PERSPECTIVE OR
HOW TO MAKE OR
BREAK YOUR SHOTS
…. A QUICK LESSON
“just as
                                                                photo-
                                          ...
SO, WHERE WE
                            STAND, AND TAKE
                            THE SHOT IS IN
                      ...
KEY INGREDIENTS IN PERSPECTIVE IMAGES
• FOCAL LENGTH, DETERMINED BY
   – APERTURE/FSTOP
   – LENSES
   – LENGTH OF MULLET ...
MORE ON APERTURE & FOCAL LENGTH

• Since the F-number system is based on the ratio between the
  aperture diameter and the...
COMPARE
THIS IMAGE
  TO THE
FOLLOWING
   ONE
WHICH WAS SHOT
 CLOSER, AND WHICH
 USED A ZOOM LENS?:

The difference in scale should be
fairly clear. Things like texture...
CAPTURE SEVERAL IMAGES IN A SERIES:
OR PERHAPS TRY A UNIQUE
    VANTAGE POINT:
OR SEVERAL WITH JUST
 SUBTLE VARIATIONS:
ALWAYS MAKING SURE TO
   NOT ONLY FOCUS:
BUT COMPOSE YOUR SHOT ACCORDING TO
THE RULE OF THIRDS & SUPPLY A SENSE OF
       URGENCY OR INTEREST:
TRY LOOKING FOR VARIED OR DIVERSE
SUBJECT MATTER WITH UNIQUE TEXTURES:
MAKE SURE THE PROCESS IS DOCUMENTED, USE A
SHOOTING LOG SO YOU MAY BE ABLE TO REPEAT
CRUCIAL STEPS… ALWAYS DOCUMENT SETTIN...
MOST IMPORTANTLY HAVE FUN …AND FIND
 SOME SCENERY YOU MAY NOT NORMALLY
        THINK TO PHOTOGRAPH
PHOTOGRAPHY & SNAPSHOTS ARE OFTEN NOT
              THE SAME
EFFECTIVE COMPOSITION IN PHOTOGRAPHY
    COMES FROM SKILL & KNOWLEDGE
DEVELOPED THROUGH CAREFUL PRACTICE
     AND ARTISTIC...
BUT THEN AGAIN, YOU ALREADY KNEW ALL
            THIS… RIGHT?
SO ENJOY   THE KEY
THE
           TO
PROCESS,
           GETTING
BUT RE-
           WHAT YOU
MEMBER
           REALLY
    ...
COMES       SKILL
FROM A      WITH
DIVERSE     LIGHT
SUBJECT     AND
AMOUNT      CAMERA
OF          SETT-
SUBJECT     INGS...
AND ENOUGH FLEXIBILITY AND
EXCITEMENT FOR THE
PROCESS TO SEE BEYOND
WHAT’S PREDICTED
CITATIONS:
• TEXT:
• Stensvold, Mike. The Complete Idiot's Guide to
  Photography Like a Pro . 3rd Edition. New York,
  NY...
Perspective Presentation
Perspective Presentation
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Perspective Presentation

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The instructor offer material on depth of field, focal length, point of view and composition.

Published in: Education, Art & Photos, Business
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Perspective Presentation

  1. 1. PERSPECTIVE OR HOW TO MAKE OR BREAK YOUR SHOTS …. A QUICK LESSON
  2. 2. “just as photo- graphy can, the physical structure of the eye does explain the perspective (and to some extent, the angle of view) that we see” http://www.donferrario.com/ruether/seeing_and_perspective.htm
  3. 3. SO, WHERE WE STAND, AND TAKE THE SHOT IS IN EFFECT NOT ONLY DETERMINING ITS SUCCESS, BUT ALSO ITS INTENT. THE PHOTOGRAPHER MUST RELAY THAT INTENT CREATIVELY UPON THE VIEWER OH YEAH… WE CALL THAT ART
  4. 4. KEY INGREDIENTS IN PERSPECTIVE IMAGES • FOCAL LENGTH, DETERMINED BY – APERTURE/FSTOP – LENSES – LENGTH OF MULLET (just making sure you’re paying attention) The focal length of an optical system is a measure of how strongly it converges (focuses) or diverges (diffuses) light. A system with a shorter focal length has greater optical power than one with a long focal length.
  5. 5. MORE ON APERTURE & FOCAL LENGTH • Since the F-number system is based on the ratio between the aperture diameter and the focal length of the lens, in theory, a given F-stop transmits the same amount of light on any focal length lens. For example, F/8 on a 100mm lens theoretically transmits the same amount of light as F/8 on a 1000 mm lens. Of course, F/8 on the 1000mm lens means an aperture diameter of 125mm, while F/8 on the 100mm lens means a diameter of 12.5. • The larger the lens, the larger the aperture diameter required to attain the desired F-stop. Large diameter lenses, for this reason, don’t have f-stops as small as F/1.4 (smaller number=wider opening) they would need an aperture opening of 357mm or 14 inches!!
  6. 6. COMPARE THIS IMAGE TO THE FOLLOWING ONE
  7. 7. WHICH WAS SHOT CLOSER, AND WHICH USED A ZOOM LENS?: The difference in scale should be fairly clear. Things like texture will often change depending on not only the light present at the time of the exposure and camera settings, but the type of lens and angle between the photographer and subject. There are many things that can affect the depth of field.
  8. 8. CAPTURE SEVERAL IMAGES IN A SERIES:
  9. 9. OR PERHAPS TRY A UNIQUE VANTAGE POINT:
  10. 10. OR SEVERAL WITH JUST SUBTLE VARIATIONS:
  11. 11. ALWAYS MAKING SURE TO NOT ONLY FOCUS:
  12. 12. BUT COMPOSE YOUR SHOT ACCORDING TO THE RULE OF THIRDS & SUPPLY A SENSE OF URGENCY OR INTEREST:
  13. 13. TRY LOOKING FOR VARIED OR DIVERSE SUBJECT MATTER WITH UNIQUE TEXTURES:
  14. 14. MAKE SURE THE PROCESS IS DOCUMENTED, USE A SHOOTING LOG SO YOU MAY BE ABLE TO REPEAT CRUCIAL STEPS… ALWAYS DOCUMENT SETTINGS!
  15. 15. MOST IMPORTANTLY HAVE FUN …AND FIND SOME SCENERY YOU MAY NOT NORMALLY THINK TO PHOTOGRAPH
  16. 16. PHOTOGRAPHY & SNAPSHOTS ARE OFTEN NOT THE SAME
  17. 17. EFFECTIVE COMPOSITION IN PHOTOGRAPHY COMES FROM SKILL & KNOWLEDGE DEVELOPED THROUGH CAREFUL PRACTICE AND ARTISTIC CONSIDERATION
  18. 18. BUT THEN AGAIN, YOU ALREADY KNEW ALL THIS… RIGHT?
  19. 19. SO ENJOY THE KEY THE TO PROCESS, GETTING BUT RE- WHAT YOU MEMBER REALLY WANT
  20. 20. COMES SKILL FROM A WITH DIVERSE LIGHT SUBJECT AND AMOUNT CAMERA OF SETT- SUBJECT INGS, MATTER, SKILL IN USUALLY A THE TRIPOD, DARK ROOM
  21. 21. AND ENOUGH FLEXIBILITY AND EXCITEMENT FOR THE PROCESS TO SEE BEYOND WHAT’S PREDICTED
  22. 22. CITATIONS: • TEXT: • Stensvold, Mike. The Complete Idiot's Guide to Photography Like a Pro . 3rd Edition. New York, NY: Penguin Group, 2007. • http://www.donferrario.com/ruether/seeing_and _perspective.htm • IMAGES: • http://kittykati727-stock.deviantart.com/ • http://mihraystock.deviantart.com/ • http://safarisyd.deviantart.com/

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