The brief for exercise 1.12 was to freeze frame a fast-moving object in a still location. The object needed to be something that could break.

For the exercise I found a piece of white paper and 16 eggs. My camera was positioned just under two feet from the impact area and about two feet up in the air. I was using my 40mm macros lens on its infinity setting. Although the exercise instructions asked for the camera to be set up a few metres from the impact area I’m assuming that this was to avoid damage to the camera itself. Positioning my camera closer allowed me to get a few more details than I think I would have if I’d been positioned further away from the impact zone. It certainly wouldn’t have given the same detail that I got in a number of cases as the yolk and egg white splattered.

Prior to starting the exercise I focussed the camera on the potential drop point and did a couple of test shots using both the lens cap and a small ball, the latter dropped a number of times by one of my young assistants. I switched to shutter speed mode so that I could set the speed I wanted and let the camera calculate the actual aperture for me. The important thing for me with these shots was freezing the action at the right time.

With everything prepared I briefed my 9 year old nieces on what they had to do. Hold out an egg and on a count of 1, 2, 3, drop release it so that it hits a particular spot, or as close to it as possible.

Not every egg hit that spot, some landed out of shot.

Not every egg broke on the first drop, although all of them did on a second drop.

The camera didn’t fire every time, the remote failed to trigger the camera a number of times.

When the camera did fire, there were times where the egg had already broken, was still in the air or hadn’t come into shot. Getting the timing right was a matter of guess work. I decided to avoid using the viewfinder or live view to take the shots as there was the risk that by the time I saw the egg in shot and reacted I’d miss the shot completely. Better to make a judgement call as the egg dropped and I thought it was about to hit the ground.

Of the 28 shots that I took, only 12 were of the eggs being dropped. On four occasions the camera failed to trigger. The other 16 shots were preparation using the lens cap and ball.

I found the activity challenging, but certainly a fun thing to do with two 9 year olds, I just have to hope that they don’t go home and start dropping eggs on the floor in my sister’s kitchen.

Reviewing the photos at the time I was happy with the exposures I was getting. ISO, shutter speed and aperture were fine for the images, it was just a matter of time.

Reviewing the photos afterwards I wasn’t happy with the colour on the egg yolk and so I processed each of the images in Photoshop and applied the Yellow Boost Hue and Brightness setting as well as adding a Contrast Layer which I allowed the Auto setting to adjust things. The white background needed the contrast increasing so that it brought out the creases in the paper.

Running through the example set of questions for evaluating photos:

• What is the subject?
The subject is broken eggs

• Is the subject clearly visible or is it obscured?
The eggs are clearly visible, there is nothing to obscure them.

• What’s behind the subject? Is it distracting?
There is nothing behind the subject to distract the viewer. The plain white background also provides very little by way of distraction, other than creases in the paper.

• Does the composition have any other major distractions?
There are no major distractions in the composition. The increasing number of broken eggs could be a distraction and each broken shell could have been removed before dropping the next but without constantly cleaning up the egg’s contents in between shots, the growing amount of egg white and yolk would have left the viewer just how much was coming out of one egg or what had happened to the other eggs. The broken eggs I feel add to the images and also provide things that enable the way each egg breaks to be unpredictable.

• Is the subject in or out of focus?
The subject is in focus because all the focusing was performed prior to dropping the eggs and the camera was then left on a manual setting so that the camera would not try and automatically focus on an object each time a shot was taken.

• Is the image well exposed?
The camera was set to use shutter priority with the ISO setting fixed for each shot. The camera was left to adjust the aperture which ensure correctly exposed photographs. Post processing did not require any change in exposure.

• What is the contrast like?
Contrast was not what I would have liked and so I needed to adjust it during editing.

• Is the colour balance the way you remember it?
The egg yolk was quite pale in colour and the original, in-edited photos showed this. Strengthening the colour of the egg yolks gave a more satisfying look to the images.

The images below are the ones I like the most of the edited photos.


Ecercise 1.12 Smash - MDG_3482 - Hue, Saturation and Brightness,Contrast adjusted



Exercise 1.12 Smash - MDG_3480 - Hue, Saturation and Brightness,Contrast adjusted



Exercise 1.12 Smash - MDG_3481 - Hue, Saturation and Brightness,Contrast adjusted



Exercise 1.12 Smash - MDG_3483 - Hue, Saturation and Brightness,Contrast adjusted



Exercise 1.12 Smash - MDG_3487 - Hue, Saturation and Brightness,Contrast adjusted



Exercise 1.12 Smash - MDG_3489 - Hue, Saturation and Brightness,Contrast adjusted


The reason I chose the images above is because the timing of the shots was such that you can see the egg yolk splattering.

In the case of number 5, you can clearly see egg yolk shooting through the air on the left hand side of the image. This is my favourite photo of the entire set.

This was a fun activity to do with my two nieces and there are so many variations of this that could be done. Throwing paint filled balloons at a wall. Changing the angle at which the shots are taken. If I revisit this particular activity with the twins in the future then I’ll be looking to use a much lower angle so that the shots are not from above but more from side on, which will include a bit more background but also a better view of the eggs shattering and their contents splattering.

The entire sequence of photos are in the contact sheets below.


Contact Sheet 1 – Initial preparations and first series of shots



Contact sheet 2 – final series of shots






Capturing stillness and movement

Exercise 1.11 asked to choose a subject that includes both stillness and movement and then to create a series from a variety of different instances of this subject.

At the start of the year I picked up a book full of lists of things to complete. One of the lists revolved around places that I find peaceful. At the top of the list is nature. Whenever I get the opportunity I try and spend some time on my own in the countryside, whether that is parks, mountains or woods.

With that in mind I took some time out on Sunday to catch up with some of the course exercises. Wandering around the country park on the edge of town I was able to capture some photographs of the streams and lake there.

Exercise 1.11 Ninesprings small pond stream
Ninesprings Country Park, stream leading to pond (f/20, 1/2 sec, 35mm, ISO-100)

Within the park there is a small pond as well as a larger lake. Leading from the pond is a small stream with a very tiny jetty, no chance of mooring large boats alongside this unless their model ones.
When I was examining Toshio Shibata’s work I noticed that there are a lot of geometric lines within the images. A lot of this is achieved by means of man-made structures. While choosing subjects to photograph I tried to include some form of geometric structure using man-made and natural lines.

Exercise 1.11 Ninesprings stream end
Ninesprings Country Park, stream leading to undergrowth (f/20, 1/2 sec, 35mm, ISO-100)

I chose the above image because of the very definite ending provided by the undergrowth. Unlike the previous image where the stream links into the pond with this there is no obvious link to anything beyond it.

Exercise 1.11 Ninesprings stream bend plant
Ninesprings Country Park, stream running along bottom of gardens (f/20, 1/2 sec, 35mm, ISO-100)

Initially this was just another stream. Although it isn’t clear from the photo, the stream bends in the top left corner and at this point has travelled along the bottom of a number of gardens.

What fascinated me when I was looking at this view, and considering it as a possible image, was the large plant in the garden. I don’t know what the plant actually is but the leaves on it were huge.

I also like the way the reflection of the plant in the water, especially where the leaves closest to the water are reflected a lot clearer than those further away which appear more as a shadow.

Exercise 1.11 Ninesprings overflow
Ninesprings Country Park, overflow (f/5, 1/15 sec, 135mm, ISO-100)

Walking through the park I heard the sound of rushing water. When you look at the streams, ponds and lake there is hardly any indication that the water is flowing. It must be otherwise the water would be completely stagnant. Peering over the fence alongside the stream I spotted an overflow spilling water into the stream that leads through the park and into the River Yeo.

Exercise 1.11 Ninesprings Heron
Ninesprings Country Park, lake with heron (f/9, 1/13 sec, 200mm, ISO-100)

Sunday was a lovely day and as I wondered around the park families were strolling along, looking at the ducks, coots, swans and the lone heron. Lots of families had spent time feeding the ducks, including a work colleague I bumped into who was with his grandson. Taking a picture of the heron, who must be more recent resident of the park, was a natural choice to make. The way he stood calmly amongst the scurrying of the ducks was a nice counterpoint I feel.

Exercise 1.11 Duck 2
Ninesprings Country Park, Ducks in Motion (f/9, 1/13 sec, 55mm, ISO-100)

When I initially chose the images I was going to use for this exercise I excluded the above photograph. The blurriness of two of the ducks put me off it as I didn’t think it was sharp enough.

This morning, however, I was reading an article in Black+White Photography magazine about capturing motion. The author had taken a photograph of two dogs as they were running around and made a point of mentioning how the blurriness of the animals provided a sense of energy and movement. With that in mind I included this image, in the hope that the blurring of the middle duck will give a some indication of how fast it was moving through the water.

Exercise 1.11 Ducks
Ninesprings Country Park, Ducks in Motion (f/9, 1/13 sec, 66mm, ISO-100)

Finally, the wakes from these ducks made it an obvious choice for inclusion in a series with the theme stillness and movement.

Reviewing the series as a whole I can see that there are two halves to it and I could easily have developed either half into a full series.

The first three images of the streams are very structured with rectangular elements to them. The fourth image provides a link into the wider feel of the final set of three with the rectangular shape of the water flowing from the overflow connecting with the rounder splash point.

While I was writing up this entry I used Google Maps to look at the area around the country park and in particular the course of the streams. From the information on the map I think another series could be made by following the course of the stream as it passes through the town from its starting point in one of the housing estates, through the country park all the way to the point it joins River Yeo. I think the contrast of the stream with its environment could be interesting, particularly as for a lot of its course it runs beneath houses and roads before surfacing every so often.


Shutter Speed

The brief for exercise 1.10 was to make a series of experiments bracketing only the shutter speed.

Having completed the assignment the first thing I found looking at the images I’ve chosen to use is that in order to get the right exposure I’ve not only adjusted the shutter speed but altered the aperture.

The second thing is that to get the effects I’ve wanted the difference in aperture is quite different and not just a change of 1 up or down.

Exercise 1.10 Ball water feature fast shutter
Water feature at St Margaret’s Hospice (f/2.8, 1/160 sec)

In the above image the faster shutter speed has allowed for bubbles and the ripples in the water was it cascades down the metal sphere to be captured. It has given a nice texture to the surface that I think compliments the pebbles that the ball is resting on.

Exercise 1.10 Ball water feature slow shutter
Water feature at St Margaret’s Hospice (f/3.5, 1/50 sec)

The faster shutter speed has removed any sign of bubbles and smoothed out the ripples giving only a hint at the top of the sphere where the water bubbles out of the top.

If I’d increased the time for the exposure further then the water cascading down would have blended with the metal material of the globe.

Exercise 1.10 Cefn Coed cemetery river view fom bridge highlighted and black adjusted long shutter
Cefn Coed cemetery river view from bridge (f/29, 1.3 sec)

By setting a slow shutter speed the waves and ripples on the river that separates the two parts of the cemetery where my grandparents are buries, the surface looks a lot smoother than it was in reality. It could almost be frozen over.

Exercise 1.10 Cefn Coed cemetery river view fom bridge highlighted and black adjusted short shutter
Cefn Coed cemetery river view from bridge (f/8, 1/13 sec)

The faster shutter speed shows that the river is very much in motion. Flowing fast enough that you can hear it rushing through the trees as you approach.

Exercise 1.10 Cefn Coed cemetery river view fom bridge highlighted and black adjusted
Cefn Coed cemetery river view from bridge (f/29, 0.8 sec)


Exercise 1.10 Cefn Coed cemetery river view fom bridge
Cefn Coed cemetery river view from bridge (f/4.2, 1/15 sec)

This was shot from the other side of the bridge with a fast shutter speed so you can see the ripples on the surface. The shots I took with the slower shutter didn’t work as well on this side as they did from the other side of the bridge.


Exercise 1.10 Hendford Hill bridge dog
Hendford Hill bridge dog (f/10, 1/8 sec)


I was taking photos of the bridge for the Shadows and Light project. When I came to review them I noticed this dog that had just popped into the frame.


Exercise 1.10 Hendford Hill bridge runners
Hendford Hill bridge runners (f/22, 1 sec)


With the above photo I noticed the runners coming and as I was propped with my back against a tree decided I’d increase the shutter time and capture them as they moved through the shot. I decided against focusing on them and panning so that it wasn’t obvious I was taking a photograph of them.

I think the different amounts of blurring on the runners and the couple walking nicely highlights the different speeds they were travelling at.

During this exercise I focussed on varying the shutter speed in order to get the effect of movement. In the past I’ve used panning to achieve similar effects. I’ve found this to be a lot more challenging as you need to have the subject in focus and be panning at exactly the right speed so that when you press the shutter release your subject doesn’t end up out of shot or to one side or the other.

The following, taken during the British Grand Prix at Silverstone this  year, show some of the problems that can occur when trying to capture fast moving objects including when panning in order to take the photograph. Like anything practice makes it easier.


Soft Light Landscape

Exercise 1.9 involved taking photos of a suitable city or landscape either just after sunset, just before sunrise or when the sky was overcast. The aim being to make use of diffuse light.

So first things first. I didn’t follow the brief exactly. Where the exercise asked that we bracket the exposures using the shutter speed I missed that fact. In the end each of the shots I took was correctly exposed according to the lightmeter on my camera. Changing the proportions of sky and ground that were in the photograph automatically resulted in a change of shutter speed due to the light levels that were being detected.

Some of the photos required me to use the Bulb setting, which was a bit more challenging as it meant guessing how long to leave the shutter for. Never having used the Bulb function on my camera it took a bit of trial and error to figure out that I needed to press the button on my camera remote once to open the shutter and a second time to close it. Holding the button down apparently has no effect.

Second, both of the shoots I did involved making my way to open countryside. The sunset shoot was in a country park a couple of miles away from where I live. the views of a local village and open countryside were well worth the trip but there was the problem of being on your own with expensive camera equipment. Fortunately, there were 3 couples within shouting distance of where I was taking photos so it was reasonably safe. The walk to and from the car was a bit more unsettling because there wasn’t really anyone around at some points.

The sunrise shoot was a very lonely affair. Even though I wasn’t very far from civilisation I was at the top of a hill with only a herd of cows for company. Although I am convinced that one of them was a vampire cow because it didn’t show up on a photograph I took of them, the long exposure time should have meant I got a blurred image as it walked slowly from the herd to the edge of the field but I got nothing. The only person I saw was someone out walking their dogs as I was heading back to the car.

I have to admit that doing both shoots really pushed me out of my comfort zone. I’ve never done gone out at night, and certainly not a 5am in order to take photos. It was definitely an experience and showed that to get the photographs we really want we have to accept that sometimes that means unsociable hours.

Of the two shoots I think I preferred the sunrise one. It was nice to be able to enjoy the tranquillity, broken only by the sound of the occasional car, train and recycling lorry. The opportunity to just be able to sit and look at the surrounding countryside and notice things I wouldn’t have had the chance to see normally was quite nice.

MDG_3120 with shadows and highlights layer
Stoke sub Hamdon, Somerset from Ham Hill (Shadow and Highlight adjusted)

Of the photographs I took at Ham Hill this is the one I liked the most because there was so much going on and so much to see. The more you look at the photograph the more you spot.

The original photograph was well exposed and as a result the car headlights became streams of light. The colour balance is fairly close to what I remember from the evening as it was quite dark.

I don’t think that there are any major distractions in the photo. I think the contrast between the ground area and the sky is perfect but there could have been a bit more contract between the buildings and the surrounding vegetation.


MDG_3120 with shadows and highlights layer version 2
Stoke sub Hamdon, Somerset from Ham Hill (Shadow and Highlight adjusted further)


The image above was the result of making adjustments to the mid-tones. I feel that the adjustments have made the image look like it was taken during daytime rather than after sunset. With the bright sky, the street and car lights do contradict what appears to be a sunny day.


Ham Hill to Stoke Sub Hambdon B&W-3120
Stoke sub Hamdon, Somerset from Ham Hill (converted to black and white in Lightroom)


I love black and white images. When it’s a landscape it gives it a timeless quality that, unless there are signs giving away the time period, means you could be looking at something from anytime in the last 100 years. I’m reminded of some of the photographs I’ve seen of the mining towns in the South Wales valleys where I grew up.


MDG_3130 with shadow and highlight layer
Yeovil town centre from Wyndham Hill (shadow and highlight adjusted)


Wyndham Hill is on the edge of Yeovil. On three sides it is surrounded by the town, to the south is countryside. There were so many different views to photograph.

I think the trees in the mid ground are a bit of a distraction because they hide a lot of the cityscape, however, where they dip leads the eye towards the dual carriageway which curves up and away to the left.

I think the colour balance in the image I’m more happy with than where I’ve adjusted it further.


MDG_3130 with shadow and highlight layer version 2
Yeovil town centre from Wyndham Hill (shadow and highlight further adjusted)


Again, adjusting the mid tones, lightens the image and makes it appear more like it was captured later in the day.


Wyndham Hill To Yeovil B&W-3130
Yeovil town centre from Wyndham Hill (converted to black and white in Lightroom)


I thought I’d see what this looked like in black and white.  Unlike the Ham Hill photo I don’t think it really works. Having a large part of the image filled by grass and trees the buildings are swamped.

Below are the contact sheets with all of the photos I took for this exercise. Interestingly Lightroom has truncated the captions, however, everything was shot at f/22.


Project 2 Exercises-1
Contact Sheet of all photographs for exercise




Project 2 Exercises-2
Second Contact Sheet of photographs for exercise










Bracketing Exposures

Exercise 1.8 involved taking a number of photos of an object and under-exposing and over-exposing the photo by changing the f-stop or shutter speed.


Exercise 1.8 Bracketing Exposures Contact Sheet
Exercise 1.8 Contact Sheet


The above contact sheet shows the images that resulted from this exercise.

The subject in the photos is the dog and cat garden ornaments and with a clutter free garden it was easy to find a position to photograph them that meant they weren’t obscured by any other object.

The cat and dog are sitting on a gravel border and have the bottom of a fence behind them with a sliver of sunlight shining through the gap between the bottom of the fence and the path. None of this is distracting but there is a leaf in the background, just behind the dogs right year which is distracting once you notice it in the larger photos.

The ornaments are nicely in focus and there aren’t any major distractions in the composition.

The baseline image with f/11 and 1/80sec settings is well exposed, the other images are either under or over exposed but this is intentional.

As for contrast the cat stands out against both the gravel and the fence, however, although the dog stands out against the fence it’s colour doesn’t contrast against the gravel and it does tend to blend in in places.

The colour balance on the properly exposed photo is as I remember it to be.

Exercise 1.8 Bracketing Exposures f11 1 80
Exercise 1.8 Properly Exposed Photo
Exercise 1.8 Bracketing Exposures f11 1 60
Exercise 1.8 Bracketing Exposures f11 1 60
Exercise 1.8 Bracketing Exposures f11 1 50
Exercise 1.8 Bracketing Exposures f11 1 50


Exercise 1.8 Bracketing Exposures f11 1 40
Exercise 1.8 Bracketing Exposures f11 1 40



Exercise 1.8 Bracketing Exposures f11 1 100
Exercise 1.8 Bracketing Exposures f11 1 80



Exercise 1.8 Bracketing Exposures f11 1 80
Exercise 1.8 Bracketing Exposures f11 1 100



Exercise 1.8 Bracketing Exposures f13 1 80
Exercise 1.8 Bracketing Exposures f13 1 80



Exercise 1.8 Bracketing Exposures f14 1 80
Exercise 1.8 Bracketing Exposures f14 1 80



Exercise 1.8 Bracketing Exposures f10 1 80
Exercise 1.8 Bracketing Exposures f10 1 80



Exercise 1.8 Bracketing Exposures f9 1 80
Exercise 1.8 Bracketing Exposures f9 1 80



Shadows – Light and Shadow

When I started the Shadows project my first photos were taken in such a way that they were deliberately underexposed, usually to -2. This gave a lot of darker areas but wasn’t really dealing with shadow.

Eventually I figured out that I needed to be focusing on the highlights and ensure that they were a exposed as a mid-tone which then caused the shadows to become darker. My initial photos were taken during the evening and either involved bright areas of sky for the highlights or something that was lit by artificial light which was then used to set the exposure level. This allowed shadows to become darker more naturally.

Finding locations and things to take photographs of was a lot more of a challenge because of the need to have areas that were lit but also areas with shadows.

Exercise 1.6-2953
View over work

The above photograph was taken one evening after I’d been out with my family and my sister’s family for a meal. The building is where I work. The photograph was under exposed to darken the shadows.

I like the way the clouds are lit up by the sunset. I think a perfectly exposed photograph wouldn’t have quite had the same colours and I’d have needed to do a lot of editing to get a similar colour.

Exercise 1.6-2970
Kitchen window view

Again this photograph was deliberately underexposed. The subtle lighting on the fence and the lights from the neighbours house make parts of it stand out and draw the viewers eye.

Exercise 1.6-3046
Street Lamp

The image above the result of playing around one evening while sitting on my front doorstep. The street lamp kept lighting up and then going out so capturing images was a bit hit and miss sometimes.

Exercise 1.6-3051

I spotted this bright patch of sky while I was on my way out one evening. I decided to get my camera out and grab a photo. I like the way that the small chimney pots, TV aerials and vegetation stand out against the sky.

Exercise 1.6-3056
Warehouse – waiting for practice

The above photograph and the two below were taken while waiting to go into the studio for dance rehearsals. By this point I’d got my head around the idea that the objective of the exercise was to get the shadow and light correct not by underexposing the images but by using the lightmeter to expose the image so that the brightest part of it was set to be a standard exposure.

Exercise 1.6-3057
Warehouse – still waiting
Exercise 1.6-3058
Warehouse – time for practice
Exercise 1.6-3066
St John’s Church, Yeovil

I’ve taken a number of photographs of St John’s Church. It’s an easy place to get to and there are lots of interesting features, and also angles that can be used in photographs. The church has some useful lighting during the evening that gives some wonderful shadows as well as some lovely light.

Exercise 1.6-3071
St John’s Church, Yeovil


Exercise 1.6-3229
Hendford Hill bridge, Yeovil


Finally we have Hendford Hill bridge. While thinking about this exercise and where I could take photographs this place was one of the ones that quickly sprung to mind. Both images have been edited so that the blacks have been darkened and the whites have been lightened. I would have loved to get the same effect without editing, and that could have been done at noon on a sunny day. Unfortunately the day I went to take the photographs it was overcast. To get the effect I wanted needed processing through Lightroom and Photoshop.


Exercise 1.6-3240
Hendford Hill bridge, Yeovil (reverse view)


I enjoyed this exercise. If there is one thing I’ve learned from it is that it can take a lot of thought and planning plus a great deal of timing in order to get just the shot you want.


Picture Analysis – Red Bridge, Okawa

Red Bridge, Okawa (Toshio Shibata via theguardian website)

Question 1

Take a close look at the photograph above (linked). What do you see? 

Red iron girders. Triangular shadow in background. Misty background, foliage showing through. Trees, lots of trees.

Red triangles on the bridge (lots of them). V-shapes linking each triangle to the next.

Bright path, golden path, from lower left front towards middle of image. Hidden by bridge architecture.

Rectangular rails on side of footpath.

The front most part of the path peaks at the top, centre of the photograph.

The uprights of the bridge are highlighted on the inside of the left side girders. This must be paint or something similar because the light is brighter towards the top left of the image and the shadows, formed because of the bridge uprights, across the footpath lead to the conclusion that the sun is to the left of the bridge and slightly behind it.

Question 2

What drew your attention first?

The red uprights of the bridge, their colour and strong lines drew my attention. The lead the eye to the hazy background.

Question 3

What is the main subject? 

The main subject is the bridge structure. The red iron structure, the pale path. The hazy background forces you to focus on the bridge and not something that might be in the background.

I think that the misty background adds an extra dimension to the image as you can’t see where the bridge leads to, does it actually lead to anywhere. The indistinct details in the background could mean that this bridge actually goes nowhere, it could simply end in mid-air or even against a rock face.

If we were to travel across this bridge would our journey suddenly stop. Will there be somewhere to go when we reach the other end? Would we be able to carry on, do we need to re-trace our steps and take another path? Or will we find ourselves stuck and unsure of how to go on.

Question 4

Describe the quality of the light and shadow.

The light is very good, the main focus of the photo is highlighted and clearly lit. The shadows are dark with very little details. The background is more of a midtone.

The mood of the picture is very bright and cheery despite the dark background.

Question 5

Explain the pictures composition using an annotated sketch.

Red Bridge Okawa question 5

Question 6

What does the title tell you?

The title is descriptive and not embellished. The bridge is indeed red. “Okawa” indicates that it isn’t local unless you happen to live in Japan.

Question 7

Name every object in the picture.

Footpath, railings, bridge, girders, trees, shadows, uprights, supports.

Question 8

Is what you’re seeing and describing the same thing?

I think what I’m seeing and what I’m describing are different. What I “see” is much more, it encompasses the photo from the tiniest details to the image as a whole.

I know that if I look at the photo again and again I will notice more details. If I read somebody else’s opinion of it then I will see it in new ways. Seeing it is much more, it includes the feelings and ideas I get when looking at it in light of my own perceptions and thought processes.

Seeing the photo also depends on different conditions. In low light there are elements that aren’t easily visible but in bright light so much more comes out.

When I’m describing the photo I’m looking at individual elements and picking them out. I’m being more analytical. How do lines flow? How has the photographer composed the image so as to draw the eye of the viewer through it? What colours are there? How does light and shade appear across the image? What can I work out about the time the photo was taken from the image before me?

Question 9

What is your personal response to the photo?

I like this photograph. It makes me want to find out more about it, about the person who took it and their thoughts. It also appeals to be the part of me that likes structure, organisation and technology.

It also appeals to the part of me that likes nature. This would be a part of the world I would love to visit and see more of.

It’s also like to be able to turn around and see what was behind the photographer, to see what they didn’t photograph.