تويت
التصوير الفوتوغرافي الحديث
تصوير السفر
تقنيات التركيب من أجل أفضل المشاهد
COMPOSITION TECHNIQUES FOR BETTER SCENICS
In studying the basic composition of a scenic and deciding how best to augment it , keep some of the following points in mind :
RHYTHM . When we think of rhythm , we usually think of a constant repetitive beat of sound , such as the rhythm of a piece of popular music or the repetitive clank of some machinery punching out pieces of metal all day long . The photographer must train himself to be conscious of visual rhythm as well . There is rhythm and movement in a line of trees along a roadway , in a series of telephone poles going on into infinity , or in the buildings along a street . Completely repetitive rhythm , however , soon becomes monotonous and and it is therefore , necessary for the photographer , as well as the musician , to impart certain amount of variation in the rhythm to hold our interest .
The rhythm in this picture might become monotonous if it were not for the field workers . The figures also aid the visual depth of the picture . Courtesy of Japan National Tourist Assoc .
If , for example , you are actually photographing a country lane bordered by trees , select a camera angle which shows the individual trees well enough to emphasize its rhythm , but also try to get one that shows some variation - some difference in size , shape or other physical value to give interest to this rhythm . In a street scene with its row of houses , find a point of view which breaks the monotonous recession into the distance . Some of the buildings may be different in size or shape , some have trees in front of them , and some may be painted in different colors , if color film is being used - the possibilities are endless .
The important point to bear in mind is that if the scene has some sort of rhythm , see what you can do to emphasize that rhythm if it is an important element in the picture , but also see to it that the rhythm is not a monotonous one .
FRAMING . The scene you are photographing from a hilltop may be a distant valley or a group of buildings . Unfortunately , they are so far away that they tend to lose depth and the resulting picture is too flat without movement or rhythm . Look around you . Is there a tree with long overhanging branches near you ? If so , perhaps you can select a point of view which shows a good part of the trunk and the overhanging branches so that they seem to partially encircle or frame the distant view . By this means you add depth to the picture and also concentrate attention on the distant view because you have framed it so nicely . In other words , you have converted your so - so picture into something that may be quite interesting .
Mt. Fuji framed by a portion of a temple . The temple , besides acting as a frame for Mt. Fuji , gives great impact to the picture due to the density difference . The time of day and atmospheric conditions also had to be considered as the clouds , haze , and sun angle all add to the impact . Courtesy of Japan National Tourist Assoc
One of the easiest and generally most effective means of improving a landscape is by this means of providing a natural frame of some kind . It can be used not only in broad outdoor scenes , but within cities . Framing a street through an archway or doorway is a common , but still effective practice . If the doorway in the foreground has no real interest , just enough of it should be shown to accomplish its purpose or exposure may be adjusted so that it goes quite dark . In black - and - white photography , such doorways can be printed in until they are practically nothing but black masses .
The framing here takes this picture out of the ordinary and makes it unusual . This framing , plus converging lines of the building , gives great visual depth to the picture . Courtesy of Spanish National Tourist Office .
BALANCE . If there are two fairly important objects at opposite sides of the picture area , try to get a point of view which emphasizes the balance between these two objects . The more important should be given greater emphasis by more brilliant lighting , by bringing it into the foreground so that it is larger , or by some other such means . The smaller object can be given greater weight by placing it nearer the margin of the picture area so that it serves as a better balance .
These two objects must , of course , be connected in some manner to provide continuity of movement within the picture area , otherwise you have two distinctly separate centers of interest and a divided picture . Such continuity may be provided by a road between the two , by shadows connecting them , or anything else which serves as a visual line of movement .
HUMAN FIGURES . Try to include a human figure or a small group within the picture area where such figures seem to belong . They will not only emphasize the size and magnitude of the scene itself , but provide an accent , which a bare scenic often lacks . A figure in the foreground will often give greater depth to a distant . mountain which would otherwise be rather flat and bare without it .
The tremendous size and magnificence of the mountains . and their snow covered slopes is emphasized by comparison with the two dwarfed figures in the foreground . Courtesy of German Tourist Information Office
The two skiers are vital to this picture . Without them this would be a flat , distant , hazy mountain . The figures add contrast , interest , and depth . Courtesy of German Tourist Information Office
When incorporating figures into scenics , however , it is important to avoid giving them too much importance . If a figure is too large , and looking directly into the camera , there is a strong clash interest since viewer undecide whether to look at the figure or the landscape . When shooting with color film , it is a good idea to keep the figure quite small but dressed in a striking color such as red or blue , whichever provides the best color harmony , or color contrast if that is desired .
تصوير السفر
تقنيات التركيب من أجل أفضل المشاهد
COMPOSITION TECHNIQUES FOR BETTER SCENICS
In studying the basic composition of a scenic and deciding how best to augment it , keep some of the following points in mind :
RHYTHM . When we think of rhythm , we usually think of a constant repetitive beat of sound , such as the rhythm of a piece of popular music or the repetitive clank of some machinery punching out pieces of metal all day long . The photographer must train himself to be conscious of visual rhythm as well . There is rhythm and movement in a line of trees along a roadway , in a series of telephone poles going on into infinity , or in the buildings along a street . Completely repetitive rhythm , however , soon becomes monotonous and and it is therefore , necessary for the photographer , as well as the musician , to impart certain amount of variation in the rhythm to hold our interest .
The rhythm in this picture might become monotonous if it were not for the field workers . The figures also aid the visual depth of the picture . Courtesy of Japan National Tourist Assoc .
If , for example , you are actually photographing a country lane bordered by trees , select a camera angle which shows the individual trees well enough to emphasize its rhythm , but also try to get one that shows some variation - some difference in size , shape or other physical value to give interest to this rhythm . In a street scene with its row of houses , find a point of view which breaks the monotonous recession into the distance . Some of the buildings may be different in size or shape , some have trees in front of them , and some may be painted in different colors , if color film is being used - the possibilities are endless .
The important point to bear in mind is that if the scene has some sort of rhythm , see what you can do to emphasize that rhythm if it is an important element in the picture , but also see to it that the rhythm is not a monotonous one .
FRAMING . The scene you are photographing from a hilltop may be a distant valley or a group of buildings . Unfortunately , they are so far away that they tend to lose depth and the resulting picture is too flat without movement or rhythm . Look around you . Is there a tree with long overhanging branches near you ? If so , perhaps you can select a point of view which shows a good part of the trunk and the overhanging branches so that they seem to partially encircle or frame the distant view . By this means you add depth to the picture and also concentrate attention on the distant view because you have framed it so nicely . In other words , you have converted your so - so picture into something that may be quite interesting .
Mt. Fuji framed by a portion of a temple . The temple , besides acting as a frame for Mt. Fuji , gives great impact to the picture due to the density difference . The time of day and atmospheric conditions also had to be considered as the clouds , haze , and sun angle all add to the impact . Courtesy of Japan National Tourist Assoc
One of the easiest and generally most effective means of improving a landscape is by this means of providing a natural frame of some kind . It can be used not only in broad outdoor scenes , but within cities . Framing a street through an archway or doorway is a common , but still effective practice . If the doorway in the foreground has no real interest , just enough of it should be shown to accomplish its purpose or exposure may be adjusted so that it goes quite dark . In black - and - white photography , such doorways can be printed in until they are practically nothing but black masses .
The framing here takes this picture out of the ordinary and makes it unusual . This framing , plus converging lines of the building , gives great visual depth to the picture . Courtesy of Spanish National Tourist Office .
BALANCE . If there are two fairly important objects at opposite sides of the picture area , try to get a point of view which emphasizes the balance between these two objects . The more important should be given greater emphasis by more brilliant lighting , by bringing it into the foreground so that it is larger , or by some other such means . The smaller object can be given greater weight by placing it nearer the margin of the picture area so that it serves as a better balance .
These two objects must , of course , be connected in some manner to provide continuity of movement within the picture area , otherwise you have two distinctly separate centers of interest and a divided picture . Such continuity may be provided by a road between the two , by shadows connecting them , or anything else which serves as a visual line of movement .
HUMAN FIGURES . Try to include a human figure or a small group within the picture area where such figures seem to belong . They will not only emphasize the size and magnitude of the scene itself , but provide an accent , which a bare scenic often lacks . A figure in the foreground will often give greater depth to a distant . mountain which would otherwise be rather flat and bare without it .
The tremendous size and magnificence of the mountains . and their snow covered slopes is emphasized by comparison with the two dwarfed figures in the foreground . Courtesy of German Tourist Information Office
The two skiers are vital to this picture . Without them this would be a flat , distant , hazy mountain . The figures add contrast , interest , and depth . Courtesy of German Tourist Information Office
When incorporating figures into scenics , however , it is important to avoid giving them too much importance . If a figure is too large , and looking directly into the camera , there is a strong clash interest since viewer undecide whether to look at the figure or the landscape . When shooting with color film , it is a good idea to keep the figure quite small but dressed in a striking color such as red or blue , whichever provides the best color harmony , or color contrast if that is desired .
تعليق