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More beautiful abstract ideas

As much as there are good realistic subjects that can be photographed, there are other subjects that do not require accuracy in conveying reality, but rather a special vision, in order to depict subjects with the same beauty - and perhaps more beautiful and attractive - and these subjects, in their majority, can be taken from the realistic subjects themselves and perhaps from small parts of this subject. or that.

Whatever type of photography we prefer, we will find a new way of abstract photography, and here we have to take a new look at the world and instead of looking at the subject with a desire for it in itself, we must look for a schematic system behind this subject.
To start entering abstract schematic photography, we have to start viewing the subjects in a different way, as it is preferable not to look at the whole subject at once, but we have to stop looking at specific parts, details, and areas that come together to create a new schematic system.

Trees are a good target in this field. That is because the method of wrapping and overlapping its branches, and there are no two alike between them, then we were able to find new schematic systems in it, with each movement of the camera, by looking at the schematic systems that these branches place, or making the dark trunks shaded in the foreground contradict the more schematic systems Intricate twigs in the background.

The approach to natural subjects can lead to the production of unusual and unexpected abstractions. A pinecone, for example, may be in front of a somewhat fluid target in itself, but the symmetrical schematic systems in the husks enclosed on each other enable us to make a schematic system snapshot that gives new life to an old topic.
Breaking down the systems:
It is often possible for the landscape photographer, who adapts to the general systems of image content, to ignore the abstract element in many scenes. The photographer looking for graphic systems sees things differently.
Instead of photographing landscapes in the usual direct way, he searches for a schematic system, and for a design observing the opposition between land, sea and sky, and taking as a method the signing of stones on the beach or fence pillars, perhaps within the frame.

It also requires searching for lines - the way in which the horizon, the sea and the shoreline on the coast can fall within a series of straight horizontals - and then try to break them with perpendiculars or curves formed by fences, walls or rocks.
or something else .
After that, we have to work with wide-angle lenses to open up a wide area of ​​the landscape, which pushes the virtual dimensions to extend to create more of the schematic system, or work with telephono lenses to capture small isolated areas of the landscape, and thus to give a comprehensive view of the subject with more abstract element.
Macro viewing:
The close world of photography can suddenly display schematic regimes in subjects too mundane to be photographic.
We do not necessarily need expensive close-up equipment to take pictures. Very often, we do not need more than a standard lens at its closest focus distance to give us everything we need to find planning systems in things we deal with every day, such as the way the grain falls on a piece of wood or planning systems Rust on something made of iron, for example.
And if we want to get closer, you can use cheap telephoto lenses that connect with our standard lens or switch to a macro lens with a closer focus. As for the tubes and bellows, they bring us closer and closer. Once we start using accessories of this type, we will find planning systems in things that we previously ignored. Or we have never seen it even with the naked eye.
Flowers, feathers, even pieces of cloth..... These will all be the basis for pictures of the schematic system when taken up close.
There are three points to pay attention to when photographing from a very close distance:
- Take care of the lighting, because when working closely, it is easy to notice that the camera casts a shadow on the subject.
- Moving to a longer lens, which allows for a close focus, provided that the camera is retracted to a distance farther from the subject.
Pay extra attention to focus. Because close camera distances mean a very shallow depth of field, we compensate for this with the smallest available aperture whenever possible.

- designs :
If we cannot find graphic systems in the places around us, we have to create these systems automatically, by searching in the drawer of kitchen knives, in the children’s toy closet, and in the attic of the tools in the garage. From any ordinary thing that we use almost daily and find around the house
We must not show these places as normal as they are, from here we must take our time and incur some hardships to arrange our subject in an attractive way, and it happens sometimes that designs - even the simplest ones - can be very effective in this field, but we need to look at our subject with a searching eye about design.
We also have to avoid overlapping or obstructing backgrounds, as simple backgrounds work best and keeping an eye on the way the light falls on the subject is essential as any change in the direction of the light can make or destroy images like this.

Between villages and cities:
Villages and cities provide ample numbers of images with a schematic system, and we will find these images everywhere around us, once we start the search process. Surfaces come in many types, shapes, and colors. And we have to take advantage of the gentle curvature in a modern building or perhaps the planning system, and the trend towards colors that conflict with the sky or improve it.
We point out here that capturing the sky directly like this will turn it into the light blue that you see on a sunny day and to darken it, we use a polarizing filter, twist it on the lens until it finds the best location for it, then capture it at right angles with the sun whenever possible to extract the best effect polarizers will work As well as to reduce the gloss on glossy painted woodwork - this is another way to give pictures with a graphic system that bears the simple surreal look that can work well with a subject of this kind.
Also, parts of the buildings, in turn, can provide exciting and interesting subjects for abstractions. We must look for schematic systems for windows in tile work, the possible way to sign a door in relation to a window, stairs and decorative works with stones or bricks. We must train our eyes to search for details and we will find abstractions and schematic systems in every street corner.

The best part:
There is an old saying that many professionals admit is that part is better than all. This saying is more true in the field of schematic and abstract photography.
Very often, it is better to give the subject an impressionistic appearance rather than a comprehensive overall look. Fingers resting on guitar strings create a powerful and highly influential schematic system and highlight the intended subject in a way that a direct shot of the whole musician may not, and a close-up of a shoe on the pedal of a motorcycle engine creates a stronger image. From another you make a full face shot of the biker and his bike.
We have to think of examples similar to this method on our own, so that we go towards strong images and juxtapose human elements with lifeless things that help the image coherence with each other, just as dramatic lighting does. We must avoid using direct flash with such shots, and instead go towards lighting Side or background, either from natural or artificial sources, to produce an interesting and interesting image.

- Light systems:
The way the light falls on the subject can be the decisive factor in the image with the schematic system. The subject, which seems ordinary and half-hearted, can come alive and dramatically when it is given side or background lighting to supervise one of its surfaces, while keeping another adjacent surface of shadow, which often creates an effect. three dimensions. More than this, the same method can transform an easily recognizable subject into a schematic system of light and shade, confusing and confusing, especially if we pick up one small spot from the total content to be used outside the content to produce an abstract design.

Shadows play their role in abstract designs as well. They are captured outside during the early morning or late afternoon, while the sun is low in the sky. It gives us long shadows. And indoors, we have to move artificial light sources where they can have a similar effect.
Similarly, shadows can be used to darken a background and thus isolate a well-lit subject in the foreground, or they can be used for their own sake, putting their own contribution to graphic systems in ways that would be impossible under soft, shadowless light.