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    Composition Composition Presentation Transcript

    • Composition
    • A photograph captures a moment in time which can never be repeated.
    • The way you capture the moment is the way it will be seen, enjoyed, and interpreted.
    • How will your photograph truly capture what is before you?
    • Remember the old phrase, “A picture is worth a thousand words.” What do you want to say?
    • Think about the photograph’s potential. Consider the possibilities.
    • Creating Choices There is an infinite number of artistic choices you can make. Never stop with just ONE idea!
    • Composition Theme • What is the universal message of the photograph? • What does it imply or say? • What makes the photograph worth taking? • Theme creates the BIG IDEA behind a mere image.
    • Larry Fink Pat Sabatine’s Eighth Birthday Party
    • Herbert List Goldfish Glass
    • Composition Emphasis • What is the subject? • Where is the subject? • Where should the viewer look? • What is most important • How do you emphasize one part of a photograph and downplay another?
    • Gordon Parks Red Jackson in the Harlem Gang Story
    • Joel Sternfeld, McLean, Virginia
    • Composition Simplicity • Simplify the composition • Nothing weakens the theme • Nothing in the view-finder competes with or distracts from the subject, but adds to the composition
    • How Much? • What is really important? • How much is needed to support your theme? • Are you capturing too much? Does it take away from your emphasis? • Are you capturing too little? What else in the viewfinder supports your theme? Your emphasis? • Suggestion: Start in close and step back to include as much as needed
    • Horizontal or Vertical? • Which way will BEST include what is essential to the photograph? • Which way will support your emphasis? • Which way will take away from what is important? • Try BOTH!
    • Cropping • Creating visual boundaries • What information is needed to get the point across? • Simplify Ian Stravinsky
    • • Generally, try NOT to crop at joints • Instead, crop between them.
    • Point of View • How does your point of view emphasize the theme or subject matter? • The photographer can allow the viewer to see from someone or something else’s point of view (like a bird, a bug, water rushing down a drain pipe, etc.)
    • Bernice Abbott, El at Columbus Avenue and Broadway
    • Contrast The focal point may stand out from the background because of a distinctive contrast.
    • Value Color
    • Selective Focus (Depth of Field) • In order to include the background, while isolating the subject matter as the main focal point, use a short depth of field (small aperture number = large hole) • Sharpen the subject matter and blur the rest
    • Pentti Sammallahti Sando, Dragsfjard
    • Michael Wells, Hands
    • The Rule of Thirds • A simplified version of the Golden Mean • Linear objects on lines • Focal points at intersections
    • Implied Lines • Not an actual line, but rather, an implied one • Uses objects in composition to form lines Vertical Horizontal Diagonal
    • Leading Lines • A successful leading line will lead the viewer right to the center of focus • An unsuccessful leading line will lead the viewer in, but will lead him/her right back out again
    • Implied Forms Circle Cross
    • Angles and Diagonals • Create a more dynamic photograph • Use extreme angles and diagonals, rather than straight, static lines.
    • Framing You may find, sometimes, that the subject matter looks boring when isolated in viewfinder. Consider including things around the subject matter which would form an interesting frame.
    • • Formal Balance • Static type of balance, where both sides are perfectly equal • Generally, try to avoid, for it is uninteresting to viewer • Informal Balance • Dynamic type of balance, where objects on each side are not equal • A large object on one side could balance a small one, dark object could balance a light one, etc.
    • Texture • We often neglect to get close enough to see texture • Texture can add great richness to a photograph
    • Aliens • Elements of a photograph that invade your subject matter • Seem as if they were attached • The famous pole sticking out of someone’s head