Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides...

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Teacher: Kenji Tachibana Digital Digital Photography I Photography I . Composition & Shape Composition & Shape Crop in the camera - 14 slides Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Copyright © 2003 - 2009 Kenji Tachibana Tachibana

Transcript of Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides...

Page 1: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I..

Composition & ShapeComposition & Shape

Crop in the camera - 14 slidesCrop in the camera - 14 slides

Copyright © 2003 - 2009 Kenji TachibanaCopyright © 2003 - 2009 Kenji Tachibana

Page 2: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition & Shape: Crop in the cameraComposition & Shape: Crop in the camera

CComposition: Do it early omposition: Do it early

1.1. Pre-visualize the image in your mind’s eye if possible.Pre-visualize the image in your mind’s eye if possible.

2.2. If not, try making a simple pencil drawing of your story.If not, try making a simple pencil drawing of your story.a.a. Make sure to draw in a 4:3 shaped frame.Make sure to draw in a 4:3 shaped frame.b.b. The standard notebook paper is a 4:3 shape.The standard notebook paper is a 4:3 shape.

Fold it vertically and horizontally creatingFold it vertically and horizontally creating4 correctly shaped rectangles. Then use 4 correctly shaped rectangles. Then use

both sides to make 8 correctly shaped both sides to make 8 correctly shaped frames.frames.c.c. Keep your pencil lines simple but try for correct shape, Keep your pencil lines simple but try for correct shape,

relative size, and perspective. relative size, and perspective.

11 22

3 43 4

Page 3: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition & Shape: Crop in the cameraComposition & Shape: Crop in the camera

TTransfer the composition to the LCD: ransfer the composition to the LCD:

3.3. The camera LCD is your 4:3 shape canvas, compose The camera LCD is your 4:3 shape canvas, compose your story fully within that frame.your story fully within that frame.

a.a. Do your best to transfer your mental or pencil sketch Do your best to transfer your mental or pencil sketch on to the 4:3 shape LCD screen/viewfinder.on to the 4:3 shape LCD screen/viewfinder.

b.b. Some student may find it helpful to draw the 1/3 grid Some student may find it helpful to draw the 1/3 grid on the sketch and map the image on the LCD with its on the sketch and map the image on the LCD with its 1/3 grid turned on.1/3 grid turned on.

c.c. Transfer accuracy is important but don’t shoot by-the-Transfer accuracy is important but don’t shoot by-the-numbers. Be open to compositional opportunities numbers. Be open to compositional opportunities offered by real-world situation.offered by real-world situation.

DSLR users will have a more complicated image transfer process… explain later…DSLR users will have a more complicated image transfer process… explain later…

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Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition & Shape: Crop in the cameraComposition & Shape: Crop in the camera

CComposition: More thoughtsomposition: More thoughts

4.4. Make your layout using a light pencil line.Make your layout using a light pencil line.5.5. Keep it simple, and use the whole (corner to corner) Keep it simple, and use the whole (corner to corner)

frame.frame.6.6. Erase and make changes as needed.Erase and make changes as needed.7.7. The paper sketch and the real world live in different The paper sketch and the real world live in different

realms. Draw using real scale, shapes, and realms. Draw using real scale, shapes, and perspective.perspective.

8.8. Trace over the dominant lines using a dark pencil Trace over the dominant lines using a dark pencil line.line.

9.9. Be prepared to ‘flip’ your layout idea based on real Be prepared to ‘flip’ your layout idea based on real world lighting and practical needs.world lighting and practical needs.

Page 5: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition & Shape: Crop in the cameraComposition & Shape: Crop in the camera

PPhotoshop: ‘cropFrame’ hotoshop: ‘cropFrame’

5.5. Cropping tight with the camera is a must. Although, Cropping tight with the camera is a must. Although, it is also important to shoot with an additional 10% it is also important to shoot with an additional 10% safe-imagesafe-image margin margin

6.6. That additional 10% image will prove important to That additional 10% image will prove important to you in the future for multiple reasons. And you will you in the future for multiple reasons. And you will be to apply the ‘cropFrame’ be to apply the ‘cropFrame’ LayerLayer in the Photoshop in the Photoshop ‘lab work’ phase.‘lab work’ phase.

7.7. You are not allowed to apply a ‘true-crop’ to your You are not allowed to apply a ‘true-crop’ to your assignment image. ‘cropFrame’ is only a Layer assignment image. ‘cropFrame’ is only a Layer mask which can easily be turned off to show all of mask which can easily be turned off to show all of the camera original image.the camera original image.

Page 6: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition & Shape: Crop in the cameraComposition & Shape: Crop in the camera

GGarbage In, Garbage Out:arbage In, Garbage Out:

Students often say ‘I’ll fix it later in Photoshop’, which is Students often say ‘I’ll fix it later in Photoshop’, which is a self defeating idea. Don’t load yourself up with bad a self defeating idea. Don’t load yourself up with bad habits. habits.

Habits are learned through repetition. Once something Habits are learned through repetition. Once something is learned by the mind and body, they become hard to is learned by the mind and body, they become hard to overcome. overcome.

Please practice good technique, lighting, and design. Please practice good technique, lighting, and design. And use Photoshop for ‘making the image’ instead of And use Photoshop for ‘making the image’ instead of ‘fixing mistakes’.‘fixing mistakes’.

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Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition & Shape: Crop in the cameraComposition & Shape: Crop in the camera

SShape, Ratio, & Proportion: hape, Ratio, & Proportion:

Compact images have a 4:3 ratio Compact images have a 4:3 ratio (shape). And that means 4 parts (shape). And that means 4 parts wide to 3 parts tall.wide to 3 parts tall.

DSLR images have a 3:2 ratio, a DSLR images have a 3:2 ratio, a much wider shape. It means 3 much wider shape. It means 3 parts wide to 2 parts tall.parts wide to 2 parts tall.

Ratio is the technical term. But Ratio is the technical term. But both shape and proportion means both shape and proportion means similar things…similar things…

DSLRDSLR

3:2 shape3:2 shape

3 parts3 parts

2 parts2 parts

Compact Compact DigitalDigital

4:3 shape4:3 shape

4 parts4 parts

3 parts3 parts

Page 8: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition & Shape: Crop in the cameraComposition & Shape: Crop in the camera

3535mm Film Size/Shape: Reference mm Film Size/Shape: Reference

Both the Compact & DSLR image sizes Both the Compact & DSLR image sizes are much smaller than the 35mm film.are much smaller than the 35mm film.

Compact image size is about 85% Compact image size is about 85% smaller and DSLR is about 40% smaller and DSLR is about 40% smaller than the 35mm frame size .smaller than the 35mm frame size .

That translates to both advantages and That translates to both advantages and disadvantages. And we will be getting disadvantages. And we will be getting into that topic area discussion later in into that topic area discussion later in the quarter…the quarter…

Page 9: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition & Shape: Crop in the cameraComposition & Shape: Crop in the camera

IImage Shape & Frame: mage Shape & Frame:

Whether compact (Whether compact (4:34:3) or DSLR ) or DSLR wide (wide (3:23:2) shapes, the magic needs ) shapes, the magic needs to happen within a rectangular to happen within a rectangular shape.shape.

And creating composition is about And creating composition is about working or not working within that working or not working within that rectangular frame.rectangular frame.

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Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition & Shape: Crop in the cameraComposition & Shape: Crop in the camera

CComposition 101: Introductionomposition 101: Introduction

Many digitals have the 1/3-grid built Many digitals have the 1/3-grid built in as one of the Display options. Andin as one of the Display options. Andit can be used as a crude form of it can be used as a crude form of organizing a composition based on organizing a composition based on A, B, C, or D focal-point placement.A, B, C, or D focal-point placement.

Or, there is also the Optical Center Or, there is also the Optical Center focal point placement idea where ‘focal point placement idea where ‘XX’ ’ marks the optical centermarks the optical center. Both are . Both are valid forms of constructing an image. valid forms of constructing an image. But they are somewhat crude forms.But they are somewhat crude forms.

AA BB

CC DD

XX

Page 11: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition and Shape: Crop in the cameraComposition and Shape: Crop in the camera

MMore Advanced: 115ore Advanced: 115

Start by accepting the rectangular Start by accepting the rectangular border as your canvas. Then take border as your canvas. Then take advantage of the shape. Use shapes advantage of the shape. Use shapes within the canvas to create within the canvas to create movement.movement.

Example - Use a triangle, an often Example - Use a triangle, an often used compositional motif in the used compositional motif in the classical pieta (Virgin and Child) classical pieta (Virgin and Child) paintings .paintings .

Page 12: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition and Shape: Crop in the cameraComposition and Shape: Crop in the camera

VVariations: Shift, flip, and rotateariations: Shift, flip, and rotate

Shift the triangle off center to either Shift the triangle off center to either side. Simply flip it for a completely side. Simply flip it for a completely different look. Rotate it fully within or different look. Rotate it fully within or partially out of the canvas frame.partially out of the canvas frame.

Page 13: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition and Shape: Crop in the cameraComposition and Shape: Crop in the camera

VVariations: Abstract to realariations: Abstract to real

Pretend for a moment that the Pretend for a moment that the triangle represents a cat’s face. triangle represents a cat’s face. Hopefully with the addition of the Hopefully with the addition of the small triangles, it won’t be that small triangles, it won’t be that hard to imagine. When you’re hard to imagine. When you’re shooting, do this imagining in shooting, do this imagining in reverse. reverse.

Squint viewing will help to start the Squint viewing will help to start the abstraction process automatically. abstraction process automatically. Look around you right now for a Look around you right now for a possible shot and squint-view it.possible shot and squint-view it.

Notice how the scene is slightly Notice how the scene is slightly blurry which helps to turn the blurry which helps to turn the scene into a collection of abstract scene into a collection of abstract shapes.shapes.

Page 14: Teacher: Kenji Tachibana Digital Photography I. Composition & Shape Crop in the camera - 14 slides Copyright © 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IComposition and Shape: Crop in the cameraComposition and Shape: Crop in the camera

SSummary: ummary:

Compose your image early. Preferably, it should be Compose your image early. Preferably, it should be done before you look through the viewfinder. Leaving done before you look through the viewfinder. Leaving only the fine tuning adjustment within the camera only the fine tuning adjustment within the camera frame.frame.

See the light quality, direction, and dynamic tonal See the light quality, direction, and dynamic tonal range of the scene. And determine the subject shape range of the scene. And determine the subject shape which may be simple like the cat face or complex. which may be simple like the cat face or complex. Sometimes it’s easier to see the subject shape by Sometimes it’s easier to see the subject shape by looking at the negative space, the background.looking at the negative space, the background.

Play with the subject and negative space shapes until Play with the subject and negative space shapes until they live together in both harmony and movement. they live together in both harmony and movement.

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Teacher: Kenji TachibanaDigital Photography IDigital Photography I

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