photo composition

49
REASONS FOR PHOTOGRAPHY Sentimentality Expression Documentation

Upload: aking29

Post on 19-Jan-2015

1.067 views

Category:

Art & Photos


0 download

DESCRIPTION

 

TRANSCRIPT

Page 1: Photo Composition

REASONS FOR PHOTOGRAPHY

Sentimentality Expression Documentation

Page 2: Photo Composition

SENTIMENTALITY

Alanna King ‘Max in leaves’ October 2008

Helen Levitt‘New York, NY, c.1942′

Page 3: Photo Composition

EXPRESSION

John Wood‘Eagle Pelt’1985

William Wegman‘Fay Ray’1988

Alanna King ‘Autumn Tree’ 2008

Page 4: Photo Composition

EXPERIMENTAL EXPRESSIONPhilippe Halsman ‘Dali Atomicus’1941

Page 5: Photo Composition

DOCUMENTATION

William Warnecke, 1910

Tim King, 2004

Page 6: Photo Composition

PHOTOGRAPHY COMPOSITION

Elements of Art Principles of Art Application to

Photography

Page 7: Photo Composition

ELEMENTSTHE BASIC BUILDING BLOCKS

Line Shape/Form Space Value Texture Colour

Page 8: Photo Composition

LINES A mark made by a moving point. Has greater length than width. Directs the eye – horizontal, vertical,

diagonal, curvy, zig-zag, etc. Can be actual obvious lines or the

borders or edges of shapes.

Page 9: Photo Composition

LINES

Page 10: Photo Composition

Photo by Lewis Hine

PERSPECTIVE

Page 11: Photo Composition

CURVED LINES are one of elements of composition most pleasing to the eye, giving a photograph a feeling a movement . . .

by Henri Cartier-Bresson

Page 12: Photo Composition

ANGLE, AND DIAGONAL LINES: Choosing unusual angles can result in interesting perspectives on a subject. The use of diagonal lines can add tension, and a sense of directionality.

Photo by Bruce Davidson

Page 13: Photo Composition

SHAPE/FORM A contained area. Can be GEOMETRIC (man-made) ex. Square,

triangle, circle, etc. Can be ORGANIC (natural) ex. Leaves,

humans, puddles, etc. Shapes are 2-Dimensional and flat. (circle) Forms are 3-Dimensional with height, width

and depth. Have shadows! (sphere) Used to create a sense of space and

substance.

Page 14: Photo Composition

SHAPE/FORM

W. Eugene Smith, ‘Tomoko in her bath’ 1971

Edward Weston, ‘Pepper Number 30’

Page 15: Photo Composition

SPACE The area used or unused in a composition. Positive space – the area the subject takes

up. Negative space – the area around, under,

through and between. Gives the photo a 3-dimensional feeling.

(Depth) Foreground (closest), Middle ground, and

Background (farthest). Can be open, crowded, near, far, etc.

Page 16: Photo Composition

SPACE

Page 17: Photo Composition

VALUE Black and white and all the grays in

between Dark to light Can add drama and impact to

composition. Can give a sense of timelessness Train your eye to read colour as black

and white!

Page 18: Photo Composition

VALUEAnnie Leibovitz, ‘Willie Nelson’

Page 19: Photo Composition

TEXTURE The surface quality. How an object feels, or how it looks like

it feels. Rough, smooth, bumpy, gooey, sharp,

etc. Adds interest! Sense of sight and sense

of touch involved.

Page 20: Photo Composition

TEXTURE

Diane Arbus‘Woman with Veil on Fifth Avenue, N.Y.C’1968

Alanna King ‘Freya’ 2008

Tim

Kin

g ‘

Ste

win

g

Curr

ants

’ 2

00

8

Page 21: Photo Composition

COLOUR Artistic term is HUE Need light to see colour. Use colour schemes to enhance appeal

or make impact.

Page 22: Photo Composition

COLOURMonochromatic

Complementary

Analogous

Alanna King, ‘Eiffel Base’ 2009

Tim King ‘Devil’s Paintbrush’ 2009

Tim King ‘Bass Lake’ 2009

Page 23: Photo Composition

WHAT ARE THE PRINCIPLES OF ART?

Emphasis Balance Unity Contrast Pattern/Repetition

Page 24: Photo Composition

PATTERN/REPETITION

An element that occurs over and over again in a composition.

Can repeat the element in a consistent pattern.

Can repeat the element in a variation of the pattern.

Page 25: Photo Composition

REPETITION EXAMPLES

Page 26: Photo Composition

BALANCE

•Balance is a sense of stability in the body of work.

•Balance can be created by repeating same shapes and by creating a feeling of equal weight.

Page 27: Photo Composition

BALANCE EXAMPLES

By Jack Grant

By Ryan Gallagher

Page 28: Photo Composition

SYMMETRY

by Robert Frank

Centering the subject

Page 29: Photo Composition

by Sebastio Salgado

Page 30: Photo Composition

The tilted horizon in this sports photo would most likely mean it could never be published in a daily newspaper. Photo by Garry Winogrand

Page 31: Photo Composition

ASYMMETRICAL BALANCE: Whether consciously or not, compositions are often conceived away from the center of the frame, using the “rule of thirds.” Photo by W. Eugene Smith

Page 32: Photo Composition

Photo by Yosuf Karsh

Page 33: Photo Composition
Page 34: Photo Composition

UNITY

Unity is seen in a painting or drawing when all the parts equal a whole.

Felix Nadar ‘Sarah Bernhardt’ 1820-1910

Page 35: Photo Composition

UNITY EXAMPLESBy Ansel Adams

By Edward Burtynsky

Page 36: Photo Composition

CONTRAST

Contrast refers to the opposites and differences in the work. You can achieve variety by using different shapes, textures, colors and values in your work.  

Page 37: Photo Composition

JUXTAPOSITION

The camera has the unique ability to capture two or more seemingly incongruous or paradoxical elements in it’s view. Photographers who take advantage of this can create ironic, even sarcastic statements. Photo by Margaret Bourke-White

Page 38: Photo Composition

TRICKS FOR BETTER PHOTOS

FRAMING RULE OF THIRDSBy Margaret Bourke-White

By Alanna King

Page 39: Photo Composition

ECONOMY: Fill up the frame, by moving around your subject, and moving in close. Avoid space between subjects and exclude details that are not relevant to the story. Photo by Sebastio Salgado

Page 40: Photo Composition

SIMPLICITY

Page 41: Photo Composition

by David Blumenkrantz

Page 42: Photo Composition
Page 43: Photo Composition

Photo by Arthur (Weegee) Fellig

Consider angle at all times

Page 44: Photo Composition

TEXT GOES HERE

MASTHEADSHOOTING FOR LAYOUT

In certain instances, it may be possible to pre-visualize how a title may appear. The photographer can leave “dead space” in his composition, where the text can later be placed.

Photo by David Blumenkrantz

Page 45: Photo Composition

NO COMPOSITION?

Some speak of an “anti-aesthetic,” arguing that one cannot do much arranging of light and subject matter with spot news. Others insist that experience is the only way to learn photojournalism; an innate sense of composition comes only from the alchemy of experience.

Photo by Margaret Bourke-White

Page 46: Photo Composition

BAGHDAD, IRAQ - SEPTEMBER 12

(NOTE TO EDITOR : GRAPHIC CONTENT)

Dead and critically injured Iraqi civilians are seen lying in the street on September 12, 2004 in Haifa Street, Baghdad, Iraq. Fighting broke out in the early hours of September 12, 2004 as explosions shook the centre of Baghdad with U.S. helicopters opening fire at targets in the area and a U.S. armoured vehicle was seen on fire. Over 20 people were killed and 48 injured in a day of heavy fighting more than two months since the handover of power in Iraq. (Photo by Ghaith Abdul-Ahad/Getty Images)

Page 47: Photo Composition

Suicide bombing in Israel, August 31, 2004. New York Times

Page 48: Photo Composition

Photo by Hans Gutknecht

Page 49: Photo Composition

ANTI-COMPOSITION: In the 1950’s and ‘60’s, street photographers such as Robert Frank and Garry Winogrand disregarded traditional concepts of composition, tilting horizons and creating images with no center of interest. Photo by Garry Winogrand