Kent Messamore 3/12/2010
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1 Photo Composition Kent Messamore 3/12/2010
2 Composition Choosing a Subject Quality of Light Framing the Image Depth of Field Backgrounds and Foregrounds Viewpoint Leading Lines Contrasts Patterns Negative Space Developing your Own Style how you build a picture, what a picture consists of, how shapes are related to each other, how spaces are filled, how the whole thing must have a kind of unity. Paul Strand Enhanced Images 2
3 Choosing a Subject All taken close to my house Subjects are all around you if you can learn to see!!! Enhanced Images 3
4 Quality of light Quality of Light is subjective Light can have tone dark or light Light can be soft or hard blurred or sharp Light can have color muted or saturated Light can have contrast -dark tones very near to light tones Each of these are very much individual qualities that make the difference between a good photographer and a great photographer Great photographers take these Qualities together with a subject and weave them into a composition called a photograph Enhanced Images 4
5 Framing the Image Aspect Ratio size of the Frame Orientation Portrait/Landscape? Square Frame? Cropping Filling the Frame Placing Objects within the Frame A Painter includes objects; A Photographer excludes objects Simplify! Simplify! Simplify! Enhanced Images 5
6 Aspect Ratio Size of Frame Aspect Ratio is important when taking a photo. Think about how what you see in the Camera is going to fit on your chosen output You can achieve the chosen aspect ratio by cropping, however you may lose some of your image 1.33 Aspect Ratio Image media size (width & height) Aspect Ratio Square 1 x mm slide film 36 x 24 mm 1.50 Computer Display 1024 x 768 pixels 1.33 APS-C 2816 x 2112 pixels 1.33 computer Display 4368 x 2912 pixels Photo Paper 4 x 6 inches 1.50 Printing Paper 8.5 x Standard TV 4 x HDTV 16 x Aspect Ratio crop for HDTV.5 in Enhanced Images 6
7 Orientation Portrait Orientation Landscape Orientation Human eyes are arranged to naturally view Landscapes Most Cameras are designed to hold for a Landscape Holding Camera in Portrait Orientation is uncomfortable Go outside the box and take Portraits when scene calls for it. Some scenes lend themselves to both horizontal and vertical. Try both. Enhanced Images 7
8 Square Frame Square Frame is difficult to work with as sides impose formal rigidity on the image Eye will always be directed back towards the center of the image It will, however, work with some images Enhanced Images 8
9 Cropping with your Camera Enhanced Images 9
10 Filling the Frame If you don t seem to be getting good photos, maybe you are not close enough. Fill the Frame Get in Close Use your feet Use your zoom Enhanced Images 10
11 Subject Placement in the Frame The human eye naturally Frame goes to the center of a photograph. We are trained by nature to find things in front of our eyes less interesting. Our eyes look for danger in our peripheral vision. We find subjects in our peripheral vision much more interesting than in the center Enhanced Images 11
12 Frame Placement The Rule of Thirds Draw a grid dividing Frame into thirds. Place key elements at the intersections (as much as possible) Or place objects along the lines Enhanced Images 12
13 Frame Placement The Golden Rectangle A+B = A = φ (Phi) = A B =.618 A A B There is an irrational number that A square within a larger Another appears many places in nature (other rectangle square within than Pi 1.414). a larger It is Phi (φ) or rectangle With it you can create the Golden Rectangle (Left) So on And so on And another Fibonacci number Series, 1, 1, 2, 3, 5, 8, 13, 21, 34, Enhanced Images 13
14 Frame Placement The Golden Rectangle If you flip the Rectangle horizontally and vertically you will get a Tic Tac Toe within the rectangle. This is the origin of the so called Rule of Thirds The rule of Thirds is an approximation of the Golden Rectangle A photographic Subject or Object placed in the center of the frame seems stilted and boring An Object placed and one of the four intersecting lines in the frame seems natural to us. Enhanced Images 14
15 Frame Placement The Golden Spiral Connect the key ypoints with a smooth curve and you get the Golden Spiral which you might recognize in a Chambered Nautilus Many believe this spiral appears in nature everywhere, however usually the spiral is only an approximate fit. It does make us realize however that we expect what we see to resemble the things we see in nature. And nature approximates the Golden Rectangle Keep in mind that it is only an approximation and exact placement is not important Enhanced Images 15
16 Frame within the Frame Use nearby objects to frame the subject of the photo Enhanced Images 16
17 Positive and Negative Space Positive space is where shapes and forms exist Negative space is the empty space around shapes and forms It is where what isn t there is as important as what is It can create depth and emotion in a photo Enhanced Images 17
18 Positive and Negative Space Enhanced Images 18
19 Depth of Field What is Sharp in a photograph? Perfect lens would focus a point size object at a point on the sensor No lenses are perfect and Human eye can Depth of Field Lens only resolve a point size object down to a small circle O Thus the point size object becomes a very small circle Object As you scale the point size object to an entire photograph, some portions of the photograph are sharply in focus and some Focal Length are blurred This is a very complex subject: Depth of Field is determined by: f/stop or Aperture Point size object becomes a circle. Focal Length The circle size is a characteristic of Distance to the Subject the Lens and Focal Length. Lens sharpness What is acceptably sharp is a Sensor size characteristic of the human eye Print Size Print viewing distance Human eye characteristics For more depth on the subject try this link: or Sens Enhanced Images 19
20 Control over DOF: Depth of Field Three (3) things you can do to control DOF: Distance: The greater the distance from the subject, the greater the DOF. If you want more DOF, Step back. If you want less DOF move close up f/stop: Decreasing aperture (increasing f/stop) gives you greater DOF; Increasing aperture reduces DOF. Less DOF Open your lens; More DOF Stop it down. Focus Point 1/3 2/3 Large DOF Focus Point Lens Focal Length: Increasing focal length reduces DOF. Decreasing focal Length increases DOF. Telephotos typically have small DOFs; Wide Angle lenses have large DOF. Watch out for Zoom Lenses as the DOF changes as you Zoom in and out. Shallow DOF Enhanced Images 20
21 Depth of Field ISO = 200 Lens = 58 mm Aperture = f/11 Shutter Speed = 1/25 Sec. ISO = 200 Lens = 58 mm Aperture = f/2.8 Shutter Speed = 1/400 Sec. As the Aperture goes from f/11 to f/2.8, the background is clearly Blurred. This is the impact of Depth of Field If telephoto Lens was used we could completely blur out the background Enhanced Images 21
22 Depth of Field As the Lens focal length goes from 58 mm to 300 mm, the background is clearly Blurred. This is the impact of Lens Focal Length on Depth of Field. Great for Headshot Portraits as the distracting elements in the background are removed. ISO = 200 Lens = 58 mm Aperture = f/5.6 Shutter Speed = 1/100 Sec. ISO = 200 Lens = 300 mm Aperture = f/5.6 Shutter Speed = 1/80 Sec. Enhanced Images 22
23 Backgrounds Check background prior to pressing the shutter Distracting elements Protruding objects from subjects heads Competing lines Enhanced Images 23
24 Backgrounds Check the background prior to pressing the shutter Enhanced Images 24
25 Pay attention to Background Using soft focus (Depth of Field) to remove a distracting background Enhanced Images 25
26 Foreground Also Check Foreground Distracting elements Out of focus objects Can you bring them into focus? Can you reach out and move them? Can you move left or right and get a better view? Enhanced Images 26
27 Foreground Also Check Foreground I moved left and got a much better shot Enhanced Images 27
28 View Point Change background by moving to another angle Shoot from above Shoot from below Shoot small animals or children from their own level Enhanced Images 28
29 Patterns in an image Repeating patterns Texture in an image Enhanced Images 29
30 Leading Lines To draw or lead the viewer s eye to your subject To create illusion of depth in your image Horizontal give a sense of stability, rest, or tranquility (think horizon) Vertical lines are generally associated with power, strength, and growth (Think trees) Diagonal Lines create interest and action Intersecting Lines create tension, chaotic Enhanced Images 30
31 Leading Lines Horizontal lines create a sense of rest Enhanced Images 31
32 Diagonal Lines Diagonal Lines create interest Enhanced Images 32
33 Leading Lines Vertical Lines show strength Converging Lines lead eye through image Intersecting lines create tension Enhanced Images 33
34 Intersecting Lines - Tension Reduced Tension Enhanced Images 34
35 Curved Lines Curved Lines add interest and depth to your photos Enhanced Images 35
36 What creates Impact in a Photo Contrasts Eye is immediately attracted to Blue Dark versus Light Black & White versus Color No detail versus Lots of Detail Blurred versus Sharp Still versus Moving Contrasting Colors Green, Blue, Purple versus Yellow, Orange, Red Cool versus Warm Colors Repeating pattern with a Break in the Pattern Seen every day versus very unusual Enhanced Images 36
37 Dark versus Light Enhanced Images 37
38 Black & White versus Color Enhanced Images 38
39 No detail versus Lots of fdetail Enhanced Images 39
40 Blurred versus Sharp Enhanced Images 40
41 Contrasting Colors Colors directly across the Color wheel are contrasting and go very well together Enhanced Images 41
42 Seen every day versus very unusual Enhanced Images 42
43 Picture Composition Summary 6 Rules 1. Keep it simple What is the subject of your picture? Get close. 2. Rule of thirds Draw a simple grid and place subject at one of the 4 intersections. 3. Balance Balance subject with some object on opposite side of picture. Unbalance gives impression of movement. 4. Framing subject in foreground with background to give depth. Placing people in image to show scale. 5. Lines Place lines in photo that lead to subject. Horizontal & vertical lines give sense of stillness. Diagonal lines add interest. Intersecting lines create tension. 6. Rules are made to be broken. Enhanced Images 43
44 Developing your own style Look at others photos, magazines, newspapers, paintings to see what you like. Try to copy some of these images until you can. Shoot, Shoot, Shoot until you develop your own style. Enhanced Images 44
45 Composition More links about composition p g p g g g g Don t miss these next 2 they are a bit more advanced and very well done. 2rcdarvscszjb/2# Recommended Book for further study The Photographer s Eye by Michael Freeman, The Ilex Press, ISBN-13: 978-0= Enhanced Images 45
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