This photograph was taken by Alvin

Langdon Coburn in 1916 and was part

of the Vortograph series. There was 16
of this type of image produced with the
purpose of being shown in art galleries
as part of the Vortocism art movement.
Vortocism stood for rebellion of the
increasingly common landscape and
nude art styles. It instead favoured
aspects borrowed from the, Cubism,
Futurism and Expressionism
movements to create highly conceptual
and pattern driven art. Coburn tried to
replicate the art form in photography
and as a result created the first ever
known abstract photos.
The image its self is compiled of several
different techniques. To get the base
image Coburn first placed a diamond
and several pieces of wood on a glass
table, then he placed the camera in
triangle tube built with three mirrors (he called this tube a Vortoscope). After he had
the position and composition he wanted he would then take it too the dark room
where he has exposed the image, moved it slightly and exposed it again which
distorts the primary focal point making it hard to focus on the picture and also gives it
the effect of motion.
Firstly the composition of the image is all over the place due to the three mirrors
reflecting at different angles, this is however the desired look as it makes the image
more confusing and hard to find a specific focal point. The lighting setup is hard to
determine, however, taking into the context that the photo was taken in 1916,
florescent lights were invented 1903 and that the series was taken in a studio there
would have been a 3 point lighting setup as there are very minimal shadows. The
focus of the picture consists of a shallow depth of field as the background
underneath the glass table is blurred and unrecognisable, this is achieved with a
Pinkham and Smith Semi-Achromatic soft focus lens set with a high aperture and
fast shutter speed. This particular picture has been framed as a portrait ratio more
than likely due to it obscuring.
The overall use of these techniques and micro elements have made this picture very
fit for its purpose which was to fit with the Vorticism art movement and be shown in
galleries.
 This Picture was taken by
French photographer Henri
Cartier-Bresson in 1932 and
titled Hyres, France. The
purpose of this photo is to be
used in Bressons portfolios
and to be shown in galleries.
What stands out in this picture
is how Bresson so perfectly
captures the composition in the
frame; one aspect is how the
bike lands on the upper left
intersection when you apply the rule of thirds which makes the picture more
visually appeasing as the primary focal point is easy for the viewer to distinguish.
Another factor which surfaces when you apply the rule of thirds is how the image
is equally split in thirds vertically, the top third consists of pavement and blank
space, the one below this is filled by the top of
the bannister and the bottom third has steps
filling it. Additionally the top of the bannisters
both work as lines of entry and lines of force
meaning that the viewers eyes enter the photo
via the barrier, they then follow it round until
they finally land on the primary focal point, the
bike.
The lighting in this picture is natural light and
the sun seems to be fairly central however is
blocked by the stairwell which creates the only shadow of the picture in the bottom
left.
Bresson uses a high aperture and slow shutter speed when taking this which in
turn creates a deep depth of field to capture all the details of the frame and gives
the moving bike some motion blur as it passes.
The purpose of this picture was for Bresson to show his vast photography skills
and his eye for good composition which he successfully achieved with the fame of
this image.
This Photo was taken by Brad Oliphant, in 2017 as part of a series conveying nature
with a surreal, abstract and heavily edited effect called Kaleidoscopes and is called
Kaleidoscope 15. The purpose of this series is for fine art so it would be displayed
in places such as photography magazines or art expeditions.
The image is mostly achieved via photoshop to give it its mirrored and desaturated
effect, however to help visualise the original picture you could cut the image in half
and rotate it 90 degrees:

The original image would have looked similar

to this, other than the fact its been
desaturated in specific places and not others
and the originally would have the warm
colour scheme throughout the whole picture.
The composition of the picture uses several
rules including, leading lines as the tree trunk
pulls your eye towards the coloured parts of
the tree, in addition to this the way which the
trunk is bigger at the bottom of the picture and narrow the further it goes down, adds
a 3D effect to the image. The trunks also work as a line of entry as they start at the
bottom edge of the picture and take you through.
Natural lighting is used for this photo as he looks directly at the sky; to achieve a
good picture while pointing at the sky he would need to use a very small aperture,
fast shutter speed and low iso to avoid being over exposed. As a result of using a
high aperture the photo has a deep DOF meaning the whole frame is in focus.
He shoots this picture when the leaves was changing colour giving the image orange
tones and attributing to Oliphant intended purpose of showing nature, this time being
changes in season.