Composition in Photography - NASA in Photography Nancy Rosenbaum President, Goddard Photo Club February 2012 2/21/2012 Goddard Photo Club 1

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  • Composition in Photography

    Nancy Rosenbaum

    President, Goddard Photo Club

    February 2012

    2/21/2012 1 Goddard Photo Club

  • Composition

    Components of Composition Rule of Thirds Leading the Eye; Lines Framing Focus Depth of Field Angle of View Distractions

    Nature Photography Portrait Photography Gallery

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  • The Rule of Thirds

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    Nancy Rosenbaum

    Nancy Rosenbaum

    Nancy Rosenbaum

  • Find Lines Lines lead the eye from one point to another

    Diagonals can convey motion and energy

    Horizontals can convey stability, calm

    Verticals can convey strength, solidity, and power

    Arcs and semi-circles can isolate, emphasize, and frame an area

    Patterns create rhythm and movement

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  • Lines, Continued

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    Nancy Rosenbaum Nancy Rosenbaum

  • Lead the Eye into the Picture

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    Nancy Rosenbaum

    Nancy Rosenbaum

    Nancy Rosenbaum

    Nancy Rosenbaum

  • Framing

    Filling the frame

    How near or far will be the subject appear to the viewer?

    Do you want the subject to fill the frame?

    What other objects are in the frame (e.g., foreground and background objects)?

    Do they support the visual story you are telling?

    How do they contribute to or detract from the composition?

    Arrangement of objects in the frame

    Point of view left, right, down, up

    Zoom in or out

    Move closer or farther away

    Natural frames - use to your advantage

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  • Filling the Frame

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  • Natural Frames

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    Nancy Rosenbaum

    Nancy Rosenbaum

  • Horizontal or Vertical?

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    Nancy Rosenbaum

    Nancy Rosenbaum

  • Focus

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  • Depth of Field

    Depth of Field the range appearing in focus

    Small f/ number = large aperture = shallow depth of field

    Large f/ number = small aperture = long depth of field

    Longer focus distance = longer depth of field

    Longer focal length lens (e.g., telephoto = shorter depth of field)

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  • Depth of Field

    Focal length: 135 mm Aperture: f/5.0 Subj. distance: 6.9 ft

    Focal length: 18 mm Aperture: f/3.5 Subj. distance: infinity

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    Nancy Rosenbaum Nancy Rosenbaum

  • Depth of Field

    Focal length: 82 mm Aperture: f/8.0 Subj. distance: 4.6 ft

    Focal length: 200 mm Aperture: f/5.6 Subj. distance: 41 ft

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  • Angle of View

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    Nancy Rosenbaum

    Nancy Rosenbaum

  • Angle of View, contd.

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    Nancy Rosenbaum Nancy Rosenbaum

  • Angle of View, contd.

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    Nancy Rosenbaum Nancy Rosenbaum

  • Focal Length

    Normal Field of view reproduces what the human eye would see Relationships between distances appears normal to us Focal length = diagonal size of the film or sensor FL = 50 mm in a 35 mm camera; 28 mm in DX sensor camera; 22 mm in a four-

    thirds sensor camera)

    Wide angle Field of view is wider than the eye would normally see Objects appear farther away Relationships between distances appear greater FL numbers are less than the normal FL

    Telephoto Field of view is narrower than the eye would normally see Objects appear closer Relationships between distances appear smaller FL numbers are greater than the normal FL

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  • Focal Length

    Focal length: 55 mm Focal length: 98 mm

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  • Focal Length, contd.

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    Nancy Rosenbaum

  • Distractions

    Train yourself to look at every element and object in the frame:

    Are there unwanted objects in the foreground or background?

    Are there places where colors or values (light/dark) are so similar that the subject seems to disappear into the background?

    Is there an extremely bright or dark spot that draws the eye away from the subject?

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  • Intrusions Unwanted objects that detract from the composition

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    Nancy Rosenbaum Nancy Rosenbaum

  • Intrusions, contd.

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    Nancy Rosenbaum Nancy Rosenbaum

  • Intrusions, contd.

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    Nancy Rosenbaum Nancy Rosenbaum

  • Mergers Two or more overlapping objects that appear to be joined

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    Nancy Rosenbaum

    Nancy Rosenbaum

  • Mergers, contd.

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    Nancy Rosenbaum

    Nancy Rosenbaum

  • Mergers, contd. Border merger: object(s) cut off in an awkward place

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    Nancy Rosenbaum Nancy Rosenbaum

  • Bright Spots or Black Holes The brightest values pull our attention

    Large areas of low value can also be a distraction

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    Nancy Rosenbaum Nancy Rosenbaum

  • Seven Principles of Nature Photography Composition

    Clarify your message

    Keep it simple

    Be patient

    Fill the frame

    Consider verticals

    Find lines

    Place subjects off-center

    from the Beginner's Guide To Nature Photography by Cub Kahn

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  • Pay Attention to the Light

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    Nancy Rosenbaum

    Nancy Rosenbaum

  • Portrait Composition

    Fill the frame with your subject

    Keep eyes in the upper third

    Use framing to concentrate all attention on your subject

    Create texture

    Use lines

    Change your angles

    6 Tips for Perfect Composition in Portrait Photography by Christina N Dickson Read more: http://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photography#ixzz1mB7Y82zC

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    http://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photographyhttp://www.digital-photography-school.com/6-tips-for-perfect-composition-in-portrait-photography

  • Nancy Rosenbaum

    Nancy Rosenbaum

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  • GALLERY

    Courtesy Library of Congress

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  • Dorothea Lange Migrant Mother, 1936

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  • Walker Evans Laura Minnie Lee Tengle , 1935

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    Thomas Askew Weeding sugar beets for $2.00 an hour, 1972

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    Photographer Unknown Vietnam A Marine walking point for his unit during Operation Macon, a marine moves slowly, cautious of enemy pitfalls 1966

  • Thomas Askew Atlanta University, Georgia, 1899

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  • American Colony (Jerusalem), Photo Dept. Egyptian camel transport passing over Olivet, 1918

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  • Alice S. Kandell Mount Knchenjunga, Third Highest Mountain in the World, btw. 1965-1979

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  • Alice S. Kandell Sikkim, Oversized Melons and Fruit Grow, 1969

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