One against three On the phone

Whether it’s the north coast or the Namib Desert, these three read­ers al­ways have their smart­phones at the ready in case they come across a snap-wor­thy scene.

Go! Camp & Drive - - YOUR PHOTO - By Leon Botha

She was busy play­ing with her new smart­phone’s cam­era when Aneke Kruger from Bloem­fontein took this month’s win­ning photo.

“Our fam­ily went on hol­i­day to Mtun­zini and went down to the beach one day. Be­cause I’m not a big fan of swim­ming, I stayed on the beach while the oth­ers played in the waves. My sis­ter, Zanalee Wol­marans (far left on the photo) didn’t want to get wet, but my boyfriend, Jade Hast­ings, nev­er­the­less tried to splash wa­ter on her. My mom, Adéle van der Merwe, is the one with the white head­band and my aunt, Zelda Meyer, is at the back.

I set my cam­era to black and white to cre­ate a more dra­matic photo and I cap­tured quite a few frames. This is one of my favourites.”

A good photo is one that makes you do a dou­ble, triple take. Aneke’s photo has two lay­ers that work to­gether: good com­po­si­tion and the en­ergy be­tween the peo­ple.

The com­po­si­tion is com­plex, but it works re­ally well. It con­sists of two strong el­e­ments: the place­ment of the peo­ple and the rest of the sur­round­ings.

The sea and hori­zon draw a wide line through the mid­dle of the photo. A com­po­si­tion el­e­ment in the mid­dle like this can be mo­not­o­nous, but this is where the beach and the sky work to­gether. The coast­line is the bal­anc­ing point be­tween the dark beach and the de­tailed air, both of which are the same size in the photo.

You see the hu­man fig­ures first and your eyes are au­to­mat­i­cally drawn to the big­ger one (be­cause it’s closer to the cam­era). Zanalee is look­ing at the other peo­ple in the photo and your eye fol­lows her to see what she’s look­ing at. You ex­pe­ri­ence the en­ergy be­tween the peo­ple and you can al­most feel Jade splash­ing that cold wa­ter.

The three women in the group also balance the shape of Jade’s fig­ure. With Zanalee tak­ing a step for­ward, over into the other com­po­si­tion el­e­ment, it con­nects the two lev­els. You could zoom in if you wanted to get rid of the neg­a­tive space with­out the photo fall­ing flat. The peo­ple’s fa­cial ex­pres­sions and body move­ments al­ready tell you enough about the mo­ment and you can’t help but smile and pic­ture your­self in that mo­ment.

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