Crop sequence 1 The original framing has a fair amount of “empty” space on all four sides. Crop1 tightens that up, thus enlarging and emphasising the 3 main elements of the picture. The pillars either side now form a frame for the picture; the boy and his model boat are either side of the intersecting one third lines to the lower right, and the floating dinghy cuts the corresponding intersection upper left.
The square crop – Crop 2 – uses the same thirds intersections, while emphasising still further the triangular relationship between the boy and the two boats. I think there’s a train of thought that begins with the boy and his model boat on one side of an apparent divide made by the pillar and its shadow, and the real, floating dinghy on the other, and I find myself wondering what question is running through his mind as he weighs up his options.
Crop sequence 2 There’s too much space either side and above the two young people, with the added complication that they are directly facing the camera. Crop 1 shifts them to one side, and picks up the top right thirds intersection. There is a slight sense that the rock itself is “looking” to the left and this crop gives it room to “look” into. I don’t find it very convincing though and prefer the second crop which accepts that they are looking at the camera and leaves them central, but on the top third. The result is a neutral, balanced image.
Crop sequence 3 This is a somewhat “bitty” image that needs cropping to discover the interest in it. I felt that the overseeing owl statue was significant, watching over both the small, central family group, and the woman striding past the “no alcohol” sign and so opted first for the “portrait” crop, which leaves the family half way along the base of a triangle formed by the owl, the departing woman and the bright lights of the stall. The second crop, less successful I think, seeks to look back into the fair. I don’t think it really works though; the two heads in the bottom right hand corner are little more than a distraction and the unlit gloom of the second stall suggests that there’s not much worth looking at in that direction!