Photographic

Tips, Rules, & Concepts

What makes an effective image

&arranging picture

elements effectively.

Composition

Every photograph has its origin in the desire of the photographer to say something meaningful

Good photos do more than just preserve memories or make a record of a place or event.

Why Make Images?

The photo’s message can not just be in the photographer’s head.

It fails, if it only jogs your memory

Good PhotosDeliver a Message

Good composition is the visual language that allows photographs to convey a clear message.

By mastering image composition you can communicate ideas with amazing effectiveness.

What do I want to say with my photograph?

Two Approachesto PhotographyPre-visualize

Plan the PhotographStart with

an idea

Let it HappenFind the Image

Look for theDecisive Moment

Both are valid and has its place

The Arguments forSpontaneity

We are creatures of habit.

We see the world based onour learned beliefs.

We make the same imageover and over.

approach everything as a blank slate

Look for simplicity

Be spontaneous

To be Creative:

MW Blevins

M.W. BlevinsBe receptive to the moment!

“In the decisive moment,it is the

simultaneous recognition,in a fraction of a second,

of the significanceof an event as well as

the preciseorganization of forms

which givesThat event

its proper expression”

Henri Cariter-Bresson

Henri Cariter-Bresson

M.W. Blevins

Spontaneitycan be in themood of the Image –

A successful image may only need to evoke a feeling.

The argument forpre-visualizationIf a photograph is art,

can it’s content be unplanned?

Does the picture make a statement?

Does it create a feeling?

Does it communicate a mood?

Is the message understandable?

M W Blevins

Pre-visualize the result M.W. Blevins

Studio Still Life work is often pre-visualized.

M.W. Blevins

The eye & the brain

The camera & lens

They work together to dynamically scan & interpret data

Has only a single point of view

They View objects stereo-scopically by auto pattern recognition

They provide dynamic & automatic exposure control

Translates images into a two dimensional surface

Controls exposure for each frame

Breakthe

Rules

Don’t overrule your visual instinctswhen you look through your cameraand see something special.

Gordon Heisler

Of composition

The Center of Interest

Strive for a singleunderstandable subject.

The area around the subjectshould complement and

strengthen it.

Balance light &dark areas

Match detail areaswith empty ones

Balance simple &complex shapes

Philippe L. Gross, Parked Dog,

Cropping – framing the picture

Get close to the subject.Learn to crop in the camera.Eliminate extraneous detail.

Object MergersWhen objects in the

foreground or background interfere with the subject.

Simplify the ImageStrive for isolating the subjectAnd avoiding object mergers

but

maintain clear shapes & formsto increase interest.

Divide your frame into a horizontal & vertical grid.

Place subject at intersections

The motion of the subjectshould lead into the scene.

Emphasize foreground

Horizon Line

Emphasizebackground

Horizon Line

Tina Manley

David Rosen

Rule of Thirds

Foreground objectsComplement theSubject.

Selective focus canalso frame the subject.

Natural Frames

Windows, doors, holes,walls, foliage, canAll be frames.

NaturalFrames

Image byHenry Ford

NaturalFrames

M.W. BlevinsStockholm, SW

Leading LinesFocus the viewer on thepicture’s center of interest.

Henri Cartier-Bresson, Ile de Sifnos, Greece

Strong Shape & Patterns Will Strengthen compositions

Emphasize simple shapessuppress excess detail.

The emerging patterncan bring order fromconfusion.

The key is controllingcamera viewpoint & lighting.

Paul Schranz

Repeating Patterns

Silhouettes convey meaning without excess detail

Silhouettes

By emphasizing theOutline, they addMystery and interest to the subject.

Expose for the brightbackground to under-expose the foreground.

Novgorod, Russia

Ansel Adams“Self Portrait”

Depth Perception – Creating Depth in Photographs

Aerial Perspective

Atmosphere conditions often desaturate background colors and which separates objects at different distances.

Telephoto lenses can enhance this by making the distant objects seem closer.

perception

M.W. Blevins

Linear perspective:Converging lines,Telephone poles,Railroad tracks.

perception

Photo by Molly Helfrich

M.W. Blevins

Dynamic Lines

perception

Use of diagonal linesinstead ofhorizontal or vertical lines

Diagonals enhanceimage depth.

Dynamic Lines &Linear Perspective

Philippe Gross – Z path

Selective Focus:

perception

Throwing the foreground or background out of focus.

Gordon Parks

Camera Viewpoint

Vary it – For stationary subjects, try at least 6 different viewpoints.

Jeff Moore

Motion Blur Can Add Tension - Excitement

M.W. Blevins

Using These Guidelines, Take thephotograph. Learn to react quicklywhen the right moment occurs.

Don’t let the mechanics of photographycome between you and the subject.

END