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08/01/2005 03:41:33 PM · #26 |
this is my photo, incase anyone would want to re-compose it.
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08/01/2005 03:57:17 PM · #27 |
To make sure everyone has had a chance to catch up I will wait until tomorrow to post the next lesson. Tomorrow we will be discussing and working with lines and internal framing. If there are any questions on what we have covered so far feel free to ask and I will be happy to help or go further into detail.
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08/01/2005 07:17:22 PM · #28 |
Tilt horizon. Clone in some image above and to right of players.Slight motion blur. Slight burning of background. Slight dodging of foreground. Crop. Resize.
It's a crude edit but you get the idea.
Message edited by author 2005-08-01 19:18:28. |
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08/02/2005 07:55:42 AM · #29 |
LESSON 2 Lines and Framing
Leading lines
Leading lines are lines in the photograph that can be used to lead the eye to the main focus of the photograph. Let̢۪s take a non-macro example as an illustration. Imagine a house with a driveway. By framing the photograph in such a way as to place the driveway in the foreground, the driveway becomes a natural leading line that leads the eye to the house, which is the main focus of the photograph. The driveway does not have to be at the absolute dead center bottom of the frame, it can start in the corner or it can start at the lower third of the frame (think rule of thirds). Leading lines do not have to be straight, they can wind and curve and have a shape of their own as long as they lead the viewer̢۪s eye to the main focus of the photograph.
Horizontal lines
Horizontal lines indicate flowing or stillness, sort of a hovering feeling of tranquility and familiarity. Given that people look for the horizon as a point of reference, horizontal lines provide a feeling of comfort within the image.
Vertical lines
Vertical lines signify strength and power. Photographs containing vertical lines often invoke emotions of being rooted, or having an unmovable foundation. Use this technique when you want to communicate power, stability and continuity.
Diagonal lines
Diagonal lines signify motion and energy. Placing the subject diagonally within a frame adds excitement and is one of the most dynamic ways of composing a shot. Combine this technique with the rule of thirds and you have a recipe for a very successful photograph.
Let̢۪s take a look at these two very similar photographs. The vertically placed lines of the grass leaves convey the emotion of rooted strength, and stability. In contrast, when the same subject is diagonally placed, the photograph invokes a sense of motion and fluidity. Also note how simplifying the background and removing the distracting elements really helps this photo.
Internal Framing
Internal Framing is the compositional technique of using objects within a photograph as a frame around the main subject matter. Imagine a house surrounded by trees: The trees serve as an internal frame, thus focusing the viewer̢۪s attention at the house, while serving as a pleasant surrounding.
In this assignment, use as many of the techniques outlined within the first two sections as you can in one photo. Just for some added fun Lets make it a macro and set the deadline for thursday.
I promise the this is a macro thread and we will be getting to the juicy stuff very soon.
Best of luck.
Message edited by author 2005-08-02 14:49:54.
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08/02/2005 05:22:33 PM · #30 |
Not my submission, but a good example of leading lines.
Message edited by author 2005-08-02 17:23:40.
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08/02/2005 08:09:59 PM · #31 |

Message edited by author 2005-08-09 00:17:04.
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08/02/2005 09:00:27 PM · #32 |
Not my submission but a good example of leading lines:
My submission:
<-- Harman Karden Speaker -- Up Close |
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08/03/2005 06:36:58 AM · #33 |
Not sure if this something that you were looking for but it has lots of lines.. :) In lots of directions. Maybe a bit disctracting but I liked the reflection.. |
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08/03/2005 03:18:16 PM · #34 |
My appologies for the pending delay. Due to company cutbacks I have been laid off of work for the remainder of the week. I will not have access to the internet again until monday. I will most definately look through the photos and contiue the lesson then. One again my apppolgies for the unexpected delay in the mentorship program.
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08/03/2005 03:35:01 PM · #35 |
Most libraries have access, that is if you want to keep going?
Just a thought. |
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08/03/2005 03:39:35 PM · #36 |
Originally posted by Kekiinani: Not sure if this something that you were looking for but it has lots of lines.. :) In lots of directions. Maybe a bit disctracting but I liked the reflection.. |
I like your image, I think if you would have move it over and got rid of the black line in the reflection. And maybe move a bit closer to the bottom of the glass would have been a bit better. Just my thoughts, anyone else? |
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08/03/2005 09:48:35 PM · #37 |
This is my submission for this lesson...
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08/04/2005 03:49:13 PM · #38 |
Here is my entry. Not the best.
Travis
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08/05/2005 10:31:33 PM · #39 |
Assignment #1:
Better late than never
Editing:
Scaled 125%
Cloned background to extend stem and leaves
Blur
USM
Save for Web
Message edited by author 2005-08-05 22:32:39. |
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08/06/2005 01:03:19 AM · #40 |
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08/07/2005 06:44:04 PM · #41 |
This one's mine for the last assignment
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08/08/2005 11:18:36 AM · #42 |
Ok I have managed to free up some time to work with all of you today. I have commented on the first few photos this morning. I will finish the rest today if time allows it. I will hold off until tomorrow before starting on the next lesson. This should give the oversea crowd a chance to read through the comment and ask any questions. You all seem to have a good grasp of what we have talked about so far so next we will be moving on to lighting, colors and contrast. Once we finish with these points you will be half way to having a ribbon worthy macro.
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08/09/2005 08:17:07 AM · #43 |
LESSON 3 Lighting and Contrast
This one is a very long post. But the good news is that it is the end of the first section. I hope all of you have managed to gain atleast a little something from the program so far. I promise the good stuff soon. I know I had a few request to cover equipment. I will be covering that in the next section. So take you time and enjoy the class.
Lighting
Everyone knows that photography is a light based art. Without light, there can be no photography. Therefore, light manipulation and control is one of the most essential aspects of a successful photograph. Let̢۪s take a look at the various lighting techniques and the effects that can be achieved.
Front lighting
Front lighting is probably the most basic form of lighting since most people mount their flash units on top of their cameras, thereby achieving the front-lit effect. Front lighting tends to be flat, non-distracting, and is best used for illustrative purposes where the viewer̢۪s eye should not be distracted by unusual lighting, thus allowing him to concentrate on the illustration and the details therein.
Side lighting
Side lighting gives the impression of three dimensions. By illuminating the subject from the side, the viewer gets the impression of depth, as opposed to the flat, two-dimensional effect of front lighting. Side lighting can be most effective in accentuating the textures of the subject matter and serves to draw the viewer “into the photograph.
High contrast
Direct lighting, especially from a single source produces high contrast photographs. Directly lit, high contrast photographs tend to be dramatic with high impact and accentuated textures. Lacking subtlety, these images speak clearly, succinctly and loudly. When making a bold statement, high contrast photographs are very effective means of communications.
In this photograph, I used high contrast to add impact and drama, as well as accentuate the texture. It is the black contrasting with the light that gives this photograph a sense of immediacy and force. With flatter lighting, this photograph might seem quite ordinary.
Diffused
Diffused Scattered light rays, produce softer light, lessen contrast and smoothes out details in the subject. The resulting images tend to be dreamy, romantic. This technique is very good for showing shadow detail.
In this example, I used the side lighting and diffused lighting techniques. Notice how the highlights of the side light accentuate the outline of the petals and give this photograph a three dimensional effect, while diffusion softens the contrast and allows the viewer a glimpse into the details contained within the shadows. Notice the composition, the rule of thirds and the use of horizontal lines. It̢۪s important to incorporate the multiple techniques outlined in this mentorship within your photograph.
Spot lighting
Spotlighting is a very useful tool to focus attention on the subject matter. Just like a spot-lit actor on a stage, your subject matter becomes the point of focus. The viewer is effectively told EXACTLY what the subject matter is and where to look for it. Direct spotlighting is highly dramatic, immediate and strong. It communicates clearly, without ambiguities and makes a statement in one of the boldest possible ways. However, when spotlighting is slightly diffused it adds a romantic sense, smoothing the impact and adding subtlety to the photograph, making it quite compelling.
In this photograph, I used a spotlight in order to draw attention to the flower, and to reduce the background to black. I also diffused the spotlight in order to accentuate the delicacy of the flower and to obtain glowing highlights and a gentle fade to black, while still retaining the stem̢۪s shadow detail.
Color contrast
It is important to differentiate between light contrast and color contrast. As mentioned in the previous lessons, light contrast presents extremes of light and dark in the most dramatic of ways. Color contrast deals with the juxtaposition of dissimilar colors. Color contrast is completely independent of the lighting conditions and can be used with any lighting technique. Positioning dissimilar colors such as red and green, red and blue, yellow and blue, and other combinations next to one another creates a very dynamic photograph, draws and holds viewers̢۪ attention. The more dissimilar the color shadings, the more vibrant and sometimes disturbing the image. Cool colors such as green and blue tend to soothe the viewer and provide a sense of tranquility, while hot and bold colors such as red and yellow excite the viewer and evoke strong emotions. Experiment with color schemes to see which emotions are invoked by which color combinations. Color mastery is one of the most useful communication tools and will add that final touch that will make your photograph great, rather than simply good.
Notice how the photographer creates a compelling photograph through the use of color contrast and diagonal lines. The diagonal lines give us a sense of motion, while the color contrasts grabs and keeps our attention. The emotional impact is powerful and undeniable.
Conclusion
No single technique will create a perfect photograph. The techniques outlined within this mentorship are not set in stone and should be used as guides to help you express your own creativity. The most successful photographs are the ones that invoke emotions. Utilizing the compositional techniques outlined within this mentorship will help you to express and communicate your vision. Use them in combinations. You don̢۪t have to incorporate ALL of these techniques within a single photograph, but you can. Experiment and judge your work with a critical eye. Rome wasn̢۪t built in a day, so don̢۪t rush. Take your time, practice and critique. Strive to do better. There is no perfection, there are faults within each and every masterpiece. The best we can hope for is to come ever closer to that elusive perfection.
You mission for this section will be to photograph a simple and unextrodinary subject. (such as a square peice of wood) I want you to use lighting and contrast to make this ordinary object look good. After all when shooting stock photography your subject is not often as flattering as you make it look. So get those shutters flapping and show off some of these new found tricks. Best of luck to you all.
Message edited by author 2005-08-11 07:49:54.
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08/09/2005 11:46:07 AM · #44 |
I have commented on everyones submission. If you read anything they disagree with or would like a further explanation on please let me know I will be happy to help.
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08/09/2005 07:40:57 PM · #45 |
Diffused light from the side highlights the 3 dimensional quality of the little wooden cup. It has high contrast but I'm not so sure that translates to a bold image in this case. |
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08/10/2005 06:19:28 PM · #46 |
Am still playing with the same feather, I took a couple of shots.
both are the same except one has a frontal light and other with side light.
As for the edit - both got exactly the same treatment: auto contrast, auto levels, grayscale and duotones with the same quadtone template.
front light
side light
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08/11/2005 12:08:16 PM · #47 |
Focus isn't great, but I liked the effect the sunlight had. It's a banana leaf about to open.
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08/11/2005 01:36:29 PM · #48 |
Hi, tristalisk allowed me to join in, I've been away for quite some time and missed the start.
Here's my try at the latest assignment. I don't know whether the subject is simple enough, but I tried to stick to what I learned by reading along.
My problem with this image is that there are elements which suggest tranquility to me, but dynamic elements as well, such as the colour contrast and the diagonal lines.
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08/11/2005 03:24:04 PM · #49 |
Hello Gloda i'm glad you could join us. I will have to leave your comment on the forum. I don't know how else to do it. I see several lines in this photo. First I see the diagonal and the horizontals in the left. Wich gives a feeling of a disruption in the calm. The ther is the verticle line on the left. Wich I see as defiance to all of the chaos. There is a great contrast between the red berry and the green grass. I think a bit nor light perhaps a pen light from the ground pointing at the berry would have been great. But alas rarely do we have all of the lighting we would like when in nature. Another is maybe a slightly tighter crop on the berry. Not too much though or I feel that you would loose a lot of the emotion behing the shot. Very well done.
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08/11/2005 03:57:13 PM · #50 |
Well I will be away again until monday. I will leave everyone the weekend to play around with the stuff outlines so far. Then monday we will start talking about toys and glass. I haope everyone has a wonderfull photo op filled weekend.
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