Teide National Park

A landscape shot employing realism. asymmetrical but balanced appropriately through shape, orientation, and perceived physical weight. The composition introduces a moderate number of elements effectively to achieve overall unity that

improves the viewer's clear mental response.

Depth is well-created by positioning a minor element in the foreground to facilitate the entry into the frame. The first leg of optical movement in the frame is a diagonal one led toward the tiny tree on the right in the midground. The continuation of visual flow in that direction on a slanted leg gives us a charming sense of liveliness and vividness of the scene as if the elements are animated specially since the movement is jerky, jumping from the fore to the midground. the second leg of the optical movement is induced by the tree's visually connected with the contrasting stones at the foot of the mountain contrasting with other elements in that region. The rocks tips point upward toward the furrows on the mountain stretching toward the peak. There is a light source there on the peak which absorb the visual importance. The peak is a heavy object which is properly ' sharpened' ( meaning that it is away from the center and placed on the upper golden mean and whose particular pointy triangular shape acts like a magnet to absorb the optical movement.

The visual flow is culminated in the diagonal stretch of the colorful clouds which quite interestingly converge at the light source on the peak, therefore, strengthening the motif and creating balance.

The proportion of land and sky is carefully observed to contrast the tranquil landscape with the unsettling sky. 2/3 of the frame belong to tranquilizing extent of the land. The fuzziness of the clouds is yet another point which absorbs visual flow.

The low-value color of the land boosts the phlegmatic eye-soothing, but this tranquility doesn't overcome the whole frame where our perception of interrelating elements invokes a sense of harmony and peace on the whole, but individual analysis of the dynamic presence of elements still create an uneasy feeling when viewed in isolation.

The split complementary color scheme ( the somewhat orangish hue cast on the midground immediately before transition onto the rocks produces 'simultaneous contrast' - an effect first hypothesized by Munsell- is a source of discordance

with the blue hue of the sky which is complicated by the presence of red tint in the clouds.

Gerry has truly captured a collection of discordances and contrasts in shape

and color in this frame to successfully accomplish harmony which governs the feeling transferred to the viewer, so if viewed in terms of the collaboration of individual elements by staring at the entire scene, the feeling is that of peace and security.

Hi Arash

What a truly astonishing critique.

It is interesting that when composing the image my thoughts were not even internally verbalised . The image was FELT and seen more than thought-out. It took a while to SEEK the scene, but there was a certain excitement when I felt I had achieved the composition I was seeking. Time was very limited with the light changing rapidly with my late arrival at the sedimentary plain.

Thank you so much again.

I shall, on a suitable members photo club club night at St Andrews, show the image whilst reading out your critique.

Regards

Gerry

The truth is I myself have rarely pre-intellectualized a shot. Of course, a landscaper is at leisure , unlike a photojournalist or a wildlife photographer, with the static scene, yet this is not a general rule. Sometimes, the time, as you aptly put it, is tight and some scenic elements like pieces of cloud, for instance, which can make difference between a fantastic capture or a mundane shot are really on the move. Hesitation, and the chance is history.

I believe that even professional photographers rarely pre-intellectualize, so the question is how Tom Mackie, Andy Rouse, or David Noton capture such dazzlingly , mind-bustingly wonderful shots? I think the answer is that the initial feeling of human being, as portrayed perfectly by Gestalt psychological principles of perception, is highly trustable, as mind works out what is nice and what isn't in split second. Even ordinary people are capable of being inspired by the beauty of what they see and they feel attracted or sometimes repulsed. They may not be able to explain clearly why they feel so at all.

If you are able to distinguish what works visually without dissecting the visual elements laid before your eyes is a proof that your brain has a gallery of a collection of wonderful shots you have observed throughout your life. That mental library of images and the subconscious analysis your brain has done based on Gestalt principles existing everybody comes to your help at the right moment. This is where you are different from somebody who hasn't observed a single photo in his life or is not used to seeing the world around him in a frame.

I myself am always on the watch for composition and visual elements no matter where I go. This has become my second nature which is there every time I am out there in the nature to shoot.