Photographic Composi/on Taking be6er pictures

Transcription

1 Photographic Composi/on Taking be6er pictures

2 What is our Objec/ve? to improve our photography Impetuous Snapshot Captures a moment in /me Technically sound Ar/s/c by Accident Valued by a limited range of people Planned Photograph Projects a feeling or message Technically sound Ar/s/c by Plan Valued by a large percentage of Society

3 In other words. You take a snapshot you compose a Photograph Successful composers Bach, The Beatles, the Group of Seven, Picasso, Michelangelo, Raymond Moriyama, Francis Ford Coppola.the list is endless.

4 10,000 Hour Rule From composers such as Mozart, to legendary chess players such as Bobby Fischer, these genius didn't start out as genius. They took about 10 years of 10,000 hours (about 8 hours a day, 7 days a week for 10 years) to become who they are. Studies show that there's no such evidence that "genius" most of us think are born with magical, innate talent. They just prac/ce much, much, much more than everybody else who's doing the same thing. Ref: Outliers by Malcom Gladwell

5 Composi?on Defined In the Visual Arts in par/cular pain/ng, graphic design, photography and sculpture COMPOSITION is the placement or arrangement of visual elements or ingredients in a work of art, as dis/nct from the SUBJECT of a work. It can also be thought of as the organiza/on of the ELEMENTS OF ART according to the PRINCIPLE OF ART. - Composi'on WIKI

6 Principles of Visual Art Movement shows ac/ons, or alterna/vely, the path the viewer's eye follows throughout an artwork. Unity The arrangement of elements and principles to create a feeling of completeness Harmony gives an uncomplicated look to a piece of artwork. Variety The differences which give a design visual and conceptual interest: notably use of contrast, emphasis, difference in size and color

7 Principles of Visual Art (cont d) Balance arranging elements so that no one part of a work overpowers, or seems heavier than any other part. Contrast creates interest in a piece and o_en draws the eye to certain areas. ProporBon measurement of the size and quan/ty of elements within a composi/on PaCern/Rhythm showing consistency with colors or lines. It is indica/ng movement by the repe//on of elements. Rhythm can make an artwork seem ac/ve

8 Elements of Art LINE - the visual path that enables the eye to move within the piece SHAPE - areas defined by edges within the piece, whether geometric or organic FORM - 3- D length, width, or depth COLOR - hues with their various values and intensi/es VALUE- Shading used to emphasize shape or form TEXTURE - surface quali/es which translate into tac/le illusions SPACE - the space taken up by (posi/ve) or in between (nega/ve) objects

9 Elements of Art LINE - the visual path that enables the eye to move within the piece SHAPE - areas defined by edges within the piece, whether geometric or organic FORM - 3- D length, width, or depth COLOR - hues with their various values and intensi/es VALUE- Shading used to emphasize shape or form TEXTURE - surface quali/es which translate into tac/le illusions SPACE - the space taken up by (posi/ve) or in between (nega/ve) objects

10 Which way does your eye move?

11 Perhaps the most overdone are railway lines LINE

12 Issues to remember. Ver/cal lines have the ability to convey a variety of different moods in a photograph ranging from power and strength (think of skyscrapers) to growth (think of trees). As horizontal lines can be accentuated by shoo/ng in horizontal format ver/cal lines can be used very effec/vely by swapping the way you hold your camera into a ver/cal framing. This lengthens the ver/cal subject further which can emphasize it s height. Use the Rule of Thirds when you have strong ver/cal lines in a photograph. Placing a line directly in the middle of a shot will effec/vely cut your image in half. This can be used with drama/c impact but also can leave your image looking segmented.

13 Ver?cal Strength Growth

14 Diagonal lines generally work well to draw the eye of an image s viewer through the photograph. They create points of interest as they intersect with other lines and o_en give images depth by sugges/ng perspec/ve. They can also add a sense of ac/on to an image and add a dynamic looks and feel.

15 Lines can be implied sugges/ng depth, order Line

16 Implied Lines

17 Rule of Thirds

18 Rule of Thirds Applied

19 Elements of Art LINE - the visual path that enables the eye to move within the piece SHAPE - areas defined by edges within the piece, whether geometric or organic FORM - 3- D length, width, or depth COLOR - hues with their various values and intensi/es VALUE- Shading used to emphasize shape or form TEXTURE - surface quali/es which translate into tac/le illusions SPACE - the space taken up by (posi/ve) or in between (nega/ve) objects

20 Shape A shape is an enclosed object. Shapes can be created by line, or by color and value changes which define their edges.

21 Geometric Shape / Organic Shape

22 Shape has only height and width. Shape is usually, though not always, defined by line, which can provide its contour. In this image, rectangles and ovals dominate the composi/on. They describe the architectural details for an illusionist ceiling fresco. defined

23 Elements of Art LINE - the visual path that enables the eye to move within the piece SHAPE - areas defined by edges within the piece, whether geometric or organic FORM - 3- D length, width, or depth COLOR - hues with their various values and intensi/es VALUE- Shading used to emphasize shape or form TEXTURE - surface quali/es which translate into tac/le illusions SPACE - the space taken up by (posi/ve) or in between (nega/ve) objects

24 Form Outside of the Photographic Realm So Far Form has depth as well as width and height. Three- dimensional form is the basis of sculpture, furniture, and decora/ve arts. Three- dimensional forms can be seen from more than one side, such as this sculpture of a rearing horse.

25 Elements of Art LINE - the visual path that enables the eye to move within the piece SHAPE - areas defined by edges within the piece, whether geometric or organic FORM - 3- D length, width, or depth COLOR - hues with their various values and intensibes VALUE- Shading used to emphasize shape or form TEXTURE - surface quali/es which translate into tac/le illusions SPACE - the space taken up by (posi/ve) or in between (nega/ve) objects

26 COLOR - hues with their various values and intensi/es

27 Color The colors in an image and how they are arranged can make or break a shot. Bright colors can add vibrancy, energy and interest however in the wrong posi/on they can also distract viewers of an image away from focal points. Colors also greatly impact mood. Blues and Greens can have a calming soothing impact, Reds and Yellows can convey vibrancy ad energy etc

28 informal definitions Color many defini/ons! A broader term, including all hues, non- spectral colors and maybe even white & black

29 Complementary Colors opposites on the color wheel unse6ling, hard to look at - note: NOT COMPLIMENTARY

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31 Analogous Colors neighbors on the color wheel

32 Van Gogh, Sunflowers, 1888

33 Monochromatic Using only one color

34 Elements of Art LINE - the visual path that enables the eye to move within the piece SHAPE - areas defined by edges within the piece, whether geometric or organic FORM - 3- D length, width, or depth COLOR - hues with their various values and intensi/es VALUE- Shading used to emphasize shape or form TEXTURE - surface quali/es which translate into tac/le illusions SPACE - the space taken up by (posi/ve) or in between (nega/ve) objects

35 A very important element in, especially drawings and pain/ngs, is value (or tone). In this context, value means light and dark. Some/mes referred to by the Italian word chiaroscuro (literally light/dark ), value is o_en described visually by a scale with varying shades of gray arranged between black and white. But remember that colors have values also

36 Value is the range of lightness and darkness within a picture. Value is created by a light source that shines on an object crea/ng highlights and shadows. It also illuminates the local or actual color of the subject. Value creates depth within a picture making an object look three dimensional with highlights and cast shadows, or in a landscape where it gets lighter in value as it recedes to the background giving the illusion of depth. Value

37 Value When the ar/st is working a flat, two- dimensional surface, as in drawing and pain/ng, in order to create three- dimensional, rounded or projec/ng objects, he or she must rely on illusion alone. In other words, the 2- D ar/st must learn to fake it. A circle is rendered into a ball by using smooth, TRANSITIONAL values, gently moving from dark to light, whereas a box needs ABRUPT value changes to show that the light is different around its corners, top, and the side facing the viewer. BROKEN values are what cause us to see texture in a drawing, pain/ng or print. Photographers must pay a6en/on to ligh/ng to provide the Value Ingredient.

38 Generally, lighter values appear to be closer to the viewer, and darker values tend to recede from the viewer. All of these characteris/cs of value help the ar/st create illusions of space in two- dimensional works of art. Value

39 Elements of Art LINE - the visual path that enables the eye to move within the piece SHAPE - areas defined by edges within the piece, whether geometric or organic FORM - 3- D length, width, or depth COLOR - hues with their various values and intensi/es VALUE- Shading used to emphasize shape or form TEXTURE - surface quali?es which translate into tac?le illusions SPACE - the space taken up by (posi/ve) or in between (nega/ve) objects

40 Texture A valuable element in the ar/st s codebook is texture because it engages another sense besides sight. Texture is tac/le, that is, it appeals to our sense of touch. Ar/sts know this element can appeal to viewers and may try to recreate the illusion of texture, or add real texture to s/mulate our tac/le nature.

41 Texture is related to value, in that it s created by modifying the light on a surface (review the element of VALUE). We don t need to touch a shiny silver bowl to know its surface is hard, smooth, and polished. But we can sense a crumpled piece of paper s texture because of the hundreds of broken, abrupt value changes. Texture

42 Texture Texture is a powerful art element because it can quickly evoke memories and emo/ons. Start becoming more aware of textures all around you the carpet, in the clothes you re wearing, and the fur on your cat. Finally, look carefully to see how Vincent van Gogh created unique texture in his pain/ng of sunflowers

43 Elements of Art LINE - the visual path that enables the eye to move within the piece SHAPE - areas defined by edges within the piece, whether geometric or organic FORM - 3- D length, width, or depth COLOR - hues with their various values and intensi/es VALUE- Shading used to emphasize shape or form TEXTURE - surface quali/es which translate into tac/le illusions SPACE - the space taken up by (posibve) or in between (negabve) objects

44 Space the final fron/er The feeling of space in two dimensional art is always an illusion. Ar/sts combine the use of light and dark value with other techniques. Some of these are: simple overlapping, ladder perspec/ve, linear perspec/ve, and atmospheric perspec/ve.

45 Space Simple Overlapping In simple overlapping a figure par/ally hides an object that s supposed to be behind it. Since our eyes are easily fooled, we willingly agree that one is closer, the other is further away. Note how in this diagram the effect is heightened because the disc behind is made smaller than the disc in front.

46 Space Ladder Perspec/ve In ladder perspec/ve figures at the top of the page seem to be further away, and are some/mes smaller in scale than things that are closer to enhance the illusion.

47 Space Linear Perspec/ve Linear perspec?ve is a geometric, mathema/cal method using receding lines called orothogonals that move toward a vanishing point. In this illustra/on, you can see how edges of the box that are drawn along these orthogonals appear to create a realis/cally three- dimensional object. The size of objects or figures is determined by where they are located along these lines. With linear perspec/ve a convincing illusion of space is created on a flat surface because this technique mimics our observa/on of the real world.

48 Space Atmospheric Perspec/ve Atmospheric perspec/ve occurs whereby objects in the distance seem bluish- gray, dimmer and blurred), or varying warm and cool colors which seem to recede or advance.

49 Posi/ve / Nega/ve Space The rela/onship of posi/ve to nega/ve space can greatly affect the impact of a work of art. In this drawing, the man and his shadow occupy the posi/ve space, while the white space surrounding him is the nega/ve space. The dispropor/onate amount of nega/ve space accentuates the figure's vulnerability and isola/on.

50 Elements of Photographic Art LINE Ver/cal, Diagonal, Horizontal, Implied SHAPE Geometric, Organic FORM COLOR Primary, Secondary, Mood, Complementary, Analogous, Monochroma/c VALUE- Ligh/ng, Shades, Tones, Transi/onal, Abrupt TEXTURE - Relatable SPACE Overlap, Ladder, Linear, Atmospheric, Posi/ve, Nega/ve

51 A Quick Review..?

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53 Space

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55 Line / Monochrama/c

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57 Shape / Value

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59 Good - Space - Bad

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61 Color - Complementary

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63 Value/Space

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65 Color / Form