Take a number of shots using lines to flatten the pictorial space. To avoid the effects of perspective, the sensor/film plane should be parallel to the subject and you may like to try a high viewpoint (i.e. looking down)….
This part of the exercise took a bit more thinking about. I photographed a narrow boat passing under a canal bridge, but there’s part of the bridge showing. I also took some photographs inside, to try to get a better camera angle. but it was quite difficult and I need to do some more practice. In the end I did some without the tripod.
Review your shots from both parts of Exercise 1.3. How do the different lines relate to the frame?
It may be down to my choice of subjects but I thought that the overhead shots felt rather more static. I wonder if you had an overhead shot of someone on a footpath, would it carry the same sense of motion as one showing the same person towards the end of a path receding into the background? My images here feel more self-contained, whereas those in the first part of this exercise feel as if they are part of something larger. In some cases it’s harder to identify the subject from an overhead perspective too, it’s certainly a relatively unfamiliar perspective. I think the Laszlo Moholy-Nagy Marseille image has a very strong abstract quality to it, it is reminiscent of the ubiquitous Orla Kiehly leaf print.
Notes on cropping and framing
To me, framing is how you choose the edge of your image at the point when you take it; it’s determining what will be on the image perimeter and checking for composition and anything that’s not wanted. Cropping is an action that’s applied later, when you can change the shape and aspect ratio to further emphasise/de-emphasise/remove particular elements in the composition. I would agree with Victor Burgin, some of my shots especially the boat ones do present as a ‘cropped view’ rather than ‘a transparent window on the world’. It’s an interesting line to tread, to compose an image that isn’t instantly recognisable but that is also clear enough.