The good, the bad, and the al dente
In the mid 60’s Sergio Leone’s vision of the American Old West redefined an American film genre. Though the stories themselves were nothing new, Fist Full of Dollars was based on Akira Kurosawa’s Yojimbo, the cinematographic approach taken by Leone portrayed a vision of the west that was cynical, raw, explosively violent, and far more visually stunning then had previously been seen. What can we as photographers learn from these films, and can pasta help us to embrace new perspectives?
“Force never moves in a straight line, but always in a curve vast as the universe, and therefore eventually returns whence it issued forth, but upon a higher arc, for the universe has progressed since it started.” From the Kabala
Lines can play an important part in a composition and the perspective from which we view these lines can drastically alter the message our composition delivers. Brian Peterson, author of Understanding Exposure, and comp recommends a pasta-based exercise in learning to see creatively that can help us understand the power of the line.
“It is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true.” (Piet Mondrian)
I first heard of this exercise in an interview with Brian on the 7 Photography Questions podcast. I’ll quickly break the exercise down here, but if you would rather hear it in Brain’s own words listen to episodes 20 and 21 of the podcast.
The Spaghetti Principal
Part 1
Get a box of spaghetti and a 2×3 or so piece of poster board. The purpose of the poster board is to help you frame your shot so pick any size you are comfortable working with. I didn’t have any poster board around so I just used a white bath towel.
Imagine that we will be drawing straight lines on a page of paper where the lines extend off the edge of the page. In other words none off our lines will come to an end on the page. Our poster board will be our paper, and we will draw our lines with the spaghetti. I find that mixing white and whole wheat pasta adds an intriguing degree of contrast.
Pull the past from the box, stand it up in the middle of your frame, and let go.
Compose your shot so you are looking directly down onto the pasta. Adjust your field of view so that none of the ends of the spaghetti can be seen. The spaghetti should form lines that run off the edges of the frame.
After taking the first shot move a bit to the left our right and take another shot, again pointing straight down onto the pasta ensuring that our lines run out of the frame. The idea is that we will shoot as we move around the frame. We will need at least 3 shots, one in which the lines are horizontal, one in which they are vertical, and one where they are diagonal.
To paraphrase Brian, horizontal lines convey calm and tranquil picture, vertical lines show strength and dignity, while diagonal lines imply motion and speed. Changing perspective changes the message the photograph conevys, this Brian says is The Power of the Line. I can’t say that these are the feelings that hit me when I look at these shots, but then that may be why Brians suggesting the exersise, so we can learn to see. Look not with your eyes, but with your heart Grasshopper, and you will discover the power of the line.
Horizontal lines - Nikkor 24-70 f2.8, 56 mm at 1/160 f 11
Vertical lines - Nikkor 24-70 f2.8, 70 mm at 1/25 f 11 ISO 400
Diagonal lines - Nikkor 24-70mm f2.8, 70mm at 1/25 f11
Part 2
This part of the exercise focuses on incorporating elements of shape and color; Brian suggests a small red cherry tomato, into our pasta pictures. My artistic vision does not include small red cherry tomatoes; I don’t even like them in my salad. Taking a far more daring approach to photography I chose to incorporate a small yellowish-orange Scotch Bonnet pepper.
“No man has the right to dictate what other men should perceive, create or produce, but all should be encouraged to reveal themselves, their perceptions and emotions, and to build confidence in the creative spirit.” Ansel Adams
Place your vegetable of choice, be it the unadventurous and conservative small red cherry tomato, or the daring and audacious small yellowish-orange Scotch Bonnet pepper within the frame where you feel it best adds weight to your vision.
This pepper is calm and tranquil - Nikkor 24-70 f2.8, 70 mm at 1/100 f 11 (-1EV) ISO 800
Strong yes, but hardly dignified - Nikkor 24-70 f2.8, 70 mm at 1/320 f 11 (-1EV) ISO 800
I call this one "Pepper racing towards oblivion" - Nikkor 24-70mm f2.8, 70mm at .5s f16 ISO800
Brian presents a number of other exercises on learning to see creatively in the 7 Questions for Photographers podcast. If you’ve never listed to this podcast before I highly suggest you give it a try. Audri Lanford, host of the podcast, has already interviewed photographers such as Jim Zuckerman, Jennifer Wu, and Tony Sweet.
