Study group?

[vonnagy]

good to see you post will, if only for a fading moment

 

[motcon]

hello gentlemen; good to see you as well.

ahhh yes; Gero-speak. i feel a brain cramp coming on...

...or is that the residual from the wine last night? i've always had difficulty distinguishing between the two.

i live!

 

[ginsberg]

Module 1

We've all seen a tourist get off of a bus, take a few snapshots, and return to the bus. And we've all seen the results. Why doesn't the snapshot represent what the tourist experienced? The first answer is that when you take a photograph of anything you are, consciously or not, selecting a part of that environment. You are separating out a piece of what you see. When the photo comes back from the developer all it will show is the separated scene.

The scene may have all the elements of a successful photograph, shape, probably color, perhaps texture, lines, maybe curvature. But by buying the ingredients for chicken cacciatore and throwing them into a pot you don't end up with chicken cacciatore. And now we come to the term composition. The elements in a photograph have to be arranged so that they enhance each other rather than distract from one another. The elements should lead the viewer's eye through the photograph and keep it in the photograph (or bring it back if it leaves).

There are many rules to achieve this but first, let me say that, while rules are useful, they are only a starting point. If good equipment and the application of rules was all that was necessary to make a great photograph we'd all be (fill-in the name of your favorite great photographer). The elements of a scene have to be arranged in a way that elicits emotion from you, and ultimately, the viewer.

So what are these rules that we should learn and be prepared to break?

One rule is that the photograph should contain a center of interest The subordinate and surrounding elements should direct or lead the viewer to that center of interest by means of pointers and visual paths. This area should not be blocked, not even partially. This will diminish its importance.

And how do you do that? Stay tuned for the next part.

The above is meant only as a starting point. The real "learning" starts with the assignment.

Assignment (for those who wish to participate): Look at photographs in the critique section the forum. Pay attention to where your eyes go. Does the photo have a center of interest? Is your eye led systematically around the photo? Does it rest on something that isnÕt important to the photo? Does it stay in the photo?

1) Post an evaluation of photos based on the above.
2) Let us know which photo(s) you evaluated.

 

[motcon]

ok, i'm going to have to pass on this group. g/l with it.

 

[Hertz van Rental]

Two good books (you know, those printy things) worth getting hold of are:

Criticizing Photographs - Terry Barrett
Photography: A Critical Introduction - Ed. Liz Wells

I'm supposed to be getting a PhD proposal together looking at this - well actually it's to do with building a framework to act as a basis for photographic criticism. If anyone is interested I could put some of my ideas together and publish.....