تويت
الخطوة 1: وجهة النظر والإضاءة / وجهة النظر ..
بناء الصورة .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
STEP 1 : VIEWPOINT AND LIGHTING / Viewpoint
Re - positioning your subject in the view- finder frame and changing the camera view- point are two simple ways of controlling the composition and altering the image .
In a photograph a subject is restricted to the rectangular ( or sometimes square ) format imposed by the camera . This frame is an important compositional element . It can , for example , sharply cut off parts of the subject and create completely new shapes as shown in the picture of the building below . With rectangular formats , whether you hold the camera horizontally or vertically is an important consideration .
Most cameras are designed for eye - level use the height from which we see the world and the majority of pictures are taken from this level . Photography from a different viewpoint can often add drama and excitement , or sometimes bring out an unusual aspect of a subject .
Picture format
The proportions of most photo- graphs are rectangular the nor- mal 35 mm full frame format having a ratio of 2 to 3 ( 24 x 36 mm ) . The choice of whether to hold the camera horizontally or vertically can have a great effect on your final composition as shown left by the two marked areas .
For example , in the horizontal version of the landscape your eye is led along the valley from the nearby tree to the dip on the hor- izon . When the same subject is taken with the camera held vert- ically , notice how the horizontal flow of the composition is reduced . The house becomes more strongly placed , and the white clouds seem to repeat the shapes of the fore- ground bushes . The scene now appears much less enclosed .
Symmetry
The subjects above and below have been positioned symmetric- ally within the picture format by careful use of the picture frame . A symmetrical composition gives a balanced result but used alone is often monotonous . Irregular ele- ments , such as the vertical bar on the door and the worn step , below , relieve the formal pattern and add interest to the picture .
Balance and variety
The photograph above uses the window bars and edges of the pic- ture to create four separate areas . The composition is asymmetrical but has balance . provided by the flowers and window catch . Each of the four frames has simple dif- ferences in size and shape which give interest and variety .
High viewpoint
The viewpoint used for the picture below eliminates the sky from the picture and fills the whole frame with the textured surface of the grass . Because from this position the man is not immediately recog- nizable , his abstract shape becomes part of the two - dimensional design .
Against a simple , flat back- ground the positioning of the main subject is critical . Here the man is placed off - center , but moving paral- lel to the edges of the picture frame , giving the composition balance and interest .
Working close - up
The portrait , right , shows the powerful effect that can be achiev- ed by filling the whole picture frame with your subject . Even though much of the child's head is lost by this extreme close - up , the essential features of the face are still captured .
There is no correct position from which to take portraits - it should be selected according to the subject . Sometimes you may want to include the surroundings or an object that is associated with the subject . This helps to convey infor- mation and create a mood .
Low viewpoint
The distorted scale created by the low viewpoint in the picture , left , greatly adds to the menace of the armed soldiers .
An eye - level viewpoint would have made each of the soldiers recognizable characters , all on a normal scale . This choice of fram- ing and viewpoint has deperson- alized the soldiers and emphasized boots and rifle butts .
بناء الصورة .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
STEP 1 : VIEWPOINT AND LIGHTING / Viewpoint
Re - positioning your subject in the view- finder frame and changing the camera view- point are two simple ways of controlling the composition and altering the image .
In a photograph a subject is restricted to the rectangular ( or sometimes square ) format imposed by the camera . This frame is an important compositional element . It can , for example , sharply cut off parts of the subject and create completely new shapes as shown in the picture of the building below . With rectangular formats , whether you hold the camera horizontally or vertically is an important consideration .
Most cameras are designed for eye - level use the height from which we see the world and the majority of pictures are taken from this level . Photography from a different viewpoint can often add drama and excitement , or sometimes bring out an unusual aspect of a subject .
Picture format
The proportions of most photo- graphs are rectangular the nor- mal 35 mm full frame format having a ratio of 2 to 3 ( 24 x 36 mm ) . The choice of whether to hold the camera horizontally or vertically can have a great effect on your final composition as shown left by the two marked areas .
For example , in the horizontal version of the landscape your eye is led along the valley from the nearby tree to the dip on the hor- izon . When the same subject is taken with the camera held vert- ically , notice how the horizontal flow of the composition is reduced . The house becomes more strongly placed , and the white clouds seem to repeat the shapes of the fore- ground bushes . The scene now appears much less enclosed .
Symmetry
The subjects above and below have been positioned symmetric- ally within the picture format by careful use of the picture frame . A symmetrical composition gives a balanced result but used alone is often monotonous . Irregular ele- ments , such as the vertical bar on the door and the worn step , below , relieve the formal pattern and add interest to the picture .
Balance and variety
The photograph above uses the window bars and edges of the pic- ture to create four separate areas . The composition is asymmetrical but has balance . provided by the flowers and window catch . Each of the four frames has simple dif- ferences in size and shape which give interest and variety .
High viewpoint
The viewpoint used for the picture below eliminates the sky from the picture and fills the whole frame with the textured surface of the grass . Because from this position the man is not immediately recog- nizable , his abstract shape becomes part of the two - dimensional design .
Against a simple , flat back- ground the positioning of the main subject is critical . Here the man is placed off - center , but moving paral- lel to the edges of the picture frame , giving the composition balance and interest .
Working close - up
The portrait , right , shows the powerful effect that can be achiev- ed by filling the whole picture frame with your subject . Even though much of the child's head is lost by this extreme close - up , the essential features of the face are still captured .
There is no correct position from which to take portraits - it should be selected according to the subject . Sometimes you may want to include the surroundings or an object that is associated with the subject . This helps to convey infor- mation and create a mood .
Low viewpoint
The distorted scale created by the low viewpoint in the picture , left , greatly adds to the menace of the armed soldiers .
An eye - level viewpoint would have made each of the soldiers recognizable characters , all on a normal scale . This choice of fram- ing and viewpoint has deperson- alized the soldiers and emphasized boots and rifle butts .
تعليق