Digital.Camera.Magazine.Complete.Photography.Guide.Mastering.Composition (pdf document) download at fliiby.com

"Complete photography guide Mr azine aster... T-EVER PHOTO. ,USING OUR EXPERT TECHNIQUES low to frame different subjects Tricks to give your photos real depth Know the rules - and when to break them ••• . 1 VITAL SKILLS GUIDE : T E A •M LinG - Live, Inform Non-cost and Genuine ! TEAM LinG - Live, Informative, Non-cost a n d Genuine ! DiqitalCamera magazine Master... Composition If there’s one element that can radically improve your photographs, one feature that can lift your picture from snapshot to art, it’s a sense of composition. Today’s cameras and image processing software provide impressive control over exposure and colour balance, but your photos’ll never succeed if the contents don’t gel together. We’ll show you how to get it right. TEAM LinG - Live, Informative, Non-cost a n d Genuine ! on DlgjtajGai imera 3 TEAM LinG - Live, Informative, Non-cost and Genuine ! Composition CREATE YOUR BEST-EVER PHOTOS USING OUR EXPERT TECHNIQUES DigiralCamera magazine Media with passion TEAM LinG - Live, Informative, Non-cost and Genuine ! i'r ' - * * TEAM LinG - Live, Informative, Non-cost and Genuine ! Contents • • • • • • • • • • • • • • Lines & shapes The rule of thirds Focal point Master of composition: Ernst Haas Fill the frame Change perspective Cut the clutter Master of composition: Art Wolfe Create depth Repetition & rhythm Master of composition: William Albert Allard Active space Cropping for impact Top 10 tips p10 p14 p22 p24 p26 p28 p30 p32 p34 p36 p38 p40 p44 p 49 TEAM LinG - Live, Informative, Non-cost and Genuine ! on DigitalCamera 7 Make your photos sing… Just as a composer has to arrange a piece of music, deciding which instruments will work together, which sounds flow and which clash, so it is that a photographer has to construct powerful images from the visual overload hitting them from all directions. To picture a scene through a photographer’s eyes is very different to just looking at it for what it is. This book is designed to guide you through the process of refining your vision, learning what makes a strong composition, the visual tricks you can play to get your message across in a single frame, and the pitfalls to avoid. We’ll cover patterns, movement, finding a focal point and creating depth. We’ve also pulled together some great examples of the work of master photographers as well as some fresh images that highlight composition rules and techniques we think will make a difference to your own photographs. Secretly, we've probably all got a little bit of a rulebreaker locked away in us - or at least we’d like to think we have. Hopefully, this book will give you an insight into the compositional 'laws' that help get the components of your pictures in order, then give you the confidence to try breaking one or two of them. We hope you have fun doing just that - and we can’t wait to see your results… J Marcus Hawkins Editor, Digital Camera Magazine TEAM LinG - Live,INFormative,No 8 | DlglgjCamera C and Genuine ! -I- J Lines & shapes Y You need to train your eye to look for lines and shapes within a scene. They’re the building blocks of your photograph. Each can be used to enhance your image to ensure your message gets across effectively. Horizontal lines, for instance, are restful – think of a person asleep or the distant horizon. Vertical lines, such as trees or skyscrapers offer more dynamism, particularly when the shot is taken in portrait format to emphasise their height. The most powerful of all though is the diagonal. This is the line that cuts across your view and leads you into the picture. It can be used to create a sense of depth and movement, and brings the flat plane of a photograph to life. TEAM LinG - Live, Informative, Non-cost a n d Genuine ! 10 DlgHglCamera Horizontal lines As highlighted, these are the most ‘relaxing’ of lines, bringing a peace to your photographs. In fact, run the horizon directly through the centre of your frame, with an equal amount of sky and landscape on each side, and you’re on the way to a dull photograph! Naturally, this isn’t always the case. But it’s good practice to think about which element of your scene is more impressive and move the horizon higher or lower to emphasise it. You can take this to extremes. To really bring out a stunning sunset, full of rim-lit, interesting clouds, find a subject that’ll make a striking silhouette, then render it small at the bottom of your frame. Layers of horizontal lines can provide a rhythm to your picture – think of a wave breaking on the shore, more waves coming into view and the horizon in the background. This ‘rhythm’ of lines can become the subject itself. Vertical lines Strong, dynamic lines. Combine horizontal lines with these to create more powerful results. When we think of vertical lines, we think of trees, buildings and people. If you want to emphasise their height and power, try switching to a vertical format for your photograph – you can then increase their size, while their strength will be mirrored by the longest sides of the frame. Conversely, you can make vertical lines seem as if they’re bursting out of the picture if you opt for landscape format, running the top and bottom ends of the line out of the frame. Thankfully, the digital advantage means we can correct converging verticals with ease in post-production, further strengthening the power of the vertical line. Square format shots tend to be less dynamic than rectangular ones, lending themselves to ‘quiet’ landscapes. Here, the soft colours, high horizon and small focal point create an image that’s simple and serene. TEAM LinG - Live, Informative, Non-cost and Genuine ! on DkjItajCai imera 11 Diagonal lines The most interesting and visually exciting lines. They can lead you into the frame to the centre of interest by the most dynamic of routes. As viewers we tend to take more notice of subjects cutting through our vision. Avoid splitting the frame directly in two by running a diagonal line from one corner to the other – the picture tends to lose its drive. It’s more interesting to have a diagonal start just to one side of a corner and continue through the frame to the other side of the opposite corner. You’ll have a more balanced image that works within the confines of the frame. Shapes The most active of shapes use diagonal lines – the triangle is an eye-catching building block for your picture. Its three sides also introduce odd numbers into the photographic vocabulary. As well as triangular shaped subjects, think about the structure of your photograph – are there three elements you could join together with imaginary lines to form a triangle? Four-sided shapes such as squares and rectangles mirror the four sides of the picture frame – there’s no conflict there, so the viewing experience isn’t as absorbing. However, they can be used alongside diagonals and triangles to produce a more exciting image. Combining circles or curved lines with straight ones produces great tension. Here, the diagonal leads us from the focal point - the nearest windmill into the picture to take in the others. The flat lighting means the photograph needs a strong graphic element. | The vertical lines of the pillars • meeting the curved shape above creates an image with power. Notice how the curved line doesn’t start or end right in the corners - the photo isn’t split in half. TEAM LinG - Live, Informative, Non-cost and Genuine ! 12 DlgHjilCannera TEAM LinG - Live, Informative, Non-cost a n d Genuine ! on DlgltojCaiimera 13 The rule of thirds W While there are times when you need to h place your subject in the centre of the p frame, you can create more interesting, balanced and powerful compositions by placing the subject off-centre in your photograph. This immediately cause the viewer’s eye to move around the image – centrally placed subjects tend to focus attention in the middle of the image and leave it there, making pictures feel flat as a result. If you’re trying to create an abstract or graphic representation of reality, this might be exactly the technique you’re looking for. However, you can strengthen your compositions with a subtle shift of the focal point. TEAM LinG - Live, Informative, Non-cost and Genuine ! 14 DlgHglCai imera Composition Placing the peak bathed in sunlight at one of the points of power gives this photograph clarity – we know what we’re supposed to be looking at because all the elements lead us there. Know the rules One of the most frequently used ways of directing the viewer’s eye to the centre of interest in a picture is by following the rule of thirds. You’ve probably heard Digital Camera Magazine and other photographers talk about this, the most common compositional tool, developed by painters centuries ago. The idea is to imagine your frame is split into nine equal sections by two horizontal lines and two vertical lines. By placing your subject or a key part of your scene at or near a point where the lines cross – a point of power – you’ll lead your viewer’s eye through the image and create a more balanced composition. You’ll be surprised how dominant smaller subjects can become in a much larger scene. There’s a similar rule – the Golden Mean – where the proportions are slightly different, although the idea’s the same. m- TEAM LinG - Live, Informative, Non-cost and Genuine ! on DlgltojCai imera 15 Break the rules Not every image should conform to the rule of thirds – otherwise you’ll end up creating a series of similarly paced pictures. Sometimes, all it takes is a slight nudge of the main subject off-centre to create a more balanced picture. Or try moving them right to the edge of the frame. At other times, you’ll just need to place your subject bang in the centre of the photo. As long as that’s where you want to hold your viewer’s attention, that’s perfect. Imagine you’re on safari and a lion starts running towards you. This is probably the time to place the subject dead centre, if you managed to hold your camera steady… In practice, this is probably because you’ll need your most sensitive autofocus points to track the animal, but it’s also perfect placement if the lion’s gaze is fixed on you. Close-ups The same rules can be applied to any subject – they’re not just limited to landscapes and other wide-angle work. Employ the rule of thirds to faces, flowers or other macro images, by moving a key feature to a point of power. Although this scene is dominated by the foreground rocks, careful placement of the only man-made feature of the scene close to a point of power and waiting for the right light, has delivered a great shot. Although this image is fairly central, it’s been lifted by the figure looming into view from one side of the frame. The interesting shapes and lines on the costume pull your eye up the frame. TEAM LinG - Live, Informative, Non-cost a n d Genuine ! 16 DlgHglCamera TEAM LinG - Live, Informative, Non-cost and Genuine ! on DlgltojCai imera 17 TEAM LinG - Live, Informative, Non-cost and Genuine ! 18 DlgHglCamera C Use lines Learn to see patterns, lighting and lines that’ll help take your viewers to the point of power where you’ve placed your key feature. This will help increase their strength. Diagonal lines help here – particularly where short ones on one side of the subject are combined with long ones on the other side. Lines that lead your eye to a central subject can help to prevent it from feeling static as well. Get up early or stay out late to see how natural light picks out elements of the landscape – a hillside in warm light placed offcentre against a cool shadowy background demands your viewers’ attention! M While this image of a flower doesn’t fit the rule of thirds precisely, it’s still a well balanced image with an off centre subject. The red markings draw your eye into the focal point. By placing the tube sign off-centre and using the diagonal lines of the escalators to lead our eyes towards and through the focal point, the photographer has emphasised the tunnel location. TEAM LinG - Live, Informative, Non-cost a n d Genuine ! on DkjItajCai imera 19 Panoramas The rule of thirds can be applied to any format - square, rectangular or panoramic. As long as you can divide up the image by two horizontal lines and two vertical ones, you’ll have points of power. There’s enough foreground interest to ensure the image feels full, but not enough distracting elements to take our attention away from the main subject - the brightest part of the scene… ,, TEAM LinG - Live, Informative, Non-cost a n d Genuine ! 20 DlgHjilCai imera Composition Here, the light’s the subject. By placing it off-centre, we are free to roam around the image - but we always return to the same spot. The top-right point feels the most powerful - it’s where we naturally « • . , • TEAM LinG - Live, Informative, Non-cost a n d Genuine ! on DkjItajCaiimera 21 Focal point B Before you press the shutter release, you e need to consider whether you have clearly n defined your image’s centre of interest. One of the most frequent problems we see in photographs submitted to Digital Camera Magazine is backgrounds which detract from the power of the main subject. Whether it’s distracting bright patches, colours or shapes, or a poor choice of aperture, your picture can come unstuck with intrusive background detail that fights with the subject for attention. It’s far better to crop out the problems in-camera rather than relying on altering your image during post production. That way you’ll make use of the full resolution of your camera’s sensor. Look at this scene. What grabs your attention? Everything has a similar weight - and the bear’s cropped off awkwardly. The diagonal created by the building leads nowhere. TEAM LinG - Live, Informative, Non-cost a n d Genuine ! 22 DlgHjilCannera By identifying the strongest focal • point and shifting position, the photographer’s created a much more striking composition. Giving the bull more space to look into on the right of the frame would strengthen it further. Keep it simple Don’t be tempted to keep adding ingredients to your photograph – you can end up with an overcooked final image. Ask yourself what is the most important element in front of you – the thing that drew you to the scene and made you put your camera to your eye in the first place – and arrange all the other elements so that they compliment this. Be aware that you don’t always have to make your focal point the biggest thing in the foreground. A smaller centre of interest, when positioned at a point of power, isolated by a shallow depth of field or slow shutter speed to blur movement around it, or lifted from its surroundings by contrasting colours or textures, can really dominate a scene. TEAM LinG - Live, Informative, Non-cost a n d Genuine ! on DkjItajCai imera 23 composition Ernst Haas B Born in Austria in 1921, Ernst Haas travelled the o world photographing disappearing cultures, w landscapes, animals and more before passing away at the age of 65 in New York. He was one of the most influential photographers of his time – and his work still has the power to influence today. His first photographic essay, 'Homecoming Prisoners of War', shot in his native Vienna, caused him to be invited to join the respected Magnum agency. This meant he could class the likes of Henri Cartier-Bresson and Robert Capa as his peers. Famous for his pioneering work with colour photography and the portrayal of movement through slow shutter speeds, the sense of considered composition throughout his work is clear. TEAM LinG - Live, Informative, Non-cost a n d Genuine ! 24 I7TT?BIHBI Composition This shot was taken in Bali in 1956. It shows a ceremonial dance. What we love about this image is the pattern created by the arms of the men involved – it draws you into the picture and sweeps you around the frame. Haas’ reading of the situation is masterful. He obviously spotted the potential for creating a striking pattern with the group of men, then captured the proceedings from the perfect angle – not too low so that you can’t see the circular shape, not so high that you begin to lose the energy of the diagonals in the bottom right of the picture. Notice how the shot fills the frame, and how the bare patch of earth is slightly off-centre. Superbly executed. | V Learn more from Ernst ^ Haas’ incredible work at www.ernsthaas.com. TEAM LinG - Live, Informative, Non-cost a n d Genuine ! Composition l»T??TBrl 25 Fill the frame I n photography, it’s often said that if you can’t make something good, make it big. By filling the frame with your subject there’s no mistaking your centre of interest – although good compositional techniques, such as placing a key feature on a point of power, still apply. If you’re finding it hard to get inspired by a scene, big, bold, confident framing is a great starting point to getting you fired up. Get in close – then get in closer still… Make use of clothing and props to help your subject ‘flesh out’ the image. Leave a hint of background to give the impression that they’re almost too big for the frame. TEAM LinG - Live, Informative, Non-cost and Genuine ! 26 DlgHjilCannera Composition If you can’t get in close, expand the presence of your subject in the frame using reflections or shadows. This family seem to fill the entire frame, but they only occupy half of it. Heads up The most frequently shot frame-fillers are portraits. The power of eye-contact and dramatic close-up focus makes for some of the most arresting images. Simply pointing your lens at someone’s face and pressing the shutter release doesn’t guarantee a good result though. For a start, how much of the subject’s face do you want to be sharply rendered? Everything? In which case, stop down the lens to a small aperture. Just the eyes? Go for a wide aperture – and make sure you nail the focus on the eyes. Not all the best portraits show an even balance between the features of the sitter’s face. Often you’ll find that a much more ruthless crop in an image-editor gives a more dramatic result. Try positioning the image off to the side of the frame, with one eye on a point of power. Emphasise the texture of an old person’s face by angled lighting and converting to a monochrome image during post production. Exaggerate features by using a wide-angle lens and getting in twice as close (although no-one will probably thank you for it). TEAM LinG - Live, Informative, Non-cost and Genuine ! on DlgltajCamera 27 Change perspective Y our choice of lens focal length plays a vital role in how you capture the world. v Wideangle lenses (anything from around 28mm and below) exaggerate perspective, while telephoto lenses (100mm and above) compress it. Each has its own benefits and restrictions when it comes to composition. A wideangle lens (or the wide end of a zoom) takes in a much bigger view of the world. It’s relatively easy to get dramatic shots by tilting the lens up or down to take in more of an exciting sky or detailed foreground without shifting your position much. However, it becomes much harder to isolate interesting parts of the scene in front of you. Telephoto lenses can help reduce the scene to the most important elements. Don’t feel you need to take a picture from the same position as with the wideangle lens though… Don’t be afraid to move One of the greatest aids to composition is a tripod. It slows your shooting speed down and makes you consider the scene in front of you with a little more care. But don’t lock your camera on it until you’ve decided on the best angle to shoot from – it can be tempting to stay restrict..."

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