Download - Chapter 3_B
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photographic elements
Chapter 3 continued
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Focus
• Sharp focus is an accepted standard • The question of where to focus is usually very
obvious, but can be used as a design element • Focus is so engrained into us that whatever is
in focus becomes the point of attention • You have to make the decision of what to
focus on what kind of depth of field you want. – In dark situations you may be limited to shallow
depth of field, but in brighter situations it is a choice you will need to make
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Focus
• Focus contains a directionality from unsharp to sharp
• Think about your lens’s focal length and its affect on focus and depth of field
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Focus and movement from focus
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Selective Focus
• Choosing one specific are to focus on gives to viewer a clear idea of what the photographer wants them to look at
• Having the out of focus parts of the frame still be intelligible helps this affect also
• Selective focus is a decision in depth of field
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selective focus
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Designsponge.com
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Motion • The range of sharp to unsharp can also be
controlled with the use of motion and motion blur
• Motion blur can be caused by camera shake(a jerky ghosting effect), streaking from a moving subject, and panning…there are also combinations of these
• There is also a technique called rear curtain shutter technique in which the subject is blurred from a long exposure and then a flash is shot off at the end of the exposure to superimpose a sharp shot on top of the blurred shot
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Moment • Only completely static objects do not concern timing • Timing can concern milliseconds of a quick action or
the hours waited to get the best light for a shot • The “Decisive Moment” is that moment when the
elements in motion are in balance – Henri Cartier-Bresson
• This action, whatever it may be, inevitably affects the design of the photograph
• As a photographer, you must try to anticipate the composition as the objects move in your scene
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Moment/repetitive action
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Optics
• Photography is made optically, so lens type is very important to the design process
• Focal length affects the geometry of the image as well as the focus and depth of field
• Some lenses can also change the shape of objects, like fisheye or tilt lenses
• The focal length affects the angle of view and thus affects the linear structure of an image as well as depth perception and size relationships
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Wide angle optics • Shorter focal length means wider angle of view • Taken with little foreground there will be little change
made to the perception of depth, but with a foreground a wide angle lens gives and impressive sense of depth
• Wide angle also tends to produce diagonal lines which increases dynamic tension
• They also encourage a subjective point of view drawing the viewer into the scene
• On the edges of a wide angle lens there is a stretching effect which helps to envelope the viewer like a circle
• It also emphasizes that the scene continues beyond the frame
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optics/wide angle
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Telephoto Optics
• Telephoto lenses have a strong tendency to compress objects – Make objects that are far apart appear
closer together • With a telephoto lens, you are taking
the photo from further away and this give a more objective view
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optics/400mm
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telephoto compression
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Fisheye
• Circular fisheye allows you to see the round edges of the lense
• Full frame fisheye covers the entire sensor filling the rectangular frame
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Tilt Lens
• Titling the lens tilts the plane of focus • Even at the smallest aperture you can
distribute the focus at will • The sensor or film plane can also be
tilted which will have this affect on the focus but will also stretch the image in the direction the sensor is tilted
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Exposure
• Exposure also plays a role • Exposure is assumed to have one
possibility • We tend to look at the brightest thing in
the image first • High contrast calls attention to darks
and lights while low contrast allows the eye to wander over the image
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lighter exposure
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darker exposure
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Flare -happens when you point your camera at a light source -Can take on many different appearances -it’s helpful to have an object halfway block the light -consider using a polarizing filter if you want strong starburst type flare **Flare is technically considered incorrect
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Flare
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Glare -glare is often mistaken for flare FLARE AND GLARE ARE NOT THE SAME -glare happens when a bright light is REFLECTED off of a shiny object
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Silhouette -you must have your subject in a relatively dark place with a strong light coming from behind -you are using backlighting to make a creative exposure -meter the light coming from behind your subject rather than on your subject -bracket to make sure you got a pure silhouette