Digital Photography Composition Tips
Written by 杨 道波 Wednesday, 03 November 2010 11:02
What is composition?
This notion is not easy to define, so we'll try to understand or to feel.
When we compare several photos of the same subject, all perfectly exposed and razor-sharp, some seem better than others. Why? Simply because the various elements in the frame are better arranged, each in its proper place becomes important and the whole gives an impression of balance, or otherwise move, for sound perception or subjects .
La Roque sur Ceze (Gard)
If you are asked to choose between these two pictures, which would you prefer?And will you tell why you like one better than another?p
Define the subject
Each photograph must have a subject as much as possible uniform and easily identifiable by the viewer. Once this matter clear, it will of course put off by all possible means: maximum sharpness on a blurred background, specific lighting, color contrast, perspective, etc..
Importance of Simplification
Naturally, the notion of composition is not only photographers but also other artists such as painters or sculptors. However, the efforts of photographers and painters are substantially different, precisely because the techniques used. The painters start with a blank canvas on which to add elements, and if they do not, some parts of the canvas will remain blank. The photographers, however, depart from a prior frame filled by the subject before them and they must be wondering if all the elements that could be inscribed on the sensitive surface are essential to the quality of the future photography. In other words, the painters, as do the writers and composers of music, work by addition, so that photographers tend to work by subtraction.
The best photographs are those in which subjects are shown with more relevance and accuracy and those that reflected the emotion that the photographer has proven to the scenes he has attempted to transcribe. To this end, all the unnecessary details should be eliminated or softened because they divert the bulk of the viewer's attention. Many famous photographers claim that many pictures could be improved if they got rid of extraneous or unnecessary.
The search for simplicity is obviously not the only concern of photographers, it relates to many other trades. It's the simplicity that we give ourselves the best chance to attract and retain the viewer's attention. Pete Turner, a great photographer U.S., the search for simplicity is the ultimate goal, whatever that art is practiced, and achieved is one of the hardest things ever.
The sense of composition is it innate?
We often hear so and so has a great sense of composition because it is somehow born with. Whether you believe or not predisposition, we must say that fortunately, photographers are able to improve through study and experience, without necessarily becoming a chore or a punishment. We are all surrounded by photographs until the invasion, most of them we are indifferent, but some catch our attention, please us, question us, move us, and so on. Whenever we find one of this kind, we may wonder why such a "meeting" occurs and better still try to express the reasons in writing. We can do the same with the photos that we are indifferent or that we dislike. It'sa good way to study the composition, as the deal through its effects on the viewer. It leads naturally to consider how are arranged the various components of an image and gradually the practitioner sees around him, his eyes, number of compositions "ready."
Some tips for better images
Close one eye!
Many photographers marvel at the beauty of a landscape, particularly if the brightness of undergrowth, the majesty of the monument. But what a disappointment when they see the pictures ... Without doubt, dear reader, have you had this feeling one day, without understanding the cause!
The explanation is simple: we perceive our environment with our eyes and send them to our brain two slightly different images that allow us to have a vision in relief; the camera, unless it is intended specifically to stereoscopy, has only one "eye", his only goal, giving instead a vision of "flat", as if the scene was observed more than two dimensions.
The advice we can give here is simple: close one eye! This gives the photographer an idea of what his camera recorded and if not then deterred from pressing the shutter, at least he knows what to expect. Fortunately, other elements that binocular vision can return more or less the feeling of relief, they will be discussed in the following pages.
|This landscape is not bad but the lack of binocular vision makes the relatively "flat". The hedge, in particular, seems more or less put on the poppy field and only our habits of perception of space can give us information on the extent in depth of the scene.|
|The loss of relief is even clearer here. We can also advise followers from monochrome to go beyond the previous recommendation: to completely close one eye blinking and the other considerably lessens the perception of color. To achieve such a black and white, use a suitable filter at the time of shooting or taking color photography and rework the colored layers thereafter. Especially in this case, never use the monochrome digital cameras because he lost all useful information for further improvement of the images.|
Beware of backgrounds
The background is usually not the primary focus of a photograph, it should rather help to enhance the main topic without providing distractions to the eye.
Each of us has ever seen photographs failed due to the unexpected presence of a character or a truck passing through the field during a report of a pole or a power line from ruining a landscape, an outlet or a slipper denaturing the intimacy of a nude, etc.. Sometimes, the substantive element interferes with the main subject so that it gives a "third image" funny but the "victim" does not always ... The elements that arise from the bottom as lines are often the most troublesome.
Be especially wary of SLR cameras: the aim is to fully open, with a very shallow depth of field, while the photograph is usually taken with the diaphragm more or less closed and therefore with depth of field much broader. Thus we find image elements that are not seen during the sighting. The tester deep field on the right SLR is valuable for detecting the presence of such elements and we must use it without moderation in all circumstances. In the case of macro photography, however, although it is theoretically necessary, it turns out, unfortunately often ineffective for the simple reason that if the diaphragm is closed, the viewfinder image becomes so grim that there are distinct nothing of what will appear later in the picture.
* Look at the bottom front of the main subject of interest to you:
According to old proverb used in portrait, one must first look at the scenery before viewing the model. Obviously the computer can work miracles, but everything is so much easier when unnecessary work can be avoided since the shooting ... Look at the objects, colors, background guidelines, assess their future degree of sharpness or blur, etc..
* Move the subject:
It is often easier than moving the house behind it, if it does not appear on the photo.
* Change your perspective:
Turn around the subject and see what is in the field, at the same time ensure that the talent in lighting your subject.
* Choose the right focal length:
The higher the focal length of your lens is shorter, the angle is bigger and kissed the probability of finding the field in one or more undesirable elements increases.
* Open the diaphragm:
This is the only effective way to reduce the depth of field to blur the elements most distant from the scene
* Keep the subject of the scene:
Again, this will play on the differences in sharpness.
* Frame your subject closer:
The subject occupies more space in the frame, the less there is for unwanted items.
* Build your own setting:
It is after all what do almost all those who wish to do portraits or naked in their apartment. It is generally easier to hide all the impedimenta that clutter most apartments with a large piece of fabric to make a move.
* Improve your pictures on your computer:
Without letting go to special effects which are now almost completely gone out of fashion, be sure to balance the contrasts, to straighten perspective, to hide or erase the butts or greasy papers lying on the ground, etc.. On occasion, saturate the colors a bit more of the subject and those slightly desaturate the bottom. Discreet areas darken too light so they attract fewer eyes.
This flower of neighboring Colchiques is difficult to photograph well as it sits low to the ground and we must avoid viewing angle too plunging. The group shown here is located in a mountain whose presence reduces blur. It is regrettable that the photographer had not "done cleaning" and removed a few blades of dry grass too present. The clear line formed by the top of a rock also disrupts the vision, a perspective slightly lower would have mitigated. By trimming a bit the right side and the bottom is too blurry, off center is the flower, which is the better value.
|Capra ibex in the Gran Paradiso decor:
It is natural to place the goat in his usual scenery here but the photographer did not really have a chance with him. The problem comes mostly from very poor lighting that turns to the party animal in a dark spot against the day when many details are drowned. It was obviously not possible to send a flash light to lead the shadows, as we could have done under other circumstances. Because the mountain is both clear and bright, she draws the most eyes and there is then faced with two competing issues.
|Closeup of a butterfly on a flower unidentified:
The emotion, perhaps, to have this beautiful animal in the viewfinder, has overshadowed the merits and verticality to the photographer. Moreover, if the picture is not closed by a small piping or mentoring, the washed out areas of the sky are lost in the scenery. Only one appropriate word, "damage" any technical comment is unnecessary.
All this red, it does well in the set, but the piece of house left could have been avoided, and it does nothing interesting to value the subject, it is ugly, and above the market there is a white spot towards which inevitably look.
Heal the play of shadows and lights
This is above all the shadows and lights that will allow you to highlight what you want to show. Pay close attention to elements in and produce the greatest contrast, by themselves or in relation to other elements of the photo, or over the ground on which it is presented (see what about the page that deals with the mounting of photos as a mat.
The eye naturally goes to the areas of images with the highest luminosities. When these areas belong to the main topic, it is imperative that what may be there is a particularly interesting and possible overexposure does not remove the textures to render them unreadable. When they belong to the environment and that we unfortunately can not avoid including them in the frame, so far as these areas are empty, blurry, visually neutral and outside of the strengths of the composition.
Conversely, the presence of dark areas very poor in detail is not necessarily a handicap, because in everyday life we do not generally perceive the items inside. Photograph such as a house with a coating that is very clear and that doors and windows are open: no surprise that the photo does not allow to distinguish anything inside. However, if exterior walls are "burnt", it gives a big blank spot without detail and visually unacceptable. However, the poorly drawn pictures which are totally blocked blacks are not necessarily great.
The histogram of the photo, when it is available, gives valuable guidance in this regard, as indicators of over-and under-exposure present on most devices serious.
Good portrait and good nude photographers know perfectly how to play of shadows and lights. They know that no face and no body is perfect and they manage always to highlight anything that can showcase the models, while leaving in the shade alongside them the least interesting or most unsightly.
|This photo showing a very mixed can be regarded as properly raised because the light areas are washed out at any point by overexposure. However the fact that the detail in dark areas under the colonnade of the left can not be distinguished is not especially troublesome.|
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