تويت
التصوير الفوتوغرافي الحديث
تأليف صورك
مكان التركيب في التصوير الفوتوغرافي
COMPOSING YOUR PICTURES
In the first seven Assignments of this course of study , we were concerned primarily with the techniques and tools of your chosen profession . We discussed the camera in its various forms , explaining and illustrating how each of its major components works so that you would have a better understanding of any camera you might have to use as a commercial photographer . We explained , in some detail , the nature of the photographic emulsion , whether it is used as a negative material in the form of roll or sheet film , or whether it is used as a positive material in the form of contact or enlarging paper . We discussed the photographic lens in its various forms and showed you how it produces an image .
We went further - we covered the different types of lenses so that you could choose the correct lens or lenses for the type of camera you use and the kind of work you may wish to do as a photographer . The subject of exposure and exposure meters was gone into rather thoroughly . Finally , the various techniques involved in the making of a good print , whether by contact or by projection , were discussed and illustrated with considerable thoroughness .
To sum it up , you now have all the information you need to make a technically good photograph . This does not mean that we expect you to turn out a technically acceptable photograph every time you make an exposure . Far from it . The first Assignments in this course of study contain far more information than you can possibly absorb at this stage in your development as a working photographer . Only by constant practice and by paying careful attention to every step you take - by referring again and again to these Assignments as new problems arise can you expect to chalk up a high percentage of technically acceptable photographs . From here on , practice is the key to success .
Practice , however , does not simply mean taking the camera out with you and shooting picture after picture . It means much more than that . You must , from now on , think carefully about every step in the complete process from the initial exposure to the final print . Decide what you want to do before you do it - don't simply go through the motions in a routine fashion because that is the way you .
have made pictures in the past . Know the reasons for every step you take at every stage . For example , let us say you took your camera outdoors on a Sunday to do some practice shooting , and the first exposure you made was 1 / 125th second at f / 11 . Why did you use this combination of shutter speed and lens aperture instead of , let us say , 1 / 250th of a second at f / 8 , or 1 / 1000th second at f / 4 , or 1 / 60th of a second at f / 16 ?
When you developed the exposed roll of film , why did you use the particular developer you chose instead of another - why the particular paper or the particular combination of exposure time and lens aperture in the enlarger when you made the projection print ? Did you do any control in the printing , and if so what did you do and why ?
The successful photographer knows the why in every case . If you want to be successful photographer , you , too , must know why .
Now that a firm foundation has been laid so that you can go on to a mastery of the technical skills which you must have if you are to become a successful photographer , we can shift our emphasis to the end result - the picture itself . You may have noticed that we really haven't discussed pictures as such , except incidentally to illustrate some point which was an important part of the business of learning the " how to do it " approach used up to this point . There is a good reason for this . We wanted you to concentrate on learning techniques . By such . concentration , you learn more quickly and more effectively .
Once you have a sufficient command of your medium so that you can make technically good pictures a high percentage of the time , you can then shift the emphasis to seeing pictures as well as taking them . Because you will no longer have to concentrate with so much effort on the bare business of getting a technically good print , you will be able to bring a much higher degree of concentration to the more important business of making a good picture as distinct from making a technically good photograph .
This brings us to the subject of this Assignment - seeing pictures . What do we mean when we use the expression " seeing pictures " ? How do we go about learning to see pictures ? The secret lies in the word composition .
THE PLACE OF COMPOSITION IN PHOTOGRAPHY
Many books have been written about composition . It is a subject which can be approached from many points of view . Too often , however , authors overlook the fact that composition is only a tool ; it is a means to an end , and not an end in itself . The first concern of a photographer is to make a good picture . It is not to illustrate a rule of composition . A picture may be good because it is composed well . But you may be sure that the photographer who made saw the picture and liked it first , and became aware later of how it followed compositional principles . As a photographer , you needn't memorize all the standard rules of photographic composition . It is essential , however , that you have an understanding of the few simple principles which form the basis of good composition . This understanding must be so complete and thorough that it becomes a part of you , to be used instinctively and without conscious thought . It must be like the alphabet which you learned so thoroughly that you can now read and write without thinking about individual letters . If you take the trouble to master the basic principles - and you need concern yourself with only three - you should be able to turn out consistently good pictures .
تأليف صورك
مكان التركيب في التصوير الفوتوغرافي
COMPOSING YOUR PICTURES
In the first seven Assignments of this course of study , we were concerned primarily with the techniques and tools of your chosen profession . We discussed the camera in its various forms , explaining and illustrating how each of its major components works so that you would have a better understanding of any camera you might have to use as a commercial photographer . We explained , in some detail , the nature of the photographic emulsion , whether it is used as a negative material in the form of roll or sheet film , or whether it is used as a positive material in the form of contact or enlarging paper . We discussed the photographic lens in its various forms and showed you how it produces an image .
We went further - we covered the different types of lenses so that you could choose the correct lens or lenses for the type of camera you use and the kind of work you may wish to do as a photographer . The subject of exposure and exposure meters was gone into rather thoroughly . Finally , the various techniques involved in the making of a good print , whether by contact or by projection , were discussed and illustrated with considerable thoroughness .
To sum it up , you now have all the information you need to make a technically good photograph . This does not mean that we expect you to turn out a technically acceptable photograph every time you make an exposure . Far from it . The first Assignments in this course of study contain far more information than you can possibly absorb at this stage in your development as a working photographer . Only by constant practice and by paying careful attention to every step you take - by referring again and again to these Assignments as new problems arise can you expect to chalk up a high percentage of technically acceptable photographs . From here on , practice is the key to success .
Practice , however , does not simply mean taking the camera out with you and shooting picture after picture . It means much more than that . You must , from now on , think carefully about every step in the complete process from the initial exposure to the final print . Decide what you want to do before you do it - don't simply go through the motions in a routine fashion because that is the way you .
have made pictures in the past . Know the reasons for every step you take at every stage . For example , let us say you took your camera outdoors on a Sunday to do some practice shooting , and the first exposure you made was 1 / 125th second at f / 11 . Why did you use this combination of shutter speed and lens aperture instead of , let us say , 1 / 250th of a second at f / 8 , or 1 / 1000th second at f / 4 , or 1 / 60th of a second at f / 16 ?
When you developed the exposed roll of film , why did you use the particular developer you chose instead of another - why the particular paper or the particular combination of exposure time and lens aperture in the enlarger when you made the projection print ? Did you do any control in the printing , and if so what did you do and why ?
The successful photographer knows the why in every case . If you want to be successful photographer , you , too , must know why .
Now that a firm foundation has been laid so that you can go on to a mastery of the technical skills which you must have if you are to become a successful photographer , we can shift our emphasis to the end result - the picture itself . You may have noticed that we really haven't discussed pictures as such , except incidentally to illustrate some point which was an important part of the business of learning the " how to do it " approach used up to this point . There is a good reason for this . We wanted you to concentrate on learning techniques . By such . concentration , you learn more quickly and more effectively .
Once you have a sufficient command of your medium so that you can make technically good pictures a high percentage of the time , you can then shift the emphasis to seeing pictures as well as taking them . Because you will no longer have to concentrate with so much effort on the bare business of getting a technically good print , you will be able to bring a much higher degree of concentration to the more important business of making a good picture as distinct from making a technically good photograph .
This brings us to the subject of this Assignment - seeing pictures . What do we mean when we use the expression " seeing pictures " ? How do we go about learning to see pictures ? The secret lies in the word composition .
THE PLACE OF COMPOSITION IN PHOTOGRAPHY
Many books have been written about composition . It is a subject which can be approached from many points of view . Too often , however , authors overlook the fact that composition is only a tool ; it is a means to an end , and not an end in itself . The first concern of a photographer is to make a good picture . It is not to illustrate a rule of composition . A picture may be good because it is composed well . But you may be sure that the photographer who made saw the picture and liked it first , and became aware later of how it followed compositional principles . As a photographer , you needn't memorize all the standard rules of photographic composition . It is essential , however , that you have an understanding of the few simple principles which form the basis of good composition . This understanding must be so complete and thorough that it becomes a part of you , to be used instinctively and without conscious thought . It must be like the alphabet which you learned so thoroughly that you can now read and write without thinking about individual letters . If you take the trouble to master the basic principles - and you need concern yourself with only three - you should be able to turn out consistently good pictures .
تعليق