L1M1AP3 - Composition & Balance. ISO 200, f/10, 1/400 Unedited. Changing viewpoint brings the bike into the shot more - with the brighter background highlighting it. Taking the shot straight on lost the bike in the hard shadows.

Changing viewpoint brings the bike into the shot more - with the brighter background highlighting it. Taking the shot straight on lost the bike in the hard shadows.

L1M1AP3 - Composition & Balance. ISO 200, f/10, 1/400 Unedited. Changing viewpoint brings the bike into the shot more - with the brighter background highlighting it. Taking the shot straight on lost the bike in the hard shadows.

Changing viewpoint brings the bike into the shot more - with the brighter background highlighting it. Taking the shot straight on lost the bike in the hard shadows.

L1M1AP3 - VIEWPOINT 3 ISO200, f/9, SS 1/320 unedited. From below, the slide loses its length ad the depth on the channel is exaggerated.

From below, the slide loses its length ad the depth on the channel is exaggerated.

L1M1AP3 - Framing ISO 200, F/8, 1/250. The beautiful Rozsa in full sun, focal point being on her eyes. The darkness of the shadow created by the hard light brings out the brightness and deep colours of her coat.

- Framing ISO The beautiful Rozsa in full sun, focal point being on her eyes. The darkness of the shadow created by the hard light brings out the brightness and deep colours of her coat.

L1M1AP3 - VIEWPOINT 1 - ISO200, f/10 SS 1/400 Unedited. The slippery dip from straight on looks like a normal, everyday slippery dip - the contours and depth of the channels are almost completely lost.

The slippery dip from straight on looks like a normal, everyday slippery dip - the contours and depth of the channels are almost completely lost.

L1M1AP3 - VIEWPOINT 2 ISO200, f/10, SS 1/320 unedited. From above, the definition is gained & the slide looks to have a far steeper gradient.

From above, the definition is gained & the slide looks to have a far steeper gradient.

L1M1AP3 - LINES part 2 ISO 200, f/11, SS 1/500, handheld, unedited. tightening up the same picture shortens the subject without the lines appearing in the foreground. Less emphasis on the lines reflecting into the water due to the increased subject detail (light & darkness in the pool)

L1M1AP3 - LINES part 2 ISO 200, f/11, SS 1/500, handheld, unedited. tightening up the same picture shortens the subject without the lines appearing in the foreground. Less emphasis on the lines reflecting into the water due to the increased subject detail (light & darkness in the pool)

L1M1AP3 - LINES part 1 ISO200, f/11, SS 1/500, handheld, unedited. The lines in the foreground add length to the pool. If the railing wasn't there, the pool would seem to continue into the rocks due to their reflection, so the shot could seem of just a vista, rather than having the defined subjects, the pool, the escarpment, the sky and the ocean.

L1M1AP3 - LINES part 1 ISO200, f/11, SS 1/500, handheld, unedited. The lines in the foreground add length to the pool. If the railing wasn't there, the pool would seem to continue into the rocks due to their reflection, so the shot could seem of just a vista, rather than having the defined subjects, the pool, the escarpment, the sky and the ocean.

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