EDGE-ALIGN
If there’s a straight edge in the subject, and it’s close to one edge of the frame, it suddenly acquires a new relationship. The closer you position it, the stronger this feels, like a kind of magnetism. This particular alignment, from an Irrawaddy riverboat in Burma, happens to be rectilinear and squared up, and was hard to avoid, as I was standing on the bank at one of the ferry’s frequent stops (I was a passenger), looking for activity on board. The boat’s various openings framed scenes of regular, semi-domestic Burmese life as families travelled for two or three days upriver. I concentrated on one woman hanging out a blanket to dry in the sun; the lighting was intense and frontal, and made me think of a frontal way of framing. ...
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