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Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
Chapter 3_B
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Chapter 3_B

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Transcript

  • 1. photographic elements Chapter 3 continued
  • 2. Focus •  Sharp focus is an accepted standard •  The question of where to focus is usually very obvious, but can be used as a design element •  Focus is so engrained into us that whatever is in focus becomes the point of attention •  You have to make the decision of what to focus on what kind of depth of field you want. –  In dark situations you may be limited to shallow depth of field, but in brighter situations it is a choice you will need to make
  • 3. Focus •  Focus contains a directionality from unsharp to sharp •  Think about your lens s focal length and its affect on focus and depth of field
  • 4. Focus and movement from focus
  • 5. Selective Focus •  Choosing one specific are to focus on gives to viewer a clear idea of what the photographer wants them to look at •  Having the out of focus parts of the frame still be intelligible helps this affect also •  Selective focus is a decision in depth of field
  • 6. selective focus
  • 7. Designsponge.com
  • 8. Motion •  The range of sharp to unsharp can also be controlled with the use of motion and motion blur •  Motion blur can be caused by camera shake (a jerky ghosting effect), streaking from a moving subject, and panning…there are also combinations of these •  There is also a technique called rear curtain shutter technique in which the subject is blurred from a long exposure and then a flash is shot off at the end of the exposure to superimpose a sharp shot on top of the blurred shot
  • 9. Moment •  Only completely static objects do not concern timing •  Timing can concern milliseconds of a quick action or the hours waited to get the best light for a shot •  The Decisive Moment is that moment when the elements in motion are in balance –  Henri Cartier-Bresson •  This action, whatever it may be, inevitably affects the design of the photograph •  As a photographer, you must try to anticipate the composition as the objects move in your scene
  • 10. Moment/repetitive action
  • 11. Optics •  Photography is made optically, so lens type is very important to the design process •  Focal length affects the geometry of the image as well as the focus and depth of field •  Some lenses can also change the shape of objects, like fisheye or tilt lenses •  The focal length affects the angle of view and thus affects the linear structure of an image as well as depth perception and size relationships
  • 12. Wide angle optics •  Shorter focal length means wider angle of view •  Taken with little foreground there will be little change made to the perception of depth, but with a foreground a wide angle lens gives and impressive sense of depth •  Wide angle also tends to produce diagonal lines which increases dynamic tension •  They also encourage a subjective point of view drawing the viewer into the scene •  On the edges of a wide angle lens there is a stretching effect which helps to envelope the viewer like a circle •  It also emphasizes that the scene continues beyond the frame
  • 13. optics/wide angle
  • 14. Telephoto Optics •  Telephoto lenses have a strong tendency to compress objects – Make objects that are far apart appear closer together •  With a telephoto lens, you are taking the photo from further away and this give a more objective view
  • 15. optics/400mm
  • 16. telephoto compression
  • 17. Fisheye •  Circular fisheye allows you to see the round edges of the lense •  Full frame fisheye covers the entire sensor filling the rectangular frame
  • 18. Tilt Lens •  Titling the lens tilts the plane of focus •  Even at the smallest aperture you can distribute the focus at will •  The sensor or film plane can also be tilted which will have this affect on the focus but will also stretch the image in the direction the sensor is tilted
  • 19. Exposure •  Exposure also plays a role •  Exposure is assumed to have one possibility •  We tend to look at the brightest thing in the image first •  High contrast calls attention to darks and lights while low contrast allows the eye to wander over the image
  • 20. lighter exposure
  • 21. darker exposure
  • 22. Flare -happens when you point your camera at a light source -Can take on many different appearances -it’s helpful to have an object halfway block the light -consider using a polarizing filter if you want strong starburst type flare **Flare is technically considered incorrect
  • 23. Flare
  • 24. Glare -glare is often mistaken for flare FLARE AND GLARE ARE NOT THE SAME -glare happens when a bright light is REFLECTED off of a shiny object
  • 25. Silhouette -you must have your subject in a relatively dark place with a strong light coming from behind -you are using backlighting to make a creative exposure -meter the light coming from behind your subject rather than on your subject -bracket to make sure you got a pure silhouette

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