TECHNIQUE AND COMPOSITION WITH YOUR
Leica or Nikon or Hasselblad…
A good photo = successful synthesis of technique + composition.
TECHNIQUE:
· Control of image sharpness (focus).
· Exposure controls (shutter speed and aperture).
· Development and printing.
THINK THIS KIND OF EVERYTHING IN THE MACHINE
COMPOSITION:
the organization of image elements.
AND THIS DEPENDS MAINLY FROM THE PHOTOGRAPHER
Includes:
· SHOT: What goes into the rectangle of the frame: looking through the viewfinder, the photographer decides what can and should be part of the picture and realize how different factors affect each other: on the distance between camera and subject and the focal length lens.
· PERSPECTIVE: depends on the distance between subject and camera angle and shooting (why change the subject approaching or moving away, moving to the right or left holding the camera at eye level, higher or lower.
· Lighting: light quality (lateral, diffuse, backlight) – arrangement of the various elements of light, dark colors.
· MOTION: Frozen / moved.
· AVAILABLE and mutual relationships of shapes, lines and colors in the image; position of the subject (and other) – some consider composition strictly only under this aspect and consider it independently from the other four -.
The technique is easy because well-defined, objective, you can easily learn, everyone can get photographs are technically perfect. (But technically perfect photographs, we can leave indifferent).
The composition is difficult because undefined, subjective implies sensitivity, taste, is the product of personal culture and the culture of photography and the factors that determine it are largely subjective. (And what pleases one person may leave another cold).
The composition is not a specific act of the recovery process, but it has to do with the thinking of the photographer.
The composition begins when one decides to take a picture and it is the photographer who has to decide because only he knows what he means with his photograph.
The composition is therefore a vague concept, personnel, there are two photographers who feel the same way and agree on all points concerning the composition.
Nature and purpose of the composition
The composition is the most important that the photographer has in hand to express their personality.
A composition independent of the subject, you can still life compositions (Morandi), abstract shapes (Kandinsky), geometric objects (Mondrian), insignificant objects (Van Gogh) that apparently no one cares.
Everyone agrees that a composition well done will produce a composition impression stronger than weak, spineless.
“Good composition is the strongest way of seeing things” (Edward Weston)
The photographic composition is a gradual process, but must take into account simultaneously all the different aspects of the future image (framing, perspective, light, motion, position of the subject) because they are inextricably linked to each other and a change of one determines a change in the other; also all together determine the final image.
Questions you should ask the photographer before shooting.
· How to order the chaos that surrounds us, where anything interferes with the other?
· How to separate the essential from the superfluous?
· How to isolate the subject, simplify the image?
· How to present what I see and hear the most eloquent visual form?
“Rules” and most widely cited academic
relating to the composition.
The “golden section” proportions ensures pleasing image, but with its effect of serenity and harmony effects can also lead to dull and boring.
The curve “S” is one of the most hackneyed cliché figurative.
The so-called “guidelines”: lines that should guide the viewer’s eye toward the “center of interest.” Scientific research has been conducted with special equipment and has proven that the eye immediately identifies the most interesting part of the image is completely ignoring the guidelines carefully prepared. Traditionalists are illusions of photographers.
Compositions based on triangles, diagonals, curves refined: these figures often exist only in the minds of photographers who have invented. In fact, even a casual photographer, after a few attempts, cutting here and there and using a little ‘fantasy ends to suit a type of composition conceived “a posteriori” triangular or otherwise. The observer who has no preconceived notions, however, not known whether similar measures are also reported and therefore no interest in it completely.
The horizon, or another important line, should never split the image into two equal parts that would result in a monotonous effect. But if the photographer with his own picture would make the idea of monotony?
Movement and action should always proceed from left to right because this is the normal direction of reading. But Jews and Arabs write from right to left.
In a photograph of the space in front of the moving object should be larger than the space behind him. But a moving object placed at the edge of the picture towards which it moves in and gives you an idea what can sometimes be important.
In the portrait when the subject looks at the camera, you should leave more space in the part where he draws the eye. What’s not necessarily true, especially if you want to give a sense of tension.
The golden section: it is one of the criteria used by most compositional tradition is to have the subject in a slightly off-center position, is also a way to divide space in proportions of 5: 8 A: B = B: (A + B)
(The ratio 1: 3 – divide the space into thirds – is too far from the golden section, however, some use it).
In photography, it applies mainly for the following reasons:
· Give pleasant proportions to the image
· Fix the position of the horizon
· Fix the position of the subject (when there is only one)
Some movements and trends of modern refuse (provocatively) any rule of composition (Dadaism, Futurism, informal painting).
The principles of the composition.
Although there is no precise rules of composition, there are certain principles from which a photographer can be guided.
Dial = shaping or combining.
This involves highlighting, simplify, isolate, add, remove, reorder, select and discard ideas, concepts, components and aspects of the subject image based on a precise choice. This process can be summarized in the following phases.
EXPLORATION: exploring a subject in depth means see it from all sides, front, back, top, bottom, and right, left, but above all it means to study it in relation to the background and everything that surrounds it.
And even in relation to light (direct, diffused, side, backlight). If there are disturbing elements in the shot so many times just moving sideways ever so slightly to send out unwanted background a particular field or just fall. Even small changes can produce significant differences on the final result. Or, if you can, you can get the desired result by changing the distance from the subject approaching or moving away and using a telephoto lens.
Or use the “selective focus”: that is the minimum necessary to close the diaphragm. (An assortment of interchangeable lens ensures mastery of space and distance).
ISOLATION subject: remove material things that disturb, or, if the subject can move, find a better environment, or with the subject trying to fill all or most of the image (or towards or with a telephoto lens, but the end result is differently, moving the camera varies not only the reproduction ratio of the subject that gets bigger, but also the relationship between subject and background or foreground, instead using a telephoto lens, you only vary the reproduction ratio of the subject – gets bigger – but it changes the relationship between subject and background).
ORGANIZATION: implies order.
A photograph can be “organized” in many ways depending on the nature of the subject and the photographer’s intentions, which reacts in a personal way to what they see.
A photograph can be organized using lines, colors, shapes, lights, shadows and can also be made to create an impression of static order, tranquility, peace, or an impression of dynamic action, drama , movement, tension.
THE ELEMENTS OF COMPOSITION
These are the lines, shapes, shades of gray or color, highlights or shadows.
Lines
Most of the photographs contain a number of lines, sometimes of little importance, but other times really matter if the lines are dominant lines and feature a composition.
Horizontal lines: elicit ideas of stability, tranquility.
Vertical lines: if they are converging vertical lines (because the device was tilted) are the most powerful graphic symbol of the height, the diagonal (in reality could also be horizontal or vertical) are the most dynamic of all lines, a graphic symbol of the movement, action, insecurity.
Jagged lines (like the silhouette of a city) are the opposite of what is smooth and quiet, have a stimulating effect; being noticed.
Lines of movement or force: represented by the look of a person facing a particular direction, by a movement of the arm, a car …: are lines that can serve as an important basis for the composition.
The horizon line: dividing a picture into two parts, the earth and sky, whose proportions have a ‘decisive influence on the image.
A high horizon suggests the qualities of the subject land.
A low horizon instead gives prominence to the sky.
A horizon that divides the image into two almost equal parts gives equal prominence to the heavens and the earth by creating an impression of monotony, an effect that may be desirable if you want to emphasize quality of a dull subject.
The horizon should be played perfectly horizontal in the photo, because even a slight heel indicates a degree of carelessness, but when the tilt is desired, the angle must be spoken to seem small and not a defect or injury.
Colors
The color is an important aspect of the composition.
In a color photograph, the color of the subject is the most important factors that determine the composition of graphics.
The color of the subject is very much influenced by the color of ambient light, and outdoor environment changes with the time of day and weather conditions, if the first time is not propitious should patiently wait or return at another time.
A slight overexposure produces softer colors; underexposure more saturated colors.
The shades of a color is more important than the number of colors combined. Typically, the soft colors are still underused in photography.
Background and Foreground
You have to decide what the background should interact with the subject in the foreground, and thus avoid unsuitable backgrounds that distract or detract from the subject.
In some cases the background is an integral part of the image and is highlighted by the maximum depth of field.
Spatial relationship
In the particular landscapes, it is useful to insert an object in the composition of family size (eg. A human figure), which provides the viewer a measuring element which allows him to realize the size of the environment.
The shot
Three rules of safe composition:
1. The small white areas of the subject or background bordering the edges of the image gives an effect all the more regrettable as the nearby areas are dark.
2. The curved lines and rounded shapes near the edges should never touch the edges of the press, but must be separated by a space or cost cut boldly, namely that a large part of the curve should be left out of the picture.
3. The lines that cut more or less diagonally across a corner of the image must not “break it” in exactly two but must exit the vertical or horizontal side at a certain distance of the angle.
THE FORMS OF COMPOSITION
The photographer then it is a further choice between two radically different forms of composition: the statics and dynamics. (Or of course all the intermediate stages between the two)
Static composition.
It ‘almost essential if a photographer wants to evoke feelings of calm, peace, stability. This happens when:
· The subject is at the center,
· Lines are converging towards the center,
· The horizontal or vertical lines are not deformed,
· People and objects are seen in front,
· The architectural lines are converging,
the image is symmetric: the symmetry is a very high degree of order in terms of aesthetics is the effect on the observer the impression of monotony and formal perfection so it is a valid means of composition.
A central composition can be highly effective in cases where the subject has a complete form and self-sufficient: placing the subject in the center, the subject must be worth really worth it if it is not so strong unconscious disappoint the expectations generated by its location; better then some other position of the moving frame.
Dynamic composition.
It ‘almost indispensable when a photographer wants to evoke feelings of action, movement, speed, life, drama, excitement, uncertainty.
This happens when:
· The subject is located at one edge, instead of the center,
· The image is asymmetric,
· Prevail inclined or diagonal lines,
· The vertical lines are converging.
Typical examples of dynamic composition are shooting from above, below, distorted images of architectural subjects in which the vertical lines converge, the images in which moving objects are moved.
Dynamic balance.
It ‘a composition midway between static and dynamic in that it contains elements of balance and dynamic elements.
And ‘when the static image elements are optically balanced, dynamic because the arrangement is asymmetric.
This composition is particularly dynamic in all cases in which the subject has both quality static and dynamic qualities.
Other modes of composition.
Taking advantage of a “framework” which is half usually effective to enhance a subject.
Compositions repetitive pattern (or modular): when the same item is repeated on a regular basis, is a device for presenting an interesting subject in a graphical form more effective. But if the subject itself is weak, the result will be a photo trivial.
CONCLUSION
1. The reality is never as perfect as we would like and few subjects are of a completely static or completely dynamic, then there are infinite paths in between. And ‘the photographer’s task to shape, organize and present the different aspects in a satisfactory manner.
2. Almost never is a single point of view effectively.
A deeper study of the subject reveals images better, more meaningful, we discover new aspects and unexpected camera angles, acting, lighting effects better: even small changes in the approach to the subject can produce significant differences on the final result.
Professionals know this and are studying a subject from all sides, in all respects, they know what they want to achieve before; study:
· The subject, the environment, the background;
· The direction and quality of light;
· The distance, angle, movement;
· How to present the subject in the most effective.
3. There are no rules of composition, and less than ever inviolable rules, there are only principles, even though these ideas should be taken only as a guide, subject to interpretations and revisions.
If a photographer feels strongly a composition, should express themselves freely regardless of others’ opinions.
From: Andreas Feininger: Photography: Principles of Composition.
Giacomo Marcucci 