converging verticals – Damien Demolder

Picking the decisive moment – at the Bank of England

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Give yourself choices • adding depth • simple or complex • when it all comes together

Capturing the decisive moment - when is it?

There’s too much reverence attached to Cartier-Bresson’s mystical Decisive Moment – the moment in which all the elements of a scene come together to make the perfect picture. Of course decisive moments do happen, but there is no witch-craft, spiritual powers or crystal ball gazing required. Any ordinary photographer is more than capable of capturing ‘it’.

The two key skills required are the ability to spot a potential scene, and the patience and foresight to wait until the right people walk into it and occupy the right places. Of course it’s important that they are the right people, as they will be making up a significant part of your image – and they have to land in the right place to create a balanced and pleasing composition.

Everyday scene

I spotted this scene in the late spring on my way to work. I walk past it every day, but on this particular morning the sun was streaking up the street and lighting the columns and pedestrians in a way I hadn’t seen since the same moment last year. I always admire the contrast between the bumpy roundness of the stone columns and the smooth flatness of the walls – they have massive photographic potential, I just had to wait for the right conditions.

On this morning I saw that the scene had been set. I pulled my camera out of my pocket and framed the columns and wall in a way that would show both well, and then wondered at what sort of passer-by I wanted to complete the show. It was just after 7am so the street was still relatively empty. If I waited long enough I would be able to choose whether to have the street occupied or empty, with a few people, a single figure or a crowd, as well as whether I had people only on the other side of the road or close to me; to create depth. There were various traffic options too – vans, buses, bikes…

To experiment I shot lots of options, to study and pick between afterwards.

The background

In this type of shot, where the interest is in the relative positions of the moving elements (the people), you need to ensure the background stays in the background, and does not become a distraction. This is a strong background, but it doesn’t take over – and that’s because I spent some time positioning myself and the camera to ensure that uprights were upright and that I wasn’t going to have converging verticals and sloping horizons fighting for the attention of the viewer.

Below you can see five different versions of the same scene, each of which presents a different view and a different kind of composition – as well as different types of content. Even on the back of the camera I knew which I liked the best; actually as soon as I pressed the shutter I knew that I’d got the shot.

I didn’t know beforehand what I needed to create the ideal frame, but when the right elements came together before my eyes I knew that was the shot to take.

Shooting with a compact

Using a compact camera with an LCD meant I wasn’t holding the camera to my face. This risks camera shake of course, but it also means you are able to see around the camera at what is about to enter the frame and where. You can’t do this so well with a DSLR, so while compact cameras are not necessarily the best option for perfect picture quality they do have many significant benefits that often outweigh the quality issues. This is also a very small camera that is easy to carry absolutely everywhere – including places you wouldn’t normally take a camera.

Which picture do you think represents the most interesting moment?

Panasonic Lumix DMC-FX33, 1/250sec@f/2.8 ISO 100 and 28mm end of the zoom

See more of Damien Demolder’s recent photographic posts here

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com

Photographing the decisive moment - when is it?

Photographing the decisive moment - Lone man

I quite like ‘Lone Man’. I waited for him to be between the pillars before I took the picture, so he’d stand out from the smooth background.

Photographing the decisive moment - the crowd

Here’s the crowd scene that shows how full the street can be even at that time of the morning. It’s exciting, but maybe lacking in a clear focal point

Photographing the decisive moment - all on the left

I like the depth the near-and-far people create, but the frame is over balanced to the left – and everyone is walking out of the picture

Photographing the decisive moment - scooter

Although scooters, cars, buses and vans are a real part of the life on this street for me they spoil the timeless nature of the Bank’s architecture

Capturing the decisive moment - balance and depth

This is my favourite. It has depth created by the head in the foreground and a good balance of subject on either side of the frame. The people are also ‘right’ for the scene

Capturing the decisive moment - the next day, different light

I shot this the next day, at exactly the same time of day, to show that when the sun isn’t streaking up the street lighting the building and the people there is much less to photograph. The impact has gone. The decisive moment is as much able the hour, the day and the season as it is about that split second when all the elements gel to make the perfect frame

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Converging Verticals – software fix

Sloping Flats with converging verticals

If you have a picture you’ve already taken that has slight converging verticals the effects can often be corrected using the features contained in a number of popular software applications. The tool you should be looking for is usually called ‘Transform’, which will probably have sub sections that will be called something like ‘Perspective’ and ‘Distort’.

The idea is that the whole image is selected and then the top is stretched horizontally to counteract the inverted V shape of the building. This is a quick and effective solution to convergence in any direction, but users need to be Altering perspective realistic about what can be achieved before image quality suffers to badly. Obviously pixels are being stretched and made larger in one part of the image, and although the image will remain the same size detail resolution in the stretched part of the picture will suffer. If this area is mostly sky you don’t need to worry too much, but the stretch may be quite easily seen in areas of more fine detail. distorting the image

As this is the case only minor effects should be attempted, but the advantage of the method is that you will end up with a larger image than you would using the cropping method. In this example I have used a picture that is just too distorted to be able to correct easily, so you can see just where the limits are. The perspective is not only looking up, but also twisted. The correction is almost there, but the final image has a strange look to it. sloping flats with converging verticals corrected

Of course, the method relies on you having a software application that provides a ‘Transform’ tool. If yours doesn’t there is a free download application called GIMP that does – it is also a very good general purpose imaging application that offers an enormous amount of control.

Shot with Samsung GX10, with Rikenon 28mm f/2.8 lens. Exposure 1/4sec @ f/2.8 ISO 1600

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com

Sloping Flats with converging verticals Altering perspective You can find the ‘perspective’ tool in Photoshop by clicking on ‘Edit’ and then ‘Transform’. I have overlaid the image with a grid screen to help me to get things straight. This is hidden under the ‘View’ menu, after which you need to select ‘Show’ and then ‘Grid’. You can set the preferences for the grid – such as the spacing between the lines – in the main ‘Preferences’ menu. distorting the image ‘Distort’ is also under the ‘Edit>Transform’ menu and can be applied without having to finish the ‘Perspective’ adjustments. I needed ‘Distort’ Here as the camera was not square-on to the subject, so we have a twist as well as converging verticals. I’ve pulled the top of the image out and pushed the bottom left in and the bottom centre to the right. It is almost a rotational movement. Obviously the adjusted image now has chunks missing from its corners – some cropping will be in order. sloping flats with converging verticals corrected

Converging verticals – what, how and fixes

Converging Verticals Eiffel Tower with guide lines When we look up at a tall building its sides slope inwards to form an inverted V shape. We are so used to seeing in this way that we hardly notice the effect while we are enjoying the view. When we take in the same scene in 2 dimensions, as we do when looking at a photograph, the experience is quite different and we do notice the convergence of the vertical aspects of the building.

If the effect is exaggerated, or at least very obvious, it lends a sense of height and drama to the picture, and we can appreciate a a split second just how tall that building is. However, if the effect is only moderate the building might look as though it is tilting backwards and in danger of falling over.

As with many photographic visual effects moderate applications simply look like mistakes, so we should avoid them at the shooting stage, or learn to correct them afterwards.

The way to avoid the problem is to hold the camera completely level when taking the picture, as it is the looking up angle of the camera that creates the effect. Unfortunately, keeping the camera level usually means that the top of the subject will be cut off. You can move backwards to alter your perspective, but in the majority of cases this is not an option as space is usually limited in architectural locations. In any case you’d have to move a long way for even a moderately tall structure

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com

See a map of where this picture was taken

Converging verticals – fix by cropping

A method of avoiding converging verticals that is open to everybody is shooting wide and cropping the result. In short the camera is fitted with a wide angle lens and is held in the upright orientation. Keeping the camera absolutely level you will see that once you have all the building in the shot there will be an excess of foreground that is probably not needed. Don’t worry about that though, just shoot the picture and crop the unwanted space off the final picture. Set the cropping proportions to 5×4 for a professional look, or pick between 6×7 or any other format simulation that suits the picture. You may end up with a horizontal shot from your vertical original, and you will have lost a lot of pixels, but at least the sides of the building will appear straight and completely upright.

This isn’t an ideal solution, but it is quick, easy and it does not require any additional specialist equipment.

Converging Verticals Arc de Triomphe cropped This picture was made by cropping to 5×4 proportions to give the feel it was taken using a large format camera. As you can see the crop is a little too close and it all looks a bit uncomfortable. I used the full width of the original image to get the final picture size to 2912×2330 pixels, which would still deliver a 10x8in print at 300ppi.

For this picture I cropped square. Again using the full width I was able to produce a final image that measures 2912×2912 pixels, and which prints to 10x10in at 300ppi. The extra space at the bottom makes a more comfortable composition, and a more successful final image.

Shot with a Canon EOS 1Ds, with EF28-135mm f/3.5-5.6 IS – exposure 1/5sec at f/22. ISO 400

The original file for these images measures 2912×4368 pixels and comes from an 11 million pixel camera. As the file is large to begin with there are plenty of cropping options to be had. Try different cropping proportions, such a 6×7, 6×8, to get different effects and to make the most of the file size you had to start with. Cropping to a landscape orientation will always leave you with the smallest final image, so using upright crops

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com

The right content and angle – Orlando Calling

It’s often the case that I ‘see’ a picture, or at least a potential picture, in a split second, but it then takes me more than a few seconds to work out exactly just how the picture should be composed to be shot. Although my brain was able to identify almost before I realised it that there is a picture waiting to be captured right there in front of me, actually working out what it is in the scene that is making my alarm systems ring.

When I spotted this chap making a call from a bank of phones in Orlando I was able to identify straight away that it was the way the green colour of his t-shirt contrasted with the red of the phone booths that caught my eye. The line of the metal-fronted phone boxes also made a striking connection with me – not to mention his haircut, sun glasses and square-set features.

My subject was so engrossed in his conversation that he wasn’t noticing me at all, so unusually in this kind of situation I was free for twenty seconds or so to shoot away trying a few different compositions and crops.

At first I was simply too far away, and the greater distance between me and the subject compressed the perspective in a way that couldn’t show the front of the phones very well . I was also at too acute an angle. I wondered forward and then moved round to get an angle more in front of him. Having found the right position in the horizontal plane, I then realised the next problem was that I was looking down on him slightly – which was making the diagonals of the phone booths converge to taper in at the bottom.

Bending my knees slightly was enough to lower my position so that I could get all the verticals parallel. Getting things parallel is really important, as it simply makes a shot look as though you took care over taking it – and it lends a professional feel. Converging verticals and wonky horizontals just look sloppy. Keeping this in mind will make a massive difference to your pictures – and not just those showing tall buildings!

For the final shot I moved in to frame things a little tighter and then waited for the subject to put on the right expression and lift his head a little. I was lucky that he brought his head up so his eyeline view was almost completely horizontal too – and then I knew I had the shot I wanted.

Shot with a Canon EOS 1Ds, with EF28-135mm f/3.5-5.6 IS – exposure 1/320sec at f/8. ISO 100

If you find you have shot a picture that has slightly converging verticals or a wonky horizon you can correct the problems reasonably easily in a software application such as Photoshop, Photoshop Elements or GIMP (free download).

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com