Project 52, Week 50, Break a Rule

Suggested Readings and Photographic Examples:

1. 5 Reasons to Break the Rules of Photography by carlspringphoto at DigitalRev

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 52, Week 46, Move it! Move it! Move it!

Sometimes you need to move the subject to compose the best shot.  Sometimes you have to move you.  This week pick a subject and photograph it from several different viewpoints and camera angles. 

Things to consider:

• Remember to look left, look right, look up, look down, look all around to find the best angle.
• Moving the subject or the photographer can help improve a composition by eliminating distracting backgrounds or by adding more interesting backgrounds or framing. 
• Moving the subject or the photographer can help improve improve the lighting.
• Sometimes you don't need a zoom lens - you just need to move your feet.  Compose a photograph by shooting several feet from a subject for a wide angle shot, then move up a few feet and take another shot, then move forward and get a close up.  Watch the depth of field.

Recommended Readings and Examples:

1. Finding Fresh Angles to Shoot From – Digital Photography Composition Tip by Darrin Rouse at Digital Photography School; very short illustrated article
2. Composition: Not Just About Positioning Your Subject, But About Positioning Yourself Too by Darrin Rouse at Digital Photography School; very short illustrated article
3. Beginner’s Tip: Get Closer by Peter West Cary at Digital Photography School; very short illustrated article
4. Choosing the best camera angle photography tip 6 minute YouTube video about moving you or the camera for different angles; by SilberStudios
5. Composing Your Shot at GCF LearnFree.org; short illustrated article with comparions photos

Project 52, Week 45, Action Shots

November may not be the best time for me to get action shots as my state is frequently cold, wet, and dismal at this time of the year so who wants to go outside?  But there are many opportunities for interesting and experimental indoor action shots. (Like dropping an olive into a martini and capturing the splash, or dropping a red cherry onto a bowl of vanilla ice cream - you'll have to be fast to get that shot at my house before it disappears.)

There are basically two types of action shots in still photography: 

1. Freeze the action - the subject and background are sharp and in focus
2. Blur the action (which is not the same as a blurry photo!) - the subject or the background is  blurred.

Things to Consider:

• Fast shutter speed freezes motions, sometimes so much that there's no hint of motion at all.  You may want to compose the shot so that the motion is implied. For example, a picture of a person jumping in the air or a running horse with feet off the ground.
• Show shutter speed creates "motion blur" creating a sense of motion. 
• Motion blur: the moving subject or the background is purposely blurred instead of sharp  (Tip: if it looks good - say you composed it that way on purpose)
• Panning: Tracking a moving subject with your camera - either you and the camera move with the subject or you stand still while following the subject with the camera.  Subject should be in focus while everything else is blurry. 
• When photographing something like a race or marathon, you may want to set up the composition ahead of time.  Perhaps even have someone pretending to be a racer on the race path/track so you can decide where to position you and the camera in advance.  After all, you can't very well make the actual racers go back and do it again just because you missed the shot! 

Suggested Readings and Examples:

1. Understanding Shutter Speed – A Beginner’s Guide by Nasim Mansurov; beautifully illustrated article on shutter speed
2. Back to Basics: Five Tips to Freeze Action and Motion by Tiffany Joyce at Beyond MegaPixels; short illustrated article
3. Tips for Action Photography by Tiffany Joyce and Steve Russell at Beyond MegaPixels; short illustrated article
4. Photo Composition # 2: Images that Mean ACTION! at BigNoseBird.com; short illustrated article 
5. 10 Tips for Capturing Action Packed Moments by Jim Harmer on ImprovePhotography
6. Basics of Photo Composition by Connor Walberg on Action Photo School (APS); illustrated article on composition and framing
7. Motion Blur Photography by Erik Kerstenbeck; illustrated short article
8. Master the Art of Action Photography in 8 Easy Steps at APN Photography School; illustrated short article
9. Mountain Bike Photography Technique by Seb Rogers on DPReview; illustrated article includes panning, lens choice, and lighting as well as composition
10. Blurred Panning Techniques at The Global Photographer; short illustrated article
11. Panning in Composition by Scott Simmons at Learn Outdoor Photography; very short article with 1 photo
12. Capturing Motion Blur in Camera Explained by Tiffany Muellar at Light Stalking;

Photos for inspiration:

1. 28 Extreme Action Shots by Lee Milthorpe at Smash & Peas; 26 (mostly crazy) shots with a few tips
2. 15 Stunning Images Using Blur to Portray Movement by Darren Rouse at Digital Photography School
3. 40 Awesome Examples of Action Photography by Bill Jones at Photo Argus

YouTube Videos:

1. Splash Photography Technique - No Flash needed a 5 minute video from LearnMyShot
2. River Landscape Photography: How to photograph Moving Water a 5 minute video from LearnMyShot
3. DSLR Tips: How to blur action shots for a feeling of speed a 6.5 minute video from LearnMyShot
4. Shooting A Strawberry in the Water-Creative Photography Ideas and Images with Bryan Peterson a 2.7 minute video from PPSOP.
5. Digital Photography 1 on 1: Episode 15: Panning a 6.5 minute video from Adorama TV

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 52, Week 44, Triangles and Squares

This is a lot like last week's project except the object is to compose pictures with triangles, squares, rectangles, cones, cubes, cuboids, boxes, pyramids, and etc (any geometric shape except circles).

Things to Consider:

• The shape or form can be the main focus or take a supporting role.
• The object/element can be an actual shape/form or it can be implied.
• Search magazines or online for photos and paintings and try to identify shapes used by the artists. (See Power of the Triangle, comment # 10)

Suggested Readings and Examples:

1. Power of the Triangle at Jake Garn.com; illustrated article on how the simple triangle can improve your photography; also read comment # 1 by Steven Rose. 
2. Photography and Triangles by Coastline Studios at Sickles Insight 
3. How to Photograph a Box by Tinnesee at Squidoo
4. The Triangles of Photography by Rolando Gomez at Lens Diary; illustrated article; warning - skimpy bikinis.
5. Triangles stock photos and images at Fotosearch; over 10,000 images (you can search here for other geometric shapes and forms)

Other stuff:

1. Retired postman and 115,000 post boxes by Lyle Brennan at Mail Online; illustrated article
2. 7 Wonders Photography Series: The Pyramids by Nina Krimly at junkie.net; pictures of pyramids

Project 52, Week 43, Circles

We're not doing anything different this week than the first two weeks of the months, except concentrating on circles.  The object is to compose pictures with circles, spheres, and/or cylinders. 

Things to consider:

• The "circle" can be the main focus or take a supporting role.
• The object/element can be an actual shape or form or the circle can be implied.
• Practice the other compositional guidelines.

Suggested Readings and Examples:

1. Improve your photography: Shoot in circles at Josh Larkin Photography; illustrated article on how shooting circles can improve your photography. 
2. Circle Photography at Redbubble; just photos
3. Circles stock photos and images at Fotosearch; over 120,000 images (you can search here for other geometric shapes and forms)
4. Giant Spheres Created with Light Painting by Michael Zang at PetaPixel and Photo Gallery Ball of Light at Denis Smith photography; cool photos
5. Breathtaking Photos Using Clear Marble by Oliver Pickup at Mail Online; photos taken through a marble (clear glass sphere) by Caleb Tenenbaum

Project 52, Week 42, Form

Form refers to the three-dimensional quality of an object. 
Forms are lines and shapes with volume.
Circles and squares are shapes. Spheres and cubes are forms

"Form has four basic components: line, shape, texture, and perspective. All of these are made visible by differences in the intensity of tones. But their appearance is modified by the quality of light and its direction. When the intensity, direction, or quality of light changes - lines, shapes, texture, and perspective change and the appearance of form is altered." Garry Black Photography Workshop Notes

Things to Consider:

• Form is created through light, color, tones, contrasts, and shadows.
• Side lighting helps create a sense of form by creating deeper shadows and emphazing texture.
• Always remember the other compositional techniques.  The Five Minute Photography Course from Garry Black Photography Workshop Notes; briefly lists and explains basic principles of composition. 

Suggested Readings and Examples:

1. Discovering Form in Photography by Juergen Roth at Apogee Photo; well illustrated article defining line, shape, and form and how to communicate a sense of form through composition.
2. Shape and Form in Composition by Aamir Shazhad at PictureSocial; explanatory article comparing shape and form
3. The Best Way to Learn about Composition by Andrew Gibson at phototuts+; a good article on composition - the illustrations accompanying the paragraphs on form demonstrates the difference between shape and form and how light is used to show the form.

Project 52, Week 41, Shapes

This week we look for a fundamental composition element: shapes - circles, rectangles, squares, triangles, pentagons, etc.  A shape is a space outlined by elements such as lines, color, and value. It may be an actual solid object (such as a wall or window or traffic sign) or may be more of a perceived shape (such as a group of people arranged in a circle or triangle or a mountain range or the space between two converging lines).

Things to consider:

• Be creative.  Look for shapes everywhere.  A horse race track is a circle/oval; the starting gate and stands are rectangles. 
• A shape should be distinctive, but does not necessarily have to be a geometric shape. A photograph of a horse and jockey taken in silhouette shows a distinct shape.
• The S-curve is a shape.  The eye completes the lines to see circles, one on top of another.
• Composing a group of people by arranging them in a triangle can create a more interesting picture than having them all in a row at the same height.
• The American Heart Association publishes calendars that feature a picture with a heart shape subject each month (flora, fauna, islands, birds, hands, etc.)

Suggested Readings and Examples:

1. Visual Design Elements: Shapes at Ultimate Photo Tips; illustrated article - illustrates perceived shapes
2. The Tuesday Composition: Circles by Joe Decker at Photocrati; illustrated article
3. Circular Compositions by John Suler's PhotoPsychology at Flickr; illustrated article
4. Hearts, Triangles, and Circles at FotoSearch; just pictures
5. Examples of Shape Photography by kelsibrenna; 5 examples

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 52, Week 38, Rhythm and Repetition

This week we look at rhythm and repetition.  Repetition occurs when the same element (object, color, shape, or form) appears in the scene more than once. An element that repeats more than twice creates a pattern.  Strong, regularly repeating patterns set up a rhythmic movement that carries the eye through the scene like a waltz.

Things to consider:

• Reflections are an example of repetition.
• Rhythm can create ambiance.  For example, a row of pews in a cathedral create a mood of harmony and unity.  However, a row of stark, fog-shrouded trees can generate suspense.   
• Not all patterns are rhythmic. Rhythm implies movement.

Suggested Readings and Photographic Examples:

1. The Art of Nature by Brenda Tharp at Apogee Photo; Rhythm is first section,  2 paragraphs and photos
2. Composition: Rhythm and Repetition by Robert A. Cantor at ; 1 photo
3. Design in Art: Repetition, Pattern, and Rhythm Tutorial by Lucy Lamp at Sophia; very informative article about repetition, pattern, and rhythm in art (not just photography)
4. Repetition & Variation by aphotobylevi, 3 min YouTube video with photos and music.
5. How to Create Repetition in Photography by Robert Grant from LearnMyShot.com; a 4 min YouTube video tutorial

Project 52, Week 37, Break in Pattern

This week is a lot like last week's topic except we're looking for a break in the pattern that adds a little interest, maybe a little tension.  A pattern break can be a slat missing from a wood fence, a pear in a basket of apples, a baseball player in the middle of a football team, a red marble in a bag of blue ones, a lone fan in the middle of an empty bleachers' section.

Things to Consider:

• See last week's posts.
• Look up, down, left, right, and all around to get the best composition. 
• Don't forget the other compositional guidelines like rule of thirds and balance.

Examples:

1. Break the Pattern by Tom Bol at ProPhotoCoalition, 1 short page with 1 photo
2. Using Repetition and Patterns in Photography by Darren Rouse at Digital Photography School; see section on Breaking Patterns with 1 photo
3. 33 Inspirational Images that Feature Patterns and Repetition by Darren Rouse at Digital Photography School; just photos - look for the ones with breaks in the pattern.  Note that more than one scene has a pattern within a pattern which causes a break in the outer pattern, but is not as obvious as having a red marble in a jar of blue ones.

Project 52, Week 36, Patterns

This week we're composing with patterns.  Patterns are repeating elements (lines, colors, shapes, objects) in a scene.  Patterns are all around us: a row of telephone poles, flags, school buses - windows in an office building, roof shingles, tract houses - people standing in line, sitting in the bleachers, racing in a marathon - leaves on a tree, petals on a flower, scales on a snake - cows in a field, sheep on the hillside, horses leaving the post at the Kentucky Derby - stripes on a zebra, on your boss's suit pants, of a corn field - a stack of chocolate chip cookies, a basket of apples, a dozen eggs in a carton - a pile of river rocks, bubbles in a bath, rain drops beading on your newly waxed car.  Get the picture?  It's not just wall paper patterns we're talking about here.

Things to consider:

1. Recognizing unusual or abstract patterns takes a creative eye.
2. Filling the frame with a pattern can make a bold statement. Or it can be boring. 
3. If the pattern isn't the main focal point, remember it should enhance, not distract.
4. There are 5 types of patterns: Regular, Random, Alternating, Flowing, and Progressive

Suggested Readings and Examples:

1. A 10 Step Guide to Understanding and Utilising Pattern by Simon Bray at phototuts+
2. How to Use Pattern in Photography Composition at 1st Photographer; very short, but informative, illustrated article
3. Elements of Composition - Pattern by Aamir Shahzad at PictureSocial; 11 photographic examples
4. Nature's Pattern Photography by Acquil Akhtar at Noupe; 35 photographic examples
5. Patterns at Fodor's Focus on Travel, short illustrated article

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 52, Week 35, Colors

This week let's pick a color, any color, then go out and shoot as many photographs as we can that feature that color, always remembering the compositional elements that we've practiced so far.   Unlike the first week of Color month where we created composition around the color, this week concentrate on incorporating the color into the composition.

Things to consider:

• The photograph can be based on one color palette.
• Or the color can be one element in the scene - the focal point or perhaps a contrasting color that draws the viewer's eye to the focal point.
• Use color to create leading lines or frames.
• Try not to concentrate on one subject matter. Expand your horizons - shoot nature, landscapes, fashion, cars, food, pets, events, architecture, etc, etc.
• Summer's almost over - get out there and go camera crazy!

Suggested Readings and Photographic Examples:

1. The Second Element - Color at Addicted to Life
2. Using Color to Create Strong Photo Compositions by Ron Bigelow at PictureCorrect
3. Color in Composition by Kat Landreth at Pare and Focus; short illustrated article
4. AdoramaTV Behind the Scenes: More on color temperature: Adorama Photography TV by Mark Wallace; 4 minute video on using color gel filters
5. A Detailed Guide to Photographing Fall Foliage by Christopher O'Donnell at The PhotoArgus; illustrated article

For Inspiration:

1. Simply Beautiful Photographs: Palette at National Geographic, short articles about the featured color photos
2. Colorful Beauty in Nature: Butterflies at COLOURlovers; A Collection of 18 Beautiful Butterflies & Their Color Palettes
3. Colorful Examples of Ordinary Photography with Vibrant Composition at Lava360; just photos
4. Spectacular Colors of Nature by Alice on My Modern Met; just photos
5. 60 Breathtaking Fall Images for Your Inspiration by Bill Jones at PhotoArgus

Project 52, Week 34, Complementary Colors

If you study color theory you will learn about primary and secondary colors and all the colors in between.  You will learn that complementary colors are colors that are opposites on the color wheel.  If you want to know more about that, study color theory.



But for this week's challenge, let's just go with "complementary colors are color combinations that look good together."  Complementary color themes are visually appealing.  For us, this week they create a harmonious and pleasing effect or they contrast in such a way as to enhance each other and make our photos "pop".

Things to consider:

• Appropriate color combinations are in the eye of the beholder.  For example, some people think purple and green clash.  I think they can be striking.
• Color combinations found in nature are often complementary.  For example, dandelions and spring-green grass.

Suggested Readings and Photographic Examples:

1. Complementary Colors: Harmony on the Color Wheel by Jim Zuckerman at Shutterbug; colorfully illustrated article
2. Complementary and Harmonious Colors by Andrea Ghilardelli on PictureCorrect; short article with a couple of photos
3. Complementary Colors at Ron Day Photography; very short illustrated article
4. The 3 Tricks of Complementary Colors You Can Learn from Van Gogh at Will Kemp Art School; article illustrated with striking paintings
5. Color Selection in Photography by Liz Masoner at about.com; very short article

Project 52, Week 33, Monochrome (One Dominant Color) or Black/White

This week's project is about creating a photograph that is predominately one color or experiment with black and white photos.  This sounds easy, but I have a feeling it won't be. 

You can take a picture of a wall if you must, but try to compose a photo with different tones of the same color.  Some examples: a bowl of fruit or vegetables - the same kind of fruit (apples, oranges, bananas, potatoes, etc) are the same color, but of varying hues. A beach (not the water part - just the beach, a desert, a lawn.  A white dog on a white couch.  A pile of stones.  A tree trunk.

Things to consider:

• Remember the other composition guidelines.
• Composition of a monochromatic photograph is about tones and shadows, and textures which create shadows and tones.
• We see in color and not all subjects make good black and white photographs.
• Shoot in color, then convert to black and white in post-editing.  Unless you're using black and white film or you have a camera that you can set to black and white.
• Check out the links below for inspiration.

Suggested Readings and Photographic Examples:

Monochrome

1. Monochromatic Color at Basic Camera Photography; 5 good tips
2. 32 Beautiful Examples of One Color Dominate Photography by Bill Jones at the Photo Argus
3. 45 Examples of Monochromatic Color Dominance in Photography at Tripwire Magazine
4. 5 Ways To Use Color in Your Photography by Mike Small at Shutter Mike Photography; Section 1 is about Monochromatic photography but it's only 1 paragraph so you may want to read the rest of it.
5. Monochromatic Color by Amber Smith at TrekEarth; 70 monochromatic photos from around the world
6. Life in Different Colors at Creative Overflow; just photos

Black and White

1. 5 Black and White Photography Tips by Darren Rouse at Digital Photography School; short illustrated article
2. Mastering the Art of Black and White Photography/ by Andrew Gibson at photo tuts+; longish article with many photos and links to black and white photographers
3. The Ansel Adams Gallery - Ansel Adams' photography
4. Monochrome Photography by Peter Hogan; black and white photos
5. Black and White Photography by Alister Bern at NatureScapes.com; a rather comprehensive well illustrated article
6. How Color Influences Black & White Photography by Mark Wallace at Adorama TV; 22 minute YouTube video

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Project 52, Week 32, Color is the story

The project this week is to compose pictures around color.  It can be one color or multiple colors, but the idea is to choose a main subject which will be the focal point because of the color or colors.  The story behind the photograph revolves around the colorful subject. 

Things to consider:

• Colors can evoke a mood or emotion which helps tell the story behind your photo.  Red and orange excite, blue and green are more calming and comforting, and yellow is warm.
• Use the rules of composition.
• Watch the balance.  Dark colors "weigh" more than light colors.  Bright colors weigh more than pastels.

Suggested Readings and Photographic Examples:

1. Composing with Color by Alain Birot at Natures Photographers; the first 2 paragraphs and examples and the last section with one examples
2. Color in Composition by Kat Landreth at Pare and Focus; short article
3. Use Color to Compose Your Photograph by Doug Salin at Dummies.com; a short article with 1 example
4. Photographic Composition Guide for Beginners Carolyn Lim.org; 31 page pdf student booklet; see Section 3, Color, page 27
5. How to Start Seeing - Tip 2 - Color at ZibTips; short article
6. 30 Colorful Examples of Ordinary Photography with Vibrant Composition by Ahsan Saeed at Lava 360
7. 50 Examples to Show the Power of Red Color Photography at Stylish Web Designer, just photos
8. Composing with Color Part 1, Part 2, Part 3, and Part 4 by Alain Briot at Luminous Landscapes, a rather long, sometimes technical article with lots of information and illustrations
9. Jim Zuckerman - examples of colorful photographs
10. Eva Polak - examples of using color to create impressionist photography art
11. Art Wolfe - examples of colorful photographs
12. The Work - examples of colorful photographs from Peter Lik

The cover of Michael Freeman's The Photographer's Eye: Composition and Design for Better Digital Photos illustrates composition with multi-colored subjects.  When I look at this picture, I focus on the bright colors more than on the people.