تويت
التصوير الفوتوغرافي الحديث
تأليف صورك
أساسيات التركيب ..
يجب أن تستخدم الصور الفوتوغرافية استخدامًا جيدًا لخطوط الحركة الرائدة
A PHOTOGRAPH SHOULD MAKE GOOD USE OF LEADING LINES OF MOVEMENT
Every line , every path , and every arrangement of shapes and masses within the picture area should direct and lead the eye toward the center of interest . " All roads lead to Rome " is as applicable to a good picture as it was to the Roman Empire at its height . Perhaps the effective use of strong and logical leading lines to tie the picture together is the best means at the photographer's disposal for building good composition .
Look at Figure 3 again . Note how the overhead ramp starts at the lower right edge of the picture , sweeps around to the upper left corner , and on to the top of the central column , getting larger and more emphatic as it progresses . It ends abruptly and with maximum force at the column itself . Note , also , how the other columns start in a small way at the right and get bigger and more powerful as they progress along the line of movement to the center where they reach a climax . These pronounced lines of movement of both the columns and the overhead ramp do away with the rigid symmetry which generally prevents accurately centered pictures from being successful .
In Figure 4 , the center of interest , which is the small figure in the lower right , is in itself not particularly interesting . But the exceptionally strong sweeping lines which lead the eye across the entire width of the picture give a feeling of movement and rhythm which makes up for the lack of central interest . Without these lines , there would be no picture .
To make sure that the eyes are led toward the center of interest and not away from it , it is usually a good idea to let the center of interest be the lightest or brightest part of the picture . This often requires special control in the printing . The eye always moves naturally and instinctively toward the light . Your picture , therefore , will become doubly effective if this movement is the same as , or parallel to , the line of movement you have captured in your photograph .
Leading lines should , of course , be in keeping with the general feeling of the picture . A peaceful summer landscape , for example , should have gentle meandering lines that do not disturb the feeling of calm and quiet ( Figure 7 ) . A modern city scene , an industrial shot , or an advertising setup , on the other hand , might have long and powerful leading lines sweeping diagonally across the picture to build up a feeling of swift or busy motion ( Figure 8 ) .
The leading lines of a picture need not be actual physical lines . They can be imaginary lines , whose subtlety can have even greater strength and importance than the more obvious lines which one can see . Look at Figure 9 , for example . Can anyone avoid following along in the direction of the intriguing glance of this subject's only visible eye ?
When building movement into a picture through the judicious use of leading lines , it is important to keep the movement within the picture area . If you permit the line to run out of the picture , you have , in effect , lost your audience . If you have such a line , you must do something to stop it before it leaves the picture .
Figure 7 Peaceful , summer sunset , in which mood is furthered by gently meandering lines of movement created by sunlit clouds .
There are countless ways in which this can be done . Where the line is light , if you darken it progressively as it approaches the edge of the picture , the eye of the observer is brought to a smooth and pleasing stop .
Color - slide workers can accomplish the same result by applying a little dye with a brush to any area of the slide they wish to darken . Another method is to use a natural frame . It may be quite strong and pronounced , or so subtle that it is hardly noticeable as in Figure 10. Here , the eye is held within the picture by the natural frame made up of the two columns , the progressively darkened sky at the top and the dark shadow at the bottom . In this case , the framing actually compels movement into the picture . Note how this movement is completed by the inner frame of the dark hedge and the trees . Trees completely surround the building and steeple giving it dominance in spite of its small size . This is an excellent example of how framing can supply inner movement toward the center of interest when the leading lines of the composition are not strong enough to do the job by themselves .
تأليف صورك
أساسيات التركيب ..
يجب أن تستخدم الصور الفوتوغرافية استخدامًا جيدًا لخطوط الحركة الرائدة
A PHOTOGRAPH SHOULD MAKE GOOD USE OF LEADING LINES OF MOVEMENT
Every line , every path , and every arrangement of shapes and masses within the picture area should direct and lead the eye toward the center of interest . " All roads lead to Rome " is as applicable to a good picture as it was to the Roman Empire at its height . Perhaps the effective use of strong and logical leading lines to tie the picture together is the best means at the photographer's disposal for building good composition .
Look at Figure 3 again . Note how the overhead ramp starts at the lower right edge of the picture , sweeps around to the upper left corner , and on to the top of the central column , getting larger and more emphatic as it progresses . It ends abruptly and with maximum force at the column itself . Note , also , how the other columns start in a small way at the right and get bigger and more powerful as they progress along the line of movement to the center where they reach a climax . These pronounced lines of movement of both the columns and the overhead ramp do away with the rigid symmetry which generally prevents accurately centered pictures from being successful .
In Figure 4 , the center of interest , which is the small figure in the lower right , is in itself not particularly interesting . But the exceptionally strong sweeping lines which lead the eye across the entire width of the picture give a feeling of movement and rhythm which makes up for the lack of central interest . Without these lines , there would be no picture .
To make sure that the eyes are led toward the center of interest and not away from it , it is usually a good idea to let the center of interest be the lightest or brightest part of the picture . This often requires special control in the printing . The eye always moves naturally and instinctively toward the light . Your picture , therefore , will become doubly effective if this movement is the same as , or parallel to , the line of movement you have captured in your photograph .
Leading lines should , of course , be in keeping with the general feeling of the picture . A peaceful summer landscape , for example , should have gentle meandering lines that do not disturb the feeling of calm and quiet ( Figure 7 ) . A modern city scene , an industrial shot , or an advertising setup , on the other hand , might have long and powerful leading lines sweeping diagonally across the picture to build up a feeling of swift or busy motion ( Figure 8 ) .
The leading lines of a picture need not be actual physical lines . They can be imaginary lines , whose subtlety can have even greater strength and importance than the more obvious lines which one can see . Look at Figure 9 , for example . Can anyone avoid following along in the direction of the intriguing glance of this subject's only visible eye ?
When building movement into a picture through the judicious use of leading lines , it is important to keep the movement within the picture area . If you permit the line to run out of the picture , you have , in effect , lost your audience . If you have such a line , you must do something to stop it before it leaves the picture .
Figure 7 Peaceful , summer sunset , in which mood is furthered by gently meandering lines of movement created by sunlit clouds .
There are countless ways in which this can be done . Where the line is light , if you darken it progressively as it approaches the edge of the picture , the eye of the observer is brought to a smooth and pleasing stop .
Color - slide workers can accomplish the same result by applying a little dye with a brush to any area of the slide they wish to darken . Another method is to use a natural frame . It may be quite strong and pronounced , or so subtle that it is hardly noticeable as in Figure 10. Here , the eye is held within the picture by the natural frame made up of the two columns , the progressively darkened sky at the top and the dark shadow at the bottom . In this case , the framing actually compels movement into the picture . Note how this movement is completed by the inner frame of the dark hedge and the trees . Trees completely surround the building and steeple giving it dominance in spite of its small size . This is an excellent example of how framing can supply inner movement toward the center of interest when the leading lines of the composition are not strong enough to do the job by themselves .
تعليق