From left, banana leaves and ceiling fanHoward Moo Young, Contributor
SUBJECTS WITH strong, simple lines of pattern and design have always fascinated me, and I find their appeal hard to resist. Consequently, over the years I have built up quite a collection of these colourful images. Incidentally, these subjects can be equally rewarding in black-and-white too.
Pattern and design can be found practically everywhere, on or in almost everything and often in the most unexpected places. Although the more obvious types are not difficult to spot, there are many pleasing and effective compositions that do not readily present themselves. My training in graphic design helps my eyes to zoom in to these unusual shapes, patterns and colours, without trying very hard. Here, I think, a lot depends on experience with this particular type of subject; on training the eye to immediately recognise the picture potential of areas of line and/or colour and then being quite ruthless in cropping the subject matter down to the bare minimum.
STARK SIMPLICITY
Interpretation of the word 'minimum' rests, of course, with the photographer concerned. What may seem a little to some may appear too much to others. For me, stark simplicity scores every time, and nowadays I find I am leaning more and more toward subjects in which the magic ingredient 'impact' is derived solely from this vital factor. There are exceptions especially where the whole of an intricate or regular pattern offers an effective picture; but even here simplicity can be introduced by treating the subject as a frame-filling design.
This search for pattern can be great fun. Usually you don't have to travel far; and your gear need not cost the earth. Much can be done with standard, inexpensive equipment, especially when the subject calls for a close approach. However, I must admit that there are many cases in which the more fortunate owners of interchangeable-lens cameras, or those fitted with zoom lens have the edge on those who have to rely on fixed lenses.
For example, the narrow, compressed field of view of the 135 mm makes this particular lens ideal for pattern work, since it practically 'selects' its own pictures. To illustrate this point I suggest that SLR owners should try scanning a likely subject, first with the standard (50-55 mm) lens in position and then change to the 135 mm. The difference can be quite astonishing! Note how shapes and patterns fall together with much greater impact once extraneous detail has been eliminated by the restricted field of view.
DEPTH OF FIELD
Another major advantage of the 135 mm (or similar) lens for this type of subject lies in its shallow depth of field at wide apertures a feature which helps produce pattern and design from the most unpromising material by 'softening' either the background of foreground as required; or by simultaneously acting upon both background and foreground, thus allowing the sharp centre plane to stand out boldly... and simply. Sometimes the choice of a wide-angle lens can create some interesting results.
What to look for? What to take? The answer is anything and everything, provided that you cut out the frills and see the subject purely as a satisfying pattern or design. Tones, colours; straight lines or curves; textures of metal, wood or stone; shadows; rooftops, streets, buildings; earth furrows, leaves, grasses; waves, ripples, reflections; tree-trunks, flowers, fruit... I could go on and on. The possibilities are endless.
As I mentioned earlier, much depends on the ability to 'see' likely subjects in the maze of everyday surroundings. But, having spotted them, a great deal also rests on imaginative treatment; and perhaps the best advice I can offer to anyone setting off a pattern trail is: 'keep it simple'. You'll find it pays.
Howard Moo Young is an advertising/graphic design & photography consultant with over 40 years experience. E-mail: mooimages@yahoo.com
