Friday, February 1, 2008
Chapter 4 - Practice your Eye
After having done one of my photography courses and practicing the techniques to master the Elements & Principles, you must continue to practice until it becomes second nature to combine them effectively. Practicing as often as possible is the key to constantly unlocking your creative mind. If you don't use it you'll loose it. When I begin a new series of shots I go through the mental exercise of putting myself in the mood. As a Travel Photographer you can choose any genre you feel comfortable with but in my case I prefer to shoot a landscape - a portrait and a still life as a minimum. As you will see below from various examples, writing some notes and stories after I have taken the shots helps me understand how I see. It doesn't matter if you have a flare for writing. I also make it a rule not to view the image when I am shooting as this hinders or inhibits the flow. Constantly looking at an image on the back of a camera while shooting is a distraction from a moment not to be missed. When a moment has passed then I view but don't spend too much time being self-critical and concentrate more on what exactly you are trying to communicate. It is a brain storming exercise to keep on moving from one subject to the next.
Going back to the analogy of the Elements being the vocabulary and the Principles being the Grammar as quoted by my photography teacher (John Nolan), you can't learn a new language if you don't have the vocabulary. The Grammar is what unites the elements. Sometimes we approach a subject we are attracted to and are quick to take a photo. If you step back for a few seconds, ponder on the angle, walk around it and watch the light closely. Stoop down, climb high, look whats around to add or subtract from the subject. Sometimes you can also anticipate a moment on instinct.
Chapter 3 - Principles of Design
PRINCIPLES OF IMAGE DESIGN - BALANCE, RHYTHM, PROPORTION, DOMINANCE + UNITY
The Principles of Image Design are the organising and structural concepts for the Elements of Image Design. The way in which these principles are applied affects the expressive content, or the message of the work. The Principles of Image Design are - Balance, Rhythm, Proportion + Dominance.
1. BALANCE
Balance is an equilibrium that results from looking at images and judging them against our ideas of physical structure (such as mass, gravity or the sides of a page). It is the arrangement of the objects in a given design as it relates to their visual weight within a composition. Balance usually comes in two forms - symmetrical and asymmetrical:
® Symmetrical Balance occurs when the weight of a composition is evenly distributed around a central vertical or horizontal axis. Under normal circumstances it assumes identical forms on both sides of the axis. When symmetry occurs with similar, but not identical, forms it is called approximate symmetry. In addition, it is possible to build a composition equally around a central point resulting in radial symmetry. Symmetrical balance is also known as formal balance.
Visual Centre - The visual centre of any page is just slightly above and to the right of the actual (mathematical) centre and tends to be the natural placement of visual focus. It is also sometimes referred to as ‘museum height’.
® Asymmetrical Balance occurs when the weight of a composition is not evenly distributed around a central axis. It involves the arranging of objects of differing size in a composition such that they balance one another with their respective visual weights. Often there is one dominant form that is offset by many smaller forms. In general, asymmetrical compositions tend to have a greater sense of visual tension. Asymmetrical balance is also known as informal balance.
Rule of Thirds - The rule of thirds is an asymmetrical compositional tool that makes use of the notion that the most interesting compositions are those in which the primary element is off centre. Basically, take any frame of reference and divide it into thirds placing the elements of the composition intersecting on or close to the lines.
2. RHYTHM
Rhythm is created through the repetition or alternation of elements, often with defined intervals between them. Rhythm can create a sense of movement, and can establish pattern and texture. There are many different kinds of rhythm, often defined by the feeling it evokes when looking at it.
® Regular rhythm occurs when the intervals between the elements, and often the elements themselves, are similar in size or length.
® Flowing rhythm gives a sense of movement, and is often more organic in nature.
® Progressive rhythm shows a sequence of forms through a progression of steps.
3. PROPORTION
Proportion is the comparison of dimensions or distribution of forms. It is the relationship in scale between one element and another, or between a whole object and one of its parts. Differing proportions within a composition can relate to different kinds of balance or symmetry, and can help establish visual weight and depth.
Contrast or Opposition - Contrast addresses the notion of dynamic tension & the degree of conflict that exists within a given design between the visual elements in the composition.
Positive and Negative Space - Positive and negative space refers to the juxtaposition of figure and ground in a composition. The objects in the environment represent the positive space, and the environment itself is the negative space.
4. DOMINANCE
Dominance relates to varying degrees of emphasis in image design. It determines the visual weight of a composition, establishes space and perspective, and often resolves where the eye goes first when looking at a design. There are three stages of dominance, each relating to the weight of a particular object within a composition:
® Dominant - The object given the most visual weight, the element of primary emphasis that advances to the foreground in the composition.
® Sub-dominant - The element of secondary emphasis, the elements in the middle ground of the composition.
® Subordinate - The object given the least visual weight, the element of tertiary emphasis that recedes to the background of the composition.
UNITY – BRINGING IT ALL TOGETHER
Unity is the relationship between the individual parts and the whole of a composition. It is the concept – the message - the idea - the purpose - of the image. It is the integration of Elements and Principles to tie the composition of the image together, to give it a sense of wholeness, or to break it apart and give it a sense of variety.
Unity in design is a concept that stems from some of the Gestalt theories of visual perception and psychology, specifically those dealing with how the human brain organizes visual information into categories, or groups.
Gestalt theory itself is rather lengthy and complex, dealing in various levels of abstraction and generalization, but some of the basic ideas that come out of this kind of thinking are more universal:
® Closure is the idea that the brain tends to fill in missing information when it perceives an object is missing some of its pieces. Objects can be deconstructed into groups of smaller parts, and when some of these parts are missing the brain tends to add information about an object to achieve closure.
® Continuance is the idea that once you begin looking in one direction, you will continue to do so until something more significant catches your attention. Perspective, or the use of dominant directional lines, tends to successfully direct the viewers eye in a given direction. In addition, the eye direction of any subjects in the design itself can cause a similar effect.
® Similarity, Proximity and Alignment - Items of similar size, shape and colour tend to be grouped together by the brain, and a semantic relationship between the items is formed. In addition, items in close proximity to or aligned with one another tend to be grouped in a similar way.
® .
The Principles of Image Design are the organising and structural concepts for the Elements of Image Design. The way in which these principles are applied affects the expressive content, or the message of the work. The Principles of Image Design are - Balance, Rhythm, Proportion + Dominance.
1. BALANCE
Balance is an equilibrium that results from looking at images and judging them against our ideas of physical structure (such as mass, gravity or the sides of a page). It is the arrangement of the objects in a given design as it relates to their visual weight within a composition. Balance usually comes in two forms - symmetrical and asymmetrical:
® Symmetrical Balance occurs when the weight of a composition is evenly distributed around a central vertical or horizontal axis. Under normal circumstances it assumes identical forms on both sides of the axis. When symmetry occurs with similar, but not identical, forms it is called approximate symmetry. In addition, it is possible to build a composition equally around a central point resulting in radial symmetry. Symmetrical balance is also known as formal balance.
Visual Centre - The visual centre of any page is just slightly above and to the right of the actual (mathematical) centre and tends to be the natural placement of visual focus. It is also sometimes referred to as ‘museum height’.
® Asymmetrical Balance occurs when the weight of a composition is not evenly distributed around a central axis. It involves the arranging of objects of differing size in a composition such that they balance one another with their respective visual weights. Often there is one dominant form that is offset by many smaller forms. In general, asymmetrical compositions tend to have a greater sense of visual tension. Asymmetrical balance is also known as informal balance.
Rule of Thirds - The rule of thirds is an asymmetrical compositional tool that makes use of the notion that the most interesting compositions are those in which the primary element is off centre. Basically, take any frame of reference and divide it into thirds placing the elements of the composition intersecting on or close to the lines.
2. RHYTHM
Rhythm is created through the repetition or alternation of elements, often with defined intervals between them. Rhythm can create a sense of movement, and can establish pattern and texture. There are many different kinds of rhythm, often defined by the feeling it evokes when looking at it.
® Regular rhythm occurs when the intervals between the elements, and often the elements themselves, are similar in size or length.
® Flowing rhythm gives a sense of movement, and is often more organic in nature.
® Progressive rhythm shows a sequence of forms through a progression of steps.
3. PROPORTION
Proportion is the comparison of dimensions or distribution of forms. It is the relationship in scale between one element and another, or between a whole object and one of its parts. Differing proportions within a composition can relate to different kinds of balance or symmetry, and can help establish visual weight and depth.
Contrast or Opposition - Contrast addresses the notion of dynamic tension & the degree of conflict that exists within a given design between the visual elements in the composition.
Positive and Negative Space - Positive and negative space refers to the juxtaposition of figure and ground in a composition. The objects in the environment represent the positive space, and the environment itself is the negative space.
4. DOMINANCE
Dominance relates to varying degrees of emphasis in image design. It determines the visual weight of a composition, establishes space and perspective, and often resolves where the eye goes first when looking at a design. There are three stages of dominance, each relating to the weight of a particular object within a composition:
® Dominant - The object given the most visual weight, the element of primary emphasis that advances to the foreground in the composition.
® Sub-dominant - The element of secondary emphasis, the elements in the middle ground of the composition.
® Subordinate - The object given the least visual weight, the element of tertiary emphasis that recedes to the background of the composition.
UNITY – BRINGING IT ALL TOGETHER
Unity is the relationship between the individual parts and the whole of a composition. It is the concept – the message - the idea - the purpose - of the image. It is the integration of Elements and Principles to tie the composition of the image together, to give it a sense of wholeness, or to break it apart and give it a sense of variety.
Unity in design is a concept that stems from some of the Gestalt theories of visual perception and psychology, specifically those dealing with how the human brain organizes visual information into categories, or groups.
Gestalt theory itself is rather lengthy and complex, dealing in various levels of abstraction and generalization, but some of the basic ideas that come out of this kind of thinking are more universal:
® Closure is the idea that the brain tends to fill in missing information when it perceives an object is missing some of its pieces. Objects can be deconstructed into groups of smaller parts, and when some of these parts are missing the brain tends to add information about an object to achieve closure.
® Continuance is the idea that once you begin looking in one direction, you will continue to do so until something more significant catches your attention. Perspective, or the use of dominant directional lines, tends to successfully direct the viewers eye in a given direction. In addition, the eye direction of any subjects in the design itself can cause a similar effect.
® Similarity, Proximity and Alignment - Items of similar size, shape and colour tend to be grouped together by the brain, and a semantic relationship between the items is formed. In addition, items in close proximity to or aligned with one another tend to be grouped in a similar way.
® .
Chapter 2 - Elements of Design
ELEMENTS OF IMAGE DESIGN - LINE, SHAPE, FORM, SPACE, TEXTURE AND VALUE
It is of paramount importance to have fun. Our Journey begins with mastering what I believe to be fundamental in discovering the images. All the highest-quality equipment in the world cannot guarantee that you will take great photographs. Even knowing how to use the camera effectively, setting exposures, depth of field, etc., will not necessarily give your photos the artistic quality that all photographers strive for.
Artistic quality in your photographic images can be achieved by applying both Principles and Elements of Image Design. These are basic concepts that are easy to learn and will allow you to create great photos in an eye-pleasing way and even capture that rare beast we call art.
There are many basic concepts that underlie the field of image design that are often categorised differently depending on philosophy or teaching methodology. The basic tenets of image design can be structured into two categories - Principles and Elements.
® The Principles of Image Design are the organising and structural concepts of the image. The way in which these principles are applied affects the expressive content and message of the work. The Principles are Balance, Rhythm, Proportion + Dominance.
® The Elements of Image Design represent the components of image design, the objects and elements to be arranged. The Elements are Line, Shape, Form, Space, Value, + Texture.
Creatively combining both Design Elements and Design Principles can help achieve better images. A useful way to apply the Design Elements + Design Principles is to treat photographic composition and design like a language, where the Elements act as the vocabulary and the Principles act as the grammar and structure. A good writer, like a photographer can access a lot of ‘vocabulary’ and it is the way in which this is structured that becomes the art form. For that reason, Elements (vocabulary) are addressed before Principles (grammar).
ELEMENTS OF IMAGE DESIGN - LINE, SHAPE, FORM, TEXTURE, SHAPE + VALUE
1. LINE
The use of Line is one of the simplest concepts to understand. Basically, it is the incorporation of elements with strong, defined lines in your image, like the edge of buildings, train tracks, road lines and paths. Line is often used to either portray a sense of movement, or to lead the viewer’s eye to the subject and it can also imply Shape. Line is not limited to simply solid objects like buildings, or even to straight lines. Light and shadow, with a clear edge between them, can also create Line. Many images use curved lines, such as roads or footpaths.
2. SHAPE
Shape in images refers to elements that appear 2-dimensional and have a specific form. The most Common Shapes used in images are circles, arches, waves, curves, triangles and squares. Shape can also lend to other Elements and Principles, just as Line does. Usually, Shape is used to create a sense of Space (arched doorways are an example), though it works well with Form, Value, and Line.
3. FORM
Form is very similar to Shape, but can create depth and interest in photographs. Whilst Shape is 2-dimensional, Form is generally a 3-dimensional object. Spheres, cubes, and cones are good examples. This is also probably the least used of the Elements of Design as it’s difficult to portray a 3-dimensional object with film, which is by nature 2-dimensional. The idea behind Form is to reveal indentations, curves, bulges and edges that depict the object’s Form. Space is a commonly used Element in conjunction with Form, as it allowing the viewer to easily differentiate objects. Line and Value can also play a large part in Form.
4. TEXTURE
Texture is simply the tactile quality of an object and perhaps the most self-evident Element. Texture is an extremely good way to capture a viewer’s interest, as it invokes more than simply their sense of sight. It appeals to the sense of touch, thus adding another dimension of interest. Texture can also be easily used with Value and Repetition (a Principle of Image Design), with very good effect. When taking photos where Texture is the main element, light the object from the side or from the back, as this will emphasise Texture. Axis lighting, or lighting the object from the front, will produce the least Texture. Subjects with good Texture would be wrinkled fabric, a piece of wood, the bark of a tree, or a pitted stone such as pumice.
5. SPACE
Space refers to the areas that could be described as unused or unoccupied unused in a photo, generally the space between objects. In general, Space can help lend a sense of 3-dimensionality to a photo. By itself, Space can create beautiful photos, such as a photo of clouds, but its real strength lies with using it in combination with Line, Form, or Value. Space need not be a large, open expanse of space. A set of carefully arranged small objects, such as pebbles, could use both Space and Form very effectively.
6. VALUE
Value requires a somewhat practiced eye to understand and implement successfully. Value is the organisation and magnitude of light and dark in a photo. The deep shadow, the bright whites and all the tones in between are what make up Value in an image. Value can be used to highlight certain aspects, such as a bright subject against a dark background, or to obscure unpleasant features in dark shadows. In many photos, Value is balanced, with the number of strong lighter areas and strong darker areas in equilibrium. However, Value can also be out of balance in order to provide meaning and visual interest to the image.
Chapter 1 - What is Travel Photography?
Since the arrival of Digital Photography there has been a surge of new enthusiasts swamping the world. There is also a growing number of people re-kindling their passion when they used to use film. Regardless on whether you have a compact (point & shoot) camera or an SLR (single lens reflex) you will find my journal on travel photography useful in your own journey. The dictionary definition for "Travel" is to move or go from one place or point to another. This could mean walking to the corner shop or simply checking your postbox. It could also be your own home when you move from one room to the next. You don't have to spend thousands of dollars to go to a new environment to be inspired. All the photography we need is all around us all the time. I will take you on a personal journey on how I see these things. I often hear many say that they are not creative. This is a mis-conception. We simply need the key to unlock your creative minds and I will hand you the master key.
My journey begins with the question of why we take photos? I simply feel good and find photography to be a kind of therapy and soul searching tool to explore the environment we live or visit. It's not really deep its just something I need to do on a very regular basis. I happen to make a living from it but I also have as much pleasure and passion passing on to others the process in which I work. As you will discover in other chapters it is a journal not so much on the technical aspects of photography but more so on the creative possibilities that will inspire you to cook up your own projects. Having worked as a tourguide/tutor/photographer for the last ten years I realised that all my work experience would combine nicely to re-invent myself to look closely at what and how I see travel photography. I feel as though there is a definite change in the world of photography for both amateur and professional photographers. With globalisation comes economic and social change. The internet has played an enormous role in sparking a flame in everyone's creativity. Inspiration online is abundant. We live in a visual wonderland.
I think the biggest challenge is looking at the environment you live in or used to live in. Even going back to the place where you spent the first ten years of your life is a good idea. Your perspective on the world will change if you approach it with an open mind. Don't be dismayed if your images don't work out at first as this is a very long journey that will keep you enthralled for the rest of your life. Taking into account that you understand where all the functions on your camera menu are, you can begin to cook up some ideas. You are the waiter and the chef. The waiter hands out the menu and controls the orders (functions) that go through to the kitchen. A good chef uses the correct ingredients and combines them in such a way that all our senses are blown away with an appetite craving for more. Photography works on your visual senses and the ideas are like the ingredients that go into a visual delight when it appears. There are a few suggestions I will make along the way to assist you in achieving this process. Traditionally, we have been taught to shoot certain genres of photography like portraits, landscapes or a still life.
Certain inhibitions have prevented us from pursuing all genres. As a travel photographer I need to record all three genres to communicate the story. Certain personality can embrace portraits with ease and others fill more at home with a still-life as it doesn't answer back. Others feel a gob-smacking landscape is a gift from heaven. My approach is to tackle all three genres. You are free to pursue your own choice of genre but to add a little spice and push yourself a little courage to step into the unknown is worth a try. Never give up and make sure to dedicate at a few thousand images before you turn away from any genre. Technically you will have problems but generally if you place close attention to detail, watch the light and subtract any elements from your photograph that you don't need - you will come up with awe inspiring images to hang on your walls.
1st process is to put yourself in the mood. There will be days when you don't want to shoot but with a little discipline you can train yourself to get in the right frame of mind. Much like a routine to push yourself to do physical exercise. You can use photography as a means of regularly exercising the mind. Its not a deep and meaningful experience you have to achieve . It is simply a distraction from your everyday routine. If you are in a rut, spend a few minutes surfing the numerous photo galleries for ideas that will hit you like a lightning bolt. Always carry a note pad to write down your ideas as they come. They will come to you in the oddest places when you least expect it. Be aware of these moments as they will come to you daily.
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