تويت
التصوير الفوتوغرافي الحديث
تأليف صورك
أساسيات التركيب ..
متى يتم تكوين الصورة
WHEN TO COMPOSE THE PICTURE
The tendency of many students is to think of composition as a distinct and separate step in the taking of a picture . They are , therefore , likely to disregard composition most of the time and think of it only when they are actually making the exposure . This is wrong .
The successful photographer never stops thinking of composition from the minute he gets the assignment to the time he finishes spotting his final mounted print . Composition can be modified at any point along this entire chain of events . There are , however , three times when you determine the basic composition of any picture , and it is important that you keep them in mind .
Apictorial representation of intensity of scientists immersed in their work was used by Xerox Corporation in one of the company's brochures as part of a series of photos depicting the interesting work carried on at Xerox . Courtesy of Xerox Corporation , Photo by Henry Grossman .
The first of these is in the planning of the picture . Whether you get an assignment to take a picture for a customer , or whether you plan a picture of your own for purposes of developing your skill , the first thing you must think about , once the subject has been decided on , is its composition . What will be your approach to the subject - how will you represent it and how will you compose the various elements to tell your story in the most effective manner . This is where you make the basic decision which will set broad limits to the composition you will finally achieve . Here , therefore , you deal with general terms - in basic principles rather than specific details .
The next stage in the development of the composition occurs when you finally face the subject or object of your photograph . Look at it carefully to determine all of its compositional possibilities . Before you even set up the camera , look at the subject with an idea of determining the best point of view , the most effective angle and the best choice of lens - wide - angle , normal , or telephoto - to give you the result you want . It is much easier to make an initial survey of this kind through the use of the unaided eye than to set up a camera and start moving it about looking for a good composition . You can generally move about more easily and think more clearly in broad general terms without the limitations set up by the need for handling the camera .
Once you have arrived at your tentative decisions , set up the camera and look at the subject through the camera viewfinder or on the groundglass . You will find that reducing the picture to two dimensions and contracting its scale to the small format of your camera has a subtle effect on the composition and you may find it necessary to modify your composition or change your viewpoint . If you have not already done so , give some thought to the mood or feeling of atmosphere you intend to convey and expose accordingly . You may , for example , want a light airy high key effect , or you may want a deep sunset with foreground detail in complete silhouette . You may want shadows to show all possible detail , or you may want to give them more dramatic impact by keeping them deep and black . All of these matters are important elements in the final composition , and now is the time to consider them even though the actual effects will be produced later in the darkroom .
Finally , before you make the exposure , look at the viewfinder image carefully using an entirely different frame of reference . Now you must think in terms of detail , not of composition . Check the sharpness of focus , the depth of field , the accuracy with which the camera is leveled so that the horizon does not run downhill and the vertical lines , particularly of tall buildings , do not tilt or lean towards each other . Look at the image on the focusing screen very carefully and check off each item you see , one at a time , as though you were making a catalog of them . Make sure that every element in the picture is important to the basic composition and that it occupies the correct spot .
Look beyond the basic subject and examine the background . Are there any trees or telephone poles in the background which seem to be growing out of the heads of people in the foreground ? Do the tones of one object merge into the tones of another when you don't want them to ? Are there any bits of debris that should be removed , clothes that need straightening , facial expressions that do not correspond to the mood of the picture ? If so , now is the time to do something .
Your final opportunity to determine the composition is in the making of the print . Here you can print for high key , low key , deep dramatic effect , or for brightness and cheerfulness . Cropping and projection control can be deciding factors in the final composition , and it is presumed that you have thought of these things when you made the exposure . At this stage , you may still wish to make some changes or modifications , and now is the time you can do so .
تأليف صورك
أساسيات التركيب ..
متى يتم تكوين الصورة
WHEN TO COMPOSE THE PICTURE
The tendency of many students is to think of composition as a distinct and separate step in the taking of a picture . They are , therefore , likely to disregard composition most of the time and think of it only when they are actually making the exposure . This is wrong .
The successful photographer never stops thinking of composition from the minute he gets the assignment to the time he finishes spotting his final mounted print . Composition can be modified at any point along this entire chain of events . There are , however , three times when you determine the basic composition of any picture , and it is important that you keep them in mind .
Apictorial representation of intensity of scientists immersed in their work was used by Xerox Corporation in one of the company's brochures as part of a series of photos depicting the interesting work carried on at Xerox . Courtesy of Xerox Corporation , Photo by Henry Grossman .
The first of these is in the planning of the picture . Whether you get an assignment to take a picture for a customer , or whether you plan a picture of your own for purposes of developing your skill , the first thing you must think about , once the subject has been decided on , is its composition . What will be your approach to the subject - how will you represent it and how will you compose the various elements to tell your story in the most effective manner . This is where you make the basic decision which will set broad limits to the composition you will finally achieve . Here , therefore , you deal with general terms - in basic principles rather than specific details .
The next stage in the development of the composition occurs when you finally face the subject or object of your photograph . Look at it carefully to determine all of its compositional possibilities . Before you even set up the camera , look at the subject with an idea of determining the best point of view , the most effective angle and the best choice of lens - wide - angle , normal , or telephoto - to give you the result you want . It is much easier to make an initial survey of this kind through the use of the unaided eye than to set up a camera and start moving it about looking for a good composition . You can generally move about more easily and think more clearly in broad general terms without the limitations set up by the need for handling the camera .
Once you have arrived at your tentative decisions , set up the camera and look at the subject through the camera viewfinder or on the groundglass . You will find that reducing the picture to two dimensions and contracting its scale to the small format of your camera has a subtle effect on the composition and you may find it necessary to modify your composition or change your viewpoint . If you have not already done so , give some thought to the mood or feeling of atmosphere you intend to convey and expose accordingly . You may , for example , want a light airy high key effect , or you may want a deep sunset with foreground detail in complete silhouette . You may want shadows to show all possible detail , or you may want to give them more dramatic impact by keeping them deep and black . All of these matters are important elements in the final composition , and now is the time to consider them even though the actual effects will be produced later in the darkroom .
Finally , before you make the exposure , look at the viewfinder image carefully using an entirely different frame of reference . Now you must think in terms of detail , not of composition . Check the sharpness of focus , the depth of field , the accuracy with which the camera is leveled so that the horizon does not run downhill and the vertical lines , particularly of tall buildings , do not tilt or lean towards each other . Look at the image on the focusing screen very carefully and check off each item you see , one at a time , as though you were making a catalog of them . Make sure that every element in the picture is important to the basic composition and that it occupies the correct spot .
Look beyond the basic subject and examine the background . Are there any trees or telephone poles in the background which seem to be growing out of the heads of people in the foreground ? Do the tones of one object merge into the tones of another when you don't want them to ? Are there any bits of debris that should be removed , clothes that need straightening , facial expressions that do not correspond to the mood of the picture ? If so , now is the time to do something .
Your final opportunity to determine the composition is in the making of the print . Here you can print for high key , low key , deep dramatic effect , or for brightness and cheerfulness . Cropping and projection control can be deciding factors in the final composition , and it is presumed that you have thought of these things when you made the exposure . At this stage , you may still wish to make some changes or modifications , and now is the time you can do so .
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