Photo Composition
Transcript of Photo Composition
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REASONS FOR PHOTOGRAPHY
Sentimentality Expression Documentation
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SENTIMENTALITY
Alanna King ‘Max in leaves’ October 2008
Helen Levitt‘New York, NY, c.1942′
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EXPRESSION
John Wood‘Eagle Pelt’1985
William Wegman‘Fay Ray’1988
Alanna King ‘Autumn Tree’ 2008
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EXPERIMENTAL EXPRESSIONPhilippe Halsman ‘Dali Atomicus’1941
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DOCUMENTATION
William Warnecke, 1910
Tim King, 2004
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PHOTOGRAPHY COMPOSITION
Elements of Art Principles of Art Application to
Photography
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ELEMENTSTHE BASIC BUILDING BLOCKS
Line Shape/Form Space Value Texture Colour
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LINES A mark made by a moving point. Has greater length than width. Directs the eye – horizontal, vertical,
diagonal, curvy, zig-zag, etc. Can be actual obvious lines or the
borders or edges of shapes.
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LINES
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Photo by Lewis Hine
PERSPECTIVE
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CURVED LINES are one of elements of composition most pleasing to the eye, giving a photograph a feeling a movement . . .
by Henri Cartier-Bresson
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ANGLE, AND DIAGONAL LINES: Choosing unusual angles can result in interesting perspectives on a subject. The use of diagonal lines can add tension, and a sense of directionality.
Photo by Bruce Davidson
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SHAPE/FORM A contained area. Can be GEOMETRIC (man-made) ex. Square,
triangle, circle, etc. Can be ORGANIC (natural) ex. Leaves,
humans, puddles, etc. Shapes are 2-Dimensional and flat. (circle) Forms are 3-Dimensional with height, width
and depth. Have shadows! (sphere) Used to create a sense of space and
substance.
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SHAPE/FORM
W. Eugene Smith, ‘Tomoko in her bath’ 1971
Edward Weston, ‘Pepper Number 30’
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SPACE The area used or unused in a composition. Positive space – the area the subject takes
up. Negative space – the area around, under,
through and between. Gives the photo a 3-dimensional feeling.
(Depth) Foreground (closest), Middle ground, and
Background (farthest). Can be open, crowded, near, far, etc.
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SPACE
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VALUE Black and white and all the grays in
between Dark to light Can add drama and impact to
composition. Can give a sense of timelessness Train your eye to read colour as black
and white!
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VALUEAnnie Leibovitz, ‘Willie Nelson’
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TEXTURE The surface quality. How an object feels, or how it looks like
it feels. Rough, smooth, bumpy, gooey, sharp,
etc. Adds interest! Sense of sight and sense
of touch involved.
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TEXTURE
Diane Arbus‘Woman with Veil on Fifth Avenue, N.Y.C’1968
Alanna King ‘Freya’ 2008
Tim
Kin
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00
8
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COLOUR Artistic term is HUE Need light to see colour. Use colour schemes to enhance appeal
or make impact.
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COLOURMonochromatic
Complementary
Analogous
Alanna King, ‘Eiffel Base’ 2009
Tim King ‘Devil’s Paintbrush’ 2009
Tim King ‘Bass Lake’ 2009
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WHAT ARE THE PRINCIPLES OF ART?
Emphasis Balance Unity Contrast Pattern/Repetition
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PATTERN/REPETITION
An element that occurs over and over again in a composition.
Can repeat the element in a consistent pattern.
Can repeat the element in a variation of the pattern.
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REPETITION EXAMPLES
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BALANCE
•Balance is a sense of stability in the body of work.
•Balance can be created by repeating same shapes and by creating a feeling of equal weight.
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BALANCE EXAMPLES
By Jack Grant
By Ryan Gallagher
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SYMMETRY
by Robert Frank
Centering the subject
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by Sebastio Salgado
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The tilted horizon in this sports photo would most likely mean it could never be published in a daily newspaper. Photo by Garry Winogrand
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ASYMMETRICAL BALANCE: Whether consciously or not, compositions are often conceived away from the center of the frame, using the “rule of thirds.” Photo by W. Eugene Smith
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Photo by Yosuf Karsh
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UNITY
Unity is seen in a painting or drawing when all the parts equal a whole.
Felix Nadar ‘Sarah Bernhardt’ 1820-1910
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UNITY EXAMPLESBy Ansel Adams
By Edward Burtynsky
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CONTRAST
Contrast refers to the opposites and differences in the work. You can achieve variety by using different shapes, textures, colors and values in your work.
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JUXTAPOSITION
The camera has the unique ability to capture two or more seemingly incongruous or paradoxical elements in it’s view. Photographers who take advantage of this can create ironic, even sarcastic statements. Photo by Margaret Bourke-White
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TRICKS FOR BETTER PHOTOS
FRAMING RULE OF THIRDSBy Margaret Bourke-White
By Alanna King
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ECONOMY: Fill up the frame, by moving around your subject, and moving in close. Avoid space between subjects and exclude details that are not relevant to the story. Photo by Sebastio Salgado
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SIMPLICITY
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by David Blumenkrantz
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Photo by Arthur (Weegee) Fellig
Consider angle at all times
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TEXT GOES HERE
MASTHEADSHOOTING FOR LAYOUT
In certain instances, it may be possible to pre-visualize how a title may appear. The photographer can leave “dead space” in his composition, where the text can later be placed.
Photo by David Blumenkrantz
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NO COMPOSITION?
Some speak of an “anti-aesthetic,” arguing that one cannot do much arranging of light and subject matter with spot news. Others insist that experience is the only way to learn photojournalism; an innate sense of composition comes only from the alchemy of experience.
Photo by Margaret Bourke-White
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BAGHDAD, IRAQ - SEPTEMBER 12
(NOTE TO EDITOR : GRAPHIC CONTENT)
Dead and critically injured Iraqi civilians are seen lying in the street on September 12, 2004 in Haifa Street, Baghdad, Iraq. Fighting broke out in the early hours of September 12, 2004 as explosions shook the centre of Baghdad with U.S. helicopters opening fire at targets in the area and a U.S. armoured vehicle was seen on fire. Over 20 people were killed and 48 injured in a day of heavy fighting more than two months since the handover of power in Iraq. (Photo by Ghaith Abdul-Ahad/Getty Images)
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Suicide bombing in Israel, August 31, 2004. New York Times
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Photo by Hans Gutknecht
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ANTI-COMPOSITION: In the 1950’s and ‘60’s, street photographers such as Robert Frank and Garry Winogrand disregarded traditional concepts of composition, tilting horizons and creating images with no center of interest. Photo by Garry Winogrand