Photographic
Tips, Rules, & Concepts
What makes an effective image
&arranging picture
elements effectively.
Composition
Every photograph has its origin in the desire of the photographer to say something meaningful
Good photos do more than just preserve memories or make a record of a place or event.
Why Make Images?
The photo’s message can not just be in the photographer’s head.
It fails, if it only jogs your memory
Good PhotosDeliver a Message
Good composition is the visual language that allows photographs to convey a clear message.
By mastering image composition you can communicate ideas with amazing effectiveness.
What do I want to say with my photograph?
Two Approachesto PhotographyPre-visualize
Plan the PhotographStart with
an idea
Let it HappenFind the Image
Look for theDecisive Moment
Both are valid and has its place
The Arguments forSpontaneity
We are creatures of habit.
We see the world based onour learned beliefs.
We make the same imageover and over.
approach everything as a blank slate
Look for simplicity
Be spontaneous
To be Creative:
MW Blevins
M.W. BlevinsBe receptive to the moment!
“In the decisive moment,it is the
simultaneous recognition,in a fraction of a second,
of the significanceof an event as well as
the preciseorganization of forms
which givesThat event
its proper expression”
Henri Cariter-Bresson
Henri Cariter-Bresson
M.W. Blevins
Spontaneitycan be in themood of the Image –
A successful image may only need to evoke a feeling.
The argument forpre-visualizationIf a photograph is art,
can it’s content be unplanned?
Does the picture make a statement?
Does it create a feeling?
Does it communicate a mood?
Is the message understandable?
M W Blevins
Pre-visualize the result M.W. Blevins
Studio Still Life work is often pre-visualized.
M.W. Blevins
The eye & the brain
The camera & lens
They work together to dynamically scan & interpret data
Has only a single point of view
They View objects stereo-scopically by auto pattern recognition
They provide dynamic & automatic exposure control
Translates images into a two dimensional surface
Controls exposure for each frame
Breakthe
Rules
Don’t overrule your visual instinctswhen you look through your cameraand see something special.
Gordon Heisler
Of composition
The Center of Interest
Strive for a singleunderstandable subject.
The area around the subjectshould complement and
strengthen it.
Balance light &dark areas
Match detail areaswith empty ones
Balance simple &complex shapes
Philippe L. Gross, Parked Dog,
Cropping – framing the picture
Get close to the subject.Learn to crop in the camera.Eliminate extraneous detail.
Object MergersWhen objects in the
foreground or background interfere with the subject.
Simplify the ImageStrive for isolating the subjectAnd avoiding object mergers
but
maintain clear shapes & formsto increase interest.
Divide your frame into a horizontal & vertical grid.
Place subject at intersections
The motion of the subjectshould lead into the scene.
Emphasize foreground
Horizon Line
Emphasizebackground
Horizon Line
Tina Manley
David Rosen
Rule of Thirds
Foreground objectsComplement theSubject.
Selective focus canalso frame the subject.
Natural Frames
Windows, doors, holes,walls, foliage, canAll be frames.
NaturalFrames
Image byHenry Ford
NaturalFrames
M.W. BlevinsStockholm, SW
Leading LinesFocus the viewer on thepicture’s center of interest.
Henri Cartier-Bresson, Ile de Sifnos, Greece
Strong Shape & Patterns Will Strengthen compositions
Emphasize simple shapessuppress excess detail.
The emerging patterncan bring order fromconfusion.
The key is controllingcamera viewpoint & lighting.
Paul Schranz
Repeating Patterns
Silhouettes convey meaning without excess detail
Silhouettes
By emphasizing theOutline, they addMystery and interest to the subject.
Expose for the brightbackground to under-expose the foreground.
Novgorod, Russia
Ansel Adams“Self Portrait”
Depth Perception – Creating Depth in Photographs
Aerial Perspective
Atmosphere conditions often desaturate background colors and which separates objects at different distances.
Telephoto lenses can enhance this by making the distant objects seem closer.
perception
M.W. Blevins
Linear perspective:Converging lines,Telephone poles,Railroad tracks.
perception
Photo by Molly Helfrich
M.W. Blevins
Dynamic Lines
perception
Use of diagonal linesinstead ofhorizontal or vertical lines
Diagonals enhanceimage depth.
Dynamic Lines &Linear Perspective
Philippe Gross – Z path
Selective Focus:
perception
Throwing the foreground or background out of focus.
Gordon Parks
Camera Viewpoint
Vary it – For stationary subjects, try at least 6 different viewpoints.
Jeff Moore
Motion Blur Can Add Tension - Excitement
M.W. Blevins
Using These Guidelines, Take thephotograph. Learn to react quicklywhen the right moment occurs.
Don’t let the mechanics of photographycome between you and the subject.
END