Buildings of various heights and positions, yet similar tones from the setting sun, are all encompassed in this wide-angle shot of Hong Kong.
Zoom.
By eliminating any remaining space, the density of the neighbouring buildings is emphasised.
Focus.
The surface of the building is being utilised as a backdrop of the sole focus of the image: the reflection of a neighbouring building, and how this perception of it has altered its structure.
Crop.
Once again negating any negative space, crop allows the image to focus solely on the machinery located on various rooftops of Hong Kong, with only industrial buildings of similar colour tone serving as the background. The picture plays with ‘lines’, creating a sense of disarray.
Bird’s Eye / Aerial.
From above, you can see: an empty tram railway track with no end in sight, a road with nothing but a green minibus and red taxi in motion, a lamppost, and the spaces designated for a bus stop.
Worm’s Eye.
This picture is very much about the ‘unknown’: there is no clue given as to where the ladder is leading, or what exactly is on the other side. The viewer is reaching up and outwards, in this makeshift tunnel (highlighted by the cyclical imagery surrounding the ladder), from underground, and landing into something open and vast. The use of this technique really enhances the emptiness of the sky, almost evoking a feeling of vulnerability from the uncertainty. The viewer goes from being encompassed to completely bare.
First Person View.
A window opening to miscellaneous clothing hanging.
Skewed Angle.
This angle adds depth and introduces reflections of nearby buildings, interesting shades and shapes as a direct result of how the light is hitting it, as well as a sense of uncertainty of how large this building really is; without the skewed angle, the viewer would only be presented to a straight-on surface level of the building.
Perspective.
In this image, we can only see what the reflection in the building is offering; there is a clear layer to our view.
View Frame.
Three buildings and a bridge create a ‘view frame’ for the body of water lying beneath it.
Seriality.
In these three companion pieces, there is a gradual shift (in terms of color and size) in the geometrical shapes present.
Chiaroscuro / Contrast.
In this image, there are three colors presented: the direct contrast between the black and white of the building’s surface, as well as the vibrant sepia tones present in the office-space inside.
By: Saima Abidi (UID: 3035552856)
1 thought on “[Field Trip I] Rooftops in North Point”
Kenrick says:
The colortone of the whole album is beautifully and consistently desaturated and underexposed.
I can see the conscious mind and sharp eyes of capturing every moment. Many great ones such as the ambiguity of crops, the smart expression of slewed angle and the subtle reflection change in the seriality of facades. Some can be expressed even more obvious such as the ‘perspective’.
The colortone of the whole album is beautifully and consistently desaturated and underexposed.
I can see the conscious mind and sharp eyes of capturing every moment. Many great ones such as the ambiguity of crops, the smart expression of slewed angle and the subtle reflection change in the seriality of facades. Some can be expressed even more obvious such as the ‘perspective’.