DPC Mentorship - Basics/Theory - DPChallenge Forums

07/15/2005 11:55:01 AM · #76

Groggy...Don't worry about not having DSLR. Neither one of my cameras are truly DSLR with interchangeable lenses and I looked at the specs for your camera and it will do quite nicely. I'm still using my 2MP 10X zoom camera, and for web use on here I still like it. You have manual settings, a 10X zoom, good resolution, great low ISO setting of 64 and the ability to shoot in RAW, among other things that make this camera a good one. As long as you can learn from it, that's the main thing right now.

Originally posted by groggyfroggy:

P.S. Just to mention I don't have a DSLR.:(
Roni

Message edited by author 2005-07-15 11:58:09.

07/15/2005 12:02:29 PM · #77

Composition.

The follwing is not written in stone and serves as a beginning discussion and guide. Please feel free to add to it, correct it and explore it with your own photography. Field exercises to follow.

07/15/2005 12:06:01 PM · #78

Cant wait for field excersise!!

07/15/2005 12:06:38 PM · #79

PHOTOGRAPHIC COMPOSITION

I. Organizing the various elements within the frame of the image to create an effective picture. Effective images are those that command attention and communicate a message, or feeling, to the viewer. Good composition requires the arrangement of different elements within an image work together to create a message, or beauty. Each element in a picture contributes to the whole. Learning to compose effectively takes practice, study and experimentation in applying the basic elements of visual design. A photographer also needs to understand the intended audience of his/her pictures and in how they respond to visual stimuli and organization, which could be influenced by their past experiences, cultural make up, interests, etc. Composing requires that we â��seeâ�� through the cameraâ��s viewfinder the possibilities that exist in a scene. We can improve our ability to see possibilities by quieting our minds, relaxing and taking the time to see our subject and surroundings. Learning about our subjects in advance can also aid in helping to identify subjects and scenes of interest. Once we decide on a subject/scene, we need to isolate them and organize the various elements into a coherent whole that convey how we (the photographer) feels about the scene in front of us. This is known as unity and helps to provide an integrated effect so that the picture is seen as a whole.

Basic elements of visual design:

- LINE
A path between two points. Can be straight, curved, vertical, horizontal, diagonal or zigzag. They imply motion, direction and orientation. For instance, vertical lines imply strength and power, whereas horizontal lines imply peace, tranquility and rest. Diagonal lines imply movement and action. Curved lines imply flowing movement and sensuality. Lines can also converge which imply three-dimensional depth, as well as, distance, such as a fence or roadway that stretches from foreground to background. Lines can also be implied when points are arranged in geometric patters that the mind recognizes as certain shapes.

- SHAPE
Lines that form closed areas, such as, squares, triangles, hexagons, etc. Shape is two dimensional, but can be viewed by the mindâ��s eye as three-dimensional, when light and shadow fall on an object. The light and dark areas of a shape help to imply volume and weight, as well as, provide contrast. Space, in pictures, is defined by shapes. Positive space is where shapes and form exist, whereas, negative space is the empty space around shapes. Often, positive and negative space is used in a photograph for balance.

- COLOR
Effects the nervous system to stimulate emotion. Basically, red, orange and yellow are considered the â��warmâ�� color and blue, green and violet are considered the â��coolâ�� colors. Cool colors are perceived to recede and warm colors to advance. Photographers can position different colors in the image for added contrast. Analogous colors are colors next to each other on a color wheel (available at art supply stores) and have a harmonious effect on the overall mood of your picture, while complementary colors are opposite to each other on the color wheel and have and provide more contrast in your imanges. Examples of complementary colors are purple/yellow, magenta/green and red/cyan.

Color vocabulary
Hue â�� the name of the color, such as red, blue, etc.
Value â�� the relative brightness or darkness of a picture. The amount of white or black added to a color.
Saturation/Intensity â�� the purity of a color, or how much gray is added to a color.
Monochromatic color â�� use of one color where only the value changes.

Psychological responses associated with specific colors are:
- Red â�� fierceness, anger, excitement, sex, love, aggression, dominance, danger, emotional intensity
- Blue â�� tranquility, serenity, trust, truth, loyalty, authority, sky, ocean
- Yellow â�� loyalty, honor, heat, caution, cheerful, optimism
- Green â�� nature, calm, refreshing
- Black â�� authority, power, villainous
- White â�� innocence, purity, neutrality, sterility

- TEXTURE
Refers to the surface quality or â��feelâ�� of an object, such as being smooth, rough, soft, etc. Texture is emphasized by incorporating oblique lighting that creates shadows.

- PATTERN & RHTHYM â�� the regular repeating of elements within the image. Include some variability to ensure boredom is not experienced by the viewer.

- PROPORTION â�� refers to the size relationship between various elements within the image, as well as, to the whole. Viewers respond to proportion emotionally.

- RULE OF THIRDS â�� dividing the frame horizontally and vertically into a thirds grid and placing important elements at the interesections. Use as a guideline, and never as a rule not to be broken. Use your instincts and knowledge about what is aesthetically pleasing.

- CHAOS â�� SIMPLICITY VS COMPLEXITY â�� a disordered state of elements within the image. The goal of most photographers is to provide some organization to be able to express what is to be communicated but also should include some disorder so the viewer has to work a bit to explore and understand the image. Photographers should attempt to exclude excess clutter and elements in their images, but be careful not to make it too simple, and in so doing, bore the viewer.

A cohesive and unified image can be achieved in various ways:

- Dominance and Subordination â�� purpose is to control the sequence that the various elements in the picture are viewed and to control how much time the viewer concentrates on various elements. Dominant elements can be made larger in size, more intense in color or be placed closer to the center of the image than subordinated elements, which can be placed closer to the periphery, for example. Areas where lines converge are more dominant, as well as, shapes with different colors than most of the rest of the image.

- Coherence â�� the belonging together of the various elements in a picture. Commonalties exist between various elements such in shapes, colors, textures, tonalities, etc. Be careful not to include too much similarity between objects, as this can induce boredom in the viewer.

- Balance â�� implies a visual weight to the elements in a photograph. Large object weigh more than smaller ones, dark ones weigh more than lighter ones. Positioning also helps to provide balance as when a â��heavyâ�� element near the center of an image is balanced by a much smaller object nearer the periphery. Symmetry also helps to provide balance, as when a landscape is duplicated through the inclusion of a reflection in water.

- Positive and negative space can be used to provide balance.

Compositional principles/tools used in a photograph are of little value, and may even confound the viewer, if not used with a purpose in mind. Elements of design should be incorporated only if they help to support the message that the photographer wants to convey. In critiquing an image, we should be asking what does the photographer want to convey and how effective is the meaning of the photograph being conveyed. The difference between a snapshot and a work of art is that the snapshot has little thought to what is to be communicated artistically whereas the photographic work of art has a developed message and a way of supporting that message so that it is understood by the viewer.

To be able to incorporate elements of design into a photograph we need to be clear about our purpose for taking the picture and then decide the best way to technically capture that purpose. The message is paramount and the technical aspects support the message. (Although, the technical in itself can be the message.)

In conclusion, the preceding is to be thought of as guidelines, and not as rules never to be broken. Many artist/photographers also compose based on intuition, but knowing the basic elements of design and knowing how to apply them are the starting points on which to develop an image with impact. Learning to compose effectively by observing the work of other photographers whom you admire and respect is also recommended and may help in developing your own style. It is helpful to compare you r images with successful ones paying attention to the aesthetic and technical aspects. Also, be aware of the opinions of others, even non-professionals, as they critique your work, but always be true to your own vision.

Field Guide:
- Framing - decide on format: landscape or portrait
- Simplicity in images is most effective. Try not to include too many elements and eliminate unimportant/extraneous elements by zooming in, getting close, shooting different angles
- Choose a subject as the main point of interest
- Explore and choose an angle-of-view
- Place subject off center as it makes the image more dynamic, less static. Use the rule-of-thirds placing the subject at the intersections
- Include leading lines to lead the viewers eyes into the picture
- Avoid distracting backgrounds. Backgrounds should be uncluttered and uncomplicated so as not to distract the viewer and compete for the viewers attention
- Include objects in the foreground as this helps to add a sense of depth and scale
- Keep the horizon straight and place it either on the top 1/3rd line, or the bottom 1/3rd line

07/15/2005 12:25:52 PM · #80

Do we get an assignment now? I'm going to the country for the weekend, so I'd love to have something to try and shoot and incorporate all the tings we've learned so far

Edit: Don't mean to be hasty. Just very excited with what I've already learned... Thanks for everything deapee and olyuzi!!!

Message edited by author 2005-07-15 12:30:49.

07/15/2005 12:30:17 PM · #81

Originally posted by Olyuzi:

Psychological responses associated with specific colors are:
- Red â�� fierceness, anger, excitement, sex, love, aggression, dominance, danger, emotional intensity
- Blue â�� tranquility, serenity, trust, truth, loyalty, authority, sky, ocean
- Yellow â�� loyalty, honor, heat, caution, cheerful, optimism
- Green â�� nature, calm, refreshing
- Black â�� authority, power, villainous
- White â�� innocence, purity, neutrality, sterility

Does this mean if I wear all these colours at once I'll be perceived as all these things? Awesome! :D

Canon EF-S 18-55mm f/3.5-5.6 IS STM

07/15/2005 12:31:25 PM · #82

Field Exercises: Go out and photograph!!! We will be discussing them.

-Choose a subject to your liking and photograph it emphasizing one of the elements of design mentioned above. Post it here and state what it is you want to convey to the viewer about your subject, why you chose that element of design and how you think it adds to the message you are trying to convey. In other words, do you think your picture was effective in its message.

-Choose a subject to your liking, and photograph the same subject from different angles-of-view, different framing (portrait vs landscape), different focal lengths, etc. Post it and state your intended message and if you think your picture was successful to your intention. I encourage all to critique images in a meaningful, honest and gentle way. This is a discussion to learn composition and critique.

btw...the above does not apply to me (Olyuzi). You can call me names, curse me, spit at me, hurl tomatoes at me, etc...I have a thick skin and at least, tomatoes can taste good...lol

Once we start to discuss the pictures, technical matter will start to seep in and we'll start to explore those areas as well.

If you have any ideas for field exercises please do tell.

Above all else, HAVE FUN!!!!!

Message edited by author 2005-07-15 12:32:33.

Catherine_B

Canon EOS-70D

07/15/2005 04:24:13 PM · #83

Hi Everyone,

I am finally back online after a business trip to Minneapolis. I have skimmed the thread and will go back this weekend and read all the tutorials on line. I will also add some new photos to my portfolio so I can contribute to the discussion. Sorry about the late start, but sometimes work interferes with my passion for photography!

Catherine

07/15/2005 04:38:00 PM · #84

My subject for critique is "Textures & Patterns"
* None of the images here are being submitted for these weeks challenge *

I thought since I have been thinking alot this week about textures I would like to know what you guys think of these photos.

For all of them I wanted to make sure color, lighting, contrast & sharpness where all spot on as I felt these 4 things were most important to convey the textures/patterns I chose for subjects.

Canon EF-S 17-55mm f/2.8 IS USM

07/17/2005 12:36:26 AM · #85

I want you all to know I do not feel qualified to critique these photos. I will try my best. I want you to know that I am just writing what my "ameture" eyes can see. I hope that no one gets offended or hurt by what I write. I hope if anything I can help with something.

I also want you to know I can take it if you want to be completely honest on my photos. This is the only way I will learn.
Thank You,
Roni

jpochard

Canon EOS-40D

07/17/2005 02:16:27 PM · #86

Originally posted by groggyfroggy:

We will sure appreciate your comments. We all learn from each other, AND you will learn alot by critiquing others' work. I think things are more obvious when you're viewing someone else's photos. I know when I work on mine sometimes it's hard to get past the vision of what I intended it to look like, and being objective about the reality of how it does appear. It's easier for me to learn and be objective on some else's shots.

I think photography is a lot of experience and practice. I KNOW what I want to do, but actually achieving that consistantly isn't easy. I greatly appreciate honest critiques and that is how I try to critique others as well.

Nikon AF-S NIKKOR 24-70mm f/2.8G ED

07/17/2005 02:23:34 PM · #87

Thank You Judy, I just didn't want anyone to get upset, as I have seen it efore in the forums. :) I guess people in this forum want to be critiqued so they probally would not get as mad. But thanks again for everything.
Roni

rjkstesch

Nikon D700

07/17/2005 10:19:38 PM · #88

I think the best way for me to learn is to comment blind (without looking at the other comments) and to share the thoughts, both positive and constructive, that I would have if they were my own. Please let me know if I am offending anyone - that is not my intent and I'd be glad to tone it down.

Feel free to be very frank with my images.

Becky

07/18/2005 02:12:12 AM · #89

Originally posted by rjkstesch:

Thank You. I appreciated your comment. When you say in increase the DOF to get more sharpness. Do you mean use a large fstop? ie.. instead of f5.0 use f4.0?

I thought sharpness was around f8 - f11?

I really want to get sharp pictures, just trying to learn how to do it.

07/18/2005 03:09:26 PM · #90

Hi jseyerle. I'm going to leave comments on your pictures, but to answer your question below I would say that to increase depth-of-field (increasing the parts in your image that appear sharp from the near to far axis you have to stop down. This means decreasing the size of your aperture diaphragm (increasing the f-stop number from say f4.0 to f5.6) would give you a deeper dof and render more of your image in sharp focus. Just remember that when you decrease your aperture size, you let in LESS light and will have to compensate accordingly with shutter speed, or ISO.

Let's say you want to render "Copper-Pot" completely sharp but when you do a test shot at f4.0 with a shutter speed of 1/125 and ISO of 100 you find that only the handle comes into focus. If you stop down to f8.0 (two stops) to increase dof then you will have to decrease shutter speed by two stops as well so that your new settings will be f8.0, ss 1/30th sec, ISO 100. Or, you change the ISO setting by two stops instead of shutter speed. In this case you would increase ISO (increasing sensor sensitivity) from 100 to 400. This would maintain the shutter speed you want.

Hope this helped.
Oly

Originally posted by jseyerle:

When you say in increase the DOF to get more sharpness. Do you mean use a large fstop? ie.. instead of f5.0 use f4.0?

I thought sharpness was around f8 - f11?

I really want to get sharp pictures, just trying to learn how to do it.

07/19/2005 06:34:35 PM · #91

Ok, here is some of my stuff from the field exercise. I have a great set featuring DOF, but I'm gonna wait until after a challange to post them. Didn't get to much of a chance to do one subject and photo it different ways, but will get to that one next outing.

These are mostly exercises in composition. The wood one was a small exercise in DOF but I got hand shake so none of the others turned out. Spider: exercise in lighting (backlighting) and composition. Portrait, mostly composition.

All post processing was pretty normal: levels, color, saturation, USM and cropping. Did a little dodging on teh babies eyes but that's it otherwise.

So comments and critiques, and go ahead and dish 'em out. I'm here to learn so give me your worst!

07/19/2005 06:43:38 PM · #92

jseyerle, I've commented on your pictures. I've been as honest as I can, and I'm only one inexperienced photographer. Hope they help in some way or other.

Cheers

07/20/2005 12:25:12 AM · #93

pidge I hav ecommented on your photos.
I am trying to get mine together.

07/20/2005 12:43:56 PM · #94

Thanks Groggy! Appreciate it

07/22/2005 12:35:32 PM · #95

I'd like to say more about DOF as it's an issue with many of the pictures posted so far. It's a creative decision to be made by the photographer either to help isolate subject matter (narrow dof) or increase our ability to see more of subject matter (deeper dof). There are three factors that a photographer can control to manipulate DOF. The first, as we've already touched upon, is the size of the aperture of the diagphram of the lens. The larger the hole (smaller f-stops, eg f2.8) renders a narrow dof and smaller holes (larger f-stops, eg f16) renders deeper dof.

A second factor to help you control DOF is the distance of the lens to the subject matter you're photographing. Deeper DOF will result the greater the distance your lens is to the subject, and vice versa, the smaller the distance to your subject from the lens the narrower the DOf. If you want deeper dof, then stand further away from your subect, and if you want narrower dof, then stand closer.

The last factor is lens focal length so that a FL closer to the wide end of a lens (such as 28mm) will give a deeper DOF and one closer to the telephoto end will give a narrower DOf.

Bear in mind, that when you choose focal lengths at the extremes of your lenses this can introduce other unwanted distortions in the image, such as, perspective distortion at the wide end and chromatic abberation at the tele end of a lens. Perspective distortion at the wide end is very noticeable such as when you photograph a face at close range using a wide angle lens you may get large noses or chins.

Also, most here in the Basic group have the ability to use a feature on the DSLR cameras called DOF preview. This will give you a good idea on what your image will look like focus wise before making the shot. However, one caveat is that when you peer through your viewfinder to compose an image, your camera is giving you a view with the most light coming in from the scene so that you can compose effectively and see as much of the scene as possible. When you use DOF preview the lens may stop down to whatever aperture you have set, which may darken your viewfinder's rendition.

Hope this helps and please ask if not.
Oly

07/22/2005 07:29:30 PM · #96

Means I gotta get a tripod... Oh boy! Shopping! :D

jseyerle: This is all with the kit lens. Good macro lens is on my wish list. Gotta get a tripod first, thought... Thanks everyone!

Canon EF 16-35mm f/2.8L USM

07/23/2005 02:39:41 AM · #97

Olyuzi~
This might sound dumb but...

Can you show us an (actual photo) example of a narrow DOF and deeper DOF photo?
I think I get it but it would help to actually see it.
Thank You
~Roni

oOWonderBreadOo

Canon EOS-5D

07/26/2005 01:26:07 PM · #98

Hi guys! Just introducing myself as a new addition to your group. Olyuzi was kind enough to take another student! :0) WOW- what a lot of information here, my head is swimming! And so excited to learn!
Well I was going to wait to post photos untill the next assignment but I figured I could show a few now so you can see my work and and thought I'd answer a question as well. All comments and critiques are welcome!
~Laura

This first one is a very narrow (or shallow) DOF I think the voters deemed it too narrow! :0)

This one is a deep DOF. Although it is very grainy (film...) the mountains in the background are still in focus.
This thread has excellent examples of deep DOF

Deep DOF Challenge

07/27/2005 08:55:28 AM · #99

Here's one with deep DOF. See how the man in the upper left corner is still in focus? He is at some distance away from the lens and so Heida needed to use a small aperture opening of f22 (remember that larger f-stop numbers mean smaller openings).

Another deep DOF image is Kintla Lake, by Jodie Coston which shows both the near pier and distant mountains in focus. while she used an aperture of only 7.1, don't be fooled by this as for her camera, a prosumer model and not a DSLR, this was a small opening aperture for her camera, which I presume only goes up to 8.0.

Deep DOF (all picture elements, including the man are in focus

Another with deep DOF. See how the far pillars of the bridge are clearly discernable?

Deep DOF

This winning shot in the last macro challenge shows the lady bug and water droplet with flower reflection, both in the same near-to-far image plane, as in focus, where as the flower in the background, that is reflected in the water droplet, is out of focus, although we can certainly make it out. This would be a narrow depth-of-field. A aperture of 2.8 was used.

Narrow DOF. See how the background is totally obliterated as you can't make anything out except for color?

Narrow DOF

Narrow DOF. Notice how just one of the droplets on the leaf are in focus but the others, both front and back, are out of focus.

Narrow DOF. Notice how the both the background and foreground are out of focus and just the orange dot near the handle and suspended coffee droplet are in focus.

I hope I've provided enough examples of narrow and deep DOF images for you to get a good idea what depth-of-field means. Keep some other things in mind too:

- Macro shots (close ups) will have a very narrow DOF and photographers are always struggling to provide maximum DOF for their subjects so that their subjects will be rendered completely in focus. They will be using high f-stops (small holed apertures).

- Long focal length lenses will give narrow DOF, where as short focal length lenses will give deep DOF.

- Bokeh is a term to describe the quality of the out-of-focus background in narrow DOF and can be as important in the composition of the image as the subject.

- DOF usually has a ratio of 1/3rd foreground in focus to 2/3rds background in focus.

Please ask when you want to know something. There are no dumb questions, except for the ones that you don't ask. Hope this was helpful.

Originally posted by groggyfroggy:

Olyuzi~
This might sound dumb but...

Can you show us an (actual photo) example of a narrow DOF and deeper DOF photo?
I think I get it but it would help to actually see it.
Thank You
~Roni