Project: Illustration

Exercise: Evidence of action

Produce one photograph in which it can be seen that something has happened. Include in the photograph something that has been broken perhaps.


This image could be construed to be caused to be natures wind damage. However it is man-made by the local landowner managing the trees surrounding his land. Very clearly a deliberate action and one that also shows the concept of broken.

Exercise: Juxtaposition

For this exercise we have to choose either a still-life approach or a larger scale shot, which involves choosing a viewpoint and lens focal point to suggest a relationship. If the latter, photograph someone with a possession, or the results of their work or hobby.


Exercise: Rain

Imaging a magazine cover on one subject rain. Produce a single, strong, attractive photograph that leaves no one in doubt about the subject. An exercise in imagination and should be kept simple, attractive and interesting.



Project: Narrative

Exercise: A narrative picture essay

 This project requires an assignment to be created and photographed which tells a story or narrative in a series of pictures between 5 and 15. Whilst in Morocco I recalled this was an upcoming exercise and decided to take a series of photographs at the Leather Tannery in Fez.

This ancient tannery in the depths of the Medina in Fez is the oldest tannery in the world and dates back at least nine centuries. When approaching the tannery the smell is the first indication that something unusual is about to appear! The smell drifts around the balcony from where all the action can be viewed. The foul smell is worth braving as the view over the balcony allows you to see a site that has not changed since the 11th century.


View of Leather Tannery in Fez from Viewing Balcony

The tannery is composed of numerous stone vessels filled with a vast range of dyes and various odorous liquids. The tannery processes the hides of sheep and goats, turning them into high quality leather products such as bags, slippers and other similar products. This is all achieved manually, without the need for modern machinery.




The tannery workers at the stone vessels filled with a vast range of dyes and liquids

The hides are first soaked in diluted acidic pigeon excrement and then transferred to other vessels containing vegetable dyes such as henna, saffron and mint.

_DSC1381 _DSC1380

The hides are dried on the roofs of the Medina


The finished leather goods on sale in the Fez Medina

Assignment four: Applying lighting techniques

For this assignment it is required to draw together the different lighting techniques studied  and apply them to one object. The idea is to use new knowledge of lighting to bring out particular physical properties of the same subject.

“Choose any object you can move around and take a selection of photographs of it, each in a different kind of lighting. You can use any light at all, from daylight to available artificial light, to photographic lighting.” I had a number of ideas for the subject to use and after a number of test runs decided to use a ceramic sculpture of a blue hare which has unusual textures and subtle colours which I hoped would be accentuated with various lighting techniques.

Shape: This quality has to do with the outline of an object – it’s edges. These are more likely to stand out more clearly if they contrast with the background, and if there is minimum detail visible in the object.

_GWD5270 1/25 sec @ f11.0_GWD52721/25 sec @ f11.0

Both photographs were taken indoors on a bright day with the backdrop of a closed window-blind to diffuse the light. This had the effect of making the window a type of large soft-box. I orientated the hare in two different positions to accentuate the different shapes demonstrated.

Form: This is another way to describe the volume of an object – how 3 dimensional it looks. The modelling effect of the light and the way you deal with the shadows is all important. Try to show as much depth as possible.

_GWD52911/2 sec @ f16.0

To demonstrate the 3D effect of the sculpture I used tungsten downlighting in a dark environment to create shadows and depth against a background of a canvas photograph.

Texture: This is the quality of the surface detail. Fine detail, such as sandstone and skin, stands out best with a pattern of small, hard shadows, so you will have to consider both the diffusion (or lack of it) and the angle of light.

_GWD52941/2 sec @ f16.0

_GWD52791/60 sec @ f22.0

I used two different kinds of lighting here with the top one utilising tungsten downlighting and the bottom photo direct flash lighting.

Colour: Choose a kind of lighting and exposure setting that shows the subject’s colour (or colours) as strongly as possible. In addition, you could photograph your subject in any other interesting, unusual or attractive lighting.

_GWD52801/30 sec @ f16.0_GWD52831/50 sec @ f1.8

These two examples shows the effect different lighting has on the colours of an object. The top image is photographed in natural sunlight against a green grass background and produces a mauve tint to the sculpture.

The second lower image is photographed with a direct spotlight and highlights the bright blues of the sculpture.

This assignment has been the most challenging so far for me. Perhaps due to the fact that I was lacking certain lighting accessories and that there were many lengthy exercises. However it has been very interesting and I have learn a lot on how different lighting techniques can alter the appearance of an object or scene which will be very useful in future photographic assignments.

Tutor report on Assignment 4:

Overall Comments

Thank you for completing another assignment for feedback, Graeme. I am pleased to see that you have taken note of comments made with the last assignment and I feel sure that will continue to work hard up to the point of submitting your work.

Assessment potential 

I understand your aim is to go for the Photography Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment.  In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.

Elements to consider with your assignments:

This assignment asks you to draw together the different lighting techniques that you have been studying and apply them to one object. The idea is to use your new knowledge of lighting to bring our particular physical properties of the same object. It is also a test of your observation.

Your assignment in connection with the above points:

You have used a sculpture of a hare as subject matter for this assignment. This has worked well for you on a technical level, allowing you to move around with ease and to experiment with different lighting effects.


Backlighting has been used very effectively here to demonstrate shape. The blinds have helped you to create a source of diffused light from the window – as you point out, forming a natural soft box. Positioning your subject in front of this has resulted in a silhouetted outline which shows the shape very clearly.


You have worked very well with angles of view here alongside your lighting techniques and by doing so managed to achieve the desired aim or including 3-D detail of your subject. The backdrop landscape adds a nice touch of this, building on the apparent 3-d effect and adding a sense of humour to the result.


Texture detail is really starting to appear in these examples. You could also work with sharp angles – shooting from and also from a strong direct source of light to accentuate shadows and define texture. You have some nice strong colour coming through here too.


The vivid green grass has absorbed some of the colour in the first image. A more neutral background would have helped draw us to the more subtle colours of your statue. The second example, with a strong direct light source, works much better and we can also see some nice texture detail in this picture.

Summary/ Pointers for next assignment

You have worked well with the task given here, but could have taken this stage a step further, trying out some more interesting lighting setups and being a little more experimental. The last assignment asks you to work in a thematic way and to incorporate narrative. This is your opportunity to really show what you are capable of with your photography. Plan your theme carefully and choose your final images based on their ability to work together to tell the story effectively.

Learning logs/critical essays

You do need to build substantially on the research side of your work before submitting for assignment as your learning logs are looking quite sparse. Images aren’t always appearing as they should so this is also something to address.

My thoughts and reflections: 

I am generally happy with the feedback in this report as this was the most challenging assignment yet. I have very limited experience in using additional external lighting and in fact have no additional lighting equipment apart from a built in flash and hence felt restricted in what I could achieve.  I will address any images that are not appearing and continue to expand my research work.

Project Available light

Exercise: Tungsten and fluorescent lighting

The first part of this exercise was in a room with a tungsten lamp lighting the scene through a window out to the garden. I waited until the light levels indoors and outdoors were about equal and then took three photos, in the first with the white balance set to auto, the second with it set to daylight and the third where it was set to incandescent. The settings for each photo were f4.0 @ 1/6 sec, 200 ISO.

_GWD5209 Auto WB

_GWD5210 Daylight WB

_GWD5211 Incandescent WB

From these photos, it’s clear that using the incandescent white balance has produced a much more natural image than the other two, which appear to be too orange. The daylight white balance image produces an oppressive orange colour whereas the auto white balance setting is more acceptable. What is very clear is the blue glow from the window with the incandescent image.

For the second part of this exercise I don’t have a fluorescent light at home and will complete once I have a setting with one available.

Exercise: Outdoors at night

Project The time of day

Exercise: Light through the day

As the sun moves through the sky, it creates new possibilities for photography. Sunrise, early morning, mid morning, midday, afternoon, late afternoon and sunset all have a special character in their light.

This exercise involves choosing a clear sunny day and photographing a single scene from dawn to dusk. I chose a landscape location from my garden of a clear view of a former church – now an antique emporium. I set the tripod up early in the morning and selected the fixed view for the rest of the day. i simply had to adjust the exposure as time progressed and take the photo as close as possible on an hourly basis. Fortunately for late February we were experiencing a high pressure system and I could ‘guarantee’ uninterrupted sunlit cloudless skies for the whole day! Sunrise on this day was 07.15 and sunset was 17.45.

_DSC2303 07.42 (1/30 @f11.0)

_DSC230407.57 (1/60 @f11.0)_DSC230508.34 (1/125 @f11.0)_DSC230609.32 (1/250 @f11.0)_DSC230710.37 (1/250 @f11.0)_DSC230811.47 (1/350 @f11.0)_DSC230912.41 (1/350 @f11.0)_DSC231013.38 (1/350 @f11.0)_DSC231114.34 (1/250 @f11.0)_DSC231215.38 (1/250 @f11.0)_DSC231316.40 (1/125 @f11.0)_DSC232917.09 (1/60 @f11.0)

I had expected the best results to be around the early morning and late afternoon as this is the time of day that I would choose to take landscape photographs. The view looked due north which meant the sun would rise on the right of the view travel behind me during the day and set approximately to my left. Which image do I prefer – in this case the 16.40 which has enough colour in the trees to give some interest.

Exercise: Variety with a low sun

This was an exercise to demonstrate some of the advantages of shooting when the sun is low in the sky. I shot the photos below 1 1/2 hours before sunset on a March day hence the sun was pretty low in the sky.

_GWD4878 frontal lighting

With the sun behind the camera this produced a likeable effect (particularly as the camera was looking towards the blue sky).

_GWD4879 side lighting

Certainly quite a different effect with the colour of the elephant very different in this shot with the sun coming from the left.

_GWD4880 back lighting

Agin a very different shot and not an angle I would normally take shooting into the sun.

_GWD4882edge lighting

Not certain this is edge lighting but I quite like the effect this produced which accentuated the colour and texture of the wood in the elephant.

_GWD4894 twilight

Exercise: Cloudy weather and rain

First part: Sunlight and Cloud

Second part: Overcast




The three images above taken in overcast light allow the details in the granite and the wood to come through showing the speckles in the stone and the grain in the wood. In a stronger sunlit light these may have become lost in the strong shadows and contrast.

Third part: Rain


As it suggests in the coursework “a rainbow is a special bonus”. This was appeared just at the right time. A perfect example of why photography should not stop just because it rains.

Project The colour of light

Exercise: Judging colour temperature 1

In most photography there is no need to be exact about colour temperature; it is enough to know when the light is not white, if only by a little, or by a lot.  For this exercise a subject was chosen that can be moved around and is not of a strong colour, also a clear sunny day was required.  Three photographs were taken, one in full sun during the middle of the day, one with the subject in the shade and a third when the sun is close to the horizon. The camera’s white balance must be set to ‘daylight’ not ‘automatic’.

I chose my dog for this as he is fairly moveable (too moveable in fact) and because he is a consistent ‘blonde’ colour like a skin tone.


      sunlight during the middle of the day


        shade during the middle of the day


         sun on the horizon during sunset

Interesting results with the midday sun image providing the closest to the true colour. The shaded image is bluer and cold whereas the sunset image provides a more natural orange tint to the coat.

Exercise: Judging colour temperature 2

For this exercise the same time of day was utilised except in this case the white balance was varied in each case to ‘sunlight’, ‘shade’ and ‘Auto’.


          midday sunlight  / WB: sunlight


               midday sunlight / WB: shade


                  midday sunlight / WB: Auto

The sunlight and auto WB settings gave a truer colour than the shade setting. The shade WB setting produced an orange tint to the dog and the grass. I would be happy to use either sunlight and auto in this midday sun setting.


               midday shade / WB: sunlight


              midday shade / WB: shade


            midday shade / WB: Auto

In the midday shade I saw very different results. The WB sunlight produced a bluer colder colour and the shade and auto setting produced the truer colours with the shade being my preference.


             setting sun / WB: sunlight


               setting sun / WB: shade


                setting sun / WB: Auto

Less of a difference between these three images. The sunlight and the auto WB probably give the closest to the true colours whilst the shade WB gave a more intense orange tint to the coat.

Conclusion: I’ve  learned that there is a marked range in the colour temperature depending at what time of day the photograph is taken. As these exercises were completed in late February at a fairly northern latitude the midday sun was consequently low in the sky. The auto WB does a reasonably good job of compensating for the different light settings – which is what I normally have used in the past for most photographs.


This shows the variation in colour temperatures from 2,000 K at early sunrise through 5,000 K at noon up to 8,000 K with an overcast daylight sky.

Project The intensity of light

Exercise: Measuring exposure

This exercise consists of two parts. The first part is to produce photos which are either over – or underexposed and to explain why.  Adjusting the compensation bracketing can lighten or darken an image to achieve something more acceptable to the eye. The second part is to take 5 – 6 pictures of any subject and each one with 5 different exposure values (increasing and decreasing by 0.5 stops arranged around the best exposure).

Part one, a deliberately lighter or darker than average image:


Nikon D90 at 105mm, ISO 200, 1/30 sec at f5.3

This first picture was taken at +2 stops (overexposed). If I had taken it at the best exposure as measured by the meter the colours and textures of the bird feeder would have been too dark and it would have been impossible to determine colour on the bird itself.


Nikon D90 at 60mm, ISO 200, 1/1500 sec at f4.8

In this exposure I wanted to silhouette the foreground and bring out the colours and depth of the late afternoon winter sky. A ‘normal’ metered exposure would have blown out the sky and hence a -1.5 stop (underexposed) image.

Part Two: photographs taken around the best ‘measured’ exposure: left to right -1.0, -0.5, 0, +0.5, +1.0


Nikon D90 at 400mm, ISO 800, 1/350, 1/250, 1/180, 1/125, 1/90 sec at f5.6

My preference is the +0.5 exposure (enlarged) for the truer colour tones of the grasses.


Nikon D90 at 48mm, ISO 800, 1/3000, 1/1500, 1/1000, 1/750, 1/500 sec at f4.5

My preferred exposure is the -0.5 (enlarged) which represents a truer colour and texture of the stone.

_DSC2184 _DSC2185 _DSC2186_DSC2187_DSC2188

Nikon D90 at 40mm, ISO 400, 1/400, 1/300, 1/200, 1/100, 1/75 sec at f4.5

A difficult exposure to get right due to the constant grey colour and relatively dark exposure, however my preferred exposure is the +0.5 (enlarged) which shows a sharper and truer colour of the wing mirror.


Nikon D90 at 62mm, ISO 800, 1/2000, 1/1500, 1/750, 1/500, 1/350 sec at f4.5

The first two underexposed images are too dark and create a slight silhouette effect which I did not want. My optimal exposure is the +0.5 (enlarged) which shows a truer colour of the sky and foreground as well as the buildings.

_DSC2195 _DSC2196 _DSC2197


Nikon D90 at 400mm, ISO 800, 1/1000, 1/750, 1/500, 1/350, 1/250 sec at f4.0

In this case I have 2 images that would be acceptable, the +0.5 (enlarged) as well as the ‘correct’ exposure per the camera meter.

All in all an interesting exercise which does prove the need to take a series of different exposures of the same picture (bracketing). I have always been aware of the need to do this but in realty have rarely used this technique. This is now something I will consider more carefully in the future.

Exercise: Higher and lower sensitivity

The first part of this exercise requires similar shots to be taken at ‘normal’ and ‘high’ sensitivity. The situation chosen should be marginal; that is, where the mixture of light level and subject movement or depth of field is only just possible. The first shot is taken at normal sensitivity (ISO 100 or 200) and the second taken at a higher sensitivity (ISO 800 or 1600).


ISO 100 @ 0.5 sec f19.0      ISO 800 @ 1/15 sec f19.0

Both images taken indoors without flash. The first one at ISO 100 was too slow for a hand-held image and hence considerable blur. The second at ISO 800 produced a faster and more acceptable shutter speed and a sharper image.


ISO 100 @ 0.5 sec f19.0      ISO 800 @ 1/10 sec f19.0

An exaggerated effect of this evening sunset taken at ISO 100 and 800. Clearly the first image produced too slow a shutter speed however the second was more acceptable at the higher sensitivity level.


_DSC2264 _DSC2265 _DSC2268

  ISO 200 @ 1/20 f19.0        ISO 400 @ 1/45 f19.0        ISO 800 @ 1/125 f19.0         






ISO 1000 @ 1/180 f19.0

A series of images taken at increasing sensitivity at a small aperture to give a larger depth of field. In order to ‘freeze’ the movement of the car across the frame it was the higher ISO 1000 image that achieved a fast enough shutter speed.


Assignment two: Elements of design

This assignment is based on the insights learned so far on this course to create a set of photographs directed towards one type of subject. The subject matter I chose initially was landscape but struggled to come up with enough photographs I was satisfied with. I thought long and hard about this assignment (possibly too long) but in the end decided on ‘street details’ as my main subject but did include a couple of landscape photos. The series of photographs will show the following effects:

  • single point dominating the composition
  • two points
  • several points in a deliberate shape
  • a combination of vertical and horizontal lines
  • diagonals
  • curves
  • distinct, even if irregular, shapes
  • at least two kinds of implied triangles
  • rhythm

What I have learned is that good photographs rely on order, and the main elements that contribute and emphasise order in a composition are: line, shape, form, texture and pattern. Every photograph, on purpose or not, contains one or more of these elements, which are known as the “elements of design”.

Single point dominating the composition: 

I had to deviate from my original subject selection for the first 2 photographs as I felt these were better candidates. I have therefore chosen a landscape which has people as the chosen points. I like this single point photo as it includes other lines and shapes seen in the sand and waters edge which introduces other key design elements.

Nikon D90 at 200mm, ISO 200, 1/250 sec at f5.6

Luskentyre beach, Isle of Harris, Outer Hebrides

Two points:

This image with the two girls looking out at the windswept sea stands out clearly as two points which the eye is drawn to. Again as in the first single point there are lines and diagonals expressed by the horizon and coastline that I had not noticed on taking the photo but are clearly contributing to the final design elements of the image.

Nikon D90 at 160mm, ISO 200, 1/120 sec at f11.0

Luskentyre beach, Isle of Harris, Outer Hebrides

Several points in a deliberate shape:

I selected the front stone facade of the Scotsman building on Holyrood Road in Edinburgh as my subject matter – the large bronze thistle sculptural emblem, Scotsman newspaper masthead which incidentally is not overly liked by many. I like the symmetrical facade and chose to crop the image to just include the words ‘scots’ and show the points of the thistles creating an implied triangle. I had a lot of difficulty selecting the image for this subject and am still not certain it conveys the ‘deliberate shape’ message.

Nikon D90 at 95mm, ISO 200, 1/125 sec at f5.3

Scotsman Newspaper Office, Holyrood Road, Edinburgh

A combination of vertical and horizontal lines:

This was taken at the Scottish Parliament Building in Edinburgh.  The building and its construction have been widely controversial. The choices of location, architect, design, use of non-indigenous materials e.g. granite from China instead of Scotland were all criticised. I actually like the building and when I was looking for subjects for this assignment I thought the building would offer many opportunities. This photo was taken of the bamboo roof structure above the main entrance to the building which is constructed from this perspective of vertical and horizontal poles.

Nikon D90 at 20mm, ISO 200, 1/500 sec at f5.6

Scottish Parliament  Building, Holyrood, Edinburgh


The Dynamic Earth building is adjacent to the Scottish Parliament and is one of the Millennium Commission’s largest projects in Scotland. It’s sited on a former brewery with  a concrete base and a framed roof structure topped with eight 24m-long steel masts covered in a tensioned fabric membrane. This image is taken of the masts creating diagonals reaching an apex at the top of the structure. The blue sky background (a rare sight in Edinburgh) accentuates the white diagonal structure (and the numerous implied triangles).

Nikon D90 at 24mm, ISO 200, 1/1250 sec at f5.0

Dynamic Earth Building, Edinburgh


I originally chose the Dynamic Earth Building again for this subject as it exemplifies the topic on a multitude of elements. The curve of the roof structure, the canopy above the entrance, the stone sculpture and the curved stairway seen at the left are all combined in this image.

Nikon D90 at 36mm, ISO 200, 1/800 sec at f4.2

Dynamic Earth Building, Edinburgh

However on reflection after reading my tutors feedback i realised that the whole image was too cluttered and it was not clear that curves were the main focus of the viewer. I will therefore replace the photograph with the following:

Distinct, even if irregular, shapes:

The symbol of the Paralympic Games was displayed on the Mound, in Edinburgh during the Paralympic games in London. These irregular but distinct shapes are composed of three agitos, coloured red, blue, and green, encircling a single point. The agito meaning ‘I move’ in Latin is a symbol of movement in the shape of an asymmetrical crescent. The background distracts somewhat from the shapes but it was very difficult to find an uncluttered angle for this image.

Nikon D90 at 70mm, ISO 200, 1/500 sec at f5.0

Paralympic Symbols, The  Mound, Edinburgh

At least two kinds of implied triangles:

I selected this viewpoint of the Scottish Parliament Building with Arthurs Seat in the background. This contains a number of implied triangles. The first can be seen using the horizon of Arthurs Seat and the framework of the roof structure on the left. Also there are a couple of triangles within the structure itself. Finally using the stone bollards themselves you can create a number of implied triangles.

Nikon D90 at 18mm, ISO 200, 1/1600 sec at f5.0

Scottish Parliament / Arthurs Seat Backdrop


After receiving feedback from my tutor I took this image of the pillars at the Hassan Tower, Rabat when in 1199, Sultan Yacoub al-Mansour died and construction on his mosque stopped. What remains are the beginnings of several walls and 200 columns being constructed. I selected my viewpoint to show the implied triangle in the three columns shown.

Nikon D90 at 34mm, ISO 200, 1/1600 sec at f4.2

Mausoleum of Mohammed V, Rabat, Morocco 


The window structures of the Scottish Parliament Building give a rhythmic appearance with the eye being drawn to the tree at the bottom right of the image. The bay windows of the offices as used by Members of the Scottish Parliament are designed as “contemplation spaces”. 

Nikon D90 at 32mm, ISO 200, 1/160 sec at f4.0

Scottish Parliament Building, Holyrood, Edinburgh


I chose the Royal Tattoo Seating at Edinburgh Castle as a strong example of a pattern, as the seating fills the frame with no boundaries showing. The eye is drawn to the outer edges in a mainly vertical direction.

Nikon D90 at 70mm, ISO 200, 1/1000 sec at f5.0

Royal Tattoo Seating at Edinburgh Castle

This was a very interesting assignment which introduced me to new elements of photography. I certainly now look through the viewfinder with a different perspective and have started to consider and introduce the many design elements in my photographs.

I have always considered myself more of a landscape photographer but this assignment has peaked my interest in architecture and cityscapes. I look forward to my tutors comments on my chosen photographs. I took longer over this assignment than I would have liked but plan to move on to the ‘Colour” project as soon as possible.

Tutor Report on Assignment 2:

Overall Comments: Thank you for submitting another assignment for feedback, Graeme. You are working well. 

Assessment potential: I understand your aim is to go for the Photography Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment.  In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.

Elements to consider with your assignments:

For this I was looking for an interesting selection of items, or found subject matter with strong compositional emphasis, that would be considered suitable in connection with the appropriate subtitle. (eg single point dominating) Consideration should also be given to other key points from the exercises such as shapes, points and lines.

Your assignment in connection with the above points:

‘Street details’ as a topic was an interesting choice for this assignment. However, the title of this assignment is ‘design’ and working on location puts greater pressure on you to compose well and take background and environmental details into consideration. Whilst you may have a very definite idea of your subject within the frame you also need to find ways of conveying this to your audience.

Single point domination:

The choice of subject matter works well here. Your lone character is very small but the bright red clothing helps to draw the eye where you want it.

Two points:

The diagonal line of the water running through the frame helps the eye move naturally from one point to the next, clearly identifying your subject’s significance.

Several points in a deliberate shape:

The deliberate shape is clearly evident here with the three thistles dominating the frame and blending together against the backdrop.

A combination of vertical and horizontal lines:

The contrasting blue sky really helps to isolate your subject matter and show the definition of vertical and horizontal lines.


The offset vertical pole is dominating the frame here and diluting the impression of diagonal lines.


The message is not very clear here. I didn’t notice the stone steps until reading your notes. The eye is drawn to the statue situated more centrally in the frame and this has taken over as your point of interest.

Distinct even if irregular shapes:

This is a much stronger picture with the bright colours helping to isolate your subject from the background.

Implied triangle:

I struggled to find the triangles here. What is your subject matter? Where does the eye fall in the frame? They eye needs to fall more naturally to the points of interest and these should be where the implied triangle appears.


The area of rhythm works particularly well and creates a nice strong picture. The green grass bottom left presents something of a distraction leading the eye out of the frame.


This picture works very well. There are no distractions across the frame and the rows of seating therefore become the dominant feature.


You’ve worked well with the various elements of design across the set. One or two of the images could be a little stronger with less distracting points across the frame and you may want to give a little more thought to these before submission.

Learning logs/critical essays:

You have now started building on your research but the work is still very sparse. You need to build on this further and to start being reflective about the work that you look at. You should include information now on ‘street detail’ photography and similar relevant points that help your own development. Have a look at individual images and point out how this information can help you. You don’t have any information on projects completed, so I assume you are recording this information separately.

My thoughts and reflections: 

I understand now more about how the design element should have been clearer in some of my images. These have been replaced where possible. I agree that I need to build on my research more. Unfortunately I don’t have a lot of opportunity to visit exhibitions and galleries here in the Highlands. I will make every effort to expand on this research as soon as possible.

Project Shapes

Real and implied triangles

Two sets of triangular compositions were created one using ‘real’ triangles, the other making ‘implied triangles.


A real triangle as part of an old water mill

A triangle by perspective – the top of a large building in Edinburgh

Creating an inverted triangle, also by perspective, converging towards the bottom of the frame – stone framework in the entrance to the Scottish Parliament Building.


A still-life arrangement to produce a triangle with the apex at the top

A still-life arrangement to produce a triangle that is inverted, with the apex at the bottom

Three people in a group in such a way that their faces or lines of their bodies makes a triangle – two couples plus one plant creating an implied inverted triangle.