اعتبارات بصرية .. مجلة فن التصوير اللبنانية _ ع٥٩

Visual considerations

Content formation is defined as simply arranging the shapes and space involved in a way that is pleasing to the eye.
Depending on our eye, this process of arrangement produces either a clutter, a traditional routine appearance, or a visual impact. Looking at the law of threes and other guidelines mentioned, we see that these can gain knowledge, technical skill, and ultimately that confidence that one can overlook after potentially It works depending on the application.

Delving into the work of great photographers may be the best way to expand visual horizons and support the subject with an element of inspiration.
Photographic magazines often publish pictures that are a little further than the average photographer can achieve, not to show off, but to activate the element of inspiration without which no artist would have bothered to lift the lens cover in the first place. Here we offer two visual considerations:
Structure and ratio:
The photo posted here, taken by Dr. a. Rodway for the heart of the tulip flower, is a good example of how to capture a subject with proportions of scales that are very different from those that the human eye expects to see on it, and then send drama through this work, by using micro-55 mm, it became possible to send, an idea, about a flower Tulips are very different from the reality of this flower, as it is not just a red flower with a green stem.
At this scale, it is a yellow central stream that dominates the center of the stage, while the concave, out-of-focus red inner lining of this tulip flower serves as a typical reflective curtain. This is how nature photography is almost always effective because nature perfectly parallels the structures.
What is distinctive here is the mixing of colors and structures within the inner world of the tulip flower.

Abstraction:
Since all photographic images transform the three-dimensional subject into a two-dimensional image, all photographs become abstract to some extent, but we can increase the emphasis on this aspect to a large extent if we want to, for example the nylon bristles taken with a micro-55 mm, within the hairbrush take A space-age quality of sheer exaggeration of proportions and use of texture as fun as bundles of nylon rods.

structure :
The structure in photography has the ability to transform it sometimes to become the subject itself. The twists in the piece of the tree trunk are in themselves a content, and the wood as a structure alone succeeded in being a photographic image in which the element of excitement that the different structures can bring to an image overlaps.

Depth :
It is an element of seduction that we seek if we want to create an effect with a photograph. There are many ways to capture a rural or marine area, but accentuating depth often brings a sense of awe that is very effective. The wide expanse seduces the beholder and attaches him to the scene to the extent that the images that can reach it, attract the beholder and enjoy the eye, become very rare.
In the more complex mudflat shot at a river's edge, the isolated depth of this single wide scene draws attention to the lone person walking on the low bridge, and we will benefit when we learn how to use extended depth of field for a small subject. It is a picture, which orders, in its entirety, to draw attention to the only human being in it, as if the content made us sympathize with the apparent isolation of the subject. This is the aim of the image, of course, and it succeeds in achieving it.

innovation:
We should never be afraid to go through experiments to get exciting views. A look at the work of Edward Stancliffe puts us in front of some interesting ideas. His strange shot of a flower. Lavender, seaweed prepared as follows:
It appeared with silver foil on one side and gold on the other, while it became opaque when placed against the light.
He took three exposures of the gold side... one with a red filter - 1/125 at f/16-, and another with a green filter - 1/125 at f/8-. Then a third through a blue filter - 1/125 at F / 8 -.

Then he took three exposures of the silver side as follows: one through a red filter - 1/125 at f/22 -. And another through a green filter - 1/125 at F / 16 -, and a third through a blue filter at F / 11.
There was a slight zoom shift after each frame with the 70-210mm lens, which is used for a filter-thon.
The finale is two more exposures at 1/60f/8 focused on a flower, lavender, and marine each time, making eight exposures in all and the result is a refreshing synthesis of images that preserve the integrity of the subject.

coloring :
Stancliffe also brought in vibrato to interest, and his beguiling study of a field of margarine flowers was compiled with a more economical use of filters.

The shot is basically a double exposure using a pink and magenta gel and a dream filter.
The film speed had been doubled to 200 and the exposure for the pink gel was f/11 at 1/125, and 1/60 at f/4 for the magenta with the filter attached. on transparency.

Conclusion:
We have been exposed to a few abstracts related to our visionary mind. Which develops the creative use with the appropriate balance, harmony and reflection, this is the vision that we dream to reach together⏹