You have exposure, and then you have composition. I know the two blend together (your f-stop is part of your composition, as well as shutter speed and ISO sometimes), but I want a book that will help me understand how to frame up photos, how to find good angles to shoot from, how to pick interesting subjects, etc.
I know no book can teach this 100%, and I also know there is no substitute for experience. But at this point I'm not looking for 100% comprehension, I'm looking for maybe 10%, ANYTHING to just help me understand what to look for while I'm out and about capturing the world. For example, I took a photo of a tree I thought the framing was fine on, yet people told me it needed to be tighter. How can you tell HOW tight to go? Once again, I understand there is no definite answer to this, but I'm just looking for those general tips and tricks that 99.9% of the professional photographing industry agree on.
Someone said on here that you need to know the rules before you should bend them (or blatantly break them, in some cases). I guess what I wanna know is what these rules are...
This will give you all the classic rules (which are meant to be broke!).
Actually a pretty nice book to get your eye looking with the end product in mind.
Exposure is the mathematical side of photography. The rules are more described and defined. Composition and finding interesting subject matter are more of an artistic pursuit. There are a few basics that are readily defined, but at least in my opinion, it's about who you are, how you feel, and how you develop your vision.
I just got from the "beginner" level to the "intermediate" level -- but it was with help from an online course that I had to pay for. I had started with the free stuff but the problem was that I couldn't ORGANIZE the free lessons in any kind of moderately rational way.. I was always switching between various videos and there was no order to anything. So I was trying to do scales when I should have just been dealing with really basic picking technique and etc.
So eventually I decided I need to do an actual online course -- http://consumerfilter.org/products/jamorama -- it actually worked pretty well! I might recommend you try it out.
cheers
:lol:
Exposure is the mathematical side of photography. The rules are more described and defined. Composition and finding interesting subject matter are more of an artistic pursuit. There are a few basics that are readily defined, but at least in my opinion, it's about who you are, how you feel, and how you develop your vision.
So you're saying I should buy those big photo books they sell at Barnes and Noble? Or at least rent one from the library? Would it be okay to find photos I like and replicate certain features of it (like the brightness, camera angle and maybe the closeness of the crop)? I haven't ever looked at any other photos for inspiration, I just pick up my camera and say, "I wanna take a picture of this!" I don't wanna be a copycat, cause then people will accuse me of being unoriginal.
Do you know of any good photographers that would be a place to start. I don't really know any (other than Ansel Adams), or maybe the photographer doesn't matter?
Or maybe I'm thinking too much? :wink: (Sorry!)
here's one that really helped me out, http://photoinf.com/General/
The thing about composition is that there is no right and no wrong, rules and all. You have to develop your own visual language –which you will even if you don't even try. Just shoot and shoot and shoot some more. In time, composition will become second nature, intuitive... At this point you will find yourself experimenting new and different compositions that contradict all the rules... and you might like these pics a lot, even if they look (composition-wise) a lot like your pics you used to hate when you first started out.
Yes, the rules are a great guide, but they are just a guide. You don't always hike using the signaled path, do you?
Paragraphs AND a normal sized font would make it easier for the aged (ME!) to be able to read. I started but was not motivated enough to go past the 2nd line.
The important bit is the you part. If all the "rules" are followed then the shot could have been done by a machine. Now this is fine if all you want is an accurate graphic representation. The, or one of the, main reasons for photography being so important in peoples lives is the ability to show an individualistic perspective of reality.
The individualistic perspective of reality is most readily portrayed by the full use of composition. And this leads us to the reason for this second post of mine. If you are doing what everyone else is doing, where is the individualism?
Know what you want to do. Do what makes you happiest. Have a nice long life being happy!
I have been meaning to get a copy of that for a while. I just hit amazon and found used copys of the first (unrevised) version shipped for under $10. Anyone know how extensive the revisions were? I figure that either version should be chock full of good info, if it's anything like Understanding Exposure.
Walk to the front door of the museum and think about what you just saw then walk back to double check what you have just done.
Go take photos. Have a long life and be happy knowing that you are doing what you like.
:)
http://www1.istockphoto.com/file_thumbview_approve/3202079/2/istockphoto_3202079_golden_ratio.jpg
And here's the best example I can think of where it's put into action:
http://images.artnet.com/artwork_images_424175658_232693_henri-cartier-bresson.jpg
Not just because there is a spiral, but because the elements have a specific direction and there is a critical point near the cyclist.
Nearly any guitar player will learn, or attempt to learn, songs and techniques by those that came before them. Trying to 'reverse engineer' a successful image and recreate it is a learning experience. Use it as such. Learn from it, then branch out from it to create your own style, then show the world the latter.
Kevin
Do you know of any good photographers that would be a place to start. I don't really know any (other than Ansel Adams), or maybe the photographer doesn't matter?
Or maybe I'm thinking too much? :wink: (Sorry!)
Their is one general problem with this and also a reason this is a great idea.
The Problem : When re-creating someone's photo in the way you described it, you will not learn a whole lot. You may learn how to do it, but you will not grasp the concept which is the important ting. Its kind of like if i were to teach you that 1+1 equals to... you can go out and answer 1+1=2 all you want, but without knowing WHY it equals, if asked 2+1 you would have no idea. So, back to the photography sense; when taking the photo the other guy took, you will be able to do it. But when it comes to your own photo, you wont know why he applied those things or what you should apply to it so you are back at square one.
When it is a good idea: When there is some certain aspect you are trying to learn. I often copy people's strobe shots from the strobist flickr group in order to learn the effects lighting has when done different ways. This is a more specific concept then general composition so it helps me a great deal trying to come up with the flash settings to best replicate. So in your case, maybe if you wanted to learn to shoot flowers or a specific subject t would be nice to copy others so you can get a feel for some general aspects of flower photography.
This is just my 02 cents though and of course, everyone learn differently.
Another good way to learn is by shooting and posting your photos. A lot of knowledge on this forum and i am sure someone will respond to help you a bit. Also scour the web for some good compositional sites that will teach you the general rules. Like the rule of thirds and what not.
Most importantly, shoot shoot shoot and let the creativity channel through the lens :-) You will learn what to do
Advanced Composition - part I (http://ronbigelow.com/articles/adv_comp/adv_comp.htm)
Advanced Composition - part II (http://ronbigelow.com/articles/adv_comp2/adv_comp2.htm)
Advanced Composition - part III (http://ronbigelow.com/articles/adv_comp3/adv_comp3.htm)
Note: if you are using Firefox with AdBlock, the photos might not show. They do show in Explorer.
Do you know of any good photographers that would be a place to start. I don't really know any (other than Ansel Adams), or maybe the photographer doesn't matter?
Or maybe I'm thinking too much? :wink: (Sorry!)
What I'm saying is, go to the library and look at photography books. The "how to" kind. Read. Learn. Do. Borrow a book or two. Learn. Go to B&N and buy one you like.
Check out some of the assignments on this site- I don't know for sure what forum they're in, but the glimpses I've seen, the folks look like they are having fun.
Don't worry about being a copycat. Do what you like. Just do it though.
'Nothing' is easy.
Good Luck!!!
The problem is they are likely more like "guidelines", and people should start with them until they develop the knack themselves, or as a starting point when looking at something you want to shoot, and then working up and out from there... bending those guidelines as needed to get the shot.
A pretty simple example being overexposure... in theory you never should overexpose a shot because it washes out details, but then what if doing that gives you a really cool effect that carries the emotion of the image you are trying to portray? Then overexpose away!
Just my $.02. Your mileage may vary. Offer void in Hawaii.
I also have bookmarked photographers websites that I like, be it a pro, a member here or one that is referenced through thread discussions. I often refer back to them for inspiration. Also go to magazine websites and browse their galleries.
Pick up a few magazines and thumb through the published photos and once again, analyze the photo for the good that you see. Read the articles on "How to". Go to B&N, grab a few books, grab a coffee and absorb as much as you can.
Take one simple object from around your house. Find out how many different photos you can get using that one object. Change settings, PoV, DoF, Exposure Compensation, etc. You'll be surprised how different they can be, you will learn a great deal and also have fun while doing it.
Hope some of that helps you. I've convinced myself that it has helped me.
Also, take the suggestion of looking at other's photos. Get a firm idea of what makes them interesting and start out trying to replicate it. Reading can give you certain things, but creativity comes from practice and understanding what makes an image attractive to you.
In order to ‘see’ photographically, a person must be at least somewhat familiar with what goes on with the eye and the mind when looking at a photograph. The eye sees only reflectance edges, the edge between one degree of luminosity and another, and differences in pigmentation. The mind will associate an image viewed with a memory preserved from its own experiences. If none exist then the viewer may well move on without any significant recognition or attachment. In order to catch a viewer’s eye photographers employ photographic techniques such as contrast, composition and familiarity of subject.
Contrast is a useful tool that can add drama and that eye-catching quality to a photograph. A plain image of a seascape on an overcast day can be a good example. Sand and surf and sky may appear to be very close in tone and lack the ability to draw the viewer’s attention for very long, certainly not long enough to create a lasting impression. Make that same image on a day with bright sunlight and more turbulent seas and the viewer may take notice of it. The use of, say, contrast control filters in a black and white image to produce separation in tonal values in the image will create a striking photograph that may remain in the viewer’s memories for months if not for years. A photographer needs to learn to see possibilities in a subject that allow for greater creative control so that the photographer knows when to use the tools at his disposal to create a lasting and iconic image.
Now try to envision a pasture with remarkable snow covered hills in the distance. With nothing to lead the viewer’s attention to those hills they may go completely unnoticed. However if the photographer was to include that barbed wire fence and angle it into the photograph in a way that as it recedes into the background, the lines of the fence would most likely draw the viewer to those mountains and now the same subject has added meaning that was lacking before. There are visual tricks that can be done to emphasize a subject in an image. Shoot an image of a person through some wood lattice, framing them in the angled pieces of wood. This is called framing and helps the viewer of the image to focus on the subject. And be sure to check and see whether there are any distracting details in the background that draw the viewers attention away for the true subject such as a trash can or an airplane contrail. Do everything you can to limit the visual input that the viewer receives aside from your intended subject or theme.
Our eyes have different components for detecting the ‘color’ and intensity of light, rods and cones. The rods detect the wavelength of incoming reflected light. The cones enable us to differentiate between higher intensity and lower intensity light. Without our eyes and their various components, our ability to see, as we know it, would be different. Also something to remember is that our eyes have increased perception latitude, more so than film has exposure latitude. A photographer might make an image and then get the prints back and find that, within the high contrast scene they just shot, the shadows have absolutely no useful detail and that there are highlights that are completely washed out. It is possible to be able to visually see a scene before you that the film cannot record. Black and white will cover a luminance range of about 128:1 or seven stops of exposure. The human eye can see a luminance range of 10,000:1 or around 13 stops of exposure. Film cannot compete with the human eye, but with a properly trained mind behind that eye, this shortcoming can be overcome.
But this can only happen if the eye is maintained. A photographer must normally be able to see their subject. Poor vision can lead to soft images do to bad focusing and might even cause a photographer to overlook a possibly interesting subject because it simply was not noticed. Just as a photographer gets his gear cleaned at regular intervals, the eyes should not fall into neglect. Get regular checkups and get prescription eyewear if necessary. Don’t let a good shot pass you by simply because you didn’t know it was there.
Another consideration to bear in mind is the way that the human memory works. The human brain has an associative memory, meaning that the brain will associate visual and other types of input with personal experiences. Everybody has seen a kitten or a baby or a car or a field of grass. Not everybody has seen the aurora borealis or an iceberg or the Great Barrier Reef. So images of unfamiliar subjects that the brain does not remember are best rendered with vivid color, increased contrast and/or with compositional tricks to emphasize the subject. Another example of an associative memory might be that a person will see a photograph of a familiar subject and associate with it. Let’s imagine that someone who lives in western Wyoming has just seen for the first time Ansel Adams’ ‘Grand Tetons, Snake River Overlook’ and thinks ‘I have a dozen of these images at home’. He then goes to find his prints of the same subject and sees, upon further inspection, that the images are intrinsically different and may very well not measure up to Adams’ print. The reason for this is that the human brain will take an image of a familiar subject and, in the absence of the actual experience, will fill in the blanks created by time and what the brain did not remember. In this case it will remember the mountains, which alone are very remarkable. It will not remember the edge of the roadway in the foreground or the shadow cast by their body that is on the ground before them in the image or the clouds that obscured the peaks that day or any other myriad of forgettable details.
So it is important to bear these things in mind when choosing, composing, and exposing a subject. There are certain things that some people will respond to that others will not. There are visual tricks that can attract almost anybody to a photograph where, if not employed, the image would go unnoticed. And practiced visualization will provide the instinct for when such techniques may be required in any given situation.
But several "general conventions" seem to be that an image (canvas, drawing, photo, whatever) has more dynamics (not light dynamics), i.e. is more interesting to be looked at, or: captures the viewer's interest more when it is not totally centred, for example.
So when you do landscapes, you would not want to have your horizon line so very much in the middle of your image that it divides the photo in two equal parts.
You'd have to decide on what it is you really want to say, to underline with your photo: the vastness of the sky and its cloud-formations as it forms a large and wide dome? In that case you'd give that sky more room and place the horizon line into the lower third of the picture.
Is it the magnificent countryside you mean to portray? Rolling hills, shades of green, or even the vastness of a sea? Reflections? Colour play? Play of light and shadow in the landscape or seascape you mean to photograph?
In that case you'd give the sky a lot less room and place the horizon into the upper third of the frame.
A clearly divided frame into two equal parts is too balanced, so there is no excitement, no thrill any more.
Just ONE aspect out of many.
Likewise it is more "exciting" to see (e.g.) a flower positioned a little over to the side, UNLESS (and here we come to the first "unless", of which, of course, there can be numerous) you want your photo to be all symmetric. Symmetry CAN well be the key element to your photo, of course.
Then there are other elements that help make a photo more exciting, like diagonal lines leading the eye through the image.
Leading lines, and vanishing points in general.
Repetition can be a nice element in photography.
Light and shadow.
Textures.
Colours, if you want to, or the well executed lack of colours (in black&white photography). And more.
I am sure the general photo guides also teach you the key elements of composition. So far all the books on photography I have come across have done so.
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