A compromise of composition

Kelpies, sculpture, installation

The Kelpies

I don’t know about you, but I usually find myself bristling when I hear or read the words, “…it’s all about…” because I find it seldom is that exclusive. I was on the verge of titling this blog “it’s all about compromise” then had an argument with myself. I’m pleased to say I won.

I am not, therefore, going to say that photography is all about compromise, though that features in so many ways, not least finding the best compromise of ISO, aperture and shutter speed. What I will say, is that this blog is about the compromise of composition.

This was the third time I had photographed these magnificent sculptures called The Kelpies, but my first visit in winter. I like to find different ways of seeing and photographing subjects so set out to look for something unusual. Walking round the side I notices a canal boat moored up with smoke  rising from it’s chimney. I thought that might offer an interesting composition contrasting the ephemeral nature of the smoke with the solidity of the Kelpies.  How then, did this end up as a compromise of composition? Ideally, I’d have preferred to position the boat more between the sculptures to balance the scene a little more and provide more of a leading line. I was physically unable to do so as, to get more to the right, I would need to climb a fence and engage in trespass, which I thought to be a bad idea. That said, had I been able to position the boat as I wanted, I’d have lost contrast on the smoke with it positioned against the sky, and it was the smoke that had captured my compositional attention. I did feel, however, that the fading daylight in the background offered an interesting contre-jour shot and the grey of the winter sky reflected the steel construction of the Kelpies.

The grasses on the left of shot are also something of a compromise. Ideally, I’d have left them out of shot but it wasn’t possible to do so on location with the lens I was using. I debated removing them in Photoshop but decided to leave them in as I didn’t feel they were too distracting. I did, however, remove a lighting pole which was directly in line with one of the Kelpies and definitely spoiled the shot. One compositional advantage of shooting from behind, is that I eliminated the power lines and pylons which are in full view from in front.

I think the lesson here is to accept that sometimes, maybe more often than not, we photographers have to accept compromise in our compositions and the job is to make the best of what we see. Personally, I like to do that with the least manipulation in post.

This was shot at ISO-400, 1/000 sec, f/8 with a focal length of 18mm. I used an auto white balance with the intention of colour correcting in Lightroom if necessary. I used Lightroom to make basic adjustments to highlights, contrast and toning (among others) and used Photoshop to remove the troublesome lighting pole.

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