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التصوير الفوتوغرافي الحديث
صنع صور متحركة للتلفزيون
تكوين لمصور التلفزيون
COMPOSITION FOR THE TV PHOTOGRAPHER
Before we begin our discussion of composition with specific reference to its application to the television screen , we wish to emphasize one very important point . The basic principles of composition we have been discussing throughout this course also apply to movie photography and that includes movies made for television . You must , of course , learn to apply these principles in a somewhat modified manner to take into account the special requirements of television , but the basic principles still remain . You simply adapt these principles to fit the specific needs of your subject and of your medium just as you adapt them to meet the somewhat different requirements of color as compared to black - and white . Let us see now what are the special requirements of television so that we can modify our compositional arrangements to suit .
Let us first consider the matter of format . In a still photograph , you can use either a vertical or a horizontal composition , whichever fits the subject best . In movies and in TV , the composition is always horizontal and the ratio of horizontal to vertical is approximately 4 : 3 . These are the proportions of the picture tube and you have no alternative but to compose for it .
Figure 4 Motion picture and television format calls for a horizontal picture . A vertical format can be changed to the needed horizontal format by shooting through a doorway , a pair of legs , pillars or using other devices which leave the two sides of the picture area dark thus robbing them of visual interest .
Courtesy of Procter & Gamble
If the nature of the subject is such that it calls for a vertical composition , the situation is not entirely hopeless . With sufficient ingenuity , you can still provide a vertical composition in a horizontal format . For example , the old tried and true device of framing the subject can be used quite effectively . If a tall figure or object is viewed through a door or other opening , the opening itself to all intents and purposes becomes the new frame , and the other or other opening is , of course , vertical . A good example of this technique is shown in Figure 4. If care is taken to see that there is nothing of interest or consequence in the frame itself , the result is a very good vertical composition .
Another dramatic device , which has been used so often that it is now a cliché is to shoot the main subject between two silhouetted figures or between the widespread legs of a man in the foreground . This latter framing technique is used so often in westerns or dramatic whodunits that it has become a cliché .
Next time you go to the movies or look at a TV show , make it a point to watch for devices of this sort and note how cleverly they are used to introduce strong concentration on the center of interest .
The movement that is the very foundation of the motion picture can be used as a strong compositional element . For example , when photographing a tall building , pan the camera slowly upward and end the scene with the building leaning crazily away from you when the very top is reached . ( See illustration at top of page 1. ) When a shot of this kind is projected on the screen , the result is a strong upward movement terminating in an exaggerated perspective view . Movement of this kind is even stronger than movement obtained through the use of leading lines . Incidentally , the use of leading lines is another fine way of achieving vertical composition in a horizontal format .
Action may be used to give the center of interest enhanced impact . You undoubtedly remember that the center of interest can be given greater impact if it differs in some important respect from everything that surrounds it . A figure in a crowd of people wearing hats stands out strongly . A woman in white attracts our attention in a crowd of people wearing dark clothing . Anything unique or different in a picture immediately attracts our attention . Motion can be used to provide this uniqueness or difference . For example , if you want the audience to concentrate on one person in a scene , have that person walk , move or engage in any other activity but keep the other people in the scene relatively still .
Movement can be used to enhance or build up the center of interest even though the movement itself or the moving figure is quite unimportant . For example , in a commercial advertising a bottle of perfume or a soft drink , a hand may be shown reaching for the bottle , picking it up and holding it so that its label is more clearly seen . The movement of the hand in the early part of the scene carries the eye toward the center of interest , the bottle . Once the bottle itself starts moving on the screen , it takes over our interest because it , too , is in motion , but even if the scene terminates without the bottle in motion , the effect is still the same .
صنع صور متحركة للتلفزيون
تكوين لمصور التلفزيون
COMPOSITION FOR THE TV PHOTOGRAPHER
Before we begin our discussion of composition with specific reference to its application to the television screen , we wish to emphasize one very important point . The basic principles of composition we have been discussing throughout this course also apply to movie photography and that includes movies made for television . You must , of course , learn to apply these principles in a somewhat modified manner to take into account the special requirements of television , but the basic principles still remain . You simply adapt these principles to fit the specific needs of your subject and of your medium just as you adapt them to meet the somewhat different requirements of color as compared to black - and white . Let us see now what are the special requirements of television so that we can modify our compositional arrangements to suit .
Let us first consider the matter of format . In a still photograph , you can use either a vertical or a horizontal composition , whichever fits the subject best . In movies and in TV , the composition is always horizontal and the ratio of horizontal to vertical is approximately 4 : 3 . These are the proportions of the picture tube and you have no alternative but to compose for it .
Figure 4 Motion picture and television format calls for a horizontal picture . A vertical format can be changed to the needed horizontal format by shooting through a doorway , a pair of legs , pillars or using other devices which leave the two sides of the picture area dark thus robbing them of visual interest .
Courtesy of Procter & Gamble
If the nature of the subject is such that it calls for a vertical composition , the situation is not entirely hopeless . With sufficient ingenuity , you can still provide a vertical composition in a horizontal format . For example , the old tried and true device of framing the subject can be used quite effectively . If a tall figure or object is viewed through a door or other opening , the opening itself to all intents and purposes becomes the new frame , and the other or other opening is , of course , vertical . A good example of this technique is shown in Figure 4. If care is taken to see that there is nothing of interest or consequence in the frame itself , the result is a very good vertical composition .
Another dramatic device , which has been used so often that it is now a cliché is to shoot the main subject between two silhouetted figures or between the widespread legs of a man in the foreground . This latter framing technique is used so often in westerns or dramatic whodunits that it has become a cliché .
Next time you go to the movies or look at a TV show , make it a point to watch for devices of this sort and note how cleverly they are used to introduce strong concentration on the center of interest .
The movement that is the very foundation of the motion picture can be used as a strong compositional element . For example , when photographing a tall building , pan the camera slowly upward and end the scene with the building leaning crazily away from you when the very top is reached . ( See illustration at top of page 1. ) When a shot of this kind is projected on the screen , the result is a strong upward movement terminating in an exaggerated perspective view . Movement of this kind is even stronger than movement obtained through the use of leading lines . Incidentally , the use of leading lines is another fine way of achieving vertical composition in a horizontal format .
Action may be used to give the center of interest enhanced impact . You undoubtedly remember that the center of interest can be given greater impact if it differs in some important respect from everything that surrounds it . A figure in a crowd of people wearing hats stands out strongly . A woman in white attracts our attention in a crowd of people wearing dark clothing . Anything unique or different in a picture immediately attracts our attention . Motion can be used to provide this uniqueness or difference . For example , if you want the audience to concentrate on one person in a scene , have that person walk , move or engage in any other activity but keep the other people in the scene relatively still .
Movement can be used to enhance or build up the center of interest even though the movement itself or the moving figure is quite unimportant . For example , in a commercial advertising a bottle of perfume or a soft drink , a hand may be shown reaching for the bottle , picking it up and holding it so that its label is more clearly seen . The movement of the hand in the early part of the scene carries the eye toward the center of interest , the bottle . Once the bottle itself starts moving on the screen , it takes over our interest because it , too , is in motion , but even if the scene terminates without the bottle in motion , the effect is still the same .
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