Tuesday, February 22, 2011

WEEK7 ( GOOD COMPOSITION GUIDELINES)

This week, I'm going to apply all of the good composition guidelines in photography that I had learn in my class. There are 6 types of good composition :

1. Simplicity
2. The rule of third
3. Lines
4. Balance
5. Framing
6. Symmetry (extra point .Got it from the internet)



1. Simplicity 

 Simplicity is the key to most good pictures. The simpler and more direct a picture is, the clearer and stronger is the resulting statement. There are several things to be considered when we discuss simplicity :

    1.Select a subject that lends itself to a simple arrangement; for example, instead of    
     photographing an entire area that would confuse the viewer, frame in on some  
     important  element within the area. 
            
     2.Select different viewpoints or camera angles. Move around the scene or object being 
     photographed. View the scene through the camera viewfinder. Look at the      
     foreground   and background. Try high and low angles as well as normal eye-level  
     viewpoints. 

    3.Evaluate each view and angle. Only after considering all possibilities should you take 
       the picture. 

    4.See beyond and in front of your subject. Be sure there is nothing in the background   
       to  distract the viewer's attention from the main point of the picture. Likewise, check 
       to see there  is nothing objectional in the foreground to block the entrance of the 
       human eye into  the picture.

Be sure that only the things you want the viewer to see appear in the picture. If there are numerous objects cluttering up the background, your message will be lost. If you can't find an angle or framing to isolate your subject, consider using depth of filed control to keep the background out of focus 
 
                                                      (Captured by myself )





                                                        (Captured by myself )





(This picture example from internet)



2.The rule of third

The rule of thirds as a guide in the off-center placement of our subjects.  Before we snap the picture, imagine our picture area divided into thirds both horizontally and vertically. The intersections of these imaginary lines suggest four options for placing the center of interest for good composition. The option we select depends upon the subject and how we would like that subject to be presented. Here's how it works.

  


Let looks the examples of pictures that using rules of third :



                                                         (Captured by myself )



                                                       (Captured by myself )


3.Lines 

The line that leads our eye in to the picture area easily like a road or fence, a shoreline or river, a row of trees or a pathway. A successful Leading Line will lead our eye in to the picture and take it right to the Main Subject or Center of Interest.  


Implied Lines
Implied lines are not actual lines that we are used to seeing. They are instead implied in the picture area. They are made by the way objects are placed within the 4 walls of our photograph. Very often an actual object will create a line such as s tree, a railroad track or telephone wires.

Understanding lines is important because it can create responses from our photograph viewers. Often this happens on a sub conscious level but it's still important to know how to manipulate a photograph to attain the desired response.

Vertical Lines
Vertical lines run up and down. They help stimulate feelings of dignity, height, grandeur and strength. We can find vertical lines in buildings, trees, fences, people standing up etc. Look at the following picture and dig into our minds interpretation of the vertical lines in the following forest picture

vertical lines

                                            (This picture example from internet)

 

Horizontal Lines

Denotes Repose, Calm, Tranquility and peacefulness, such as a person lying in the grass sleeping, flowers in a field, the flatness of a desert scene or lake. We can make our photograph illicit these feelings if we look for them in the picture area and use them in our photographs.

horizontal links

                                          (This picture example from internet)

 

Diagonal Lines

This like gives the sensation of Force, Energy and Motion as seen in trees bent by the wind, a runner at the starting line or the slope of a mountain as it climbs into the sky. By knowing this we can create Force, Energy and Motion with our camera easily by tilting the camera to make objects appear to be in a diagonal line. A dignified church steeple when photographed at a slant will change to a forceful arrow pointing towards the sky and show motion.

Curved Lines

Here is a line of great beauty and charm and nothing gives a better example than a beautiful female form with all its lines and curves. Of course there are other examples: The curve in a river or a pathway through a flower garden.

S Curves

This line goes further than just a plain curved line. It is called the Line of Beauty. It is Elastic, Variable and combines Charm and Strength. It has Perfect Grace and Perfect Balance. We have seen this S Curve hundreds of times in drawings and paintings and other works of art.

Examples: the double curve of a river makes an S curve. A path, row of trees or bushes that curve one way and then the other way create the S curve. Look for this type of design and use it in our photos to add interest and beauty.


Repetitive Lines

We can also use repetitive lines to draw viewers' attention to our center of interest.
 
s curve

                                                (This picture example from internet)

 

 Leading Lines

The line that leads our eye in to the picture area easily like a road or fence, a shoreline or river, a row of trees or a pathway. A successful Leading Line will lead our eye in to the picture and take it right to the Main Subject or Center of Interest

An UN-Successful Leading Line will take the eye in to the picture but will ZOOM the eye right OUT of the picture if there is no Stopper to hold the eye in the picture frame; such as a tree, house or other large object on the right hand side of the picture frame which will STOP the eye from going out of the picture. The Center of Interest or Main Subject will act as a Stopper and hold the eye in the picture frame.


The best Leading Lines will start at the Lower Left area of the picture frame but not in the exact corner. Again, the eye likes to enter a picture frame at this point and the Leading Line will help it get in to the picture easily and swiftly.


Let looks the picture that i had captured : 


                                                        (Captured by myself )




4.Balance

Balance in photographic composition is a matter of making pictures look harmonious. Each element in a picture has a certain amount of value in respect to all the other elements. Every tone, mass, shape, tree, rock figure, building, line, or shadow contributes a certain amount of weight that must be arranged correctly in the composition to give the impression of balance. The subject placement within the picture area is the factor that must be carefully considered.




                                                           (Captured by myself )



                                                        (Captured by myself )

5.Framing

Framing is a technique used to enhance the overall result of a photo and to draw attention to the subject. Framing does not refer to physical frames you put your photos into. Compositional framing consists of using natural or man-made objects within the photo itself. Framing is the technique of drawing attention to the subject of your image by blocking other parts of the image with something in the scene

The benefits of framing pictures include: 
 
1. giving the photo context (for example framing a scene with an archway can tell us something about the place we are by the architecture of the archway or including some foliage in the foreground of a shot can convey a sense of being out in nature). 

2. giving images a sense of depth and layers (in essence framing a shot generally puts something in the foreground which adds an extra dimension to the shot). 

3. leading the eye towards our main focal point (some ‘frames’ can draw our photo’s viewer into the picture just by their shape). Some also believe that a frame can not only draw the eye into a picture but that it keeps it there longer – giving a barrier between our subject and the outside of the shot. 

4. intriguing our viewer. Sometimes it’s what we can’t see in an image that draws us into it as much as (if not more than) what we can see in the picture. Clever framing that leaves those viewing our image wondering a little or imagining what is behind our frame can be quite effective (get it wrong and it can also be quite annoying!).



Several examples of framing pictures :



                                                        (Captured by myself )



                                                         (Captured by myself )


(Captured by myself )


   (Captured by myself )




6.Symmetry

Symmetry is one of photography’s most evocative tools of composition. We should be surprised just how much our eyes seek out the mirrored comforts of symmetry.A symmetrical shot with strong composition and a good point of interest can lead to a striking image – but without the strong point of interest it can be a little predictable. I prefer to experiment with both in the one shoot to see which works best.




                                                            (Captured by myself )








WEEK6 ( STUDIO PHOTOGRAPHY)

This week, I had  learned about  studio photography. Below are several pictures that I had captures  during practical of shooting photography pictures.
                                                     This is our model..Ehan...
 
                                                        Ehan also..same model.. :)


                                              Yan and Ehan..Not ready yet..hahaha


 
  Two beautiful models..yan and Ehan..:)


                                                  Very ladies...Kak Naza..so sweet..:)


                                                            Kak Naza again...:)

                                                    En. Ashaari is to be a guy model..:)

                                                            En. Ashaari again...:)

                                                   En. Ashaari and En. Kadir...:)


                                                             Lai...another model..:)

So, what need to be considered in studio photography?

1. Lighting (most important)
2. backdrop (background)
3. Position
4. Angel of taking photos



Portrait Studio Photography Lighting Techniques
  
The reason people seek out professional photographers instead of taking their own portraits is because professionals know how to use studio lighting techniques to bring out a subject's best features. If you're setting up studio lighting for portraits, these guidelines will allow you to use lighting in a flattering way to enhance your client's portrait.

 
Here are several techniques :
1. Bounce your light sources intophotography umbrellas in order to diffuse the light beams and soften the shadows on your subject's face. Harsh direct lighting creates sharp unflattering shadows that make facial features look stark and angular. Instead of aiming the studio lights towards your subject, point them into a photography umbrella that will diffuse the light as it illuminates the model's face.

2.Try a traditional three-light configuration that is flattering to most subjects. Use two lights at 20-degree angles on either side of your camera and one more light, opposite your main light to reduce shadows from behind. This configuration allows full soft illumination of the subjects face while reducing rear shadows and providing a backlit effect.


3.Place the studio lights, described in Step 2, progressively farther away from the model. Position the main light where it illuminates the model's face then increase the distance of the front fill light by 1/3 and increase the distance of the rear fill light by 1/2. For instance, if your main light is 6-feet from your model, your front fill light should be 8-feet away and your rear fill light should be 9-feet away.

4.Elevate your rear light in order to highlight your subject's hair. This light is sometimes called a "hair light" because it illuminates the fine hairs around the outside of the head from behind. The rear fill light adds a professional touch that a snapshot just can't achieve.


5.Cover your main light with a soft box if you want direct illumination with moderate diffusion. This creates a more dramatic effect and is useful when shooting portraits for advertising and business cards. Position the soft box at a 25-degree front angle to your subject and use a reflector instead of a front fill light as described in Step 3. Position your backlight to shine on the backdrop instead of the subject's hair to reduce shadows. Adjust the reflector until facial shadows are very soft, just enough to lend depth to the subject's features.


Portrait Photography Studio Lighting Techniques

Practicing basic lighting techniques for studio photography plays an important element in capturing the perfect mood or personality of a subject. The placement of lighting can give your pictures a professional touch that can dramatize your subjects' most attractive or subtle features. Here are the basic lighting techniques used for portrait photography.

 

1.Broad Lighting 

Soft light, hard light, hair light, background. Everything is under your control. If you are a tremendously creative person who knows how to use studio equipment, you'll get wonderful results. If you are uncreative, you'll have very flat and boring results. If anything is wrong with the lighting balance or exposure, you'll have nobody to blame but yourself



 2.Rembrandt Lighting

After seating your subject, shine the main light above the person's head. You can point it at any particular direction of the face, although you will need to angle this light at a 45 degree angle. A traditional aspect of Rembrandt lighting is a triangle of shadows that will appear on the face of your subject, where the light is being directed.


3.Short Lighting

This lighting style is similar to broad lighting. When your subject is seated, you will also turn this person's head about 3/4 towards the camera. But instead of shining the main light in front of the face, shine it on the furthest point of the face on the "shortest" part that's partially being revealed. This will make a person's face look thinner, and offer a more masculine characteristic to the subject.

4.Butterfly Lighting

Seat the subject in front of the camera, and place the primary source of light in front of the person's face, similar to Rembrandt lighting. Angle it above the person's head at a 45 degree angle. You will create a sort of "butterfly" shadow right under the person's nose. What helps dramatize this shadow is by slowly raising the light in front of them, to create shorter or larger butterfly shadows.

 5.Catch Light

A catch light is the light that reflects off your subject's eyes. Most studio lighting requires that a small amount of light is found in the eyes of your subject. It offers a dimensional look, that brings out the color and emotion in your subject's eyes. Catch lights for portrait photography make your studio picture less flat.


 


 

WEEK5

SEMESTER BREAK (CHINESE NEW YEAR)

WEEK 4 (APERTURE & SHUTTER SPEED)



This week, I'm going to captures which is has big aperture vs small aperture and slow shutter speed vs fast shutter speed.

Let look the pictures below :

                                                      F25    :    0.62sec   :    ISO 800  
                                                           (low shutter speed)
 


                                                      F5.6    :    1/30   :    ISO 800
                                                             (fast shutter speed)



                                                      F5.6    :    1/140   :    ISO 800
                                                             (fast shutter speed)



                                                       F5.6    :    1/125   :    ISO 800
                                                             (low shutter speed)



                                                      F5.6    :    1/100   :    ISO 800
                                                             (fast shutter speed)



                                                     F29    :    1/2   :    ISO 800
                                                          (low shutter speed)



                                                      F5.6    :    1/100   :    ISO 800
                                                            (big  aperture)



                                                       F36    :    1/60   :    ISO 800
                                                               (small  aperture)
                           *But actually this picture is considered as overexposed..hahaha



                                                          F16    :    1/60   :    ISO 800
                                                                 (big  aperture)



                                                      F36    :    1/60   :    ISO 800
                                                               (small  aperture)
                        *But actually this picture is considered as overexposed..hahaha



                                                           F6.3    :    1/100   :    ISO 800
                                                                         (big  aperture)

Background is blur because of less of depth of field. Big aperture which is small number of f stop will caused less of depth of field.


                                                                 F14    :    1/60   :    ISO 800
                                                                          (small  aperture)

Background is clear because of  depth of field is increase. Small aperture which is large number of f stop will caused   depth of field is increased.



Shutter Speed

First off, slow shutter speed. We use this for two reasons . First, because it’s quite dark and we need to let more light into the camera. Or second, because we want to introduce some blur into our photo.

What? Blurry photos? Yep! That’s right. Sometimes we can use blur for a creative effect.
So, we can see from this pictures? In conclusion we know that if using fast shutter speed to freeze an action or to stop an action. If we are using

The key thing to remember about using a slow shutter speed is that anything that moves in the scene will blur. Once you're aware of this you can use it creatively in your photography.

If slow shutter speeds allow you to get creative with blur, fast shutter speeds have the opposite effect ,they freeze movement or stop an action.A fast shutter speed could be considered anything over 1/500th of a second. But modern digital cameras go much faster than this. If you have a digital SLR you may well be able to select shutter speeds up to 1/8,000th of a second – incredibly fast!

Depth of Field
 
As well as letting more or less light into the camera the size of the aperture we choose governs the 'Depth of Field'. Depth of field means the amount of the picture, from foreground to background, that is in sharp focus. A smaller aperture will give us a greater depth of field and a larger aperture will give us a more restricted depth of field. This characteristic can be used to good effect in many ways.

Depth of field (DOF) is a term which refers to the areas of the photograph both in front and behind the main focus point which remain "sharp" (in focus). Depth of field is affected by the aperture, subject distance, focal length, and film or sensor format.

A larger aperture (smaller f-number, e.g. f/2) has a shallow depth of field. Anything behind or in front of the main focus point will appear blurred. A smaller aperture (larger f-number, e.g. f/11) has a greater depth of field. Objects within a certain range behind or in front of the main focus point will also appear sharp.

Monday, February 21, 2011

WEEK3(PRACTICAL SHOOTING WITH EN FUAD)

Ni pula gambar-gambar yang diambil ketika latihan mengambil gambar bersama dengan en fuad..mase ni la saya baru tahu..apa fokus dia..mcm mane nk set itu..nk set ini..dan macam mane nk fokus..he he he..apakah yang terjadi?moh la kita tengok ramai2...hehe






so, masih banyak yang perlu saya pelajari kan?xberapa ok juga la gambarnya..hehe...ingatkan nk g belajar lagi dgn en fuad next weeknyer tuh..tapi ade hal tibe-tibe mase tuh..tak dapat la plak..ok..kita tengok apa yang terjadi mggu yang seterusnya..hik3..:)

WEEK3 (PRACTICAL SHOOTING)

This week, I had practical shooting.he he he..mase ni mula2 belajar pegang kamera.. semua gambar pun tak tahu apa motif dia..ni la first time tangan ini memegang kamera dslr..hik3..

















so ini adalah hasil2 yang terjadi pada minggu ini...teruk kan? he he he..tibe2 gambar sendiri pun ade jugak..ish2..