Digital Finals
These photos have all been taken at Canary wharf to resemble Joel Tjintjelaars series "looking up". to make these recreations as similar as possible i enhanced the vignetting and also increased contrast and exposure. All four photos were taken in raw format so that their is a lot more accessible to compile the photos.
This photo was taken of a block of flats up near south quay DLR station. what I particularly like most about this photo is that there is a lot of detail coming from the glass balcony. the reason for this is due to the fact that i shot this photo using a 50mm lens which is able to gather more detail.
This is one of the more symmetrical photos that I had taken. to take this photo I switched lenses to a 10-18mm so I could capture as much of the building as I can. I also incorporated the rule of thirds ratio so that the top horizontal line was inline with the top of the building. there was minimal lighting for this photo as it was starting to get dark, therefore I had to bump up the ISO to 1600. the downside to this was that there was a great deal of noise. but I was able to reduce it in camera raw.
This is another one of the symmetrical photos that I was able to get out of my shoot at Canary Wharf. This particular photo is the one that find the most aesthetically pleasing to look at. the reasoning behind this is that the composition of the photo makes the whole image look perfectly balanced.
Unlike the previous three images this photo takes up the whole frame. The composition itself is symmetrical but its not as pleasing for the eye because there is too much going on. The logic behind this is that because this specific building displays a fair bit of glass. I wanted to use my 50mm to capture the photo. Another difference to the other three photos is that I went a lot closer to the building itself rather than standing across the street. this means I can get a crisp image due to the fact that the aperture was set to F1.8 and then also allowed me to have a smaller ISO resulting in less noise.
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