00 composition techniques upated
- 2. All photos were taken by students
- 4. Deep Depth of Field • Usually not used in professional photos • Everything is in equal focus from front to back
- 5. Deep Depth of Field • Everything is in equal focus from front to back • The picture must have a front and back
- 6. Deep Depth of Field • The focus is usually softer throughout • It usually pictures LARGE objects – like landscapes
- 7. Deep Depth of Field • The picture has no true subject
- 8. DEEP DEPTH NOT DEEP DEPTH
- 10. Shallow Depth of Field • Part of the forward to back is in focus. Another part of the photo is out of focus.
- 11. Shallow Depth of Field • It is imperative to note that the front OR the back may be in focus. The middle may also be the focus point.
- 12. Shallow Depth of Field • Used by most professional photographers. • It is extraordinarily difficult to perform this technique (but NOT impossible) without using a manual focus camera.
- 15. Background Pitfalls • Be wary – especially in deep depth pictures – of the background. • It may be distracting, or make your subject look QUITE strange. Not student photos
- 16. Wrong Way Right Way Not student photos
- 17. High Angle
- 18. High Angle • Photographer is positioned above subject • Subject usually has space around in photo
- 19. High Angle • Subjects are usually small, and photo makes them look even smaller.
- 20. High Angle • Also brings about feelings of innocence, peace, relaxation, solitude.
- 21. High Angle • Typical subjects include nature, children, small animals.
- 22. Low Angle
- 23. Low Angle • Photographer is below subject • Subject usually fills frame from side-to-side
- 24. Low Angle • Subjects can extend beyond the frame of photo
- 25. Low Angle • Subjects are usually large, or meant to seem even larger
- 26. Low Angle • Brings about feelings of dominance, strength, chaos, controlling
- 27. Low Angle • Typical subjects include buildings, large animals, mountains, adults, or authority figures
- 30. Tilted Composition • Turns the camera a few degrees to one side
- 31. Tilted Composition • BIG angles are easy to see and cause greater discomfort and chaos • Smaller angles can be very subtle, and almost unnoticeable.
- 35. Subject Positioning • Subject positioning adds interest to the photo by placing the subject to one side
- 36. Subject Positioning • Subject can be placed slightly or dramatically to one side
- 37. Subject Positioning • Nearly all professional photos use subject positioning
- 38. Subject Positioning • Subjects can also be placed up or down • Simply move the camera to place subject
- 40. Nose Room • Change composition to position subject to the left or right of the frame • Subject travels toward the center of the photo • You show WHERE the subject IS GOING
- 41. Nose Room • About one-third is behind the subject, about two-thirds is ahead • Implies movement in the picture • Must travel left to right or right to left
- 42. • About two-thirds of empty frame is ahead of subject • One-third is behind • Larger space is always in front of the subject
- 43. Color
- 44. Color • Placing contrasting objects adjacent to highlight differences • Usually warm (red, orange, yellow, green) next to cool (blue, purple, green)
- 45. Color • NOT BLACK AND WHITE – THESE ARE NOT COLORS • Usually striking – can be natural
- 47. Texture
- 48. Texture • Photographing close enough to see the individual makeup – rise and fall • Best pictures are natural objects
- 49. Texture • Photograph so you feel like you could touch each ridge and fall • Usually a calming effect on viewer – to see individuality of makeup Not student photographs
- 50. Leading Lines
- 51. Leading Lines • Photographing parallel lines to convergence • The convergence of lines ‘points’ viewer toward a subject
- 52. Leading Lines • The lines may be real, or suggested by parallel objects • Creates a dynamic interesting photo that can point to a desired subject
- 54. Framing
- 55. Framing • Surrounding your subject – usually on three sides • It points to a subject like a bullseye
- 56. Framing • Surrounding your subject – usually on three sides • It points to a subject like a bullseye • Akin to an actual frame. Usually it is in the foreground or background, but can be in the same plane
- 57. Framing • Akin to an actual frame. Usually it is in the foreground or background, but can be in the same plane
- 59. Dynamic
- 60. Dynamic • Photo(s) that contain on or more composition techniques and best example(s) of your work.