Tuesday, November 4, 2008
Turku by night
Here, the composition is divided by vertical lines, the main one being the tree at the classical golden cut point, giving it some balance (golden cut = the shorter length has the same proportion to the longer one as the longer one has to the whole), but the dip in the street and the upper part of the tree makes it list a bit to the right: The picture is threatening to spill out of the right edge.
With all the lines pointing to centre left, this picture has the form of an explosion. As the details stop before the right edge, the vertical lines of the building and poles counteract that movement to give the white building a floating quality. The rectangular stairwell rising from the platform towards the left edge sits like a crooked tooth in the composition, as none of its lines conform to the rest of the picture - except that it is echoed in the rooftop in the centre of the picture. I think this just prevents the picture from being boringly predictable. It is the main character and the rest is its stage setting.
This one is bisected at the golden cut into dark and lighted halves, with both of them bleeding into each other in triangles. Not exactly stable and the hospital on the right looks insubstantial - especially since I neglected to rotate it into the vertical, so the whole picture lists and wafts drunkenly. Ah, but the colours! That contrast of green below and orange above and glaring white and deep black. It's insane.