More structures. Always a good default when the landscape seems to be the same - not winter and not spring yet. Lots to practice with structures like getting the camera level or failing that adjusting the tilt correctly in post processing. Then because of angle between you and the subject there is which line to adjust too. In the photo above I picked the purple bike rack. It was the subject of my interest and by making it the one object the most square for the viewer it draws their eyes there.
In this photo it is the flag poles because they frame the statute. I learned this principle placing and hanging light fixtures at my day job - electrician. The measured middle of the room does not always look like the middle of the room. The center of the statue would often be picked as the center of the photograph. It is in reality her leading foot. The heel is in the center of the flag poles which trisect the composition. Ergo it is the poles which must be true vertical.
Lots of vertical lines in this photograph including the subject - the boy in blue. I took this with my long lens at a distance so no curve of the lines like with my wide angle. I tend to want to take structures with my wide angle lens and distortion, even if it is not a fish eye lens, can happen. On this particular day in Las Vegas, New Mexico I was trying to catch candid shots of the filming of Longmire television series. I had my 70-300 zoom lens on which required me to back away from my subjects.
This resulted in not getting the whole building but also not getting a lot of trash like poles around the buildings. It is like a pre-crop - what we used to do in the film days. We called it framing your shot. And the best benefit was all the lines are straight. The vertical ones at least. And those are the ones we get our balance from. As humans we are used to slanting sidewalks and receding lines of perspective.
But we want what is right in front of us to be vertical. The columns were fun. Only editing besides making it black and white was cloning out a no smoking sign. I debated the 800 but decided I like it.
Obviously I like this church. And I like the shadows on the church walls. What I like most about the church are its lines. As a car dealer would say, "It has classic lines." And even if the photograph is about the shadows the lines have to be straight. At least the vertical ones at the may point of focus for the viewer. Not necessarily in the center of the picture. In the one below it is the like from the top of the arch on the biggest window of the transept to the bottom. Yeah, not actual like there to follow.
And it isn't always easy to get this right in the field. And even in the film world we made adjustments in the darkroom. Yes, even Ansel Adams. BTW adobe buildings are a real lot of fun because they have no verticals really.
As I went to post the first photograph of the new week - Day 99 - on my FaceBook Page Binford-Bell Studio I realized the cupboard is now bare. I have to get actively out with the camera and take pictures.