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Photo composition

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Photo composition

  1. 1. Reasons for Photography<br /><ul><li>Sentimentality
  2. 2. Expression
  3. 3. Documentation</li></li></ul><li>Sentimentality<br />Alanna King ‘Max in leaves’ October 2008<br />Helen Levitt‘New York, NY, c.1942′<br />
  4. 4. expression<br />William Wegman‘Fay Ray’1988<br />John Wood‘Eagle Pelt’1985<br />Alanna King ‘Autumn Tree’ 2008<br />
  5. 5. Experimental expression<br />Philippe Halsman‘Dali Atomicus’<br />1941<br />
  6. 6. Documentation<br />Tim King, 2004<br />William Warnecke, 1910<br />
  7. 7. Photography Composition<br /><ul><li>Elements of Art
  8. 8. Principles of Art
  9. 9. Application to Photography</li></li></ul><li>ElementsThe basic building blocks<br />Line<br />Shape/Form<br />Space<br />Value <br />Texture <br />Colour<br />
  10. 10. Lines<br />A mark made by a moving point.<br />Has greater length than width.<br />Directs the eye – horizontal, vertical, diagonal, curvy, zig-zag, etc.<br />Can be actual obvious lines or the borders or edges of shapes.<br />
  11. 11. Lines<br />
  12. 12. PERSPECTIVE<br />Photo by Lewis Hine<br />
  13. 13. CURVED LINES are one of elements of composition most pleasing to the eye, giving a photograph a feeling a movement . . .<br />by Henri Cartier-Bresson<br />
  14. 14. 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. <br />Photo by Bruce Davidson<br />
  15. 15. Shape/Form<br />A contained area.<br />Can be GEOMETRIC (man-made) ex. Square, triangle, circle, etc.<br />Can be ORGANIC (natural) ex. Leaves, humans, puddles, etc.<br />Shapes are 2-Dimensional and flat. (circle)<br />Forms are 3-Dimensional with height, width and depth. Have shadows! (sphere)<br />Used to create a sense of space and substance.<br />
  16. 16. Shape/Form<br />W. Eugene Smith, ‘Tomoko in her bath’ 1971<br />Edward Weston, ‘Pepper Number 30’<br />
  17. 17. Space<br />The area used or unused in a composition.<br />Positive space – the area the subject takes up.<br />Negative space – the area around, under, through and between.<br />Gives the photo a 3-dimensional feeling. (Depth) <br />Foreground (closest), Middle ground, and Background (farthest).<br />Can be open, crowded, near, far, etc.<br />
  18. 18. Space<br />
  19. 19. Value<br />Black and white and all the grays in between<br />Dark to light<br />Can add drama and impact to composition.<br />Can give a sense of timelessness<br />Train your eye to read colouras black and white!<br />
  20. 20. Value<br />Annie Leibovitz, ‘Willie Nelson’<br />
  21. 21. Texture<br />The surface quality. <br />How an object feels, or how it looks like it feels.<br />Rough, smooth, bumpy, gooey, sharp, etc.<br />Adds interest! Sense of sight and sense of touch involved.<br />
  22. 22. Texture<br />Tim King ‘Stewing Currants’ 2008<br />Diane Arbus‘Woman with Veil on Fifth Avenue, N.Y.C’1968<br />Alanna King ‘Freya’ 2008<br />
  23. 23. Colour<br />Artistic term is HUE<br />Need light to see colour.<br />Use colourschemes to enhance appeal or make impact.<br />
  24. 24. Colour<br />Monochromatic<br />Tim King<br />‘Devil’s Paintbrush’ 2009<br />Alanna King, ‘Eiffel Base’ 2009<br />Complementary<br />Tim King<br />‘Bass Lake’ 2009<br />Analogous<br />
  25. 25. What are the Principles of Art?<br />Emphasis <br />Balance<br />Unity<br />Contrast <br />Pattern/Repetition<br />
  26. 26. Pattern/Repetition<br />An element that occurs over and over again in a composition.<br />Can repeat the element in a consistent pattern.<br />Can repeat the element in a variation of the pattern.<br />
  27. 27. Repetition Examples<br />
  28. 28. Balance<br /><ul><li>Balance is a sense of stability in the body of work.
  29. 29. Balance can be created by repeating same shapes and by creating a feeling of equal weight.</li></li></ul><li>Balance Examples<br />By Jack Grant<br />By Ryan Gallagher<br />
  30. 30. SYMMETRY<br />Centering the subject<br />by Robert Frank<br />
  31. 31. by Sebastio Salgado<br />
  32. 32. The tilted horizon in this sports photo would most likely mean it could never be published in a daily newspaper. <br />Photo by Garry Winogrand<br />
  33. 33. ASYMMETRICAL BALANCE:<br />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<br />
  34. 34. Photo by Yosuf Karsh<br />
  35. 35.
  36. 36. Unity<br />Unity is seen in a painting or drawing when all the parts equal a whole. <br />Felix Nadar ‘Sarah Bernhardt’ 1820-1910<br />
  37. 37. Unity Examples<br />By Ansel Adams<br />By Edward Burtynsky<br />
  38. 38. CONTRAST<br />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.  <br />
  39. 39. JUXTAPOSITION<br />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<br />
  40. 40. Tricks for better photos<br />Framing<br />Rule of thirds<br />By Margaret Bourke-White<br />By Alanna King<br />
  41. 41. 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<br />
  42. 42. SIMPLICITY<br />
  43. 43. by David Blumenkrantz<br />
  44. 44.
  45. 45. Consider angle at all times<br />Photo by Arthur (Weegee) Fellig<br />
  46. 46. SHOOTING FOR LAYOUT<br />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.<br />MASTHEAD<br />TEXT GOES HERE<br />Photo by David Blumenkrantz<br />
  47. 47. NO COMPOSITION?<br />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.<br />Photo by Margaret Bourke-White<br />
  48. 48. BAGHDAD, IRAQ - SEPTEMBER 12 <br />(NOTE TO EDITOR : GRAPHIC CONTENT) <br />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. <br />(Photo by Ghaith Abdul-Ahad/Getty Images)<br />
  49. 49. Suicide bombing in Israel, August 31, 2004. New York Times <br />
  50. 50. Photo by Hans Gutknecht<br />
  51. 51. 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<br />