back to the flow of the central leaf.

6 Is a block of background , or ground form in a figure and ground relationship. Number 6 holds a stable square, pressing inward, containing a relatively still leaf form, acting as a still counterweight, slowing the speed of the rythmn over all.

7 The top inversion of this dark background form presses inward, two curves that engages the flowing leaf figure below.

p.s. you are getting it -simplify - try some more -( and have a look at Marcels post.)
Regards
Norman

http://www.pbase.com/image/13009239 .

Original
http://www.pbase.com/image/12986141

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[Marcel-Etienne56998]

Hello Marcel

When I wrote this thread I recall wondered - how difficult, how
challenging will it be - Is this exercise do able in the context
of STF? Your 4 images below gives me considerable optimism - it
can be done, and in your 4 images -consistently so.

Thank you. ?

One consideration I would point out here is that there is a trade
off with quickly sketched lines, while they benefit from
spontaneity, a little slower drawn lines will likely fine tune the
process even more.

I'll try that soon.

As you do get it - I'd appreciate you posting other images in the
exercise, and in writing convey more of what is being pursed here
in your own words, and why it matters visually from your realm of
experience.

Before I add some other pictures, it may be worth my commenting on these first four attempts. See below for the first two (3 and 4 will come later).

http://www.pbase.com/image/9788006

Main dynamic lines in this picture IMO. In the middle, the triangle formed by the dark posts leaning on each other: a sturdy, yet powerful ascensional movement. The barbed wire (covered with snow) has several effects on the whole composition: on the left, it draws the eye from the ground perspective (white fence) towards the sky and the central triangle; on the right, it also draws the eye from the sky towards the posts; but the most important visual function of this wire occurs in the middle, where it creates a powerful spiral effect, at the same time centripetal (binding the posts together) and centrifugal (because it is covered with snow, it relates more to the surrounding landscape). On the right, the edge of the field and the curtain of trees also draw the eye toward the centre. More suggestive: the overall perspective, dragging towards a low horizon with infinite sky above (no boundaries).

http://www.pbase.com/image/11472585

The comparison that strikes my mind is with the architectural structure of a cathedral: the tall trees are like pillars, soaring towards the pointed arches of the vaulting and at the same time bringing its weight to the ground. The overall effect is a combination of vertical (ascensional) and horizontal (static) forces.

--
Marcel-Etienne
http://www.pbase.com/braudel2001

'I don't believe in the absolute picture. There can only be approximations, experiments and beginnings, over and over again.' (Gerhard Richter)

 

[Johannes Czernin]

Hi, Marcel-Etienne,

I have been avidly following Norman's discussions ever since he started it, but whenever you happen to join in an ugly server problem is raising its head - a problem that has been troubling not only myself but other members as well.

The run of things is like this: When I open one of your messages with pictures attached, or anybody else's reply to your message with links to pictures of yours contained, the downloading of the images starts normally and then suddenly stops. Sometimes the procedure will stall immediately, sometimes it will accept the first picture and part of one more and then stall.

After this has happened, my browser will not display any pictures at all any more, no matter what the URL source is. Even when I try to check my own album on pBase pictures will not display.

As soon as I close down my browser and re-open it, everything will return to normal..... until I try once again to open one of your messages!

I am sure there is some malfunctioning between your computer system and the pBase server but although I do know a few things about computers it seems I do not know enough to be able to pin down the cause.

I remember a week or two back other people had already reported the same problem. I did experience it too back then, only I was too lazy at that time to report it.

I do hope someone with enough computer knowledge is lurking and reading this so that we might be able to trace the problem down to its roots and eliminate it. It's just too bad this highly interesting discussion thread cannot be properly followed because of the constant imposssibility to download and see the images it is all about!

Kind regards,

Johannes

Sorry, but I couldn't make it earlier (busy day + some problems at
downloading some new pictures and my first attempts on pbase). Here
we go:

 

[Erichatch]

Hi, Norm

I want to thank you for putting up another interesting eye trainng exercise -- or spirit training, as the case may be. Mostly I see just what you're getting at in these images. Number 1 and Number 4 in particular seem to swirl and be energized as you have indicated.

In picture #3, the one with the bird, the vortices in the air near the bird's head strike me as unrelated to anything actually in the image; indeed, the faint horizontal banding of the clouds seems to speak against the circular motion you're depicting. Similarly, the forked line in the lower right doesn't leap from the picture; I'm probably just not seeing what you are, or perhaps on my monitor the detail is obscured.

Would you say some more about what you had in mind on this one?

Now, having posted a frivolous shot last night, I'm going to take a serious approach and try the exercise on an image based in sinusoidal composition. I'll post that separately.

Pick a few arrows you find "fanciful" , be specific, and lets
discuss them

There are compositional understandings, understandings of visual
structure familar to painters, to visual artists, relatively
unknown, not readily understood in photographs. This exercise is at
once easy, also very challenging.

Certain images are keepers, others are throw aways. More often than
not its visual structure that makes crucial differences.
Understanding movement within the pictoral space of the rectangle
matters. Here is an opportunity to explore this.

Do the exercise with an open mind, provide an original, and we can
work on this together, if you like.

Regards,
Norman

Norm, I';ll gladly participate ASAP -- have to say, though, that
some of your motion arrows strike me as entirely fanciful.

e

http://www.pbase.com/image/12871019 .
http://www.pbase.com/image/12914678 .
http://www.pbase.com/image/12914661 .
http://www.pbase.com/image/12871034 .

A.... Choose a photo (other than family photos) with interesting
visual elements. Post a color or a B+W version of a photo you wish
to discuss and you would be willing for us to work with you on. In
photo editing software click on the paint brush, -choose a color
such as red in the tool box - with curved and straight arrows -
diagram the main flow of movement you see in this image.
If you do not have editing software post a free form description in
writing as how you would be inclined to draw in these arrows.

B.... On the copy of your chosen image(s) -draw arrow diagrams of
varying thickness (strength)and length (travel) to represent speed,
strength, and the directions of visual movement in your photo. For
simplicity use a minimum of three, to a maximum of 7 arrows.
Pay special attention to rhythmic movement: to form more so than
detail, the push/pull of elements, and the course your eye travels
in looking at the image. Take the time you need to diagram using
these arrows, or describe this interplay of movements as you see
them, and post back the results to share and discuss.... Its an
open playful exercise

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[Erichatch]

What attracted me about this image when I first saw it was the S-shaped and oval shaped masses within the intense color. To my eye, here's the farmhouse, kind of hunkered down on a black straight line -- and all this tumult and glory breaking forth above it while the inhabitants sleep.

I think there's a lot of energy in those S-shapes and that the contrast with the straight line of the horizon/farmhouse is real. I'm not sure that in suggesting by an arrow that the motion of the sky is pouring down on the farmouse that I've expressed the idea properly. It's more as though there are two separate lines of force int he picture, and it's actually their LACK of relationship that I should have drawn. So remove the arrowhead, and I think we're in business.

Over to you, NOrm.... this is a great way to look at one's work.

In my previous thread we identified visual components of a photo.
Here we are putting attention on movement, or rhythmic flow within
the visual structure. We can improve our images through awareness
of dynamic visual relationships within our photos. The Intent in
this thread is to transpose elements of our three dimensional
world, to the two dimensional requirements of the photograph, and
explore movement.

We can refer to images as exhibiting tension among the components
within a picture space (photos, paintings etc.) This tension
translates into visual activity, which may be referred to as
“movement”, or flow within an “energy field”. Visual structure may,
in part, be thought of as a dialogue of directional forces within a
photo, that vary in strength. Photos range in their energy and
movement, and in the ways visual dynamics are at play in an image.

In this exercise I would like to explore perceptual movement
through relationships of subject(s) in the space of their
surroundings. You are all welcome to participate as we look for,
and discover energy, and interplay of visual elements within our
photographs. We will identify and consider some of the
directional forces.

A.... Choose a photo (other than family photos) with interesting
visual elements. Post a color or a B+W version of a photo you wish
to discuss and you would be willing for us to work with you on. In
photo editing software click on the paint brush, -choose a color
such as red in the tool box - with curved and straight arrows -
diagram the main flow of movement you see in this image.
If you do not have editing software post a free form description in
writing as how you would be inclined to draw in these arrows.

B.... On the copy of your chosen image(s) -draw arrow diagrams of
varying thickness (strength)and length (travel) to represent speed,
strength, and the directions of visual movement in your photo. For
simplicity use a minimum of three, to a maximum of 7 arrows.
Pay special attention to rhythmic movement: to form more so than
detail, the push/pull of elements, and the course your eye travels
in looking at the image. Take the time you need to diagram using
these arrows, or describe this interplay of movements as you see
them, and post back the results to share and discuss.... Its an
open playful exercise

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[Marcel-Etienne56998]

Hi Johannes,

Sorry for the trouble you and some others are going through when opening my messages... ?:-(

The worst aspect is that I haven't the faintest idea why this is happening. I personally have never had this frustrating experience, nor has Norman -- as far as I know. What causes the trouble is beyond my limited computer grasp. I'll post links to smaller images and see if this helps.
In the meantime, take care.
?

I have been avidly following Norman's discussions ever since he
started it, but whenever you happen to join in an ugly server
problem is raising its head - a problem that has been troubling not
only myself but other members as well.

The run of things is like this: When I open one of your messages
with pictures attached, or anybody else's reply to your message
with links to pictures of yours contained, the downloading of the
images starts normally and then suddenly stops. Sometimes the
procedure will stall immediately, sometimes it will accept the
first picture and part of one more and then stall.

After this has happened, my browser will not display any pictures
at all any more, no matter what the URL source is. Even when I try
to check my own album on pBase pictures will not display.

As soon as I close down my browser and re-open it, everything will
return to normal..... until I try once again to open one of your
messages!

I am sure there is some malfunctioning between your computer system
and the pBase server but although I do know a few things about
computers it seems I do not know enough to be able to pin down the
cause.

I remember a week or two back other people had already reported the
same problem. I did experience it too back then, only I was too
lazy at that time to report it.

I do hope someone with enough computer knowledge is lurking and
reading this so that we might be able to trace the problem down to
its roots and eliminate it. It's just too bad this highly
interesting discussion thread cannot be properly followed because
of the constant imposssibility to download and see the images it is
all about!

Kind regards,

Johannes

Sorry, but I couldn't make it earlier (busy day + some problems at
downloading some new pictures and my first attempts on pbase). Here
we go:

--
Marcel-Etienne
http://www.pbase.com/braudel2001

'I don't believe in the absolute picture. There can only be approximations, experiments and beginnings, over and over again.' (Gerhard Richter)

 

[Pondria]

Norman,

This is one of mine that, I aways think, has some apparent movement. I didn't addd red lines as the motions are obvious.

...

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