تويت
التصوير الفوتوغرافي الحديث
تأليف صورك
تطبيق أساسيات التركيب ..
ما الذي تبحث عنه في أداة البحث
WHAT TO LOOK FOR IN THE FINDER
In still - life work , you have almost complete control over the elements that you see through your viewfinder . If you see something you don't like , you can take it out , or rearrange it . In landscape or candid photos , on the other hand , you
have to take your composition as you find it . If an element appears in your picture area which is inappropriate or distracting , your only choice is to change your perspective , lighting , or printing so that the distracting element does not show . For this reason , still - life studies provide one of the easiest and most satisfying means of getting acquainted with the principles of applied composition .
With still - life studies you can easily experiment with simplicity , center of interest , and line movement . You can change lighting effects to stop line movement , or accentuate the center of interest . You can discard distracting elements if they ruin the simplicity of the setting . In other words , you can examine and evaluate hundreds of picture settings in which you can directly control all the elements in the picture area without all the effort required to find just the right scene in nature . As a result , you can more quickly learn that simplicity is essential , that the freshest and most vital pictures do have a specific center of interest , and that line movement must direct the eye toward that center of interest if the results are to be outstanding .
When you go out in search of good composition and you find a subject you want to photograph , spend some time selecting the point of view which shows it off to best advantage . Don't just set up the camera and shoot . Examine the subject carefully through the finder . What is it that attracted your attention ? Is it some specific object , some interesting highlight , some intriguing play of light and shade , some exciting bit of action ? Whatever it is , be sure to make it the center of interest in your picture . Next , pay some attention to all the other shapes , lines , and masses in your viewfinder . Do they all lead the eye toward the center of interest or build up its value in some way ? If they don't , change your viewpoint until they do , or until they are out of the picture .
If you shoot with black - and - white or negative color materials , it will be necessary for you to consider the type of printing control you will use to emphasize certain features and subdue others . You may , for example , completely ignore some distracting detail near the edge of the field of view if you expect to crop it off in the final print , or you may decide to darken it when enlarging . Such . considerations will have a strong influence on camera position .
Since every picture should have only one center of interest , don't try to tell more than one story in one picture . The principle subject may be a person or a group of persons ; it may be a building or a mountain peak but whatever it is , make sure it is one subject and not a collection of more or less unrelated objects , even though each may be interesting in itself .
Once you have decided on your principle subject or your center of interest , you can achieve unity in your picture by subordinating everything else . If you have a very important line running through the picture , select your camera angle so that this line leads the eye toward the center of interest . To make sure the line leads the eye toward the center of interest and not away from it , have the center of interest the lightest or brightest part of the picture . The eye will naturally move along leading lines from dark to light , from uninteresting tones to strong ones , from dull colors to bright ones .
Figure 17 An uninteresting pattern of structural steel is saved from mediocrity by judicious placement of the workman at a strategic point in the picture area . The result is an exciting composition .
Courtesy of International Harvester Co.
If you are taking an outdoor portrait or group picture , be very careful in your choice of background . Be sure that it serves merely as a setting or frame for your principle subject . It must not be so important or interesting as to attract attention to itself . You have , undoubtedly , seen examples of vacation snapshots in which a girl is posed in front of an interesting or important statue . The result is seldom complimentary to either the girl or the statue .
When you are faced with the problem of taking such a picture , make up your mind which of the two subjects is more important . Then eliminate or subordinate . the other so it serves only to emphasize your main interest . If , for example , the statue is to be the important thing , pose your model so that she looks at the statue rather than at the camera . Select your viewpoint so she occupies a fairly small part of the picture area , and see to it that she does not wear any bright or striking clothing that would attract attention . If this is done , the model will improve the composition , since she will be serving the very important function of leading the eye toward the center of interest and building up its emphasis .
On the other hand , if you are primarily concerned with picturing your model , keep the background simple . Watch out for the many details which so often ruin a good outdoor portrait . Make certain , for example , that no branches or tree trunks seem to be growing out of your subject's head . Remember that the camera lens doesn't have the property of selection - it records everything in front of it . Watch out for strong and disturbing shadows or patches of sunlight in the background . The side of a house seldom makes a good background because of the busy pattern made by the bricks or siding .
To sum it up , look behind your subject as well as at it . The camera will , even if you don't .
In outdoor photography , the time of day will have a strong effect on the basic composition because the highlights and shadows become part of that composition . A good picture at 10 o'clock in the morning may be a bad one at 3 o'clock in the afternoon because the lines created by the shadows have been completely changed , and the emphasis introduced by the highlights completely altered .
Figure 18 . This wide angle shot of power line construction relies on the exaggerated per spective to provide a great deal of impact .
Courtesy of Olin Corporation .
تأليف صورك
تطبيق أساسيات التركيب ..
ما الذي تبحث عنه في أداة البحث
WHAT TO LOOK FOR IN THE FINDER
In still - life work , you have almost complete control over the elements that you see through your viewfinder . If you see something you don't like , you can take it out , or rearrange it . In landscape or candid photos , on the other hand , you
have to take your composition as you find it . If an element appears in your picture area which is inappropriate or distracting , your only choice is to change your perspective , lighting , or printing so that the distracting element does not show . For this reason , still - life studies provide one of the easiest and most satisfying means of getting acquainted with the principles of applied composition .
With still - life studies you can easily experiment with simplicity , center of interest , and line movement . You can change lighting effects to stop line movement , or accentuate the center of interest . You can discard distracting elements if they ruin the simplicity of the setting . In other words , you can examine and evaluate hundreds of picture settings in which you can directly control all the elements in the picture area without all the effort required to find just the right scene in nature . As a result , you can more quickly learn that simplicity is essential , that the freshest and most vital pictures do have a specific center of interest , and that line movement must direct the eye toward that center of interest if the results are to be outstanding .
When you go out in search of good composition and you find a subject you want to photograph , spend some time selecting the point of view which shows it off to best advantage . Don't just set up the camera and shoot . Examine the subject carefully through the finder . What is it that attracted your attention ? Is it some specific object , some interesting highlight , some intriguing play of light and shade , some exciting bit of action ? Whatever it is , be sure to make it the center of interest in your picture . Next , pay some attention to all the other shapes , lines , and masses in your viewfinder . Do they all lead the eye toward the center of interest or build up its value in some way ? If they don't , change your viewpoint until they do , or until they are out of the picture .
If you shoot with black - and - white or negative color materials , it will be necessary for you to consider the type of printing control you will use to emphasize certain features and subdue others . You may , for example , completely ignore some distracting detail near the edge of the field of view if you expect to crop it off in the final print , or you may decide to darken it when enlarging . Such . considerations will have a strong influence on camera position .
Since every picture should have only one center of interest , don't try to tell more than one story in one picture . The principle subject may be a person or a group of persons ; it may be a building or a mountain peak but whatever it is , make sure it is one subject and not a collection of more or less unrelated objects , even though each may be interesting in itself .
Once you have decided on your principle subject or your center of interest , you can achieve unity in your picture by subordinating everything else . If you have a very important line running through the picture , select your camera angle so that this line leads the eye toward the center of interest . To make sure the line leads the eye toward the center of interest and not away from it , have the center of interest the lightest or brightest part of the picture . The eye will naturally move along leading lines from dark to light , from uninteresting tones to strong ones , from dull colors to bright ones .
Figure 17 An uninteresting pattern of structural steel is saved from mediocrity by judicious placement of the workman at a strategic point in the picture area . The result is an exciting composition .
Courtesy of International Harvester Co.
If you are taking an outdoor portrait or group picture , be very careful in your choice of background . Be sure that it serves merely as a setting or frame for your principle subject . It must not be so important or interesting as to attract attention to itself . You have , undoubtedly , seen examples of vacation snapshots in which a girl is posed in front of an interesting or important statue . The result is seldom complimentary to either the girl or the statue .
When you are faced with the problem of taking such a picture , make up your mind which of the two subjects is more important . Then eliminate or subordinate . the other so it serves only to emphasize your main interest . If , for example , the statue is to be the important thing , pose your model so that she looks at the statue rather than at the camera . Select your viewpoint so she occupies a fairly small part of the picture area , and see to it that she does not wear any bright or striking clothing that would attract attention . If this is done , the model will improve the composition , since she will be serving the very important function of leading the eye toward the center of interest and building up its emphasis .
On the other hand , if you are primarily concerned with picturing your model , keep the background simple . Watch out for the many details which so often ruin a good outdoor portrait . Make certain , for example , that no branches or tree trunks seem to be growing out of your subject's head . Remember that the camera lens doesn't have the property of selection - it records everything in front of it . Watch out for strong and disturbing shadows or patches of sunlight in the background . The side of a house seldom makes a good background because of the busy pattern made by the bricks or siding .
To sum it up , look behind your subject as well as at it . The camera will , even if you don't .
In outdoor photography , the time of day will have a strong effect on the basic composition because the highlights and shadows become part of that composition . A good picture at 10 o'clock in the morning may be a bad one at 3 o'clock in the afternoon because the lines created by the shadows have been completely changed , and the emphasis introduced by the highlights completely altered .
Figure 18 . This wide angle shot of power line construction relies on the exaggerated per spective to provide a great deal of impact .
Courtesy of Olin Corporation .
تعليق