I find the brief to part 2 is unclear. Although the words and the sentence structure are English, I have trouble extracting any meaning without importing extra words, or ascribing special meanings to “place” and “in relationship”. The best meaning that I can extract is to say that a point is “in relationship” to its frame if you can place another point in any part of the frame. Therefore, I will look at the placing of two points.
Two dominant points in the frame create a dimension of distance, a measurement of part of the frame. … The eye is induced to move from one point to another and back, so there is always an implied line connecting the points. This line is the most important dynamic in a two-point image; being a line, it has a relationship with the horizontals and verticals of the frame and it also has direction. The direction of the line depends on a variety of factors, but it will tend to be from the stronger to the weaker point, and towards the point that is close to an edge (Freeman 2007:70)
All the images in this exercise start with a single point, near the bottom-right intersection of thirds
A second blue point is added, in semi-random positions. The following images explore the relationship between points at varying distances apart.
Where the points are close together (first image) it is possible to see them as a group or shape, with its own relationship to the frame. Where further apart, there is an implied line between them, as discussed by Freeman. The two images with the blue point above and left of the red feel more comfortable than that with the blue point to the top right and the implied line heading out of the frame.
It is also possible to think of the points and frame as “controlling space” in the same way as two stones in a game of Go. There is a balance to be struck between the strength of control (closer is stronger) and the amount of space controlled.
The images below explore Freeman’s concept of a relationship with the horizontals and verticals of the frame.
With the points arranged vertically, there is less sense of controlling space than in the previous images (where the points marked the diagonal of an implied rectangle) but a much stronger line, parallel with the edge of the frame.
Reference, Freeman, M (2007) The Photographer’s Eye. Lewes: Ilex Press