RustyBug 
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 p.1 #7 · Technical question about a photo and its style | |
Shasoc wrote:
However, the choice of a focus point in a photo rests only with the photog in relation to what s/he want the photo to be.
Hey Jim,
The point of focus vs. the points of non-focus present, as GMA uses the term ... a focal point. The decision about the location of the focal point relative to the non-focal points can be viewed as a half-empty vs. half-full perspective, going along with Socrate's point, regarding decisions to be made by the photographer.
I say that in terms of there are various aspects of composition that afford the viewer "stop's" and "go's". Focus plane is one of the stops, and the rate of transition into / out of it can vary from gentle and slow to hard and fast. Horizontal lines vs. parallel or converging / diverging lines offer different aspects of "stop" vs. "go", as well. GMA / Socrate's mention of text as a "stop" is yet another example.
I mention this in consideration of the decision that you have (per Socrate) regarding where are you going to place your "stop" (focal plane) vs. your "go" (transition into vs. transition away from). Long way of saying, do you want the viewer to "walk into" the plane of focus vs. "walk out of" the plane of focus. Your placement (near, mid, far) will yield a shift in that RELATIONSHIP of "stop" vs. "go" in spatial perspective. This will be not only in terms of sequence, but also in terms of magnitude of balance (i.e. now much in front vs. behind ... coming into, remaining to depart from).
So, with that in mind ... it begs the question of intent. What is your intent of mood / emotive response that you want the viewer to discern (or feel like) when they engage your image. What is the goal of how you want the viewer to react / respond to the presence of the image.
If your answer is I want the to feel like they have arrived at the destination of the flower(s), that can be different from wanting them to feel like they are at a point in their journey, and have vastly more ahead of them remaining. Recognizing how the "stop" and go" aspect of the elements play with one another is a keen aspect for consideration, relative to your goals for the image. It isn't a "which is better", it is a which conveys your desire to the viewer more significantly. Which of course is predicated upon your intent. Spatial intent is part of the compositional decisions we have to make, so it is keen to recognize which elements / attributes are in play for us to work with.
The focal plane is but one of those elements. Here, the organic nature of the image presents a limited variety of such elements, and may (at first blush) seem to be that we only have point of focus as our only attribute for consideration. However, we also have our PP decisions in play regarding the tone / mood that accompanies the "stop" and "go" aspects. Saturation levels can influence this emotive as well as infer spatial distance perceptions, as can contrast levels. These decisions also are part of alignment with not only the spatial effects of the chosen focal plane, but also our decisions about influence on the impact on the viewer. So, here again ... alignment (harmony vs. incongruity) is predicated on awareness / knowledge of one's desired intent.
A bit long, but the "which is better" or "what should I do" ... is a matter that is rooted in "what do desire to achieve". Until you answer that question (insert telephone game, more on that in a bit), you're in spaghetti territory to try things and see what sticks. Answer your goals / intent first (in detail) and it then offers you insight into how your "stop" and "go" elements can be used to achieve that your goal / intent.
More to follow, but curious to hear your desire / intent / goal for the influence on the viewer ... experiential / spatial relationship / movement vs. information alone, kind of thing. What do you want the viewer to get out of it. Here is a bunch of flowers vs. something more than that, alone?
If a picture is a but a thousand words (non-verbal vs. verbal) communication, and "tells a story", then knowing what that story is in words, gives us the clues and cues on how to use our non-verbal tools of communication to convey the story. But first, we have to know what the story is that we desire to tell, before we can craft it the way we want it to be (non-verbally).
Tell me a story, paint the scene ... with words ... that you want the viewer to hear (see / feel). From that, the decision for where to land your focal plane might become revealed.
HTH
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, and that is a very difficult picture to take and compose.