SA ROLTA GYOKER

WHY SHOTS WORK

Digital Camera World - - CONTENTS -

We an­a­lyse this pho­tog­ra­pher’s graph­i­cal black-and-white shot

Lin­ing it up

When an­gled and in­ter­sect­ing lines are found in a com­po­si­tion, they can con­vey move­ment and add ten­sion. Out of her air­plane win­dow, Sarolta no­ticed that “the in­ter­play be­tween part of the wing, its shadow, the fel­low, and the lines on the tar­mac were in­trigu­ing”. The lines form a frame around the air mar­shal and draw the viewer’s eye to­wards him.

Em­pha­sis­ing edit­ing

Sarolta pro­cessed this im­age in Cam­era Raw, con­vert­ing it to black and white and adding a slight tint. By re­mov­ing colour in­for­ma­tion, dark­en­ing the Blacks and up­ping the Clar­ity, the tonal range has be­come even more re­duced, mak­ing the shot more graphic, and so the viewer’s eye is less dis­tracted. “I edited the shot to em­pha­sise the semi-ab­stracted in­ter­play be­tween the el­e­ments,” she says.

Go graphic

Sarolta’s shot of the air­port run­way is ab­stract rather than re­al­is­tic, as it in­cludes min­i­mal colour, shape and tex­ture. This ap­proach leaves the mean­ing of the im­age open to the viewer. “I have al­ways been drawn to ab­strac­tion and par­ing away, and this view ap­peared too de­light­ful to miss,” she says. With­out the sym­bol­ism of colour in­for­ma­tion, Sarolta’s im­age is more open to in­ter­pre­ta­tion.

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