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art of photography . . Principles and Curriculum Lesson 26
Content and appointed photographer? Stress is its types and common mistakes

In this image “No. 1” of an urban setting by Peter B. Kaplanf, we see a great example of how light can be used to draw attention to a subject. This picture, which gives a classic example of photography with available light, does not deal with the accuracy of gray color.
They are mostly black. And the seated person stands out against the brightly lit window.
A very different environment, however, the same chosen lighting principle was used in this picture achieved by Hiroji Kobubata “No. 2”.
The details of the mountain surface to the right are underlined by their contrast with the completely shadowed peaks to the left. It is the opposition between light and darkness that adds the element of drama to the picture.

Throughout this whole seminar, you will practice how to use light. So far, we're still interested in the technical aspects of lighting - how to get the right exposure - and it's time to start using lighting as a creative tool. Wherever you look in the viewfinder, look at the light, see it. Try to feel it. And you have to achieve emphasis through lighting, making it one of your most powerful tools.

Emphasis with close lines:
The subject may be very small within the frame, but who could mistake the subject of this photograph of Berk Azl, "Number 3", a man in a long hall.
The lines converge from each of the four corners and point to it as arrows. These converging lines form a tunnel that baffles the eye to walk through it towards the only person. Also, the use of a wide-angle lens strengthens the convergence of these lines to give a sense of isolation, which is the subject of this picture. You also notice that the wide-angle lens enlarged the actual frontal space and zeroed the man's scale to increase the sense of distance, isolation and loneliness.

- Emphasis with a chosen focus:
Over the course of this seminar, I've seen examples of how stress can be achieved by voluntarily focusing on the subject while throwing everything else out of focus.
Note this example from Peter B. Kaplan's work, "Number 4." He could have kept his wife focused with the cat, but this would have set up two conflicting subjects vying for attention. From here, Peter focused on the cat, producing this effective shot.
Now go back and look at the pictures in the lesson on depth of focus to see more examples of using selected focus to achieve emphasis on a subject.

Emphasis on focus:
You have to cover the lower half of this image.”
No. 5 » achieved by Rene Bury for two horses drinking from a swamp, and you will find yourself in front of a picture in which there is only a little pleasure, but if you include the reflection of the image of the two horses in the water as well, then the shot will become very beautiful and wonderful. The precise signature of the contents of this picture, the two horses and the trees - to achieve a cyclic repetition system is the cornerstone of its power.
This image and others like it illustrate the effectiveness of repetition, by which we mean the use of lines or shapes that repeat one another to produce a strong visual image. this . Typical examples of repetition include the reflection of an image in water, the repeating line of telephone poles or fence posts extending endlessly, the repeated pattern of row upon row of seats in an amphitheater, the repeated pattern of beams or arches supporting a bridge or raised international highway, and the pattern of brick walls.
While repetitive elements such as these may produce an attractive visual image on their own, a stronger image is often created even if the repetition is used as a means of drawing attention to a subject that does not recur itself. An example of this is if there is a lone person, sitting at the end of a long row of seats. A runway, the repeated image of the empty seats directs the beholder's eye to that person and emphasizes his isolation, or if the repeated row of telephone poles directs the beholder's eye to a distant subject: a train, a car, a person, a mountain...etc...

Emphasis through movement:
If the subject in your photo is making dramatic movements, our attention is drawn towards it. Of course, this is achieved by keeping the viewfinder on the subject and you remaining ready to capture the moment of maximum activity.
You don't have to travel to the ends of the world to find active footage, you can find it at the local high school or college football field, just about anywhere.

- a summary :
In order to review how to emphasize the main subject in an image, we invite you when you look through the viewfinder to ask yourself:
1. Shall I stress the subject by placing it close to the center or far from the centre? ..
2- Shall I emphasize it by making it bigger? ..
3- Shall I tighten it by encircling it? ..
4 Will I emphasize it with selected lighting? ..
E - Will I emphasize it with a chosen focus? ..
6- Can I emphasize it with successive lines? ..
7- Can I stress it with repeated lines? ..
8- Can I stress it with movement? ..

Only after you have asked and answered these questions are you ready to capture.

Common mistakes and how to avoid them:
While making preliminary efforts to try to form in the viewfinder, there are a number of certain mistakes that are almost inevitable to be committed, as almost everyone commits them. Here are some of the more common ones. With a little foresight, you should be able to avoid them.

The picture is taken from an adult close-up:
We mentioned previously that one of the features that differentiate between a photographic and natural image is that the image is defined - it ends when there are four borders of the image. While nature is infinite, the edges of the printed frame.
And one of the major decisions you make as a creative photographer, one that revolves around what to include
In your image and what you exclude.
It is a decision that represents a fundamental choice in the aesthetics of photography, and the question is when do you make this decision - during capture or during printing? ..
It is clear that what you exclude during capture cannot be added during printing or development. Take photo A, which covers the entire frame of the negative, the feet that were cut off during capture and disappeared forever. This photo was to be taken as photo B, with insignificant details at the edges. Then it can be traversed in the darkroom to produce the particular final effect you seek.
The lesson is if you do not have a valid reason for that, do not fill all your negativity with your topic. Leave breathing space on all four sides.

- Watch the background:
Look at picture "C". It's great except for just one common mistake. What's wrong ? .. The mere existence of a tree that seems to sprout from the head of our subject. .
Hence, while you are shooting, always pay careful attention to the background behind your subject.
In black and white photography in particular, I'm wary of things that might produce a similar grayscale.

How do you avoid a tree in the head?
You can change your location or angle as it appears in the picture. Dr . To keep extraneous background away from your topic. Or maybe you can use a wider aperture to narrow your depth of field so that the background becomes so out of focus that it effectively disappears.
This error based on no background monitoring is a major dilemma for many beginners. This dilemma is exacerbated by the presence of automatic lenses on SLR cameras today, as you know that the automatic lens enables you to focus with a maximum aperture.
From here, while focusing, you will always get the shortest possible depth of field. When you focus on the subject and the lens is open to its maximum aperture of f / 2 or f / 1.4, the background appears out of focus, but when you press the shutter button and expose at f / 11 or f / 16, for example, the background comes into focus and can conflict with your subject as well. In the photo: c, .
the solution ? ..
After you've focused, press the Depth-of-Field preset button and see what the background looks like at the actual aperture you're shooting at. If you see dilemmas, work with the suggestions above to avoid extraneous background.

Distorted background:
The suggestion of depth in an image is emitted by the fact that the closer something is of a given scale. The older the afternoon. This is as basic a fact with regard to dimensions in photography as it is in art. The distances can deviate if the lens is too close to the subject.
Notice how distorted the two men appear in the photo. e. Reason: The camera was too close.
The solution: go back and work with a longer lens.
The result: the interesting picture in the picture, and , .

- reminder ...
There is a problem that bothers many photographers who work with SLR cameras with other brown cameras.
What is happening here is that they are installing a new film cassette in the camera.
They capture a complete lap with images that cannot be repeated, while the tire counter gives the numbers frame by frame as they move from one number to 36.
After that, sweat pours cold on their cheeks when they try to rewind the film, only to find that the handle of the rewinder is rotating without resistance.
Correction: On one frame, they didn't get just a double exposure, but 36 exposures!
This has probably happened to every photographer someday. It is understandable, but if it happens twice, it becomes an impermissible matter, it is like sitting on a hot oven like fire, once is enough as a warning.

Here is how you can avoid this problem completely. Take the following steps when you load your SLR camera or other camera with perforated film onto a reel:
1- Attach the film carefully and accurately as per the instructions in your camera's manual.
2- After closing the back of the camera, the film presented one frame.
3- Gently rotate the rewinding handle, as if you were gently rewinding the film. You should feel a tension as you rewind any slack in language, and when your gently applied pressure is met with a stopping resistance.
4- The film presented another empty frame. And while you do this, pay attention to the rewinding handle. It should rotate backwards. If you do, you're ready to shoot.
E- If the grip did not do that, open the camera to see how the film was installed.

If you do these steps every time you mount your film, you can shoot with peace of mind and the confidence that everything you capture will be recorded accurately on your film⏹

Next lesson
Photography in natural light