تويت
بناء الصورة .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
PICTURE BUILDING
STEP 1 : Viewpoint and lighting
STEP 2 : Using subject qualities
STEP 3 : Responding to the action
This section is concerned with the pictures themselves , rather than the technical means of recording them .
By this stage you should have worked through your basic techniques and gained some confidence with your camera . You should know enough to focus and expose correctly any of the photographs shown here - using only black and white film and the equipment introduced in the previous section . The challenge is to put together the right visual elements in your pictures shapes , lines , patterns , and tones for example - to produce an effective and satisfying composition . Picture building involves selecting and controlling these elements - or seeing the precise moment or viewpoint that brings them together make the strongest possible visual statement . But first you must have something to say - a subject or situation you wish to show . a point of view to Like control of language in writing , control of visual elements in photography is merely a means of expressing your ideas effectively .
Use this section as a visual vocabulary , to stimulate your seeing and develop your awareness of potential subjects for your photographs . Don't treat the statements and suggestions made here as rules to be followed slavishly - try them out , and see if you agree with them . Although the material is presented in separate steps , you can read them in any order . In fact the best way to approach this section is to regard each topic as a theme for development in your own work . Even when you are without a camera , look around you for the visual elements discussed here , and imagine how you would turn a particular scene into an effective photograph .
At first sight , the number of picture building aspects introduced in this section may seem overwhelming . How can you juggle with so many when you are actually taking a photograph ? Don't be put off - just look the section over at first , and absorb some of the ideas . You will soon find yourself noticing some of these elements in scenes around you - they will seldom be all present at once . For clarity , each basic element is presented here separately , so you can concentrate on one at a time . In real situations you will find that they overlap and change , so that you have to respond quickly , taking advantage of opportunities as they present themselves . This is where your knowledge and experience of visual devices really counts . In time , you will begin to draw automatically on visual elements in a scene to strengthen your main subject , developing a natural visual language which is part of your photography .
The differences between how your eyes and the camera see the world were discussed on pages 20-1 . You may find it helpful to look back over this information . Certain basic visual limitations are imposed by black and white photography - it translates the three - dimensional colored scene you see in motion around you into a still , two - dimensional picture consisting of gray tones , isolated and bounded by a hard edge . This change is severe ; but it is also your primary picture building tool . The secret is to use this change to help simplify and clarify your pictures . For example , reducing color to blacks , whites , and grays can make shapes . stronger , and suppress distracting color details . To take advantage of such effects you must learn to see your subject in terms of light and dark tones .
Normally , when you look at an object you are constantly moving your eyes or sometimes moving around it , but a photo- graph can only be taken from one fixed viewpoint . By " pinning down " subject and surroundings to one relationship , your photo- graph is directing the viewer to one set of conditions . Providing you recognize this , and compose your picture with care , you have great power over what the viewer sees . Even the simple fact that you have selected a subject at one particular moment in time , to present in a photograph , gives it special significance relative to the comparatively confused world seen by the eye .
Arrangement of topics :
The section begins by discussing choice of viewpoint and the effects of picture shape - upright , horizontal or square . You are still dealing primarily with a camera fitted with a normal lens at this stage . Later , in the section beginning on page 92 , you will see the further possibilities offered by lenses of other focal lengths . Your choice of viewpoint is the one element over which you have most control . You should always try to consider using different camera angles- if all your pictures are taken from eye - level they can become very predictable .
The next topic is light . The height and direction of lighting is fundamental to the appearance of things . So is lighting quality- whether it is strong and direct , producing harsh , sharp - edged shadows . or soft and diffused . The quality of light often determines the " feel " of texture and form in objects . The overall strength of light also affects how a scene appears , but the result depends on the exposure you choose . You must train your eye to observe the changes in natural light and the effects they have on things around you . They will be very apparent in your picture , and the quality of the light cannot really be altered by any technical adjustments later . This section deals only with the effects of daylight , both outdoors and indoors . The same principles apply to all lighting , but you will find more on the controlled use of artificial light later ( see pp . 108-13 ) .
Tone control follows naturally from lighting . It is an important picture building element , particularly in black and white work . You will learn how you can consciously use mostly dark or light tones in a photograph to determine its mood . You will see too how tonal contrast can emphasize your main subject . and give strength to a picture . You can alter the tonal range in a subject by control of exposure and lighting . Later you will be shown how to control tone during the developing and printing of your film as well ( see pp.86 . 128-9 ) .
Lines and shapes can also support and emphasize your main subject . By carefully selecting your viewpoint and lighting you can organize line and shape in your pictures to direct the viewer's eye , or form strong , interesting patterns . A small camera is easily moved to almost any viewpoint , to reveal different juxtapositions of shapes and directions of lines . Take advantage of this to exploit the bold imagery of shape and line to the full .
The final Step considers selecting the " moment in time " recorded on your film . For some types of subject - still - life , for example - there is no problem , because you are in control of all the elements in your picture . But even for stationary subjects like landscapes , you may have to respond quickly to capture the perfect moment - when the lighting is exactly right , for example . With moving subjects , your experience and ease with visual elements are really important . Often you must simply do the best you can in a hurried situation . But most subjects require some careful planning as well as a quick and spontaneous response . With practice you will be able to make decisions intuitively . watching the way things come together in your viewfinder , and responding by changing viewpoint or focus , until the right moment arrives . This is why you must work by looking through your camera , and learn to see as the camera sees , previsualizing what will record in the instant the shutter fires .
Learning to develop a style :
Look at the way the famous French photographer Henri Cartier- Bresson has handled the picture opposite . By his choice of viewpoint he has placed the bold shape of his subject strongly against the lighter - toned parts of the background . The lines formed by the tops and bottoms of the trees lead in to the man's head , giving emphasis . Distracting background details have been softened out by differential focus and the diffused lighting conditions . The shutter was released at the right moment to capture the subject in a characteristic attitude , isolated against the distant perspective . Cartier - Bresson's picture is essentially simple and direct . Yet it manages to show both an individual personality and his environment .
You can learn much by looking at the published work of other photographers . You will find a range of diverse styles in the final section , pages 178-202 , and many excellent individual collections in books at your local library . Visit exhibitions , and try assessing photographs in terms of their picture structure , as well as their content and underlying statement .
Early photographers had to use large cameras on tripods . working in a static way like a painter . Mostly they fell into the trap of trying to ape the romantic paintings and uplifting themes of their time . Photographs were conceived and staged like paintings , and contrived to look as little like photographs as possible . Fortunately modern cameras and the many uses of photography have led to a much broader idea of the nature and potential of photography .
Picture building is not a matter of obeying rules or following artistic trends . You must learn to look afresh at the world around you , to become aware of shapes , forms , surprising visual juxtapositions , the effects of light , which many people take for granted . Once you learn to see , you can select or reject . emphasize or suppress , to express your main subject in a visual language which is all your own .
Chair and shadow
The picture . left , relies for its effect on simplicity - close framing of a bold image . The photographer . Frank Hermann , used an unusual view- point to make lighting , tonal contrast . shape , and line work together .
Allée du Prado , 1932
The picture , right , uses many compositional elements . But the photographer , Henri Cartier - Bresson . has combined them so skilfully that the subject appears to be captured effortlessly .
PICTURE BUILDING
STEP 1 : Viewpoint and lighting
STEP 2 : Using subject qualities
STEP 3 : Responding to the action
This section is concerned with the pictures themselves , rather than the technical means of recording them .
By this stage you should have worked through your basic techniques and gained some confidence with your camera . You should know enough to focus and expose correctly any of the photographs shown here - using only black and white film and the equipment introduced in the previous section . The challenge is to put together the right visual elements in your pictures shapes , lines , patterns , and tones for example - to produce an effective and satisfying composition . Picture building involves selecting and controlling these elements - or seeing the precise moment or viewpoint that brings them together make the strongest possible visual statement . But first you must have something to say - a subject or situation you wish to show . a point of view to Like control of language in writing , control of visual elements in photography is merely a means of expressing your ideas effectively .
Use this section as a visual vocabulary , to stimulate your seeing and develop your awareness of potential subjects for your photographs . Don't treat the statements and suggestions made here as rules to be followed slavishly - try them out , and see if you agree with them . Although the material is presented in separate steps , you can read them in any order . In fact the best way to approach this section is to regard each topic as a theme for development in your own work . Even when you are without a camera , look around you for the visual elements discussed here , and imagine how you would turn a particular scene into an effective photograph .
At first sight , the number of picture building aspects introduced in this section may seem overwhelming . How can you juggle with so many when you are actually taking a photograph ? Don't be put off - just look the section over at first , and absorb some of the ideas . You will soon find yourself noticing some of these elements in scenes around you - they will seldom be all present at once . For clarity , each basic element is presented here separately , so you can concentrate on one at a time . In real situations you will find that they overlap and change , so that you have to respond quickly , taking advantage of opportunities as they present themselves . This is where your knowledge and experience of visual devices really counts . In time , you will begin to draw automatically on visual elements in a scene to strengthen your main subject , developing a natural visual language which is part of your photography .
The differences between how your eyes and the camera see the world were discussed on pages 20-1 . You may find it helpful to look back over this information . Certain basic visual limitations are imposed by black and white photography - it translates the three - dimensional colored scene you see in motion around you into a still , two - dimensional picture consisting of gray tones , isolated and bounded by a hard edge . This change is severe ; but it is also your primary picture building tool . The secret is to use this change to help simplify and clarify your pictures . For example , reducing color to blacks , whites , and grays can make shapes . stronger , and suppress distracting color details . To take advantage of such effects you must learn to see your subject in terms of light and dark tones .
Normally , when you look at an object you are constantly moving your eyes or sometimes moving around it , but a photo- graph can only be taken from one fixed viewpoint . By " pinning down " subject and surroundings to one relationship , your photo- graph is directing the viewer to one set of conditions . Providing you recognize this , and compose your picture with care , you have great power over what the viewer sees . Even the simple fact that you have selected a subject at one particular moment in time , to present in a photograph , gives it special significance relative to the comparatively confused world seen by the eye .
Arrangement of topics :
The section begins by discussing choice of viewpoint and the effects of picture shape - upright , horizontal or square . You are still dealing primarily with a camera fitted with a normal lens at this stage . Later , in the section beginning on page 92 , you will see the further possibilities offered by lenses of other focal lengths . Your choice of viewpoint is the one element over which you have most control . You should always try to consider using different camera angles- if all your pictures are taken from eye - level they can become very predictable .
The next topic is light . The height and direction of lighting is fundamental to the appearance of things . So is lighting quality- whether it is strong and direct , producing harsh , sharp - edged shadows . or soft and diffused . The quality of light often determines the " feel " of texture and form in objects . The overall strength of light also affects how a scene appears , but the result depends on the exposure you choose . You must train your eye to observe the changes in natural light and the effects they have on things around you . They will be very apparent in your picture , and the quality of the light cannot really be altered by any technical adjustments later . This section deals only with the effects of daylight , both outdoors and indoors . The same principles apply to all lighting , but you will find more on the controlled use of artificial light later ( see pp . 108-13 ) .
Tone control follows naturally from lighting . It is an important picture building element , particularly in black and white work . You will learn how you can consciously use mostly dark or light tones in a photograph to determine its mood . You will see too how tonal contrast can emphasize your main subject . and give strength to a picture . You can alter the tonal range in a subject by control of exposure and lighting . Later you will be shown how to control tone during the developing and printing of your film as well ( see pp.86 . 128-9 ) .
Lines and shapes can also support and emphasize your main subject . By carefully selecting your viewpoint and lighting you can organize line and shape in your pictures to direct the viewer's eye , or form strong , interesting patterns . A small camera is easily moved to almost any viewpoint , to reveal different juxtapositions of shapes and directions of lines . Take advantage of this to exploit the bold imagery of shape and line to the full .
The final Step considers selecting the " moment in time " recorded on your film . For some types of subject - still - life , for example - there is no problem , because you are in control of all the elements in your picture . But even for stationary subjects like landscapes , you may have to respond quickly to capture the perfect moment - when the lighting is exactly right , for example . With moving subjects , your experience and ease with visual elements are really important . Often you must simply do the best you can in a hurried situation . But most subjects require some careful planning as well as a quick and spontaneous response . With practice you will be able to make decisions intuitively . watching the way things come together in your viewfinder , and responding by changing viewpoint or focus , until the right moment arrives . This is why you must work by looking through your camera , and learn to see as the camera sees , previsualizing what will record in the instant the shutter fires .
Learning to develop a style :
Look at the way the famous French photographer Henri Cartier- Bresson has handled the picture opposite . By his choice of viewpoint he has placed the bold shape of his subject strongly against the lighter - toned parts of the background . The lines formed by the tops and bottoms of the trees lead in to the man's head , giving emphasis . Distracting background details have been softened out by differential focus and the diffused lighting conditions . The shutter was released at the right moment to capture the subject in a characteristic attitude , isolated against the distant perspective . Cartier - Bresson's picture is essentially simple and direct . Yet it manages to show both an individual personality and his environment .
You can learn much by looking at the published work of other photographers . You will find a range of diverse styles in the final section , pages 178-202 , and many excellent individual collections in books at your local library . Visit exhibitions , and try assessing photographs in terms of their picture structure , as well as their content and underlying statement .
Early photographers had to use large cameras on tripods . working in a static way like a painter . Mostly they fell into the trap of trying to ape the romantic paintings and uplifting themes of their time . Photographs were conceived and staged like paintings , and contrived to look as little like photographs as possible . Fortunately modern cameras and the many uses of photography have led to a much broader idea of the nature and potential of photography .
Picture building is not a matter of obeying rules or following artistic trends . You must learn to look afresh at the world around you , to become aware of shapes , forms , surprising visual juxtapositions , the effects of light , which many people take for granted . Once you learn to see , you can select or reject . emphasize or suppress , to express your main subject in a visual language which is all your own .
Chair and shadow
The picture . left , relies for its effect on simplicity - close framing of a bold image . The photographer . Frank Hermann , used an unusual view- point to make lighting , tonal contrast . shape , and line work together .
Allée du Prado , 1932
The picture , right , uses many compositional elements . But the photographer , Henri Cartier - Bresson . has combined them so skilfully that the subject appears to be captured effortlessly .
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