45
Photo Composition Photo Composition Kent Messamore 3/12/2010

Photo Composition - kmessamore.com Composition.pdf · Composition Choosing a Subject Quality of Light Framing the Image Depth of Field Backgrounds and Foregrounds Viewpoint “ h

  • Upload
    lybao

  • View
    216

  • Download
    0

Embed Size (px)

Citation preview

Photo CompositionPhoto Composition

Kent Messamore

3/12/2010

CompositionChoosing a SubjectChoosing a SubjectQuality of LightFraming the ImageDepth of FieldBackgrounds and ForegroundsViewpoint “ h b ild i t h tpLeading LinesContrastsP tt

“…how you build a picture, what a picture consists of, how shapes are related to each other, how spaces are filled how the whole thingPatterns

Negative SpaceDeveloping your Own Style

are filled, how the whole thing must have a kind of unity.” Paul Strand

Enhanced Images 2JKM 3/12/2010

Choosing a Subject

All taken close to my house

Subjects are all around you if you can learn to see!!!

Enhanced Images 3JKM 3/12/2010

Quality of light Quality of Light is subjectiveQ y g j

Light can have tone – dark or lightLight can be soft or hard – blurred orsharpLight can have color – muted or Light can have color muted or saturatedLight 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 4JKM 3/12/2010

Framing the ImageAspect Ratio size of the FrameAspect Ratio – size of the FrameOrientation – Portrait/Landscape?S F ?Square Frame?CroppingFilling the FramePlacing Objects within the Frame

“A Painter includes objects;A Photographer excludes objects”

Simplify! Simplify! Simplify!Simplify! Simplify! Simplify! Enhanced Images 5JKM 3/12/2010

Aspect Ratio – Size of FrameAspect Ratio is important when taking a photo Think about Aspect Ratio is important when taking a photo. Think about how what you see in the Camera is going to fit on your chosen outputYou can achieve the chosen aspect ratio by cropping, however p y pp g,you may lose some of your image

1.33 Aspect Ratio Image

media size (width & height) Aspect RatioS 1 1 1 00Square 1 x 1 1.00

35 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

t Di l 4368 2912 i l 1 50computer Display 4368 x 2912 pixels 1.50

Photo Paper 4 x 6 inches 1.50

Printing Paper 8.5 x 11 1.29

Standard TV 4 x3 1.33

HDTV 16 9 1 80

.5 in

Enhanced Images 6

1.8 Aspect Ratio crop for HDTVHDTV 16 x 9 1.80

JKM 3/12/2010

OrientationHuman eyes are arranged to

LandscapeOrientation

y gnaturally 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 bothPortrait Orientation themselves to both horizontal and vertical. Try both.

Enhanced Images 7JKM 3/12/2010

S FSquare FrameSquare Frame is difficult to 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 8JKM 3/12/2010

Cropping with your Camera

Enhanced Images 9JKM 3/12/2010

Filling the FrameFilling the FrameIf you don’t seem to be getting good photos, maybe you are maybe you are not close enough.

Fill the FrameG t i ClGet in CloseUse your feetUse your zoom

Enhanced Images 10JKM 3/12/2010

Subject Placement in the FrameThe human eye naturally Framey ygoes to the center of a photograph.We are trained by nature to fi d hi i f f

Frame

find things in front of our eyes less interesting.Our eyes look for danger in our peripheral visionour peripheral vision.We find subjects in our peripheral vision much more interesting than in the centerg

Enhanced Images 11JKM 3/12/2010

Frame Placement – “The Rule of Thirds”

Draw a grid dividing Frame into thirds.

Place key elements at the intersections (as much as(as much as possible)

Or place objects p jalong the lines

Enhanced Images 12JKM 3/12/2010

Frame Placement – The Golden Rectangle

A+B = A = φ (Phi) = 1.618

There is an irrational number that appears many places in nature (other

φ ( )

B = .618 AA B

A

A square within a larger Another appears many places in nature (other than Pi – 1.414).It is Phi (φ) or 1.618.With it you can create the “Golden

q grectangle

Another square within a larger rectangle

yRectangle” (Left)

And anotherAnd

Soon

another so on

Fibonacci number Series 1 1 2 3 5 8 13 21 34

Enhanced Images 13JKM 3/12/2010

, 1, 1, 2, 3, 5, 8, 13, 21, 34, …

Frame Placement – The Golden Rectangle

If fli h R l h i llIf 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 “RuleThis 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 tilt d d b istilted and boring

An Object placed and one of the four intersecting lines in the frame seems natural to us.

Enhanced Images 14JKM 3/12/2010

natural to us.

Frame Placement – The Golden Spiral

Connect the key points with a smooth y pcurve and you get the Golden Spiral which you might recognize in a Chambered NautilusMany believe this spiral appears in natureMany believe this spiral appears in nature everywhere, however usually the spiral is only an approximate fit.It does make us realize however that weexpect what we see to resemble theexpect 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

Enhanced Images 15JKM 3/12/2010

important

Frame within the Frame

Use nearby objects to objects to frame the subject of the photop

Enhanced Images 16JKM 3/12/2010

Positive and Negative SpaceP iti i h h d Positive space is where shapes and forms existN ti i th t Negative space is the empty space around shapes and forms

It i h “ h t i ’t th ” i It is where “what isn’t there” is as important as “what is”It can create depth and emotion in a It can create depth and emotion in a photo

17Enhanced ImagesJKM 3/12/2010

Positive and Negative Space

18Enhanced ImagesJKM 3/12/2010

Depth of FieldPerfect lens would focus a point size object

What is “Sharp” in a photograph?

p jat a point on the sensorNo lenses are perfect and Human eye can only resolve a point size object down to a small circleThus the point size object becomes a veryor

LensDepth of Field

O Thus the point size object becomes a very small circleAs you scale the point size object to an entire photograph, some portions of the photograph are sharply in focus and some are blurred

Object

Focal Length

Sen

s

are blurredThis is a very complex subject: Depth of Field is determined by:

f/stop or ApertureFocal Length

Focal Length

Point size object becomes a circle. The circle size is a characteristic of Distance to the Subject

Lens sharpnessSensor sizePrint SizePrint viewing distance

The circle size is a characteristic of the Lens and Focal Length.What is acceptably sharp is a characteristic of the human eye

For more depth on the subject try this link:

Enhanced Images 19

Human eye characteristicsFor more depth on the subject try this link:http://www.cambridgeincolour.com/tutorials/depth-of-field.htm

JKM 3/12/2010

fControl over DOF:

Th (3) thi d tDepth of FieldF P i

Three (3) things you can do to control DOF:

Focus PointLens Focal Length:Increasing focal length reduces DOF. Decreasing

Large DOF1/3 2/3Distance: The greater the distance from the subject,

the greater the DOF. If you want more DOF, Step

focal Length increases DOF. Telephotos typically have small DOFs; Wide Angle lenses have

Focus Point

g y , pback. If you want less DOF move close up

Angle lenses have large DOF.

Watch out for Zoom Lenses as the DOF changes as

Z i d

f/stop: Decreasing aperture (increasing f/stop) gives you greater DOF; Increasing aperture reduces you Zoom in and

out.

DOF; Increasing aperture reduces DOF. Less DOF – Open your lens; More DOF – Stop it down.

Enhanced Images 20

Shallow DOF

JKM 3/12/2010

Depth of Field

ISO = 200Lens = 58 mmAperture = f/11Shutter Speed = 1/25 Sec.

ISO = 200Lens = 58 mmAperture = f/2.8Shutter 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 FieldIf telephoto Lens was used we could completely blur out the backgroundIf telephoto Lens was used we could completely blur out the background

Enhanced Images 21JKM 3/12/2010

Depth of FieldAs the Lens focal length goes g gfrom 58 mm to 300 mm, the background is clearly Blurred. This is the impact of Lens Focal Length on Depth of Field.g p

Great for Headshot Portraits as the distracting elements in the background are removed.g

ISO = 200Lens = 58 mmAperture = f/5.6Shutter Speed = 1/100 Sec

ISO = 200Lens = 300 mmAperture = f/5.6Sh S d 1/80 S

Enhanced Images 22

Shutter Speed = 1/100 Sec. Shutter Speed = 1/80 Sec.

JKM 3/12/2010

BackgroundsCh k b k d Check background prior to pressing the shuttershutter

Distracting elementsProtruding objects Protruding objects from subjects headsCompeting lines

23Enhanced ImagesJKM 3/12/2010

B k dBackgrounds

Check the background prior to ppressing the shutter

Enhanced Images 24JKM 3/12/2010

Pay attention to BackgroundUsing soft focus (Depth of Field) to Using soft focus (Depth of Field) to remove a distracting background

25Enhanced ImagesJKM 3/12/2010

ForegroundAlso Check ForegroundAlso Check Foreground

Distracting elementsOut of focus objectsCan 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 26JKM 3/12/2010

ForegroundAlso Check ForegroundAlso Check Foreground

I moved left and got a much better shot

Enhanced Images 27JKM 3/12/2010

View PointCh b k d b i t Change background by moving to another angleSh t f bShoot from aboveShoot from belowShoot small animals or children from their own level

28Enhanced ImagesJKM 3/12/2010

Patterns in an imageRepeating patterns

Texture in an iimage

29Enhanced ImagesJKM 3/12/2010

Leading LinesTo draw or lead the viewer’s eye to your subjectTo 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

30Enhanced ImagesJKM 3/12/2010

Leading Lines

Horizontal lines create a sense of rest

Enhanced Images 31JKM 3/12/2010

Diagonal Lines

Diagonal Lines create interest

Enhanced Images 32

Diagonal Lines create interest

JKM 3/12/2010

Leading LinesVerticalVertical Lines show strength

Converging Lines lead eye through image

Intersecting li tlines create tension

Enhanced Images 33JKM 3/12/2010

Intersecting Lines - TensionReducedReduced Tension

Enhanced Images 34JKM 3/12/2010

Curved Lines

Curved Lines add interest and depth to

h tyour photos

35Enhanced ImagesJKM 3/12/2010

What creates Impact in a PhotoContrasts Eye is immediately attracted to BlueContrasts – Eye is immediately attracted to Blue

Dark versus LightBlack & White versus ColorNo detail versus Lots of Detail Blurred versus SharpStill versus MovingStill versus MovingContrasting Colors – Green, Blue, Purple versus Yellow, Orange, RedCool versus Warm ColorsRepeating pattern with a Break in the PatternSeen every day versus very unusual

36Enhanced ImagesJKM 3/12/2010

D k Li hDark versus Light

37Enhanced ImagesJKM 3/12/2010

Bl k & Whi C lBlack & White versus Color

38Enhanced ImagesJKM 3/12/2010

N d il L f D ilNo detail versus Lots of Detail

39Enhanced ImagesJKM 3/12/2010

Bl d ShBlurred versus Sharp

40Enhanced ImagesJKM 3/12/2010

Contrasting Colors

Colors directly across the Color wheel are contrasting and go very well together

Enhanced Images 41JKM 3/12/2010

Seen every day versus very unusual

42Enhanced ImagesJKM 3/12/2010

Picture Composition Summary – 6 Rules1. Keep it simple – What is the subject of p p j

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 F i bj i f d i h4. 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 psubject. 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

6. Rules are made to be broken.

JKM 3/12/2010

Developing your own styleL k t th h t i Look at others photos, magazines, newspapers, paintings to see what you likeyou like.Try to copy some of these images until you canuntil you can.Shoot, Shoot, Shoot until you develop your own styleyour own style.

44Enhanced ImagesJKM 3/12/2010

CompositionMore links about compositionp

http://photoinf.com/General/Geoff_Lawrence/Composition.html

http://digital-photography-school.com/fill-your-frame

http://digital-photography-school.com/getting-backgrounds-rightp g p g p y g g g g

Don’t miss these next 2 they are a bit more advanced and very well done.

http://knol.google.com/k/yanik-chauvin/photography-composition-an-introduction/

2rcdarvscszjb/2#j

http://www.luminous-landscape.com/columns/jp-composition-intro.shtml

http://www.mediacollege.com/photography/composition/frame.html

Recommended Book for further study – “The Photographer’s y g pEye by Michael Freeman, The Ilex Press, ISBN-13: 978-0=240-80934-2

Enhanced Images 45JKM 3/12/2010