By Cora Banek, Georg Banek
The 2 volumes of the educational to photo sequence provide scholars and beginner photographers crucial information regarding approach and layout in addition to an knowing of the massive innovations of images. starting and complicated photographers alike will locate the content material instructive, completely defined, and successfully illustrated, making this e-book an invaluable source for readers to advance their very own craft.
This moment quantity addresses the themes of visible layout and composition. The authors describe a variety of equipment of visible layout and the way you should use those tools successfully. you'll study which innovations to take advantage of to layout your photographs whereas even as education your photographic eye. you are going to advance the power to help the message of your topic purposefully, hone your photographic type, and study your individual paintings and the paintings of others competently.
The notable pictures and informational snap shots not just illustrate the techniques handy, but in addition make the teachings visually enjoyable and provide helpful examples for readers to imitate of their personal work.
Composition, shapes, and lines
colour and its effects
Sharpness, blur, and movement
The interaction of visible layout elements
photograph research and evaluation
Read Online or Download Learning to Photograph, Volume 2: Visual Concepts and Composition PDF
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Additional resources for Learning to Photograph, Volume 2: Visual Concepts and Composition
Panoramas—both portrait and landscape—can be created in three different ways. The first is to use a special panoramic film camera, which exposes a wider area of the negative and omits a narrow strip on the bottom and top of the negative. The second method is to combine multiple individual exposures. You can do this with careful handwork, or you can use special software, either in-camera or on your computer. The third method is to crop your photos after they’ve already been exposed. As with the first method, this has the disadvantage of wasting image information.
Nearby details and the sky are still present, but they’ve been relegated to a supporting role. Full: This is a close shot. Full shots depict one central element in its entirety along with the nearby surroundings, such as a bicycle or a car parked on the street. Medium: When an element, such as a bicycle, is cropped, and therefore no longer shown in its entirety, it is in the range of close field sizes. Here, the surroundings are unimportant, and smaller details, such as the basket of flowers and the details of the bicycle itself, are recognizable.
We perceive pictures differently than objects in the real world; all of the elements in a photo compete for our attention at the same time. The fewer points of interest there are in a photo, the more important and prominent each one becomes, regardless of the size of the objects within the frame. As a general rule, less is more. With this particular scene in Paris, three or four exposures that are less cluttered might produce more coherent, harmonious, and conclusive results than one single photo with everything included.