Photography Basics - National Geographic

3y ago
22 Views
4 Downloads
1.18 MB
15 Pages
Last View : 15d ago
Last Download : 2m ago
Upload by : Adalynn Cowell
Transcription

photography basics

complete photography: photography and the cameraTaking a Picturecreating a photograph requires only the single act of1. Framing the Picturepushing the button that triggers the shutter, which is a Light enters the lens.moving curtain that lets light fall on the digital sensor for Light bounces off reflex mirror andthrough pentaprism to viewfinder. Photographer sees what the camera seesa set length of time. Everything else is preparation andinternal mechanics. Photography, in other words, can be99 percent anticipation and 1 percent action. The parallelthrough the viewfinder.between a photographer and a hunter, in which the triggerpull is analogous to the push of the shutter button, is obvious. Both shoot. But a hunter sends out a missile; a pho-2. Taking the Picture Photographer depresses button.artistic calculation beyond simple aim. Modern digital SLRs, Reflex mirror rises.increasingly user-friendly, allow photographers to concen- Shutter opens at designatedshutter speed. Aperture opens to designated measure. Light travels straight to sensors.tographer draws in reflected light. He or she must make antrate more on that aesthetic than on mechanics.it may be the mechanics of the camera that capture an image, but it is the anticipation of thephotographer that captures a moment.Marc Ewell/National Geographic My Shot China

complete photography: photography and the cameraThe Art of Photographyprofessionals often say they “make,” rathersubjectthan take, pictures—a distinction that impliesMost photographers document only familycreative collusion between machine andhistory—birthdays, weddings, graduations, oroperator, rather than a simple confluence ofholidays. Others expand to nature or sport-light and space.ing events. A few make art. And some makeIn every carefully considered photographicaccomplishment, four elements are vital: sub-art of all their pictures, no matter the subject.Shoot what’s important to you.ject, composition, light, and exposure. In thisbook, we will use the shorthand of the iconscompositionbelow to highlight the choices that make aGood composition usually means unitysuccessful photograph.and balance in shapes, colors, and textures.But mood, emotion, and actions are oftenenhanced by flouting conventional photographic rules; if it works, it works.lightLandscape photographers will say they’re“waiting for the light.” Photojournalists mustoften use ambient light. A studio photographer creates his or her own, with lamps. Butall know that light—low, soft, harsh, warm,or diffuse—is critical.exposureThe amount of light that falls on the sensormust be calibrated by the size of the aperture opening and the speed of the shutter.Proper exposure is considered to be a fullrange of tones, from deep shadows to brightRita Mantarro/NG My ShotPuglia, Italyhighlights, all with good detail.

complete photography: photography and the cameraFocal Pointevery photograph has a point of interest—and that point should be clear to theviewer. We look at photographs in much thesame way we read text—from left to rightand top to bottom in Western culture. Theviewer’s eyes should not roam aimlesslyaround the frame. They should be guided tothe point of interest. But that point shouldnot always be in the center of the frame.Such shots can seem static, and thus boring. An off-balance composition can be veryentertaining to the eye.A focal point placed just to the leftof center, for example, guides the eye toexplore the remainder of the frame, wheresecondary information such as weather andenvironment can be used to round out themood and fullness of the shot.closer , closer“Get closer” has become one of photography’s mantras, and it usually holds up.Make the object of your shot stand out.If you can’t move closer physically, use alonger lens.Always think about what you are tryingto say with an image. If you are making aphotograph of an isolated farmhouse onthe prairie, it must be large enough so thatpeople can see what it is, but it shouldn’t fillso much of the frame that the viewer losesthe sense of its environment.the baltimore oriole investigating an orange in the foreground—clearly this photo’s focal point—creates an energetic counterweight toMark Lewer/NG My Shotthe bird out of focus behind.

complete photography: photography and the cameraFramingbecause most of us hang pictures on theappropriate to the subject. Just as a Rem-wall and peer through windows, we have abrandt painting is unlikely to benefit fromwell-developed sense of frames. But just asbeing displayed in a thin aluminum frame, aa hanging frame enhances a photograph, acenturies-old mosque should not be framedframe element within the picture itself canby new concrete covered with graffiti.enhance or emphasize the point of interest.The interior frame should not drawA “frame” in these terms is an object in thethe viewer’s eye away from the center offoreground that lends depth to the picture.interest. If it is much darker than the sub-It might be a branch with leaves, the mouthject, or in deep shade, it may be renderedof a cave, a window, a bridge or column, oras a silhouette. The frame should be eithera colorful doorway.in sharp focus or completely blurred. Forarchitecture, it’s best to keep it sharp. Forframes should suit subjecthorizontal landscapes, a foreground of flow-Framing objects should be part of the envi-ers or bushes can frame the backgroundronment, have aesthetic value, and bewhile hiding irrelevant clutter or space.Don’t use the camera rectangle to frame all your pictures. Look for otherframing possibilities within the scene, such as an arch or the shaded walls of a canyon.AJ Wilhelm/National Geographic My ShotWashington, D.C., U.S.

complete photography: photography and the cameraThe Rule of Thirdsif the center of any picture is not aan overall dynamic balance. You can alsosatisfying resting place for the eye, whereplace a center of interest and a counter-is the best resting place? Artists, designers,point at opposing intersections.and photographers have learned to followBalance the composition so that boththe helpful concept known as the “rule ofsides are pleasing but not of equal size,thirds.” Imagine that the camera’s viewingshape, or color. A small area of vivid color inscreen is etched with four grid lines (as inone part of the picture will balance a largerthe photo below), resembling a tic-tac-toearea of less intense hue. A small animalgame. As you look through the viewfinderwill balance a large inanimate object. It willat a scene, place the subject at one of theusually be clear which intersection is best,imaginary grid intersection points, oftenbecause whatever else is in the frame willcalled a “sweet spot.” This gives the imageeither strengthen or detract from the image.To get an idea of how effective off-center composition is, glance at some magazine covers. You’ll notice that the subject’s head is usually in the upper right of the frameso that our eyes travel first to the face and then left and down.imagine your photo divided by lines into nine parts. Composition works best when the focal point occursnear one of the “sweet spots” where lines meet.Yves Schiepek/National Geographic My Shot Vietnam

complete photography: photography and the cameraLeading Linesleading lines are linear elements incontain strong lines, some as obvious as aa composition that can carry the viewer’sriver, others as insubstantial as a shaft ofeye to the point of interest. They also cre-light or a fold in a scarf.ate a three-dimensional quality on a two-Leading lines are most effective as diag-dimensional image, through perspective. Theonals, and they work particularly well whenpainted center stripe on a highway, for exam-the lines originate from the bottom cornersple, seems to get smaller as it recedes, bothof photographs: a winding road, for exam-as you’re driving and as seen in a photograph.ple, leading to an old church, or the GreatConversely, a strong line badly positioned willWall of China starting in the bottom cornertend to take the eye off to the edge of theof your frame and then leading the viewer’spicture and shatter the composition.eye into the center of the picture. Depth ofLandscapes and cityscapes are full offield is important when composing leadinglinear elements—roadways, train tracks,lines. If the line begins at the bottom of thefencerows, ridgelines, tree branches, riversframe, both the line and the main subjectand streams, boulevards, and rows of lights.should be in focus.Perhaps there is a driveway snaking its wayLines also have a more subtle effect onto a farmhouse, or a fence slicing throughthe viewer. What mood do you want tothe wheat, or the sweep of a curb, as inconvey? Lines will help you do so. Horizon-the photograph on the right, which ties twotal lines usually convey serenity. Verticalpeople into a relationship that otherwiseones emphasize power, and diagonal onesmay have been overlooked. Most subjectsimply action.Leading lines help carry your eye across the image, making it lookand feel more three-dimensional. Winding roads, power lines, staircases, and fences arejust a few of the features that can add this element to an image.

complete photography: photography and the cameraSense of Scalewe have all seen photographs of thewall—a sense of scale can be achieved byLeaning Tower of Pisa in which a person inincluding something of known size, such asthe foreground seems to be holding up thea person, a car, a tree, or an animal, in thetower with his hands. Such a photograph ispicture beside it. A human figure standinga trick of scale, a play on the relative size ofnext to an oak lets us know just how big theobjects in the frame. If posed side by side,tree is, and a cow standing in a field helpsthe tower of course would be much biggerus comprehend the extent of the pasture.than a man.Photographing a cliff, a photographer mightPhotography can sometimes distortwait until some hikers pass along the trail toscale, especially when objects are not rec-show its sheer magnitude. Giant excavationognized. Archaeologists and other scientistsmachines might seem ordinary until a pic-who gather unfamiliar artifacts often placeture reveals that a workman’s head reachesa simple ruler beside the object before pho-only halfway up one of the tires. Lackingtographing it. Knowing the exact length ofthat sense of scale, a picture sometimes12 inches allows the viewer to visualize theis not intelligible. “It doesn’t read,” a photosize of the artifact.editor would say.does it read?perspective helpsWhen we look at landscape photographs,Sometimes perspective allows us to clarifyour minds make a series of mental adjust-scale. The location of the base of an objectments based on previous experience.in an image is a clue to its distance from theWe’ve seen so many pictures of the Grandcamera viewpoint.Canyon, for example, that we can easilyIn landscapes, the ground or groundwork out its size. It’s much more difficultplane visually rises toward the horizon. Theto estimate the size of unfamiliar placeshigher up in the ground area of the pictureor features.the base of an object is located (up to theWhen the subject is of indeterminatesize—a mountain, a body of water, a stonehorizon), the farther away it seems fromthe viewpoint.When photographing vast landscapes or large objects, juxtaposingsomething familiar in size—such as a person, an animal, or a landmark—helps the viewerunderstand how large the main subject is.

complete photography: photography and the cameraColorcolor is the most significant elementblocks of shape and colorin composition, because each color carriesBlocks of color of the same hue or differ-its own “visual weight,” the extent to whichent hues of about equal tonal value canit commands the viewer’s eye in an image.enhance and give depth to an image. TheColor photographs that work in good com-repetition of color and shapes will be pleas-positions may be lifeless if shot in black-ing and invite the viewer into the frame.and-white, because of the color weight ofColors can give a warm or cold feeling toa picture, reflecting our preconceived viewscertain hues.For example, even a small spot of vividon color. A winter scene can be enhancedcolor or a patch of white creates a centerby the use of blue in the picture to give thatof interest if backed by large areas of dullerchilly feeling, for example, or a red beachtones. A spot of bright green in an oth-umbrella on golden sand can evoke the feel-erwise dun landscape will carry as muching of warmth. But rigid rules can be mis-visual weight as a large boulder. Despiteleading or irrelevant when applied to colortheir contrast in size, they will balance eachchoice: The photographer must trust his orother in a composition.her aesthetics or taste.Since we usually look for details, it can be harder to see blocks of color orshape. Squint a bit. Details will blur, and you will see things as masses.Chasen Armour/ National Geographic My ShotTanzania

complete photography: photographing your worldPhotographing Peoplewith people pictures, you always knowwhat the center of interest is. But what doyou want to reveal about the people youphotograph?Posture,clothing,If you practice with peoplefavoriteyou know, you’ll get more comfortable.environment, typical expressions, or tell-Equally important, know your gear welling behaviors? Once you have made thatenough to use it without thinking.decision, you can be on the lookout for theAvoid the bull’s-eye. Don’t alwaystelling moments when a person’s charactershines through.middle of the frame.Make sure to get close to your subjectand be bold. If you see something interesting, don’t be satisfied with just a wide shot.Think about the essence of what you arephotographing and work closer and closeruntil you have isolated and captured it. Anddon’t be shy—people are usually happy toshow you what they do well.Jessica Cudney/National Geographic My Shotput the subject smack dab in theKampala, UgandaMove the camera around, placingthe subject in different positions in theviewfinder.Look for a composition thatreveals something about the place aswell as the person.

complete photography: photographing your worldAnimals in the Wildit’s a common experience: You see ananimal you want to photograph, but just asyou move in, it’s gone. Timing is everything.When you first see your subject, photograph it from where you stand; then edge inslowly. You want to make sure you get theshot you have, rather than rushing in andgetting nothing at all.Use a long lens for tight shots. For asense of place, photograph the subject inits habitat. If you have a tripod, use a slowshutter to create a feeling of movement.Balazs Buzas/National Geographic My ShotTanzaniaGame animals blend into thelandscape, so be careful about your background. Wait to shoot a deer, for example,until it is outlined against the sky or adistant light-colored field.Use a shallow depth of field for closeups to blur out background distractions.Close-ups are better if there’s a catchlight in the eye. Try shooting late or earlyin the day with the animal facing the sun. Oruse a flash set on a dim, fill-flash level.

complete photography: photographing your worldTimingthe more you shoot fast-action sports,the more tuned in to the activity you willbecome, and speed will naturally follow. Anticipate the best place to positionyourself. Rehearse the subject’s trajectorythrough the frame. If you’ve already practiced the camera movement, when the person or object is in motion, it’s just a matterof following it in the frame (as in the photograph opposite).Sharpen reaction time bypracticing at the local sports field,the skateboard park, or on a bike ridearound the block.A fast motor drive is a sure way tocatch more action.Without a fast autofocus, prefocus on a spot where, for example, askier or race car will shoot past you,using a tree branch or some otherunobtrusive object.Compose your frame carefully soyou don’t cut a head or arm out of thephotos, despite movement.Syafiq Sirajuddin/National Geographic My Shot

complete photography: photographing your worldA Sense of Storyadventure photography is about tellinga story, and story line determines the impor-Keep in mind five basic questions of storytelling: Who? What?tant photo moments of a trip.Shooting great adventure photographyWhen? Where? How?requires balancing photography with par-Try POV (point-of-view) shots,ticipation, as well as a keen observation ofshooting from unusual angles.unfolding events. Your reward will be powerful photos that clearly illustrate the storyof your adventures. The behind-the-scenesphoto is integral to building your photostory, too. Your subjects—your crew andfriends—will be the players that give yourstory the personal touch.Lukasz Warzecha/National Geographic My ShotGreecePay attention to backgrounds andforegrounds—they can be very effective storytelling tools.When shooting portraits, trybacking up a little to include the environment around the person.

complete photography: photographing your worldSeek the Authentictoday's travelers are intrigued by theauthentic. We like places that still have theirown distinctive identity—culture, heritage,environment. Photography, particularly travelphotography, has a role to play in helping todocument what’s left of the authentic.Authentic culture is sometimes as closeas the nearest market or festival, and theseare likely to be on the tourist trail. Butoften you have to arrive early or leave lateto really see life as the people live it. Thebest photographs of another culture will befounded on relationships that you establishwith the people there. Show respect andappreciation; spend some time getting toknow the place and letting its people cometo know and trust you.Daniel Lefort/National Geographic My ShotIndiaResearch your trip in advanceand find out how you will be received.Always ask permission before shooting.Go early and stay late to takeadvantage of the quiet hours if lots oftourists are visiting your destination.Learn a few words of the local language, and express genuine interestin the people you meet. Engagementcreates rapport.Hire a guide to take you places thattourists don’t normally go. Choosesomeone of the local ethnicity—theyknow the language and customs.

complete photography: photographing your worldChoosing Black and Whiteblack-and-white photography allowsthe photographer to present an impressionistic glimpse of reality that depends moreon elements such as composition, contrast,tone, texture, and pattern. In the past, photographers had to load black-and-white filmin the camera. But with digital photography,you can convert your color images on thecomputer or, on most cameras, switch toblack-and-white mode—good for practicebut not the best for quality.Shoot raw files instead ofJPEGs, if your camera allows it, soyou don’t drop the detailed information you’ll need to process images asyou like on the computer.Shoot with the lowest ISO possible to decrease the amount of noisein the darker tones.If you shoot in digital color, youcan convert the images to black-andwhite on your computer and retain thecolor file as well.A filter lightens its own color anddarkens complementary colors. Working in digital, you get the same effectthrough processing.Alexandar Terzic/National Geographic My Shot

complete photography: photography and the camera fTaking a Picture creating a photograph requires only the single act of pushing the button that triggers the shutter, which is a

Related Documents:

1. Sony World Photography Awards 2. Fine Art Photography Awards 3. National Geographic Photography Competitions 4. Monochrome Photography Awards 5. International Photography Grant 6. Neutral Density Photography Awards 7. Nikon International Small World Photo Contest 8. ZEISS Photography Award 9. Chromatic Color Photography Awards 10. iPhone .

Photography 2. Portrait 3. Boudoir Photography 4. Wedding Photography 5. Newborn Photography 6. Landscape Photography 7. Photojournalism 8. Street Photography 9. Food Photography 10. Candid Photography SEARCH WORDS 10 TOP PHOTOGRAPHY WEB

National Geographic Magazine National Geographic Kids National Geographic Little Kids National Geographic Traveler National Geographic History Magazine Subscriptions Subscribe now » SHOP Main Menu SHOP Store Home Genographic Kits Best Sellers New Kids Shop Gift Finder Channel Shop Sale Shop by Catalog Email Catalog

Learn Photography from 12 National Geographic Masters William Albert Allard, Stephen Alvarez, Ira Block, Jodi Cobb, Annie Griffiths, . Geographic; he leads one-day seminars around the country through National Geographic Traveler's photo seminar series and travels with National

NATIONAL GEOGRAPHIC TRAVELER PHOTOGRAPHY WORKSHOP Andaz Scottsdale Resort & Spa March 24-27, 2017 Scottsdale, Arizona. NATIONAL GEOGRAPHIC TRAVELER PHOTOGRAPHY WORKSHOP

National Geographic Readers: Lizards Laura Marsh 978-1-4263-0922-9 TR 3.99 On Sale 04-10-2012 National Geographic Children's Books National Geographic Readers: Titanic Melissa Stewart 978-1-4263-1059-1 TR 3.99 On Sale 03-27-2012 National Geographic Children's Books National Geographic Readers: Wolves Laura Marsh 978-1-4263-0913-7

Explain how a professional photography can brand a photography business endeavor and how effective branding can help the photography business Explain the different components of a marketing plan for a photography business Explain common ways that a professional photographer can use social media to advance a photography business .

Photography II Course: Photography II Course Description: Photography II provides the advanced photography student with practical knowledge and highly advanced skills for a comprehensive career in photography. Students will explore advanced lighting and editing techniques and the commercial distribution of photographic works.