Location - North York Moors Railway, Spring Steam Gala, 6th May
In the Horizontal format the steam train can be seen between the trees. Its such a small element of the image it has little point. The Vertical image excludes the engine but has better balance with the road and path leading the eye to the Mill House.
Both of these images work well but I prefer the Vertical because it retains the signal without losing the impact of the rows of wheels and bogies.
Again, I refer the vertical image. There seems to be a better balance.
In this pair of images, the Vertical seems to have more to say; the Horizontal appears to be jumbled and without a focal point.
Again, I prefer the Vertical image in this pair because more can be seen of the smoke from the stack.
These two image give a quite different impressions of space. The Vertical gives an impression of height and the inclusion of interest with the clock. The Horizontal make the space appear more cavernous.
There is little to choose between these images. The Horizontal gives a sense of length of the road and the hint of a Square at the end. In the Vertical, the sense of street length is lost but so is the distracting entrance to the hotel. What is gained is the colour contained in the sky.
The boldness of the Fire buckets is less overpowering in the horizontal. If this impact were required though the Vertical may be more effective.
These two images have completely different subjects created entirely by the frame orientation. The Horizontal is an image of barrels and their storage. The second is an image of the footbridge. The storage of barrels is of secondary interest.
The distance from the subject means that there is relatively little additional smoke interest in the Vertical frame. However, it does exclude some of the peripheral characters that add nothing to the image.
The vertical image has additional interest in the wheel beneath the footplate and the steam beneath the tender.
These images are not identical. However, the Vertical speaks to the cramped conditions of de-coupling the engine and hints also at the danger in the work. Observation makes the viewer grateful for not being in the same location.
The Horizontal image shows the degree to which the Railway siding intrudes into the town (Pickering). The leading lines of 2 sets of rails in the Vertical image lead the eye to the engine, and the activity of the worker operating the points.
It's not possible to deduce what the engine is doing in the Vertical image (stopped? moving slowly? stopping? accelerating?). The Horizontal gives context to the image. The smoke indicates forward movement and its clearly approaching its carriages for coupling.
The Vertical appears to be an image of the lamp and its location on the platform. The Horizontal speaks better to a train on a vintage platform.
The Horizontal speaks more to the bulk and presence of a hot and heavy piece of machinery than the vertical
The Horizontal image speaks to its presence in a steam fair with the inclusion of enthusiasts taking photographs.
The Horizontal would appear to be the natural frame for the clock and the signal gantry. However the tower behind is an obvious intrusion. This is less obvious in the Vertical frame. The Vertical frame also includes tree detail increasing the perceived height of the clock.
The Horizontal image shows trains at a station. The vertical show a driver on the footplate.
Both the Vertical and Horizontal work well in the images of the train negotiating bends. The wind taking the smoke to the right, fills the frame with drama. In the Vertical image, the leading lines of the track and fence take the eye to the engine at the front of the train.
The rain presents a different character to the previous images and is suited to 1950's railways, The smell of steam, oil and rain feel clearer here. The Horizontal talks about the management of level crossings.
The Vertical was taken earlier than the Horizontal. It is further from the crossing but its presence is signalled by the whistle sign.
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