02Lecture
CREATIVITY
PRINCIPLES OF DESIGN IN
PHOTOGRAPHY
Design is simply geometry,
or elements, in space and how they are arranged for maximum visual impact. Effective design can make or break
whether or not an image, an ad, a magazine cover is noticed, remembered and (in
the case of advertising) initiates some action (buy this, know that, get
involved in this, etc.). The basic
elements of design are: [click on the links for more
information]
Conceptually, a line is a point in motion, with only one dimension - length. Line has both a position and a direction in space. The variables of line are: size, shape, position, direction, number, interval and density. Points create lines, lines create shapes or planes and volume.
An area that stands out from the space next to, or around, it because of a defined or implied boundary, or a differences of value, color, or texture. A shape is self contained and can be characterized as positive or negative. In painting, a positive shape automatically creates a negative shape.
A descriptive for the lightness or darkness of an area; it
shares some similarity to contrast (see #7). Brightness measured in relationship
to a graded scale from white to black or the characteristic of color determined
by light or dark. Also, the quantity of light reflected by the color.
A technique used in two-dimensional design to replicate
three-dimensional surfaces through various drawing, lighting, and media
techniques. Texture defines surface
quality of a shape - rough, smooth, soft hard glossy etc. Texture can be
physical (tactile) or visual.
Typically known as hue. This word represents a specific color or
light wavelength found in the color spectrum, ranging circularly from red to
yellow, green, blue and back to red.
Light colors advance
visually while dark colors recede.
Warm colors advance visually while cool colors recede. Here are two good links on Color Theory and the Nature
of Light and Color.
The use of the same visual element a number of times in the same
composition. Repetition may produce the dominance of one visual idea, a feeling
of harmonious relationship, an obviously planned pattern, or a rhythmic
movement. Repetition with variation is more
than without variation, which can become monotonous. Here¹s a good link that illustrates the point. Think of these variations as an ECHO, a restatement with a difference.
Differences in brightness and/or tone, from darkest to
lightest, within a subject or an image. In art, contrast is the
juxtaposition of opposing elements eg. opposite colors on the color wheel - red
/ green, blue / orange etc. Contrast in tone or value - light / dark. Contrast
in direction - horizontal / vertical. The major contrast in a painting or
photograph should be located at the center of interest.
COMPOSITIONAL GUIDELINES
IN PHOTOGRAPHY
Rules of Composition:
The rules of composition are
historically based in a system of patterns and organization utilizing design
elements like line, shape, and color (etc.) that when applied contribute to a
visually pleasing result. The
origins go back to the earliest painters and artists who observed that certain
patterns and arrangement of elements within their work would generate universal
appeal. By following these rules
in your own photography, chances are good they will be viewed as pleasing. Rules
are made to be broken, but break them with knowledge and understanding of what
you will gain by breaking the rule.
[click on the
links for information]
The
area of greatest importance; your subject; your reason for taking the
photograph. In order to succeed as the dominant interest in your photograph,
all other elements must be secondary in importance and attention. The secondary
components to lead attention toward your Center of Interest.
A
guide for off-center placement of your center of interest. Dividing the image
area into thirds both horizontally and vertically creates intersections of
imaginary lines. These intersections create 4 "hot points" for
placing the center of interest for stimulating composition. Here¹s a good link with
graphic illustrations.
"Perfect²
harmonious proportions that avoid extremes. Sometimes called the ³Golden Section² - a traditional
proportional system for visual harmony expressed when a line or area is divided
into two so that the smaller part is to the larger as the larger is to the
whole. The ratio developed is 1:1.6180 ... or, roughly 8:13.
Balance
in design is similar to balance in physics. 1. A large shape, close to the
center, can be balanced by a
small shape close to the edge. 2.
A large light-toned shape will be balanced by a small dark toned shape (the darker the shape the heavier it
appears to be).
POINT OF VIEW (POV)
In last week¹s discussion
groups about Media Literacy it became clear that
photographers have a dramatic impact on culture and education as well as
day-to-day life. We also
considered what responsibility photographers have in delivering a positive or
negative message or whether their portrayal of any moment or event is accurate
or deceptively inaccurate.
Generally, moral and ethical questions are best left to the individual;
but when a photograph receives wide publication, there is a need to take this
dialog further. Statements like,
"see is believing" and "pictures don't lie" are
anachronisms that we face everyday because we know that photos can easily be
altered (several examples were sited in the various discussion groups).
Photojournalism is the field of photography most impacted by this
discussion. There is an assumption
that what we see and read in the media should represent fact or translate
truth. Yet we know that editors,
writers, photographers and the corporations that own the particular media
outlet have POINTS OF VIEW that are consistently present in their media
(conservative, moderate, liberal, radical, etc.).
This is not a new
problem. Accuracy in the media
(truth-telling) has been an issue from the earliest days of recording
history. This is not the exclusive
problem of today's rush to publish and the technological ability to do so
instantly. Before the printing
press, people relied on hand-written documents to translate history and current
events or they used the spoken word to pass information on through many
voices. Each person introduced
their own point of view in that process and the 'truth' was no longer a
certainty.
Every time we pick up our
camera we express our own point of view by what we include in the frame and by
what we DO NOT include in the frame.
How we expose the film (normal, over or under exposed) can impart a
different emotional response.
Whether we choose to translate our message in color or B&W impacts
the interpretation of our message.
The list goes on. This is
what makes photography so exciting and challenging at the same time. There are so many choices. The only real truth is that we cannot
avoid introducing our own POINT OF VIEW in every image we take.
TECHNICAL
Each whole f/stop varies
from the next by the square root of 2. [oh-oh, MATH]. How does this work?
Here are our basic
whole f/stops:
1_1.4 _ 2.0 _ 2.8 _ 4.0 _
5.6 _ 8.0 _ 11 _ 16 _ 22 _ 32 _ 45 _ 64
Example:
The
statement: f/2 varies from f/2.8 by the square root of 2 (1.414)
The
math: 2 times 1.414 equals 2.828
(rounds back to 2.8)
The
statement: f/5.6 varies from f/8 by the square root of 2
The math:
5.6 times 1.414 equals 7.918 (rounds up to 8)
Here are the
f/stops found on most of 35mm cameras (the list is shorter):
2 _ 2.8 _ 4 _ 5.6 _ 8 _ 11 _
16 _ 22 _ 32
You are
responsible for only this range this week and the 1/3 increments
4 _ 5.6 _ 8 _ 11 _ 16
It will be important for you
to memorize both the whole f/stop numbers AND
the Œin-between¹ numbers.
Why? To help you understand
the relationship between f/stops and the physics of how light travels. Later on, you will learn how to use,
and control, alternate light sources other than available light (portable flash
units, studio lighting, continuous light sources, etc.). The Photo II class will get very
involved in these areas.
For now, you need to know
that VISIBLE DIFFERENCES IN EXPOSURES OCCUR AT 1/3
STOP INTERVALS. We
therefore will need to know the f/stop numbers that relate to these 1/3 stop
increments. Many electronic and
digital cameras today utilize a 1/3 stop system in both f/stops and shutter
speeds. Next week (03Lecture) we will discover a decimal-based repetition that
exists within this mathematical structure that will make the whole framework
easier to access. For now you are
responsible for these 1/3 stop increments only. Stay tuned, it will make more sense later on!
The RED NUMBERS represent 1/3 stop
numbers:
4 _ 4.5_5_5.6_6.4 _ 7.1_8 _ 9_10_11_12.5 _ 14_16
DOF
- DEPTH OF FIELD
The range within which objects in a
photo look sharp. As you gain an understanding of DOF, you can use it
effectively to make better photographs.
Depth
of field varies with the size of the lens opening, the distance between camera
and subject, and the focal length of the lens. Depth of field becomes greater
as:
1.
The size of the lens
opening decreases.
2.
The subject distance
increases.
3. The focal length of the lens decreases.
Depth of field refers to how much
will stay in focus in your image in front of and behind your focused subject.
The smaller the
aperture opening (higher f/stop numbers) the greater the amount DOF (sharpness
in the image behind your subject).
The larger the aperture opening (lower f/stop numbers) the more minimal
DOF becomes.
Applications:
Portrait photography works to emphasize the person and is most effective when background
elements are blurred out of focus so they do not distract attention way from
the subject. Apertures wider
than f/8 are preferred.
Landscape Photography is benefited by large areas kept in sharp focused detail. Smaller apertures are preferred for
this kind of photography. Often
f/11 and smaller would be the preference.
EQUIVALENT EXPOSURES
BEF gives us the
proper combination of aperture and shutter speed to create a normal exposure in
bright sun. With ISO 100 film we
would set 1/100 @ f/16. There are
a number of other combinations of aperture and shutter speed that would also
create a normal exposure. These
are called Equivalent
Exposures.
Why would you want to do this?
When a different aperture or shutter speed would more effectively serve
your creative intent.
Questions you
should ask your self:
Do I want more in focus in
my image (DOF)? Then I want a
smaller aperture like f/11 or f/16 or higher.
Do I want less in focus
behind my subject to help them visually stand out? Then I want a larger aperture like f/2 or f/2.8.
Do I want to freeze a
sports action or create an intentional blur? To freeze the action I want a fast shutter speed like 1/250
(or faster), or to blur the action I want a much slower shutter speed like 1/30
or slower.
We can get what we want and still maintain normal exposure. Here¹s how it works. When you change one variable intentionally for a
creative purpose, you must adjust the other variable by the same amount to
offset that initial change.
If you make a one stop
adjustment with aperture that lets in more or less light to the film plane,
then you must offset this change in exposure with a one stop adjustment of
shutter speed that compensates for the change and brings the exposure back to
normal. If you make a two stop
adjustment with shutter speed or aperture, you need a two stop adjustment of
the other variable to compensate; and so on.
Your creative
intent dictates which variable should be reassigned
to suit your pre-visualization of how you want your image to look. Which f/stop
is the best choice? Which shutter
speed will be the best? Then,
adjust the other variable.
Whole f/stops
1 _ 1.4 _ 2 _ 2.8 _ 4 _ 5.6 _ 8 _ 11 _ 16 _ 22 _ 32 _ 45 _ 64
Whole
shutter speeds
1sec _ 1/2 _ 1/4 _ 1/8 _ 1/15 _ 1/30 _ 1/60 _ 1/120 _ 1/250 _ 1/500 _ 1/1000
Equivalent
Exposure Examples:
With ISO 125 the BEF = 1/125 @ f/16; some equivalents exposures are:
a. 1/250 @ f/11
b. 1/500 @ f/8
c. 1/1000 @ f/5.6
d. 1/2000 @ f/4; or
e. 1/60 @ f/22
f.
1/30 @
f/32 (not many lenses have this f/stop)
g.
1/15 @
f/45 (not many lenses have this f/stop)
ALTERNATE LIGHT
CONDITIONS AND BEF
Alternate Light Conditions refers to
light conditions other than bright sunny day. The variations from BEF listed below accompanying the light
condition will help you attain normal exposure under these conditions. The
numbers in parentheses refer to adjustments to the Basic Exposure Formula which
when applied will regain normal exposure in those light scenarios. The plus (+)
indicates # of stops from BEF. Therefore, +1BEF equals one stop overexposure
(twice as much light, or energy) to the film plane, +2BEF equals two stops
overexposure, and so on.
.................Hazy
(+1BEF)
.................Overcast (+2 BEF)
.................Open Shade (+3 BEF)
.................Heavy Overcast (+3 to +4 BEF)
.................Office fluorescent light (+6 BEF)
.................Household indoor lighting (+8 BEF)
.................Bright downtown lit streets (+7 BEF)
.................City skyline (+13 BEF)
.................Fireworks (bulb setting, +6 BEF)
.................Store window displays ((+6 BEF)
.................Lighted Interior Arenas (+6 BEF)
.................Night Stadium Events (+6 BEF)
.................Night Amusement Parks (+6 BEF)
.................Indoor Gyms, Pools (+8 BEF)
.................Indoor Auditoriums (+9 BEF)
.................Candle Lit Subjects-close (+11 BEF)
.................Exterior Christmas Lights (+10 BEF)
Example: In bright sun using a film with an ISO of 125 we could
photograph sun-illuminated subjects with an aperture and shutter speed
combination f/16 @ 1/125 (using the BEF formula) and be assured we would get a
normal exposure.
1.
In
hazy conditions (+1BEF) we would have to over expose the film by one full stop
(twice as much light) in order to obtain a normal exposure (f/11 @ 1/125).
2. In overcast conditions (+2BEF) we need 2 stops overexposure to accommodate the lower light condition. This condition is 1/4 as bright as sunny conditions. Our settings for normal exposure should be f/8 @ 1/125.
3. When photographing in open shade areas (+3BEF) on a bright sunny day, these areas are typically 3 stops less light (energy) than in the bright sun. We would need to use an exposure of f/5.6 @ 1/125.