Project 52, Week 47, Thanksgiving Family Portraits

Thanksgiving is a good time to get family group photographs, whether it's two people or twenty.  (And yes, friends count as family. Sometimes more so than your actual relatives.) 

If you don't have a family or can't get together with your family and friends this week, maybe you can volunteer to take someone else's photos, or create your very own project that is pertinent to you.  Compose photos with a Thanksgiving or autumn theme, using the composition techniques we've been practicing this year.

If you're wondering what family portraits have to do with "movement", you've never tried taking a good group photograph that included everybody, all at the same time, standing still, smiling, and not looking silly.

Things to Consider:

• Get prepared. 
• Check your equipment and charge your battery the night before. 
• Make sure you have a digital media card with plenty of space in the camera. 
• Plan your shots (as much as possible).  Do you want one large group and then individual groups?  Do you want a table shot and an outdoor shot? 
• You may want to set up a special photography area with a backdrop and/or props for some shots.
• Practice using any new equipment before you need it.
• Don't expect perfection. 
• Get that classic shot with everybody at the table, but get another group portrait away from the table.
• Keep a camera handy and get plenty of candid shots. 
• Get in the shot.  I recently heard a story from a professional portrait photographer who used Photoshop to create a family portrait.  After the father's death, she had to use Photoshop to put the father in a picture with the mother and three children because they had no family group photos that included him. 

Suggested Readings and Examples:

1. How to Take Great Thanksgiving Family Portraits by Amanda Herron at eHow; a lot of great tips
2. Thanksgiving Photography Tips at Exposure Guide; short illustrated tips, photos include setting suggestions
3. How To Capture Thanksgiving With Your Camera at New York Institute of Photography; short illustrated article
4. Shooting Thanksgiving Photos and Get-Togethers at Lifepics; short illustrated article
5. Thanksgiving: family photo tradition by Barbara Curtis at Mommy Life; short illustrated article - maybe not the best technical photos, but a lot of heart

Project 12, Month 11, Movement

Movement is on the composition project timeline for this month.  This includes moving the subject or the photographer as well as composing pictures of moving subjects.

Things to Consider:

• Fast shutter speeds freeze action  (You can consider any shutter speed over 1/250 seconds as fast)
• Slow shutter speeds create blur and create a sense of motion (You can consider any shutter speed under 1/60 seconds as slow - and you'll need a tripod or other stabilization to avoid "camera shake")
• Learn to balance shutter speed, aperture, and ISO for proper exposure.
• A sense of movement can be created through proper composition. For example,
• Lines
• Subject placement
• Shapes (for example, S-curve)
• When shooting moving subjects, compose the scene so they face the center of the frame. 
• Leave more space in front of the subject than behind them
• Give them room to move.  Don't have them bumping their noses on the edge of the frame
• Remember to break this rule when appropriate.  You may want to create a sense of where they have been or (what they are running from!) by leaving more space behind than in front. 
• Don't hesitate to move the subject when possible to get the best picture.  This is done to remove distracting elements, to add interesting elements, and/or to improve lighting.
• Move you! Just taking one step in one direction may improve the composition.  When composing the perfect scene remember to move you - up, down, left, right, and all around - to find the best angle of view and to get the best lighting,

Suggested Readings and Photographic Examples:

1. 10 Tips for Stunning Action Photography by Jim Harmer at Improve Photography
2. Composition and Movement by Richard D. Zakia at Masteringphoto.com; short illustrated article
3. Composition - Creating Movement and Exposure Basics - Shutter Speed at Stoke Dasoul; very short article
4. Photographing Sports and Action at Geoff Lawrence.com; well illustrated, comprehensive article
5. Introduction to Shutter Speed in Digital Photography by Darren Rouse at Digital Photography School; short, but fairly comprehensive introduction
6. Leaving Space Behind Moving Subjects - Composition by Darren Rouse at Digital Photography School; short, well illustrated article
7. Moving Into The Frame; The Dynamic Motion, Gesture, And Intent  by  Jim Zuckerman at Photographic; short illustrated article
8. Moving Subject by Chandra Avinash at Nuvvo; short illustrated article on panning
9. Taking a Picture of a Moving Subject with Your Digital Camera at Dummies.com; 10 short tips
10. The Best Way To Learn Sports Photography by Simon Bray on Phototuts+; 10 tips; illustrated

YouTube Videos:

1. Shutter Speed from Michael the Mentor; 3:14 minutes; simple and clear explanation
2. DSLR Basics: Aperture, Shutter Speed, and ISO from PhotoExtremist; 9:58 minutes; good explanation of the exposure triangle - begins with Shutter Speed
3. Photography Tutorial on Shutter Speed with Corey Reese from Corey Reese; 5:33 minutes; good examples for capturing the motion of a stream
4. How to Photograph Action from about.com; 2:08; brief explanations for shooting action shots
5. Digital Photography - Photographing Outdoor Sports from FroKnowsPhoto
• Part 1, Get Out of Auto, 3:51 minutes;  how to set ISO and aperture priority mode
• Part 2, Shutter Priority, 4 minutes
• Part 3, Anticipation, 3:38 minutes; anticipating action 

Project 12, Month 10, Shapes & Forms

Shape is a 2-dimensional element while Form is viewed as a 3-dimensional object.

A shape is a space outlined by elements such as lines, color, and value.  It may be an actual solid object (such as a traffic sign) or may be more of a perceived shape (such as a group of people arranged in a circle).

"In the two dimensional world, there are three simple geometric shapes. [ circle, rectangle, and triangle]. ... Shape is to form as a square is to a cube.  In the three dimensional world, the basic geometric forms are cube, sphere, pyramid, cylinder and cones."  (Aamir Shahzed )

"Forms are defined by their lines, shapes, and volume ... Photographing form can be capturing an overall contour of a three-dimensional object - say, a flower - or composing an image from an unusual perspective and capturing its shape in an abstract way." (Juergen Roth)


Things to consider:

• Everything has a shape of some kind.  It may be one simple geometric shape or it may be a combination of the basic shapes.  It may be an actual solid object or an implied/abstract shape or form.
• Repeated shapes make a pattern. 
• A silhouette is a shape whether it's of a person, a cat, a tree, or a street sign.  
• Camera angle/position is important. An element viewed from the side will usually have a different shape and form than when viewed from the front.
• Use of light and shadow is very important when photographing a form. Side light usually works best to add shadows and depth.

Suggested Readings and Examples:

1. Discovering Form in Photography by Juergen Roth at Apogee Photo
2. Use of Structures in Photo Composition by Kim Rormark at Digital Photography Tips Online; very short article 
3. Advanced Composition: Using Geometry by Christina N. Dickson at Digital Photography School; well illustrated article
4. Use a triangle as a composition technique by Jim Harmer at Improve Photography; tip # 9
5. Photography Composition: The Golden Triangle Rule by Mira Crisp at Crisp Photoworks; well illustrated article
6. Shape and Form in Composition by Aamir Shahzed at Picture Social; illustrated short article
7. Capturing Shapes and Patterns in Outdoor Photos by Layne Kennedy at Photoguide; 90 second YouTube video
8. Emphasize Shape and Form in Macro Photography by Thomas Clark at Dummies.com Macro & Close-up Photography; a short illustrated article
9. Form, Shape and Space by Charlotte Jirousek at Cornell University from the Art, Design, and Visual Thinking course;
10. Shape and Form, Reflections, and Combining Multiple Elements by Andy Long at First Light; 5 paragraphs on Shape and Form
11. Elements of Design Shape & Form 1 by CanadaDadProduction; a 1:49 minute YouTube video
12. Image composition, stable, instable, diagonal, powerful and spiral composition at artmediaphotography.com; more illustrations than words; uses art to show compositional elements - look for square, triangle, circle, and spiral.  (Tip: read down in columns instead of across)

Project 52, Week 40, End of Summer

Autumn has begun in the Northern hemisphere.  The trees are turning color and school has started again. 

We have completed 3/4 of this year's projects so let's take a break from learning a new compositional tool and employ what we've already studied this month by composing photos of fall patterns, repetition, rhythm, and textures. 

Examples:

• Sweaters and coats can offer a good source for texture.
• A bike rack at a local school can create a pattern - with or without bikes. Look for one that creates a rhythm.
• A row of yellow school buses
• A stack of books, or pencils, or lunch boxes
• Geese flying south or water fowl filling a pond
• A row of home canned tomatoes or grape jelly
• A harvested corn field
• A basket of apples
• A carpet of crunchy golden leaves on your front yard
• An ivy covered wall at your alma mater

Things to consider:

• If you're in the forest - Get close for texture, step back for patterns.  Then try the reverse.
• Experiment with horizontal and vertical shots of the same subjects.
• Step out of the box and locate some out-of-the-ordinary scenes of patterns or textures.  Don't just do the usual trees and leaves.  (If you go on a search for unique back-to-school photos, do be respectful of the children.)

Suggested Readings and Photographic Examples:

1. A Photographic Journey Through Autumn in the Northern Hemisphere by Peter West Carey at phototuts+; illustrated article
2. A Detailed Guide to Photographing Fall Foliage by Christopher O'Donnell at the PhotoArgus; a well illustrated longer article; look for photos of patterns and texture

Project 52, Week 39, Texture

Texture refers to the surface of an object. It adds dimension and depth to a flat photograph.

Things to consider:

• There are three reasons to use texture in photography: Detail (the texture is the focal point), Drama (actively supports the focal point), and Information (gives information about an element). 
• Perfect textures can be boring. Look for little (or big) imperfections, as well as variety in shadows,colors, tones, lines, etc.
• Don't forget to move - up, down, left, right and all around. A slight change in lighting or camera position can make a significant difference in how well texture is rendered in a photograph.

Suggested readings and photographic examples:

1. How to Photograph Textures by Nasim Mansurovs at Mansurovs Photography; 10 tips with illustrations
2. Photographic Composition: Texture as a Design Element at Valerie Hayken Photography & Design; shows a good example of how lighting can effect the way texture is seen in a photograph
3. Texture Photography Essentials and Tips by Ron Bigelow at Picture Correct; short illustrated article on the 3 reasons to use texture in photography
4. How to Photograph Texture (Lighting for Texture) by Robert Grant from LightMyShot.com
5. How to Apply Textures to Your Photographs by James Brandon at Digital Photography School; tutorial on using Photoshop

Project 12, Month 9, Pattern and Textures

Our topic this month is Patterns and Textures which includes rhythm and repetition. 

• Patterns are repeated elements such as shapes, colors, objects, etc,  even rays of light.  They can provide structure and harmony to a composition.  Interrupted patterns can provoke tension in the viewer.
• Texture refers to the surface of an object.  Is it smooth, rough, nubby, prickly (etc)?  Texture can make the viewer want to tough the photograph.
• Rhythm is the regular repetition of an element that encourages a directional movement of the viewer's eye, like a waltz through the photo.. 
• Repetition is the appearance of an object more than once.  Repetition can refer to the same object appearing several times such as a row of trees or theater seats, or bubbles in a bath. Repetition can also be different objects that mimic the same shape, color, or texture (etc).  For example, a composition containing a tree, a lamp post, and a tall, skinny man.

Things to consider:

• Look for patterns and textures everywhere.  Sometime it takes a trained eyed to recognize a pattern.
• A pattern can make an interesting background or frame for the focal point of your composition, but make sure it enhances, not distracts or overwhelms.
• When the pattern or texture is the focal point, fill the frame with the pattern or texture to make the most impact.
• Perfect patterns and textures can be boring.  Look for little (or big) imperfections, as well as variety in shadows,colors, tones, lines, etc. 
• One "expert" in the following articles recommends that when creating a composition with patterns the photographer should maintain a long depth of field, keeping everything in focus.  Another says that a narrow depth of field will often hide irrelevant elements in the scene, emphasizing the patterns.  I say - use your own judgement.  Tell your own story.
• Texture can add depth and dimension to a photo. 
• Don't forget to move - up, down, left, right and all around.  A slight change in lighting or camera position can make a significant difference in how well texture is rendered in a photograph. 
• Remember the rule of odds.  An odd number of objects is usually more interesting than an even number.  However, like other compositional rules, this one can be broken.  For example, reflections are a type of repetition and there are usually only two of those..

Suggested Reading and Examples:

1. A 10 Step Guide To Understanding and Utilizing Pattern by Simon Bray at phototuts+; illustrated article, about 1 paragraph and photo per step.
2. Zim Zuckerman on Composition: Patterns at MAC-On-Campus; well illustrated short article
3. Patterns and Textures at Fodor's Focus on Travel Photography; illustrated short article
4. Using Repetition and Patterns in Photography by Darren Rouse at Digital Photography School; illustrated short article
5. Emphasize Patterns in Composition by Kristine Hojilla at Photopoly
6. Repetition in Composition by Scott Simmons at Learn Outdoor Photography; very short article with 2 photos.
7. Pattern and Texture from NAVY training manual at photoinf; article covers other topics so look for very short sections on Pattern and Texture on page.
8. Composition - Repetition and Pattern at Crooked Lane Photography; illustrated short article;
9. Hena Tayeb: Brilliant, Rhythmic Photography; 3 photos
10. How to Photograph Textures by Nasim Manurov at Mansurovs Photography; 10 steps with large pictures

Project 12, Month 8, Color

This month's topic is about composing with color.  It's not about taking color photos, but about actually considering color when composing the photos.  Just as artists who are painters study color theory, so should photographers.

Things to consider:

• Composition can use colors that are contrasting, complementary, or harmonizing.  Photographs can be composed using one color of varying tones.
• Contrasting primary colors can create a dynamic image. 
• Colors can set the mood for a photograph.  Generally speaking, reds are vibrant, orange is hot, blues and greens are cool and relaxing, green is refreshing, yellows are warm and comforting.
• Hue is the color - like red, orange, green, blue.  Tone (aka brightness, lightness, or value) refers to how light or dark the color is.
• Strong, bright colors have a "heavier" visual impact than lighter/less bright colors.  Be careful you don't upset the balance of your composition, causing disharmony (unless that's what you mean to do, of course).
• Your eye will be drawn to bright colors so a spot of color can draw the viewer to the main subject.

Suggested Readings and Photographic Examples:

1. Composition: A Look at Color by Bob Johnson at Earthbound Light
2. Color at Fodor Focus on Travel Photography; a short article with 3 examples
3. Colour Theory as Applied to Landscape Photography by Michael Reichmann at Luminous Landscape; longer, more technical article
4. Using Color to Create Strong Photo Compositions by Ron Bigelow at Picture Correct; a short illustrated article
5. Photography Rules of Composition at Ultimate Photography Tips; a slightly longer article, there is one section on Color but the other sections also apply to composing with color
6. Color in Photography - Color Theory at Framed Reality
7. 50 Impressive Examples of Selective Color Photography at Artfan Design; just photos - in my personal opinion some of these look too contrived or trite, but others are creative.  But whatever floats your boat - check them out and see what you think
8. The Psychology of Color by Moose Peterson at Wildlife Photography; unillustrated article

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Project 12, Month 7, Light

This month we'll be using available light in our compositions.  We'll compose photographs with shadows, reflections, silhouettes, sunsets, sunrises, moonlight, and chiaroscuro or contre-jour. We won't consider flashes, strobes, studio lighting etc, though they can be used if you wish.

Things to consider:

• The stronger the light, the deeper the shadows.
• Shadows and light rays can be used as leading lines or frames.
• Shadows and light can add depth and dimension to scenes.
• Shadows and silhouettes can add mystery to a photo.
• Black and white photos depend on the contrast of light and dark.
• Don't look directly at the sun -  not with the naked eye and not through the camera lens
• The "Golden Hour" (aka Magic Hour) is the first and last hour of the sunrise and sunset.  (For more precise times, see Roger Moffatt's Golden Hour Calculator ).  Some photographers swear this is the only time to take photographs.  They're wrong.
• The "Blue Hour" is the time just before sunrise and just after sunset when the sky is deep blue (not sky blue).
• Chiaroscuro means light/dark and refers to the use of strong contrast between light and dark areas in composition.
• Rays of Light can be the focus of your composition as seen in these 30 stunning photographs by WDCore Editorial

Suggested Readings and Photographic Examples:

General:

1. Dealing with Light and Composition in Landscape Photography by Yassine Hakimi at photopoly; short article with different compositions - reflections, silhouettes, etc.
2. Snap Happpy: Tips for Perfect Pictures from The West Australian; mostly photographs - although not specifically an article on using light as a compositional element, the photographs demonstrated shadows, silhouettes, reflections, contrast, and sunsets.
3. Fundamentals of Photography, Composition & Light by Matt Eddy from Oil-Rig Productions; a pdf file - see pages 6 and 7 - In the Balance photo on page 6, notice how the shadows balance the lighter background. In the next slide notice how the dark sky balances the light colored water.
4. Ansel Adams Photography from National Park Service records; Ansel Adams was a master in using light to compose photographs. These photographs are well worth studying for inspiration
5. The Complete Beginners Guide to Natural Light by Andrew Gibson at phototuts+
6. Using Light and Dark - Chiaroscuro by Bill Wright at Mountain High Landscape Photography Workshops; a pdf document

Shadows, Silhouettes, and Reflections:

1. Showcase of Beautiful Shadow Photography by David Brosche at Smashing Magazine; just pictures of shadows and silhouettes
2. Using Shadows to Enhance Your Compositions by Elizabeth Anderson at photoble; short article with photos
3. Judicious Use of Shadows in Creative Composition at Cyber College; lots of picture
4. Underwater Photography Silhouettes by Scott Gietler at Underwater Photography Guide
5. How to Photograph Silhouettes in 8 Easy Steps by Darrin Rouse at Digital Photography School; short article with 3 examples.
6. 50 High Quality Examples of Silhouette Photography by Prakesh Godke at noupe; just photos.
7. Create and Enhance Your Images with Reflections at kirpi.it
8. Photo: Idea: Reflection, Shadow, & Composition; by Hansol Kim at Pinterest; just photos for reflections, shadows, and silhouettes.
9. 44 Impressive Examples of Reflection Photography by Bhanu Ahluwalia at noupe
10. 30 Shadow Photographs at Digital Picture Zone

Golden Hour/Blue Hour:

1. Golden Hour Photography at dpreview; short article with lots of pictures.
2. Golden Hour by Mark Wallace at SnapFactory; 11.5 minute video
3. Golden Hour (Photography)) at Wikipedia
4. BlueHoursite.com - a whole web site dedicated to the "blue hour".
5. How to Photograph the Blue Hours with Amazing Results at Light Stalking; short article with pictures

Sunrise/Sunset:

1. Perfect Sunset Composition-How I Did It by Darrin Rouse at Digital Photography School; a somewhat techical article on finding perfect times for sunset locations
2. How to Take Great Photographs of Sunsets at New York Institute of Photography; fairly lengthy article on sunset photography
3. How to shoot heavenly sunrises and sunsets anywhere by Jeff Wignall at Adorma.com; short article with pictures
4. 7 Steps to Perfect Sunset & Sunrise Photos at Yank's Photo School; short article with pictures
5. Photographing the Sunrise by Suzanne Williams at Steve's Digicam

Moon (lunar photography):

1. Four Basic Tips for Photographing the Moon/ by Laura Charon at Photodoto; short article with photos
2. Moon Photography Made Simple by Peter West Carey at Digital Photography School; short article with photos
3. Keith's Moon Photography at ; includes charts and tables, for film cameras as well as digital

Project 52, Week 27, Reflection

Let's reflect on composition this week and compose photographs using reflections.  Reflections are images of an object, or group of objects, reflected on another surface.  "Reflection photography is the art or technique of using reflective surfaces to capture beautiful and unique images."  Bright Hub

There are many different types of reflections.  Reflections can be subtle so that the reflected image is barely visible or can be mirror images where it is difficult to distinguish the reflection from the actual object.  Reflections can add depth, dimension, and drama to ordinary photographs.

Things to Consider:

• When considering subjects to compose with a reflection, don't just think of waterscapes.  To note just a few other objects which reflect images: buildings with shiny surfaces, windows, metallic Christmas tree ornaments, gleaming pots and pans, puddles, rain drops, shiny jewelry, sunglasses, and mirrors (of course).
• Mornings are the best times for capturing reflections.  Late afternoons are second best.
• A wider depth-of-field works best for most reflection pictures.
• Use a low angle when shooting reflections on water for better results. 
• Don't forget to move up, down, left, right and all around to catch the best reflection.
• The reflection itself may be the primary focus of the photograph with the actual subject remaining outside the frame.
• Just like you watch the background when composing your shots, make sure the reflection doesn't have intrusive objects ruining your composition.
• Reflection is a type of repetition which we will cover in the week of September 16th.
• Some reflections create symmetric compositions.
• Polarizing filters remove reflections from non-metallic surfaces.

Suggested Readings and Photographic Examples:

1. Quick Tip - 4 Steps to Remarkable Reflection Photography by Simon Bray at phototuts+; a short article with four different examples 
2. How to photograph water reflections at SLR Photography Guide; a few good tips on taking better reflection photographs; include photographic examples with camera settings (ISO, aperture, shutter speeds, etc) 
3. Top Reflection Photography Tips by at ePHOTOzine; 8 short tips.
4. 100+ Creative Examples of Relections in Photography by Josh Johnson at phototuts+; short article with over 100 pictures
5. Adding Reflections to Make Photographs Incredible at Jeff Dexheimer Photography; very short 3 paragraph article with 3 photos.
6. Reflection Pictures at BetterPhoto.com; 47 pages of reflection pictures
7. Create and Enhance Your Images with Reflections at kirpi.it; very short article with 15 examples of interesting composition
8. Louis Barton's Dallas Skyline at NYIP.com; short article on NYIP student who sold over $250,000 worth of prints of one reflection photo.
9. Raindrops Reflection by Linday Adler Photography ; 10 minute YouTube video; step by step instructional video on macro photography
10. Avoiding Flash Reflections in Eyeglasses by Mark Wallace; 7.5 minute YouTube video from Adorama Photography TV

Project 52, Week 26, Your Perspective

This week marks the halfway point for our Project 52 so let's do something a little different.  This week's project is two-fold.

1) THINK ABOUT YOUR PERSPECTIVE ON PHOTOGRAPHY

Answer the following questions.  There are no right or wrong answers.  It's all about how you view photography.

• What does photography mean to me? 
• Where do I want it to take me?   (physically, financially, emotionally)
• How do I get there? 

If you're so inclined, jot down the answers, write an essay, blog about your photography perspective, discuss your feelings on the topic with your family or with fellow photographers, or whatever lights your shots.

Suggested Readings/Examples:

1. Photography: My Perspective by Kenny Webster
2. Shutter Happens Photography by Mark David Zahn
3. Life After Graduation the Entrepreneurial Artist by Emmanual A. Garnor at The H.O.P.E. Scholarship
4. Philosophy of Photography by Vince Wallace at Learn and Master Photography; longer article 
5. Creating Promotional Material at New York Folklore Society; pdf file on creating different types of promotional material for professional artists

What we see depends mainly on what we look for.

... John Lubbock

 

2) COMPOSE ONE OR MORE PHOTOGRAPHS FROM YOUR PERSPECTIVE 

You might title part 2 of the project "Beauty is in the eye of the beholder."  Or perhaps "My eyes see what my heart feels" or "My eyes see what my mind believes".   I once met an old man who was looking at a brick smokestack on the Ball State University campus in Muncie, Indiana.  He said "Most people think that thing is ugly, but I see the beauty in it."  And from then on, so did I.  See if you can compose a photo that conveys your perspective to the viewer.


Here are just a few suggestions for this project:

Find a frequently photographed object in your neighborhood, town, or state and compose several photos of it from your perspective.   Try to tell the story of how you feel when you look at that object.  Do you find it boring, ugly, beautiful, interesting?  Take several photos from different points of view.  Do any of the different views change how you usually see that subject?

Take photographs from someone else's perspective.  Remember how you viewed things as a child or a teenager.  Or consider how an older person might perceive an object or a view or a situation.  Or a person of the opposite sex.  Or from another country.  

Take a trip to your backyard, neighborhood, downtown, a local festival, a state park, anywhere your heart leads you, and take pictures based on your perspective of life and your surroundings.  Don't try to copy another photographer's style.  Don't try to please other people.  This is all about YOU.  (So treat yourself to some ice cream or a nice dinner while you're out.) 

Suggested Photographic Examples and Readings:

1. Project 365 from My Perspective by Heather Sharpe; photographs
2. Perspective Is Everything by Jean-Marie Le Pen at Duck Cove Photography; article
3. Challenge My Perspective at Inspire Believe Embrace; article and photographs
4. The World from My Perspective; photographs
5. Grass by Jennifer Eden at View from Eden; photographs
6. My Perspective by Dan Eidsmore and My Perspective Along the Way by Jassman-Foster Photography at Blurb.com; self published photobooks
7. ADAY Project by Katherine Gray at Tecca; article about a project involving people from all over the world taking pictures from their unique perspectives on one day of the year, May 15th.  See 100 of the photographs at ADAY.org

Too often in life we pass by important things.

Let's pause, change perspective and see things more clearly

Sergio da Silva, from the book "Water, Mirror of the World"

Project 52, Week 25, Landscape vs Portrait

This week's project has us looking at the orientation of our compositions.  Does the scene look better with a vertical format or with a horizontal format?

Horizontal = Landscape orientation = a scene that is more wide than tall
Vertical= Portrait orientation = a scene that is more tall than wide

Things to consider:

• Although a horizontal orientation is called "landscape format", it does not mean that a landscape scene can not be composed with a vertical format.  Nor does a portrait have to be in "portrait format".
• Group portraits are usually better in a horizontal format.
• Generally speaking, formal portraits of individuals are composed in a vertical/portrait orientation, while horizontally formatted portraits are considered more informal. 
• Landscapes in a horizontal format look more natural to the viewer as that is the way the human eye normally views the world.  But that doesn't necessarily mean that it's the best way to compose your photograph.
• Sometimes you can improve a horizontal composition with cropping to create a vertically formatted scene.
• The best time to shoot horizontally is right after you shoot vertically.  (Bryan  F Peterson)
• Remember the Rule of Thirds (and other Golden Rules) can apply to either format.

Suggested Readings and Photographic Examples:

1. Shoot portrait or landscape format by Phil McDermott; short article illustrated with the same scene formatted three ways.  
2. Vertical and Horizontal at Naturography; one scene shot both vertically and horizontally with a very short article on why to shoot both
3. Is Portrait Formatting Always Best for Portraits  by Darren Rouse at Digital Photography School; a short article
4. How to properly hold a DSLR camera at Improve Photography; a short article on the proper way to hold your camera for vertical and horizontal shots. 
5. The Art of Using Aspect Ratios in Digital Photography by Andrew Gibson at Photo tuts+ 

Project 52, Week 24, Space

The project for this week is space - the area between the frame of your photograph. 

Things to consider:

Negative/Positive space:

"Positive space" is the main subject (other shapes and forms in the scene are considered by some to be part of the positive space).
"Negative space" is the relatively empty space around your subject. 

• The negative in negative space doesn't mean undesirable. 
• A negative space can help create a mood. 
• It can draw attention to the main subject, giving a small subject more importance.  
• Your main subject may be the relatively empty space (such as the sky or a lake.)
• You can eliminate too much negative space by cropping the scene - either pre- or post- production.

Active/Dead space:

• It's better to put more space in front of a moving subject.  For example, a flying bird, racing horse, or running man need room to move.  Put enough space between the subject and the edge of the scene that the moving object doesn't look like it's going to "run into a wall" or out of the picture.  This space in front of the subject is sometimes referred to as "active space".
• But then again, you may want to leave room behind the subject to see where it has been.  The space behind a subject is sometimes referred to as "dead space".
• Active space can also be used for stationary objects. For example, if the subject is looking right, there should be more space to the right of the subject. 

Other things:  

• The right space can make your photo more dynamic.
• Consider the Rule of Thirds when using space to compose your photos.
• Astrophotographers specialize in photographing space.
• Compose your picture before you shoot it.  Consider the best use of space in your composition.
• As always, nothing is absolute.
• Sometimes it is better to surround the subject with negative space.  Sometimes it is better to "fill the frame" with the subject. 
• Sometimes it is better to have space in front of a subject, other times the space should be behind the focal point.

Suggested Readings and Photographic Examples:

1. Negative Space by Gaurav Dimri at Photography Made Easy; medium sized article
2. Negative Space in Photography Composition/ by Ron Bigelow at Picture Correct; a short, but informative, article
3. Understanding and Using Negative Space in Photography at Photography Mad; very short article with good examples
4. A Primer on Positive and Negative Space by Michael Falks from Apogee Photo; a two-part tutorial
5. Composition in Photography - Free Space on Moving Object at Exposure Photo Gallery; examples of leaving enough space in front of moving subjects
6. Leaving Space Behind Moving Subjects by Darren Rouse at Digital Photography School; short article with good examples of leaving space behind moving subjects
7. How to Photograph Space Yourself by astronomer Mark Thompson from BBC; a 5 minute YouTube tutorial on photographing stars
8. Astrophotography by Jerry Lodriguss; an entire website on taking pictures of space

Project 52, Week 23, Point of View and Camera Angle

Point of view: Point of view (or view point) refers to your position relative to the main subject when composing a photograph.  Are you above it, over it, under it, looking up at it, looking down at it, or at the subject's level.

• Eye Level View = Viewing a subject from your eye level
• Bird's Eye View = Looking down on a subject like you are a bird flying over; also called "Airplane View" or "High Viewpoint"
• Worm's Eye View = Looking up at a subject like you are a worm on the ground; also called "Ant's Eye View" or "Low Viewpoint"

Camera Angle:
Camera angle refers to the angle of the camera.  Is it pointing down, pointing up, or level.

• High camera angle = Pointing the camera down
• Low camera angle = Pointing the camera up
• Tilted camera angle = Holding the camera at an angle (also called slanted angle, Dutch tilt, Dutch angle, German angle, oblique angle, canted angle, and Batman angle)

 Things to consider:

• You can mix and match view points and camera angles. 
• Shooting up (from the base of a subject, or under the subject) can make the subject look taller, more imposing, and more powerful, or it may just be an interesting perspective.
• Shooting down (from above, or directly over, the subject) can diminish the subject making it look smaller and less significant. or it may just be an interesting perspective.
• Getting down to a child's level or a pet's level makes a more personal photograph.
• Changing your point of view may get you that "Wow!" shot while everybody else's photo looks like everybody else's.
• When shooting a subject that cannot be moved, you may be able to avoid (or at least diminish) a distracting background by changing your point of view and/or camera angle.
• A collection of photos of the same subject taken from different view points and camera angles may help tell the whole story.
• Think twice before using a titled camera angle or viewpoint - it may not be as cute as you think it is.

Suggested Readings and Photographic Examples:

1. Creating Dramatic Viewpoints and Camera Angles by Alan Peterson at Photostockplus.com
2. Point of View by Liz Masoner at About.com Photography; a short article explaining point of view
3. Photography Tips for Composition Point of View/ by Natalie at The Shady Acre Blog; good examples of taking photos of children from their level
4. Selecting a Point of View by Don Peters at B&H Photo; good examples of different points of view
5. High and Low Camera Angles/ at Fodor's Travel Photography; short article with photos
6. The Best Camera Angle for Taking Food Photos and  The Smart Food Photographers Guide to Choosing the Best Camera Angle from Learn Food Photography and Food Styling; short articles with diagrams and photos.
7. Spice Up Your Shots With Unusual Camera Angles by Kristine Hojilla at photopoly.com; good photographic examples
8. Dutch Tilt for Dramatic Effect in Photography/ from You Didn't Did You; 1 photograph
9. The Dutch Tilt  by Michael the Mentor; 1 minute YouTube video
10. Choosing the Best Camera Angles Tip from Silber Studios with Eric Gould; 7 minute YouTube video on camera angles and positions for people pictures

Project 12, Month 6, Perspective

Here we are at the half way mark for this year long monthly project.  This month's topic is perspective. Perspective has two meanings in photography:

1. How you see ("interpret") the scene  (and how the viewer of your photograph sees it)
2. The relationship of objects in the scene to each other and to the scene as a whole.  (relationship = relative position, size, scale, and space between the objects)

Things to Consider:

• Changing your perspective of a photograph can change the viewer's perspective.
• Get up and get down.  Move up, down, left, right, and all around before you take that photo.  Get that unique perspective on a subject that others missed. 
• Viewpoint is the position of the camera in relation to the subject.  For example, a bird's eye view is taken from above like you were a bird flying over the subject while  a worm's eye view is taken from the perspective of a worm on the ground.
• Angle of view/point of view is the position of the camera, tilted up or down.  For example, if you stand at the base of the tree and point your camera up, you have a low camera angle; if you stand at the top of a stairs and point the camera down, you have a high camera angle.
• Orientation: Horizontal (aka Landscape) vs Vertical (aka Portrait) perspective.  Some scenes lend themselves more to a vertical than a horizontal perspective while others are more horizontal than vertical and some to either.  Don't miss the shot - take both views and decide later. 

A good photograph is knowing where to stand....Ansel Adams

Suggested Reading and Photographic Examples:

1. Photographic Composition - Change Your Perspective at Valerie Hayken photography & Design; a short article with several examples
2. What is Perspective by Artistechbooks; 2.5 minute lecture type YouTube video explaining Perspective as it relates to all art forms
3. Find a Unique Perspective by Curtis Date at the Digital Photo Coach; short articles with interesting examples.
4. Distinctive Perspectives by Jim Zuckerman at mac-on-campus; short article with good examples.
5. Composition Part III Perspective by Wendy Folse at photoinf; medium sized article with a few photos.
6. Perspective in Photography at Digital Photography Tips on Line; a short article, no photos.
7. Playing with Perspective and Spice Up Your Shots with Unusual Camera Angles by Kristine Johilla at photo poly; short articles with good examples. 
8. Perspective, Depth, and Scale by Jerry Monkman at Monkman Photo; 2.5 minute video with short article and examples
9. Perspective from the NAVY photography training manual at photoinf; short article explaining different types of perspective
10. 88 Brilliant Examples of Forced Perspective Photography by Daniel Adams at instantshift; interesting, (but IMO not necessarily brilliant), photos; "Forced perspective" is an optical illusion that makes objects appear closer or further away in relation to other objects in the scene. 

Project 52, Week 22, Contrast

This week we concentrate on contrasts - the obvious differences between elements in the scene.  Any element may have a corresponding contrasting element. 

Just a few obvious examples:

• Colors - dandelion yellow against spring green grass
• Lights and shadows/low lights highlight - light shining through a window into a dark room
• Sizes - a baby's hand on top of daddy's hand
• Shapes - a round ball next to a baseball bat.
• Textures - Grandma's wrinkled hand against granddaughter's smooth cheek
• Objects/subjects - a gun lying on top of a Bible
• Positions - a horizontal bench surrounded by vertical trees
• Tones - Girl in blue dress in blue boat on blue water; black/white photos

Things to consider:

• Often contrast is used to discuss colors and tones, but as seen in the above examples, contrast in  this week's project covers more than color.
• Use contrast to draw attention to your subject. (a red rose in the middle of brown mud)
• Use contrast to 'tell the story'. (For example: a baby's hand on top of daddy's hand)
• To be most effective, contrasts should be found naturally in the environment.  They should not look (too) contrived.
• Two or three subjects with a large contrast in size may be difficult to get into the frame.  Be creative.

Although the following paragraphs reference black and white photography, high, normal, and low contrast labels also apply to color photographs.

"In black-and-white photography, contrast is considered either high, normal, or low. A high-contrast scene or photograph consists primarily of white and black with few or no middle gray tones. A black sailor in a white uniform against a light background is an example of a high-contrast (contrasty) scene. Most scenes you photograph have normal contrast. There will probably be elements within the scene that are very light or white, some that are very dark or black, and many tones or colors that reproduce as various tones of gray.

A low-contrast (flat) scene has colors or tones in which highlights and shadows have very little difference in densities. In other words, all colors or tones within the scene are very similar in appearance. A white sailor in a white uniform against a light background is an example of a scene with low contrast.

In black-and-white photography, high contrast conveys a sense of hardness and is characteristic of strength and power. Low contrast conveys a sense of softness and is characteristic of gentleness and mildness."  NAVY training course

Suggested Readings and Examples:

Contrast:

1. Photographic Composition, Part 1: Contrast by Doug Wilson  from ImagePhotog; 3.5 minutes lecture type Youtube video
2. Photography Rules of Composition - Visual Weight from Ultimate Photo Tips
3. Complementary Contrast and Quantity Contrast from Graphics.com; medium size article with lots of illustrative photos, mainly on color values, but also gives examples of other contrasting elements
4. Photo Technique, by Alex Wild from Myrmecos Blog; Bug/insect photos, Photo 6 shows a contrast in color, photo 7 shows a contrast in texture
5. Contrast Sonora Newborn Photographer.html from jodi mockabee photography; 3 photographs of same baby and man - the artist, Jodi Mockabee, says "Everyone loves the contrast between old and young; it photographs so beautifully because such contrast evokes emotions in each of us ... Tattoos have a hardness about them and babies are so naturally soft.  Tattoos tell a story and the newborn ha yet to start their own.  The contrast between these two is so great, yet the bond between them is greater."

Color/Tone Contrasts:

1. Color, Contrast, and Composition by Bryan Peterson from AdoramaTV; 3 minute Youtube video
2. Using Flash for Contrast and Creating Contrast with a Flash by Bryan Peterson from AdoramaTV; 3 - 3.5 minute Youtube videos explaining how to make the background black using a flash
3. 40 Beautiful Examples of Black and White Photography from Web Design Ledger; 40 pictures illustrating contrasts in tones
4. Mastering Composition: Tonal Contrast by Andrew Gibson from MasteringPhoto.com; examples of tonal contrast for the same photo in color and b/w
5. Composition: Contrast and Simplicity an assignment for Mr. Darling's Grade 11 TGJ class ; 2 photos (actually one picture is for Simplicity but it also shows contrasting colors and textures.)
6. Contrast - Photography Composition Techniques by Rhonda Callow from Bright Hub
7. Color Wheel,Classifications, Emotional Effects, and Color Theory/ from PELFUSION
8. Underwater Photography Composition Tips: Think About Your Background from Aquaviews; 6 underwater photos of good contrast with 2 pictures of poor contrast.

Project 52, Week 21, Fill the Frame

This week is about eliminating distracting elements in the environment by "filling the frame" with the main subject.  (Think of the frame as the edges of the scene or photograph.) 

There are three ways to "fill the frame"

1. Use a telephoto or zoom lens.
2. Get closer to your subject.
3. Crop the photo in post-production

Things to consider:

• It is one of the quickest and easiest ways to simplify  your photograph.
• Consider the Rule of Thirds  when composing your photo.  For example: when composing portraits to fill the frame, the eyes should be along/near the upper horizontal line with one eye at the intersection of a vertical and horizontal line. 
• "Filling the frame" isn't just for portraits of people and pets.
• It doesn't necessarily mean completely filling the frame with the subject's head.  Sometimes you will want to include supporting elements.  Sometimes the face isn't the most interesting part of the subject.
• Avoid the "I can't see the tree for the forest" syndrome.  For example, a photo of some building may look like an ordinary, every day scene, but by zooming in on an interesting architectural element, filling the frame with that element, and excluding the ordinary, you can get that "Wow!" shot. 
• Don't take a close-up just to be taking a close-up.  Sometimes a wide angle view tells the story better.  For example, "I can't see the forest for the tree"  - are you concentrating so hard on one element that you're missing the real story in the whole scene?
• Watch the enviroment when stepping closer or stepping back.  That next step might be a long way down if you're standing on the edge of the Grand Canyon.

Suggested Readings and Examples:

1. Fill the Frame 1.5 minute Youtube video by playthattv
2. Fill the Frame from Family Travel Photos; short article with good examples geared toward the typical family photographer.
3. Fill the Frame by Peter K Burian from BetterPhotoJim; short article with good tips
4. Filling the Frame from Fodors.com/Travel Photography; very short article with three examples
5. Portrait Tip: Don't Fill the Frame by Darren Rouse from Digital Photography School; short article for those who don't want to follow the rules

Project 52, Week 20, Framing

Framing, this week, means to compose the photo so that the focal point is "inside" a natural frame that you find in the environment around your subject.  The frame can be in front of, behind, or to the side of the main subject.  It doesn't have to surround your subject like a "picture frame", but can be around 1 or 2 sides or even just in one corner.

Framing draws attention to the focal point.  It can also be part of the story, creating a different mood.  For example, a photo of a bird framed by the bars of a cage evokes different feelings than one with the same bird in the middle of a tree.

Things to Consider:

• Framing adds depth and dimension by creating layers in the scene.
• Framing shouldn't look too contrived or over-used.  Some photographers feel that using tree branches has been overdone, others feel this is one of the most natural framing materials you can use.
• Just about anything can be used as a frame: trees, doorways, windows, people, rocks, driftwood, fences, playground equipment, flowers, gates, tunnels, clouds, light, shadows, - get the picture? (pun intended)
• Don't forget to move around to get the best angle and find the best frame. 

Suggested Readings and Examples:

1. Framing Your Subjectby Rhonda Callow from Bright Hub, informative short article with good examples
2. Framing by Nate Kay from Photography Blogger; 20 examples of framing (Do you think some of the frames break the "too contrived" rule?")
3. Framing Your Shots - Photography Composition Technique and Frame Your Images by Darrin Rouse from Digital Photography School, short articles 
4. Basic Photography: Framing, 3 minute YouTube video from playthattv 
5. Framing Your Shots - Photography Composition Tips from School of Digital Photography

Framing can also refer to the entire scene and the placement of the elements in the scene. Remember that scene in that TV show where the movie director made a "frame" with the thumb and forefinger of each hand and pretended to be viewing the scene from different angles to see how it would look through the camera lens? When you move around, up and down, left and right, and across the street  zooming in and out, to find different angles of view/viewpoints, you are "framing" your subject through your camera lens.   The "frame" defines the boundaries of the scene and determines which elements in the environment are available for the composition.  View a 4 minute Youtube video, Photography Composition and Framing, which lightly touches on this subject with tips by Charles Cramer from Marc Silber

Project 52, Week 19, Background

If you hadn't noticed before, this week should surely bring to light that many of the elements of composition are overlapping.  For example, you can't consider Simplicity without looking at the Background, which is this week's topic.  We also considered the Backgroud when we concentrated on Depth and Dimension.

The Background is the area behind the main subject, the area farthest from the camera.  Sometimes it is the subject of the photograph.  It's one of the most important compositional elements because it's always there even if you can't see it in the final composition.

Things to consider:

• Most important - The background should compliment the subject, not compete with it.
• Sometimes a contrasting background supports the subject better than a coordinating one.
• The background should not be cluttered.  Unless you want it to be.
• The background may be blurred (remember depth of field) or sharp.
• Maybe you want to fill the frame with the subject and eliminate the background altogether.
• Maybe you want the background to tower over the subject to add perspective or mood.
• Don't focus (pun) so hard on the subject that you forget to check the background.  Is that a tree growing out of her head?  Is that guy back there picking his nose?  Is that bush just plain ugly or what?

Suggested Readings and Pictorial Examples:

1. Backgrounds by Jim Zuckerman from MAC-ON-CAMPUS
2. Don't Forget to Do a Background Check by Rhonda Callow from Bright Hub
3. Composition from CyberCollege (not specifically on still photography or backgrounds but several pertinent tidbits with good examples)
4. Background and Foreground from Steve's Digicam
5. Less Can Be More  from Kathleen Clemons Photographpy
6. Controlling the Background by Tony Northrup from Northrup Photography  (Note that this isn't a tutorial on lighting.)

Project 12, Month 5, Environment

For month 5 of Project 12, we're going to look at the environment (the world around you) and how to incorporate it as an element of composition.   The environment is always there no matter where you are.  Don't ignore it, use it to enhance the composition.  .

Things to consider:

• The environment is to the front, back, and sides of your main subject.
• The environment should complement the subject.  It should not be distracting.
• Eliminate clutter.  Keep the environment simple.
• Don't let the environment overwhelm the subject. Sometimes you will need to blur the background or foreground (using depth of field) to make the environment more simple. Or zoom in and "fill the frame" with your subject.
• The composition of many photos is improved by including a pertinent or interesting foreground element.  The element should complement the subject, not compete with it.  It may even "point" to the subject.
• On the other hand, you may use the environment to "shock" the viewer. Consider the different feelings created by a lion sitting majestically in a jungle compared to a lion sitting cramped in a small cage or sprawling comfortably in the middle of your bed. 
• Use the environment to naturally frame your subject.
• Don't let the environment do weird or awkward things to your subject.  For example, don't let a tree or pole grow out of the top of your subject's head.  (I actually saw this recently on a professional wedding photographer's web site. It took a while to realize the groom was supposed to be leaning against the light pole.  It appeared that the photographer was using the pole as a compositional element and had purposefully placed the broad-shouldered groom directly in front of a skinny light pole.  I don't know if she noticed that the pole appeared to be sticking right out of the top of his head.)
• Move it! If you can't move the subject, move you or the camera when necessary to eliminate unfortunate, distracting, or ugly elements.

Suggested Readings and Photographic Examples:

1. Framing by Nate Kay from Photography Blogger; photographs representing natural framing - some very good, some not so much
2. Backgrounds and Foregrounds by Jim Zuckerman from MAC-ON-CAMPUS; short, illustrated articles
3. Watch the Background by Theresa A Husarick from Composition Refresher/Wild Things Photogrpahy

Another way to look at this theme is to consider the environment the subject of your photographs.  The elements of composition you include in your photos should enhance the story about the environment that you're trying to tell through your photographs

•  "Environmental Photography is essentially story telling with a camera rather than with pen and paper. In order to tell a complete story it is crucial to be able to photograph a wide range of subjects."  from Environmental Photography: Blending Art and Activism by Randy Beacham at Nature Photographers
• I have a soft spot for old buildings and am simultaneously drawn and repulsed by photographs for urban decay.  Evaluate the composition of these 35 Examples of Surprisingly Beautiful Urban Decay Photography from Blue Blots.  How do they make you feel?  Are they telling the story well?
• For other examples, look at Dean Riggott Photography portfolios for Farm Life and  Campus Life.

Project 52, Week 18, Interaction of lines

This week we put everything together and look for composition with different types of lines.

The photo Leading Lines Curved on Photo Junkie illustrates leading lines, horizontal, vertical, and diagonal lines,curves, irregular lines and converging lines. 

This short article on How to Use Lines in Photography Compositions by Ron Bigelow  from PICTURECORRECT has 3 photographs illustrating composition with lines.

• The first photograph shows a fence with vertical and horizontal lines.  The shore line is irregular.  The fence goes from front to back and, in the background, stretches part way across the horizon.
• The railroad yard in the second photo shows vertical lines, straight lines, curved lines, diagonal lines, and converging lines.
• The last picture, "tube" illustrates arcs, curved lines, converging lines, straight lines, and horizontal lines.  Do you think the posters represent C-curves?

Peter Grossman's photo Two in One only shows straight lines, but they are vertical, horizontal, diagonal, and zigzag.  They definitely are interacting.

Things to consider:

• Do the multiple lines create an unpleasant, unsettling scene or do they make the scene and story more interesting and vibrant?
• Tip: Yes can be the correct answer for either choice.