Just a little bit more of the angle there.
Great, super thanks.
I think we just about got our good even exposure across here.
Super.
As a photographer, whether I am making a picture for myself
or for a client, I am always directly involved
in the design process.
Like all aspects of visual design,
photographic design requires planning and decision making.
After I have an idea for a picture,
I must look at my subject and decide
what I want to emphasize, then plan
on how to photograph it for maximum impact.
In this program, we're going to explore
what might be called the foundation
of photographic design, camera choice, lens choice, framing,
and selective focus.
I call it camera vision.
I have just completed a shot for a series of fashion photographs
I'm working on, including these accessories.
As you might expect, there were a number of decisions
that had to be made before I was able to get this picture.
But because I took the time to choose my tools carefully
and make practical as well as creative choices,
I am confident that I will get the results I want.
One of the first decisions that you
must make in the photographic design process
is the choice of tools.
Camera vision, that is, seen photographically,
will vary with the type of camera being used.
Your choice may be a compromise between a camera
you're most comfortable with and one that
is best suited for the job.
You may want to use a 35 millimeter single lens reflex
camera because it is convenient for action photography.
Or you may use a medium format camera because
of its larger negative size.
This medium format camera is a 6 by 7,
but it also has the ability with this film magazine
to be able to shoot an image size of 2 and 1
quarter by 2 and 1 quarter square.
Another advantage of this camera is its flexibility.
You can expose part of a rolling color,
then exchange the film compartment,
and shoot more pictures in black and white.
You may need both versions of the same photograph
for different purposes.
An excellent tool for the studio, especially product
photography, is this view camera.
It uses a 4 by 5 inch sheet film inside this film holder,
which produces a negative that can be greatly enlarged.
16 by 20 inch or larger prints can be made without loss
of image quality.
The main advantage of the view camera
is its ability to control the position and shape of objects
on the ground glass through movements of the cameras
front and back.
These movements are just as useful for still life
photographs as they are for architectural photographs.
The view camera allows you to control
the perspective of buildings and correct the distortion
that you can get when using other types of cameras.
The size of the film that the camera uses
can be an important design consideration
if your photographs are going to be greatly
enlarged in their final form.
When comparing the three film formats side by side,
we can see that the smaller the negative,
the more it must be enlarged to obtain a usable size,
like an 8 by 10 inch image, which
might be required for a magazine illustration.
An enlarged 35 millimeter negative
will often show visible grain and won't be as
sharp as the larger formats.
This may not be a problem if your photographs are
destined for use in a magazine.
But if the final result is going to be a poster or a mural,
then you should consider a larger film format.
Film formats have different proportions, as well
as different sizes.
The 35 millimeter picture is a longer rectangle
than a 4 by 5 inch picture.
Between the 35 millimeter and the 4 by 5 cameras
are several medium format cameras,
which produce a variety of different image sizes
with different proportions, including the popular 2
and 1 quarter square format.
The proportions of the film format,
that is the shape of the format, will affect the way
you compose your pictures.
For example, a rectangular format
stimulates our eyes movement inside the frame.
Dynamic composition can be achieved without difficulty.
The square format offers a unique design challenge.
If not carefully composed, the photograph
may appear static because its shape encourages our eyes
to focus on the center of the picture.
Therefore, design elements within the frame
must be organized to increase the visual energy
of the photograph.
From the practical standpoint, the choice
of camera and format may depend on the proportions
of the photograph in its final content.
In this magazine layout, the final shape of the picture
will be square.
So it doesn't make sense to shoot the picture
with a 35 millimeter camera because half of it
would be cropped out.
As you can see, a 2 and 1 quarter, 2 and 1 quarter
camera format will allow exact composition.
For this ad, a rectangular format camera
looks like the obvious choice.
But some photographers prefer to work exclusively
with the square format SLRs.
By putting pieces of tape on the viewfinder screen,
you can delineate the shape of the final picture
and still have extra space in the negative
that can be used to alter the composition at another time.
Besides the choices of camera and thus the format,
your camera vision is also dependent
on the choice of lenses.
Let's go on location outside the studio
to have a look at the effects of different lenses
on photographic scene.
The lens is often described by its focal length in millimeters
or by its relative focal length, normal, short, or long.
This 50 millimeter lens is considered
normal for this camera.
The focal length is the distance between the lens
and the focal plane.
That is the surface of the film when the lens
is focused on affinity.
At that distance, light rays reflected off a subject
reach the focal plane in parallel lines.
The focal length determines the angle of view
seen through the lens, as well as the size of the image formed
on the film.
This is a normal lens, which has a 47 degree angle of view.
This is the same scene as viewed through a short or wide angle
lens, a 28 millimeter.
Although I have not changed my position,
the model appears to be much further away.
Also, the angle of view has increased to 73 degrees,
and we see much more of the park.
The model appears much the same seen
through a longer than normal lens, 105 millimeter.
The model appears much closer because the lens forms
a larger image on the focal plane.
The angle of view is much narrower, only 23 degrees.
For comparison, let's look again through the normal lens.
This view is similar to the one our eye would see
without looking through the lens.
What about different cameras?
Is a 50 millimeter lens the normal lens
for a medium format camera or 4 by 5 view camera?
The answer is no, because a lens is considered normal
if the focal length is about the same as the diagonal measurement
of the film.
Thus, a 43 millimeter lens is normal for a 35 millimeter
camera.
However, as we have already seen,
my camera, typical of most 35 millimeter SLRs,
was fitted with a 50 millimeter lens as standard equipment.
Actually, lenses ranging from 40 millimeter to 55 millimeter
are considered normal.
A camera that uses a 2 and 1 quarter, 2 and 1 quarter format
is usually fitted with an 80 millimeter lens
as its normal lens.
And a 4 by 5 view camera takes a normal lens
in the vicinity of 150 millimeter.
Because a lens is considered the normal lens
does not necessarily mean that it should become
your most frequent choice.
You need to experiment with various lenses
in different photographic situations
in order to determine the advantages and disadvantages
of each.
Let's look at some more characteristics
of the short and long lenses.
A short lens, like this 28 millimeter,
will give us a greater angle of view than a normal lens.
And it will give us a greater depth of field.
That is a deeper area of acceptable focus
from foreground to background.
Although I have focused on the model,
the foreground is in focus as well as the distant background.
The extreme depth of field enhances
the three dimensional feeling of the picture.
But this apparent depth of field can sometimes
present problems in composition.
In this picture, made from a different position,
the lens has placed a very distracting background
in focus.
This characteristic of wide angle lenses
brings up an important point in regards to camera vision.
Photographers must learn to see what's going on
in the background elements.
They must learn to neatly compress
the chaotic three dimensional world
into a two dimensional viewfinder.
One simple technique that can be used
to soften the effects of distracting backgrounds
is the use of the aperture as the controller
of the depth of field.
This picture was shot at f16, which
maximizes the range of focus for this lens.
But if we use the larger aperture, f2,
we will greatly reduce the depth of field,
throw the background out of focus,
and make the foreground much easier to read.
Another characteristic of short lenses
that you should be aware of is distortion,
both real and apparent.
Real distortion is caused by thick pieces of glass used
in the wide angle lenses and is evident
at the edge of the picture.
Straight lines will appear curved
near the outside of the frame.
This effect becomes more pronounced on even shorter lenses.
So if you use a wide angle lens for architecture,
for example, you should avoid placing
verticals near the edges.
The apparent distortion that frequently
occurs with short lenses is one of perspective.
Kelly, would you extend one of your legs, please?
The wide angle or short lens is capable of focusing very
close to the subject, which causes this obvious distortion
of perspective.
The model's foot seems unnaturally large,
while her body seems disproportionately small.
If you switch to a longer lens, like this 105 millimeter,
you have to move further away from your subject
to focus the image.
Because of their narrow angle of view,
long lenses can be used to draw attention
to the important details of your scene.
They also seem to compress space.
Our model appears to be sitting much closer to the background
than she does when we look at her with a normal lens.
But the distance is the same.
The 105 millimeter lens is a good choice
for the casual portrait situation like we have here,
since the camera must be placed at a comfortable distance
from the subject.
Disadvantages of long lenses include
their considerable bulk and weight.
The longer they are, like this 200 millimeter,
the larger and heavier they get.
If you have to handhold the camera
and use a slow shutter speed, you
may see evidence of camera movement.
You'll probably need to shoot at 1,250 of a second or faster
to avoid blurring the picture.
Better yet, use a tripod.
If you're not interested in collecting
several different short and long lenses,
you have the option of using one zoom lens, which
incorporates a variety of focal lengths from short to long.
The main advantage of the zoom lens
is that without changing your position,
you can alter the framing of your subject
in order to dramatically change the composition
of your picture.
The disadvantages of zoom lenses include its greater size
and weight.
This 35 to 135 millimeter zoom is larger and heavier
than my 105 millimeter lens.
And the image quality may not be as high as individual lenses
because the zoom lens needs several more glass elements,
which can soften the image.
What angle of view do you want?
How much depth of field do you need?
How do you handle distortion or compression of space?
You simply must experiment with several lenses,
learn their idiosyncrasies, and you'll soon
appreciate the range of options they provide.
Once the photographer has camera and lens in hand,
his primary design decisions are made with the frame
in the camera's viewfinder.
The frame is a critical design tool
because it shapes not only the look of the photograph,
the formal arrangement of visual elements,
but also the content or emphasis.
By framing the scene in this manner,
the subject of the picture is the sculpture.
We have made a simple, straightforward record
of the artwork.
By moving the frame, the photographer
selects what to include in the picture and what to exclude.
This creative choice affects the visual organization
of the relationship between the objects and the people
within the frame.
A new relationship, a visual connection,
has been created between the model and the sculpture.
We now have an environmental fashion picture.
With a slightly different framing,
another relationship has been created
with the inclusion of a third person in the picture.
By altering the framing of the photograph,
we have communicated three entirely different messages.
The final choice, the editor choice,
will depend upon what you want to say
about this particular place and this subject matter.
Of course, we have more possibilities
than the three examples.
We can use the frame to isolate a specific detail.
For example, we may want to frame only the model cropping
out the background to draw the attention to the dress, which
is what our client is interested in promoting.
Or we can move in to frame her head and shoulders
so we can emphasize the glasses.
The process of framing the entire scene or details
within the scene is similar to a system of photography
that is used in the motion picture industry.
Camera shots are identified by how much of an average size
person they include.
A wide shot shows my entire figure
with enough space at the top and the bottom
that I don't appear cramped.
A medium shot shows me from the waist to above the head.
A close-up shows only my head and shoulders.
An extreme close-up focuses on just a small portion of my head
and can be used for dramatic effect.
This cinematic version of framing
can be adapted to the needs of the still photographer,
especially when planning a series of photographs.
We've looked at how the frame can
be used to focus on details within a scene
and how it creates a relationship between the objects
that it surrounds.
Now I'd like to illustrate in a studio situation
how critical the frame is in determining
the formal organization, the design of photographs.
In this picture, the frame includes some blank space
around the shoes, which draws our attention to their shapes.
This is an example of what is called closed form
because the outline of the subject is emphasized.
But when we move the frame in and crop into the shoes,
we have an entirely different kind of picture.
It does not say shoes as much as it simply
says line and color.
This is an example of open form because we
know the object continues beyond the frame.
Let's look at another example of how
the frame can be used to enhance the subject matter.
In this photograph made with a normal lens,
we first see the model's dress.
Eventually, we are drawn to her handbag.
While in this picture made with a long lens,
we have cropped out the edge of the dress
so the handbag dominates.
The dress has been abstracted.
Its color and texture become its most important feature.
In these framing examples, we have either
looked at the subject while standing in one spot
or we've moved directly towards the subject
from our original position.
Of course, for every situation, there
may be an infinite number of photographic angles possible.
In addition to choosing how to frame a photograph
from a single position, you may also
find other positions which may prove more visually interesting.
In other words, you must find the best vantage point.
By changing your vantage point, you
will alter the relationship between your subject
and its background.
By moving a short distance to one side,
we'll remove the fountain and create a new environment
by placing our model in front of the trees.
She will now have a different contrast feeling.
Changing your vantage point means
taking another point of view or seeing
from a different angle.
From this angle, the man is now the dominant in the frame.
The woman, who is slightly out of focus,
becomes part of the background.
We have given our fashion series a new emphasis, the man's clothes.
You don't always have to look straight ahead
when you're making a photograph or keep your subject
at eye level all the time.
A high vantage point provides this interesting bird's eye
view of our subjects.
The camera now emphasizes the geometry of our scene
rather than the objects within it.
For a dramatically different angle,
we can also look up at our subject.
There is obviously some distortion here,
but this point of view will attract more attention
than the straightforward eye level version.
But this angle would be fine for a cataloged photograph.
Certainly, you have a great many choices for vantage point
than simply very high, eye level, or very low.
And each time your subject moves,
there is a whole new range of options or design
considerations.
In a studio situation where space is limited,
you may have fewer choices.
But in still life photography, for example,
a slight tilt of the camera can make a remarkable difference
in the appearance of your subject.
Let's have a look.
In this product shot, the camera is looking down slightly
at the bottles so their tops are visible.
The camera position approximates a view a person might have
if the bottles were seen on a countertop.
But if we lower the camera and look up at the bottles,
the still life is much more imposing.
It commands more attention.
Because the objects are close to the lens,
small changes in the camera's position
will result in large changes in the shape of the objects.
There is one other area of camera vision
that we should explore at this time,
the creative use of focus.
When you're photographing a group of identical objects,
which cover the entire picture area,
you have a couple of options.
You can either maximize the depth of field
by using the small aperture, or you
can limit the depth of field with a large aperture
and create a narrow band of focus.
In this case, it does not make much sense
to use a shallow depth of field to selectively focus
on a portion of the bottles.
Our eyes want to follow the lines from foreground
to background, but they are held in the area that's sharp.
But if we use a small aperture and focus about one third
of the way into the still life, we
are able to achieve maximum depth of field.
The result is more pleasing to the eye, which can now easily
move over the bottles.
On the other hand, limited focus can
be used to advantage when you want
to draw the eye to a particular object or a group of objects.
Selective focus draws our attention
to the foreground bottles and separates them
from the others.
By throwing part of the picture out of focus,
we've created a good background for advertising copy.
The type can easily be read over the indistinct bottles.
If the entire picture is put into focus,
the copy becomes more difficult to read
because the background bottles compete
for the attention of our eye.
However, increasing the depth of field
increases the impression of three dimensional space
in our two dimensional picture.
Selective focus can be used to create an impression of depth
and draw the eye into the background,
or it can help flatten space and keep
the eye in a particular area.
The latter usage is especially helpful when
you're working on location with distracting backgrounds.
In this situation, I must solve the design problems
of various colors, irregular shapes,
and movement behind the model.
In this picture, with its great depth of field,
the busy background competes with the model
for visual attention.
But if I use a larger aperture for a shallower depth
of field, I can blur the background
and draw more attention to my subject, the fashion.
As we have seen, camera vision involves many choices.
Of course, each decision in the photographic design process
brings with it a great many ramifications.
If you choose to work with a 35 millimeter camera,
how will that decision affect the practical and aesthetic
matters all the way down the line,
from the conception of your photograph to the final content?
You should not let this decision making process frustrate you.
This is the area you can be the most creative.
By experimenting with various cameras and lenses,
with different ways of looking at your subjects,
and different methods of controlling the images you see,
you will become more aware of your creative options.
And the more you photograph, the more comfortable
you'll become with certain ways of working.
That's fine.
But don't ignore new methods simply
because they are unfamiliar.
They may just help you improve your camera vision.
The
photographer, when composing a picture,
must see the world as consisting not only of subject matter,
like trees, but also an abundance of abstract forms,
which consists of lines and shapes
in the space that surrounds us.
These forms also have texture and usually color.
Pictures, drawings, paintings, or photographs
are constructed or designed using the elements
and principles of design.
In this program, we'll discuss the design elements of line,
shape, texture, and color, and the design principles
of balance, composition, movement, emphasis,
repetition, contrast, scale, and unity.
The photographer, unlike the painter,
however, normally does not add lines and shapes
and other elements to his composition.
Instead, he recognizes the elements in the environment,
sees an arrangement of visual forms,
and isolates them with his frame to structure the photograph.
An exception to this method of photographic composition
is photographers who add props strictly
because of their formal properties.
In this program, we're going to explore
the use of these design elements and some principles which
govern their use.
Here we have an example of curved lines
giving energy and movement to our pictures.
The line of the model's back is an actual line
while the flowers, seen together, form an implied line.
The curve of the flower rose lead us to the model,
and her stance creates a similar line.
We have seen a visual connection, a relationship.
Of course, we don't have to rely only on curved lines
to make interesting compositions.
Straight lines are even more prevalent, especially
in man-made environments.
Vertical and horizontal lines, long, short, thick, and thin,
are everywhere.
And we'll often see diagonal lines which stimulate eye
movement even more.
But the photographer must recognize these lines
and use them to his advantage to create
interesting visual relationships.
We've seen that lines give energy to pictures,
but occasionally, lines are static.
Since there are no lines to move our eyes around the picture,
they tend to remain near the top.
With the addition of a new line, movement has been stimulated,
and we have a more interesting picture.
And if we add another line, we can complement the angles
below the horizontal to make the composition more complex.
A fashion photographer working on location
sees design elements in the environment
and, like a director, adds other elements
to complete his visual design.
A photojournalist, if he's unable to direct his subject,
must rely upon changing his vantage point
and framing in order to organize the lines and shapes
that he sees.
Although we're looking at this picture in terms of lines
that we have added, the shape of the dress
may seem more dominant than its outline.
This ambiguity between line and shape occurs frequently,
but it's natural.
Some people have a tendency to see shapes
in their field of vision more easily
than they see lines.
It doesn't really matter.
What's important is that photographers
learn to perceive their subject matter
in terms of abstract forms.
Here we have an example of rectangular shapes
forming the structure of our composition.
As you can imagine, there are as many different shapes
as there are lines to make them.
Besides rectilinear, curvilinear,
and other geometric shapes, we are
surrounded by irregular shapes of all kinds.
In this photograph, shapes have become the structural element
of the composition.
We see lines certainly, but the shapes
dominate the composition.
The photographer, by changing his vantage point
or the focus of the picture, has much creative freedom.
He can choose from a great many possibilities in his environment
to make compelling photographic compositions.
The challenge for the photographer, like all designers,
is to make the proper judgments about the visual juxtaposition
he sees.
He must organize hard and soft lines, rough and smooth
textures, or cold and warm colors
into photographs which clearly communicate his message,
whether it concerns advertising, news, or fine art.
Space, what we see and feel around us at all times,
is defined as the intuitive three-dimensional field
of everyday experience.
Space is selective and variable.
In a small room like this, you may think you need more of it.
In an open area like this, there seems to be ample space.
We can determine depth in space because of our binocular
vision.
Each eye sees a slightly different two-dimensional view
of an object.
Our brain combines the two flat views
into a single three-dimensional stereoscopic view of the world.
We can thus place objects in our view
in relative positions in space.
The camera, however, is like a single eye
and only sees the world as two-dimensional.
Because the camera flattens space,
we must avoid making this common mistake.
The statue, even though we know it is much further away,
appears to be standing on the shoulder of the model.
Therefore, the photographer must carefully scan the background
in order to avoid unwanted juxtaposition.
In photographs, we can only achieve the illusion of depth
by careful arrangement of visual elements on the picture
plane, which is the two-dimensional surface
of the viewfinder.
In this example, the three-dimensional illusion
was enhanced by the placement of one of the models
in the near foreground, seemingly closer to the viewer.
Without the foreground element, it
is difficult to determine how far away the other model is
standing.
The feeling of apparent depth has been lost.
The illusion of depth on the picture plane
can also be created by using the same visual technique that
is used in perspective drawings.
The converging lines give us a feeling of receding space,
the illusion of three dimensions.
It looks as though we could walk right
into the picture, which, after all, still has only two
dimensions, height and width.
If we remove the converging lines,
the feeling of depth is greatly reduced,
although there seems to be more space around the model.
There is still one point of reference
remaining that helps us see the depth in the picture,
the horizon line, which is common to our everyday
experience.
The horizon line creates this foreground space,
which makes us feel as though we could walk into the picture.
If we lower the horizon line, we remove the foreground space.
The picture now seems much flatter.
Our eye tends to stay on the surface of the picture
instead of being drawn into it.
The photographer can also use his camera
to increase or decrease the illusion of deep space
in his photographs.
With our lens set at a small aperture,
we move past the front model to the model in the background.
But if the lens is set at a large aperture,
creating a short depth of field, our eyes
will stay in the foreground.
There is another area where space plays an important role
in the photographic design.
This picture appears to be abstract.
We see no evidence of recognizable objects.
It is pure form.
However, if elements of space are introduced,
we begin to place the form, which we now see as a skirt,
in the real world.
Our abstract photograph has been transformed
into a representational one.
Cameras, because they record precise visual information,
are better suited in making representational
or realistic views of the world rather than abstract pictures.
Nevertheless, we've seen that the photographer
must add his creative eye to the camera
in order to make photographs that convincingly portray
the space that surrounds us.
Another design element that plays an important role
in composition is texture.
It's the visual equivalent to the sense of touch.
The texture of surfaces are usually
described as being smooth or rough,
or by other words, that approximate
what they feel like, silky or knobby.
When we look at the wall, we know
that it has a rough texture and that our model's skin is
smooth.
But because of this flat lighting,
the photograph does not communicate roughness
or smoothness.
In order to visually describe the texture of a surface,
we must use a directional light that is almost
parallel to the surface.
Here, the sun is just grazing the surface,
emphasizing the peaks and valleys
and communicating texture.
Now we can feel, in a visual sense,
the roughness of the wall.
And contrasted to the rough texture,
our model's skin looks very smooth.
The final design element that we're going to look at
is color, which is more complex and has more variations
than any of the other elements that we have considered.
Color is described in terms of its three
perceptual dimensions, hue, lightness, and saturation.
The hue is the pure state of color
and indicates its place on the visible spectrum.
Hues have the familiar names of red, yellow, green, blue,
and so on.
The photographer is concerned with hue because of the way
it can be contrasted.
For example, if we contrast a warm color, like red or yellow,
against a cool color, like blue or green,
the effect is striking.
In this case, the red dress appears
to advance towards the camera, while the blue dress
appears to recede.
The significance of hue contrast becomes
evident when you must determine the positions of colors
in your composition.
Which should come forward?
Which should recede?
Color perceptions and color control require experience.
The dimension of value is the relative lightness
or darkness of a color.
Every hue has a range of progressively lighter or darker
values, which extend in opposite directions
from a middle value.
The middle value of the color is equivalent to the middle gray
of the gray scale that ranges from pure white to pure black.
The lighter values of any color or gray
will reflect more light than the darker values in proportion
to their lightness or darkness.
This is important to remember, because reflected types
of light meters, which are balanced for middle gray,
will incorrectly measure the reflectance
of light or dark values.
Therefore, it's a good idea to use
a gray card, which represents the middle value of all colors
when metering a scene containing values of high contrast.
Besides its relationship to exposure control,
value contrast also affects photographic design
because of the relative attraction
of different colored values.
For example, a light color will grab the attention of the eye
before a dark color does.
So a photographer must carefully place
the values within a composition in order
to control the movement of the viewer's eyes.
The third dimension of color is intensity,
which is sometimes referred to as chroma or saturation.
The intensity of color indicates its relative purity or grayness.
This magenta ranges from weak or grayish to strong or pure
without any gray.
Magenta and orange are colors of high intensity,
while pink and beige, which contain more gray,
are colors of low intensity.
Although a technical knowledge of color dimensions
is vital to the art and science of color design,
photographers normally develop an intuitive understanding
of color.
By careful observation of their surroundings,
they learn which colors advance and which recede,
how light affects the values of colors,
and how to balance colors in their photographic compositions.
Of course, a photographer always has the option
of switching from color to black and white,
in which case he must learn a different way of seeing.
The colors of objects and backgrounds
must now be visualized in their equivalent gray values
and composed for separation and contrast.
If seen in color, the photographer
must contrast hues and intensities as well as values.
Color, or the lack of it, is simply
another design consideration, like line, shape, space,
and texture.
The observant photographer sees them, isolates them,
and gives them formal coherence in his viewfinder.
If he organizes the elements effectively,
his photographs will communicate.
In order to feel confident with photographic composition,
a photographer must understand certain design principles.
The thoughtful organization of any picture
is dependent not only on recognition of the design
elements, but also the forces that affect them.
Perhaps the most important design principle
is balance.
All effective visual compositions
exhibit a feeling of balance or stability.
Fortunately, most photographers are
capable of making balanced compositions,
since we all possess a natural inclination for equilibrium.
Integrating this need for a balance with our camera vision
is simply a matter of recognizing and using
an existing human characteristic.
One type of visual balance is symmetrical.
It exists when each side of the composition,
divided in the center, is a mirror image of the other.
All of the visual weights on one side of the picture
reflect those on the other side.
We have equilibrium.
However, symmetrical balance is tenuous
and can be lost easily.
For example, different colors have different visual weights.
The composition no longer feels balanced.
Lighting can also affect the stability of our picture.
In this flat light, the picture is symmetrical.
But if the sun comes out, dark shadows
are created on the side of the picture.
The shadows add more visual weight to that side
and throws the picture out of balance.
Of course, we don't have to accept an unbalanced picture
if we can't find a symmetrical arrangement.
We simply look for or create an asymmetrical balance.
Although the picture lacks symmetry,
it is still balanced because the visual weight of the umbrella
now counteracts the weight of the shadows.
In fact, this asymmetrical version
has more energy than our original symmetrical
composition, which tends to be static since the eye does not
easily move around the frame.
We are compelled to fixate on the umbrella in the center.
Most photographs we make are going
to be asymmetrical composition simply
because there's not much uniformity in the world.
Achieving balance is a creative challenge.
This picture, with the models grouped together,
feels too heavy on the left.
By positioning our male model on the right side of the frame,
we'll balance the composition and create
an interesting relationship between the models
and the fashions.
Determining balance in your photographs
is more of an intuitive process than a rational one.
It does require that you try different arrangements
or framings of a subject and different vantage points.
Ultimately, you must evaluate your results
and decide intuitively which one feels best.
There are, however, rational methods of composition
that should be mentioned.
The most common is based on the golden mean,
a system of proportions devised by the ancient Greeks.
The rule of thirds advises that important visual elements
be placed at the intersection of grid lines
or along any of the lines.
Some photographers visualize the grid on their view finders
as a starting point for their compositions.
Another compositional rule, that of strategic placement,
states that you should never bisect an image either
vertically or horizontally.
Instead, principal dividing lines
should be placed away from the center lines
to avoid static compositions.
Most photographers will make these visual judgments
intuitively, especially after they've
practiced balancing the visual weights in their view finder.
Earlier, I mentioned that diagonal lines stimulate
movement of the eye.
Movement, like balance, is a design principle
that photographers should consider
when composing the pictures.
In photographs, as in paintings, movement can only be implied.
Only in film and video can movement, like walking,
actually be expressed.
Let's have a look at some of the factors that
can imply movement in pictures.
This is a relatively motionless photograph.
Our eyes seem to concentrate on the verticals
within this picture.
If we add some diagonal lines to this arrangement,
we can create a much more dynamic picture.
Our eye now moves diagonally across the frame
to the open umbrella, back to the lower left corner,
then back to the right again.
In other words, we are interested in looking
at the picture what diagonals, for a longer period of time,
than the original version.
A photographer must use design techniques creatively
in order to keep the viewer's eye within the picture.
Normally, if we frame a portrait with more space
behind our subject's head than in front of it,
our eye is directed out of the picture.
This type of placement is usually more satisfying.
Our eye movement is contained within the frame.
There are exceptions to this rule, like any other.
If we add another subject on the right,
we create a new relationship.
Our attention now shifts back and forth
between the two models.
We have created visual movement.
Another design principle that is used frequently
by photographers is emphasis.
It means that one or more of the visual elements
are given predominance over the others within the picture.
In this photograph, there is no real emphasis.
Each subject seems to be equally important.
But if we move one of the subjects back,
our attention is focused on the other one.
She is given predominance.
We still look at the model in the background for comparison,
but our eye always settles on the foreground model.
We can create a hierarchy of emphasis
by placing similar elements in a deep spatial relationship.
Our eyes move into the picture, but they
return to the picture plane and the most predominant element.
However, we can always change the emphasis of the photograph
by using the technique of selective focus.
We must remember that the photographer can alter
his design by arranging visual elements within the frame
and by changing the way the camera sees those elements.
The design principles of repetition
offers a simple method of visual interest
to a photographic composition.
However, if design elements are repeated endlessly,
repetition can easily become redundant.
Without any other element to focus on,
we look only at the horizontal pattern that soon becomes dull.
One solution is to include a similar element that
gives our eye some visual relief from the repeated elements.
Another option is to add a dissimilar element
that contrasts with the original motif in order
to create some variety.
This brings us to the design principle of contrast.
Earlier, we discussed various examples of color contrast
and their effects on contrast.
We see it again here.
In fact, any design elements can be
contrasted with different examples of its type
to form compelling visual relationships.
For example, straight lines and curve lines,
reculinear shapes and curvilinear shapes,
or rough and smooth textures.
Contrast plays an important role in another design principle,
that of scale.
The scale of an object, its relative size,
can only be determined by the juxtaposition
with another object.
Without any familiar reference points,
it is difficult to determine the actual size of this truck.
With the addition of a second element,
we understand the proportions.
Contrast is a very important element
to determine the size of the structure.
With the addition of a second element,
we understand the proportions.
Scale is of particular interest to architectural photographers
who must visually communicate the dimensions
of a structure.
A viewer looking at this photograph
may have trouble understanding the size of the building
until we add a human figure.
If we assume the figure is about six foot tall,
we can easily determine the size of the structure.
Our final design principle is one
that encompasses all of our discussion in this program.
It's called unity.
And it's defined as the arrangement of all the elements
in a design or photographic composition,
so that each contributes to a unified aesthetic effect.
It implies integration and harmony.
A photograph possesses unity when nothing in the composition
can be achieved in photographs by noticing first
if there are existing elements that
distract from the integration of the composition.
In this example, our eye is distracted
from the center of interest, the fashions,
by the bright upper corner.
It leads us out of the picture.
By reframing the picture, we can remove the distraction
and make the arrangement more harmonious.
However, by doing so, we have also
affected the other visual relationships, perhaps more
than we wanted.
The picture feels slightly askew.
By moving the models over, we have again balanced the picture
and given it unity.
Now let's briefly review several design elements
and principles again.
First, we have the element of line, actual and implied.
Shape, rectilinear and curvilinear.
Space, two-dimensional and the illusion
of three-dimensional space.
Texture, both smooth and rough, which
is emphasized by directional light.
And color, with its dimensions of hue, value, and saturation.
Design principles include balance,
both symmetrical and asymmetrical.
Movement, emphasis, contrast, scale,
and unity, which means the harmonious integration
of all parts of your photograph.
Good composition depends on the recognition
of visual elements in the world around us
and their arrangement within the viewfinder's frame.
Finally, the content of the picture, the message,
will determine the most effective composition.
If the photograph communicates clearly and forcefully,
then it is properly composed.
Light, whether from a natural source or an artificial one,
is a principal design tool of the photographer.
Light affects the way we perceive the world around us
and the objects in our everyday lives.
The photographer can manipulate light
to increase the drama of ordinary things
or illuminate chosen objects while obscuring others.
The photographer can use light to affect the color
relationships of objects in his picture
and thus change our perception of the colors
and our emotional response to them.
In this program, we're going to look at a variety of ways
a photographer can use light creatively
in photographic design.
And since color is so closely associated with light,
our perception of color changes as the light changes.
We will also discuss some of the psychological and aesthetic
aspects of color.
In our exploration of light and color,
we'll be looking at examples of light direction, light quality,
controlling light and color, and the psychology of color,
both in the studio where the photographer is incomplete
and in the studio where the photographer is incomplete.
We'll look at some examples of light
in the studio where the photographer is completely
controlled, as well as the light in the studio
where the photographer is completely controlled
and outdoors, where we must adapt
Let's look first at the visual effects of light direction.
If we use front lighting on our Studio Still Life, we mean that the light source is positioned
near the camera and illuminates only the front of our subject.
Front lighting reduces the three-dimensional look of the objects and destroys the illusion
of depth of the photograph because the shadows aren't visible.
It also tends to wash out the textures of the surfaces.
In a portrait situation, front lighting seems to flatten the features of our model.
Other lighting, often called 45-degree lighting, is common in portraits, primarily because
of its modeling characteristics.
The light, however, is normally raised above the horizontal.
If we move the lamp another 45 degrees in the same direction, we have side lighting
or split lighting.
With side lighting, we pick up even more texture on our Still Life object.
We also create a division between light and shadow, which runs down the center of the
objects.
In a portrait, this division can create an imbalance unless the composition is slightly
altered to compensate for the increased visual weight of the shadow.
In an outdoor portrait, strong sunlight from the side creates high contrast and deep shadows,
which may turn black if you expose for the important highlights.
It may be necessary to use a reflector to bounce some of the light onto the opposite
side to soften the shadow.
This light still provides good modeling.
Side light, or any light direction, is dependent upon the relative position of the camera and
the subject.
For example, in this aerial photograph, the sun, at a low angle, works as a side lighting
to emphasize the contour and texture of the land.
In a studio situation, we may consider any light as side light if it emphasizes the texture
on the aspects of the objects which are facing the camera.
Side lighting is often used for Still Life and close-up subjects, because the appearance
of texture almost convinces us that we can reach into the picture and feel the surface
quality.
If we move the light source behind the subject, we create backlighting, which is occasionally
used for its unique effects.
The most familiar application of backlighting is the silhouette, when only the outlines
of our subject are visible.
Sightlights are made by exposing for the light source and thereby removing all, or nearly
all, visible detail from the subject.
If the light is not carefully positioned outside the camera's field of view, some extraneous
light may creep into the picture at the edge.
When working outdoors with backlighting, you can usually shield your lens from the sun
with your hand.
But most of the time, you'll probably want to expose for the main subject, especially
in portrait situations.
The beauty of this kind of backlight is evident.
The colors are soft, and a warm outline surrounds our model's head and shoulders.
Also, there are not any shadows cast on her face.
Top light like this from the midday sun is not so flattering, because of the dark shadows
underneath the eyes and the nose.
Also, the highlights on the forehead and the nose are quite hot.
With the use of a reflector, we can bounce the sunlight into the face and lighten the
shadows.
Light direction, of course, cannot be divided merely into a few categories, such as front,
quarter, side, back, and top.
The variations of these directions and the design possibilities are infinite.
However, you will probably better appreciate the creative potential of light direction
if you first practice with and understand the effects of these basic directions, both
outdoors and in the studio.
When we speak of the mood of a photograph, we are actually referring to the quality of
light in the picture.
Light quality is primarily determined by the size of the light source.
Bright sun is considered a small source and produces what is called a hard lighting or
direct lighting.
The main characteristic of hard lighting is that it casts dark, distinctly outlined shadows.
The shadows also give us a clear indication of the light's direction.
Hard lighting, because of its well-defined shadows, creates many small, bright highlights
on glossy textured surfaces like water or even apples and oranges.
In the studio, the spotlight serves as the small source, in addition to being the best
type of light to use if you want to accentuate texture.
It also is the choice for maximum color contrast.
Hard lighting will make the red and the orange as brilliant as they can be.
The appearance of objects and their shadows change constantly when the light is directional
yet diffused.
Like the quality of light from a window, provided no sun comes through, this directional, diffused
or medium source light produces medium-sized highlights, its shadows are lighter and have
softer edges.
If you want to work with artificial light, you can produce directional, diffused lighting
with a large reflector that simulates a medium source of a window.
This type of light has good modeling characteristics, so it is often used for studio portraits.
Outdoors, you can find a similar light quality when the sun is in the clouds.
The sunlight is softened, the effect is usually transitory.
You simply cannot control the movement of the clouds.
When we compare hard lighting and directional, diffused lighting side by side, the differences
between the highlights and the shadows become evident.
A complete gray cloudy sky serves as a large source and gives a fully diffused light quality.
The sunlight is spread over the entire sky, filtered through the heavy cloud cover and
is reflected off a multitude of surfaces.
What we see are very light shadows, almost nonexistent, with very soft edges.
The highlights, though large in area, are not strong.
Flat, fully diffused light seems to wrap around our model.
It softens the facial features and smooths the complexion by removing the shadows.
Color contrast is very low under this kind of light, and many colors are quite dull,
so only the brightest colors are going to stand out.
These overcast skies are perfect for photographing shiny objects, like automobiles, because the
reflections are soft and easy to look at.
In the studio, flat lighting can be duplicated by bouncing light off of walls or shining
it through translucent material.
Using very soft, filtered light on the studio still life, reduces the glare from the reflections
and makes the silverware more attractive.
A thorough understanding of the practical effects of light direction and the various
qualities of different light sources is a requirement for any advanced photographer.
More important is the ability to control light.
Through creative control of artificial and natural light, the photographer gains the
freedom to make any photograph that his power of imagination will allow.
In the studio, I have numerous tools at my disposal which control light in different
ways.
There is a lot of equipment here, which we'll look at a little later.
But many photographers may not need to use at all, especially if you prefer working only
with the natural light.
So let's go outside and see if we really do have any controls over the existing light
from the sun.
As the natural light photographer, he does not control light as much as he appreciates
the effects of different light's directions and qualities and takes advantage of what
each has to offer.
For no matter what the day has to offer, the light is suitable for photographing some aspect
of your subject.
A photographer should be thoroughly familiar with his camera and lens and feel comfortable
with quick, intuitive judgments about his composition so he can act instinctively at
the right moment when light enhances a particular feature of your subject.
Patience is necessary because the weather doesn't always cooperate and we must wait
minutes, hours, or days for that perfect light.
If the clouds have passed and it's now a bright, sunny day, you may want to take advantage
of it.
All you have to do is to realize that this kind of light will really bring out the color
contrast, but it could be a little too dark on the shadow side.
So let's bring in a reflector.
We'll fill in just a little bit on the shadow side, which will help emphasize the color
contrast.
Perhaps the shadows are the most interesting graphic effect of hard lighting from the sun
or any small source.
Shadows can be used creatively in a number of ways.
Here, lines and shapes of the shadows are the dominant visual element of the composition.
The strong color contrast between the dress and the stairs also create visual interest.
If you're tired of working in the harsh, direct sunlight, you have an option.
You can move your subject underneath the open shade of a tree like this or around the shade
of a building.
In this flat light, you must recognize the visual elements to draw more attention to
the subject rather than the graphic effect of the shadows.
In a visually complex environment such as this one, hard light from a bright sun only
complicates a photograph.
There are too many small highlights and shadows and too much glare.
Our picture is simply too busy.
We must wait for better light.
The colors of our subject are much easier to see in this lower contrast light because
they do not have to compete with the background, which has been simplified.
Simplification is the chief advantage of flat lighting, and it's a good reason to choose
overcast days instead of sunny days if your subject or location contains a variety of
textures and patterns.
Although a photographer may not have the complete control over natural light, he certainly can
be alert to variations in the quality of light and use them to his advantage.
If colors are quiet, dull under dark clouds, even rain, then they can be magnified under
late afternoon and early evening sun.
Many photographers prefer to work outdoors only at this time of day because the sun filtered
through the earth's atmosphere warms up the colors of everything it touches.
In most circumstances, you'll want to take advantage of this very warm light to make
a photograph that invokes a very appealing rich mood.
If that's your objective, then you won't need to use light balancing filters, which
can change the color temperature of your scene.
Sometimes, however, you may want to neutralize the warm light by adding a cooling filter
such as a light blue 82C.
This will remove some of the red light and make the colors look like they would under
a midday sun.
Whites will appear whiter.
Of course, if you lose the sun and you must photograph again under the cloudy skies or
rain, you may want the opposite effect.
The light now has a bluish cast, which is rather dull.
By adding a light balancing filter such as a pale orange 81C, you lower the color temperature
of the source.
That is, you add warmth to the colors.
With these filters, the yellowish 81 series or the bluish 82 series, you can control the
color balance of your photographs without having to wait for the sun to move or change.
Before you begin experimenting with filters, you may first want to photograph in all kinds
of light without colored filters.
If you are careful and look at the effects of the subtle variations of light direction
and quality, you will develop a very discerning eye for light.
And by photographing the same subject from the same angle in as many different kinds
of light as possible, you will learn a great deal about the relationship between light
and color.
Better yet, repeat the exercise with several subjects having different color combinations.
Controlling natural light outdoors depends mainly on the photographer's decision of
when and where to photograph for a given lighting condition.
In the studio, the photographer stays in one location and controls a wide range of artificial
lighting options to achieve a particular quality of light.
At first glance, there looks as if there's too many lighting choices.
You should remember though that despite the apparent complexity of artificial lighting
systems, your primary objective is still quite simple.
label the direction and the quality of the light that falls on your subject.
A single light, in this case a tungsten light, can be used to imitate the light from the
sun.
It's called the main or key light source and it can be placed anywhere around the subject
to duplicate any direction of sunlight.
Ron, let's start with front light please.
And now let's try some 45 degree lighting.
And now some split lighting.
And how about some top lighting?
If we use only the main light to provide back lighting, our subject will appear as a dark
shape unless we throw additional light into the shadow.
We can do this with a second lamp, the fill light.
It simulates the ambient light found outdoors that is reflected onto the subject by the
surrounding environment.
The fill light is always positioned close to the camera so that a second shadow remains
hidden from view.
This conforms to our understanding of sunlight, which produces a single shadow.
Our main light, the artificial sun, is closer to the subject and brighter.
If for some reason you don't have a fill light source available, we can use a white
card as we did outdoors.
The reflector bounces light from the main source onto the shadow side of our model's
face.
Obviously, there are much more complex lighting arrangements.
Lights can be added to achieve any specific effect.
For example, a small spotlight can be set up behind the model to emphasize the texture
and sheen of her hair.
Or a small flood light can be hidden behind the subject and directed directly on the background
to illuminate the background.
But all lighting setups are just variations of the most basic one.
Main light, the principal illumination, which represents the sun, and the fill light, which
modifies the shadow and represents natural ambient light.
Perhaps the best advice is to start with the most simple lighting system.
Discover the design possibilities of one or two lights before moving on to more complex
setups.
One simple tool for controlling your lighting are these barn doors.
They help direct light away from the areas of your picture that we wish to keep in shadow.
Another controlling device is this diffuser, which clips onto the light.
As its name suggests, it can change the hard, direct light of our tungsten light into a
directional diffused light source.
For an even more diffused light, it is necessary to spread the light from the source over a
larger area.
That is what a white umbrella attached to a lamp can do.
Or these light banks, or soft boxes, which produce a very soft, flattering light.
These lights are very popular with fashion and product photographers who prefer diffused
lighting rather than strong, directional lighting.
Light also can be controlled in the studio by using sources of different types.
Photo floods, which are the cheapest and easiest to use, generate heat and change the color
of their light as they get older.
Quartz halides are more expensive.
They also generate heat, but their light quality is more consistent than that of floods.
Electronic flash units are even more expensive, but they have long lives.
Another advantage of electronic flash is that you can stop action in the studio and still
have a cool light source.
Another method of controlling light which frequently involves flash is the process of
mixing light.
Earlier we used a reflector to lighten the shadows caused by hard, direct sunlight.
We can also use the flash for the same purpose, by mixing it with the sunlight.
The color temperature of the flash is relatively close to that of the sun at this time of day,
so that artificial and natural sources mix well.
However, in the warmer light of late afternoon, the difference between colors from the flash
and the sun are noticeable.
The light from the flash is cooler.
A similar mixing situation occurs when using artificial light from a table lamp and the
natural light from a window.
The window light acts as the main light, since it is stronger, and the table lamp is the
fill.
In this case, also there is a noticeable difference in the color temperature of the two sources.
A solution if you're not satisfied with a light mix would be to warm up the daylight
by covering the window with a large 85 sheet filter.
This is usually too expensive and too much trouble, so you might want to look for an
alternate solution.
Like using a flash to fill the shadow side, or replacing the lamp's bulb with a blue
photo flood, this will balance the two light sources.
Another common light mixing problem is that of combining natural light from a window with
fluorescent light.
If you photograph this scene with daylight film, the uncorrected fluorescent lamps will
look green and throw a greenish cast on the objects beneath, despite the light from the
window.
By using a color compensating filter, such as an FLD with the D indicating daylight film,
you can remove most of the green from the picture and give it a more natural look.
There are times when you might want to enhance the dominant color of your scene rather than
to neutralize it.
Before beginning to experiment with color enhancement or neutralization, you should
understand how different colors will stimulate different responses to photographs.
Those who are interested in designing photographs that communicate persuasively should be aware
of the psychological impact of the colors they choose.
In general, warm colors like brilliant reds or oranges excite people, and cool colors
like blues and greens relax them.
There's an interesting story about Newt Rockne, that famous football coach from Notre Dame.
This sly fellow understood the power of color.
Mr. Rockne painted his team's locker room red to keep them excited and anxious to win,
but the visiting team's locker room blue so they would be instinctively relaxed and it
was hoped be less aggressive when they reached the playing field.
Color very definitely affects our moods.
We are likely to be cheerful on a bright sunny day, but can be quite gloomy or depressed
on a cloudy gray day.
Our responses to color are more impulsive, more immediate than they are to other design
elements like line and shape, which arouse more intellectual responses.
For example, this colorless hexagon does not stimulate our attention as much as this red
square, which has immediate impact and suggests that a familiar sign would work just as well
if it were a different shape.
The dynamic effects of color are seen in all types of product design and advertising.
Boxes of soap are given hot, garish colors which shout for the attention of the consumer.
On the other hand, the pastels of these perfume boxes whisper romance to the prospective buyers,
and a soft drink may promise cool comfort using blues and greens in its ad.
Profers direct their images to specific groups if they know that most extroverted people
are content in colorful surroundings, while most introverted people are more comfortable
in environments with subdued colors.
Warm environmental colors normally reinforce our connection with our surroundings, while
cool colors persuade us to withdraw into ourselves.
In short, the emotional effect of color is strong.
Photographers, therefore, may want to consider how their choice of colors will create a specific
psychological response, as well as the intended graphic composition.
The most significant fact to remember about color composition is that warm colors seem
to advance and cool colors seem to recede.
The red dress commands our attention and seems closer than the blue dress, but actually they
are the same distance from the camera.
Because of the relative attraction of different colors, their strategic placement in the composition
becomes a primary concern of photographic design.
The arrangement of the objects in this still life seems slightly imbalanced, but if we
trade this warm color for this cool one, we have a better distribution of the visual's
weight.
Although the still life appears balanced, there seems to be a struggle for power among
several strong colors.
By simplifying the color relationship, we have made a more appealing photograph.
Our eye moves easily over the objects.
And when an isolated color appears in an otherwise monochromatic setting, we are attracted to
the contrastive color.
It becomes the center of interest.
As we have mentioned, color contrast, especially the contrast of hues, play an important role
in photographic design.
For example, although this yellow outfit stands out against the orange background, it appears
even brighter when contrasted against a passive gray.
Yellow is a unique color in that it is even brighter than red, which dominates most color
combinations.
Yellow is also brighter than white, which is more visible than any other color in a
photograph.
So even if our model in the white dress is closer to the camera, our eyes will constantly
be drawn back to the yellow dress.
Of course, we must remember that color contrast varies with the quality of light.
The yellow contrasts nicely with the green tree and the warm sunlight.
But it will seem even more luminous on a gray day when the green background is more subdued.
It is true that the photographer can predict that warm colors will appear more vibrant
in comparison to cool colors in flat lighting, or that cool colors will become more brilliant
under hard lighting.
But light and color relationships are so complex and so subtle that the photographer must take
time to observe natural light at work outdoors and experiment in the studio by controlling
light direction and quality.
By carefully looking, then seeing how light affects different objects and their colors,
you will gain the knowledge necessary to make it work for you.