Learn about camera formats, techniques and composition
This is a techinical analysis of four images from the 'Coast Exposed' exhibition. Photography by the National Trust and Magnum Photos.
Towanroath Engine House, Wheal Coates Mine, near St. Agnes, Cornwall, by David Noton
Technique
The colour used in this photograph is very saturated. The shadow behind the engine house suggests that this photograph may have been taken early on or later in the day, as this is the time at which colours are most intense. There is a slight magenta hue to this photograph, suggesting that the film type may have had a magenta hue or that the colour may have been emphasised for effect in printing, to bring out the purple of the heather. This creates a more dramatic effect.
Camera format
A medium-format panoramic camera could have been used for this shot, or a large format image may have been cropped. Larger format cameras are commonly used for landscape photography as they give sharper, crisper images, which maintain their quality when enlarged.
Composition
The long, smooth, horizontal lines in this photograph have a calming effect, but are contrasted well by the vertical chimney. The engine house is off-centre, and the way in which the land curves up towards the left and then straight across in the distance, leads your eye up to the corner, giving a sense of distance and scale.
Rock pools and algae at low tide on the shore of Traethllyfyn Ynys, St. Davids, by Paul Wakefield
Technique
The photographer has probably used a small aperture here to create a deep depth of field. Everything is in focus. Light has been used very cleverly to bring the eye to the centre of the photograph, and the small patch of reflected light creates contrast in an image which is quite dark overall. It also helps to show the difference in texture.
Camera format
A large-format camera was probably used here, as this enables a photographer to capture a lot of detail and to blow up the image without losing image quality. This image is exhibited on a large lightbox. This may have been shot on transparency or slide film, which has great depth and increases the ability to capture detail.
Composition
Notice how the land in this photograph fills the frame of the photograph. Less light from the sky, which is omitted, makes the photograph quite dark and oppressive, but creates a mood and an image that demands to be looked at.
The Giant's Causeway, by Ian Berry
Technique
In this photograph it looks like the photographer has probably shot into the light, a technique we are told to avoid conventionally, but this is a way of creating a moody, sensual photograph. This technique slows down an image, inducing feelings of hazy days. The light here comes from above (see the tops of the subjects' heads and the tops of the stones) so this could have been shot in the middle of the day. Shooting into the sun has given the impression of dusk.
Camera format
A small-format or digital camera was probably used here as this enables a photographer to get close to subjects, photograph them quickly and move around more easily. They are widely used by documentary photographers.
Composition
There are many people in this photograph but their activities are put into perspective by the layers of landscape in the frame, which is in three sections. This divides the frame well and shows the changing texture of the Giant's Causeway. The couple in the front bring us into the frame through their proximity to the edge of the picture and make us feel like we too, are surveying the landscape.
Surfers, Woolacombe, north Devon, by Chris Steele-Perkins
Technique
The light here is diffused by clouds, this creates less contrast in a scene. It is the stark black and white attire and bright surfboards that create contrast. The depth of field is great here, enabling the viewer to focus on the people and the subject of their focus, the sea.
Camera format
A small-format or digital camera was probably used to take this picture as it enables a photographer to get close to subjects, photograph them quickly and move around more easily. They are widely used by documentary photographers.
Composition
The figures nearly fill the frame and are strangely static (notice the hands down by their sides). Their immobility seems incongruous with their sport and creates a sense of restlessness reminiscent of penguins out of water. The diagonal placing of the surfboards seems to suggest some imminent movement and the surfboard in the right-hand corner seems to bring this figure into the arena more.