3. Multiple points

A. The basic set up for the positioning of multiple points is a tray of sand with two dead leaves on it; a large one bearing down on a small one. It is lit by three flashguns, the one to the left at half power while those to the right and the top of the tray are at a third power. The settings and positioning were determined after a long period of trial and error. The tray is slightly tilted and the camera, on a tripod, is angled so that the lens and the arrangement are on the same plane. A 100mm fixed focal length lens is used. The shutter speed is 1/125sec to synchronise with the flash and the aperture is f8 to provide reasonable depth of field.

B. The points are created with tiger's eye stones to provide a harmony of colour with the leaves and sand while, at the same time, standing out because of their shine. The first one was placed in the large space to the top left, not only to fill the space but also to create a triangle with the leaves and get the viewer's eye moving around the image. There is the beginning of a sense that the point is moving towards the space between the leaves.

A diagrammatic representation of the main points made in the notes about the previous image. A similar diagram will be provided for each of the following images.

C. The second stone strengthens the sense of movement into the gap and towards the smaller leaf. This strengthens the focus on the smaller leaf, enhancing the feeling of the larger leaf looking down on it.

D. A third stone creates a triangle of points. The group of stones is now becoming the dominant element in the arrangement. The bottom stone, in particular, is prominent because it is out on its own and closer to the centre. It focuses movement from the other two stones towards the smaller leaf and keeps attention focused on it, despite the larger size and deeper tone of the other leaf. The top two stones create movement towards the larger leaf but it is not as prominent as the more vertical implied 'guidelines' through the centre stone.

E. The fourth stone shifts the attention away from the smaller leaf and takes the sweep of movement more into the space between the leaves and towards the larger one. This sense of direction away from the smaller leaf is increased because of the prominence of the fourth stone due to its centrality, its slightly larger size, its darker colour and the way it is pointing. Therefore, while there is still a lead-in towards the smaller leaf, it is much less obvious.

F. By this stage, my placement of points is more guided by what 'looks right' in situ, rather than any prior planning in my head. I then tried to analyse why it looks right. The fifth stone increases the flow into the space and takes even more emphasis away from the smaller leaf. More importantly it seems to prompt the viewer to close the shape created by the top four stones and establish something like a third leaf.

G. Placing the sixth stone in the centre of the top left group of four removes the tendency to close the shape and enhances lines of movement, both towards the larger and smaller leaves.

H. My instinct here was to place two small stones on the edge of the top left group.  This makes me want to close the shape again but this time, prompted by the new stones, to form a jagged outline more in keeping with the leaves. The sense of movement, while still there, is less prominent.

I. As with image F, the addition of one more point seems to reduce the tendency to close the shape. Placing the stone just outside the group in the top left corner creates a strong curved path from corner to centre and a number of other paths at the same time.

The above set of images is my third attempt. I completely gave up on the second attempt. The first attempt resulted in a fairly interesting final arrangement:

The different placement of the leaf in this image, stalk towards the centre, seems to create a different set of dynamics. There is more of a sense of the stones and the pathways they imply radiating away from the leaf, rather than moving towards it.