FRAMING AND COMPOSITION, ......MANUAL MODE.........
In class exercise ( Use manual mode for these exercises ) Wow thats a challenge.
Exercise 1
Take a portrait with a close crop. Choose your depth of field and your vantage point. Shoot at least 4 so you have a few to work with when it comes to editing in Bridge.
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| f4/5 1/60 iso 1600 Raemon in class, close crop and a narrow DOF . My vantage point here is a low angle ever so slightly tho. |
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| f/5.6 1/80 ISO 800 Victoria up close and personal I was right in front of her , narrow DOF |
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| f/5.6 1/1,600 ISO 100 Well that shutter speed is bit shocking should be 60 - 80 as these are portrait shots. Narrow DOF . High angle. |
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| f/4 1/30 ISO 6400 Night shot inside not cropped as is . Narrow DOF, high angle, |
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| f/1.4 1/50 ISO 640 This image is not in focus but it frames Damion well. If I had of seated Damion more to the left and focused this would have been a good portrait shot. |
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| f/2.8 1/1250 ISO 100 Shutter speed again high but my reason for that was Victoria was going to blow the Dandelions spores and I wanted to catch them blowing in the wind. Narrow DOF |
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| f/5.6 1/100 ISO 100 |
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| f/4 1/30 ISO 6400 This hasn't been cropped this is how I took the photo, to close, the lighting isn't right. I wanted to add it anyway. |
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| f/1.4 1/125 ISO 400 Under exposed but I wanted to include as I like the frame. Narrow DOF |
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| f/2.8 1/1250 ISO 100 Narrow DOF nice framing. Speed shutter to high again the settings. |
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| f/4 1/30 ISO 2500 A night shot for Toko , not cropped . |
Exercise 2
Take a second portrait giving your subject more space in the frame. About 4 or more.
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| f/4.5 1/60 ISO 1600 An in class shot for our exercise. |
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| f/8 1/400 ISO 800 No idea why we have a huge ISO should of been 100 shutter speed should have been 60 - 80 . Wheres my brain at ? Not focusing on my camera and thinking about the settings. Nice frame for Victoria , narrow DOF . Slightly unfocused. |
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| f/11 1/800 ISO 800 Well theses settings are well out there. Just not concentrating on my settings. Shutter speed should be 60 - 80 ISO 100 because we are outside. |
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| f/8 1/125 ISO 400 Not cropped taken as is but I wish I had of got Tamatis whole face in. Narrow DOF |
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| f/4 1/800 ISO 100 Shutter speed in bit extreme even with the kids jumping. Nice shot of Victoria I didn't crop because I wanted to leave Tamati in. Narrow DOF |
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| f/5 1/8 ISO 400 Shutter speed could of been higher , narrow DOF . Photo taken inside |
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| f/8 1/200 ISO 200 Shutter speed to high should have been 60 -80 again not focusing n my settings. |
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| f/4 1/60 ISO 400 This was taken at the beach. A nice shot of Toko behaving. |
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| f/4 1/30 ISO 6400 |
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| f/4 1/30 ISO 6400 I couldn't resist these photos , narrow DOF, night shots |
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| f/4 1/500 ISO 400 Tamati , narrow DOF , foreground in focus |
Photograph three different scenes with the main subject of your photo on one of the four rule of thirds intersections. These photos could be portraits, still life ,urban scenes, landscapes or a mixture .
THE RULE OF THIRDS
Taking the time to find a pleasing and effective placement for your main subject is crucial to the success of your travel photographs. One method that artists have been using for centuries is the rule of thirds. It involves mentally dividing the viewfinder frame into thirds, both horizontally and vertically. The four lines and four intersections of these lines can then be used as invisible guidelines to help you find the most dynamic subject placements.
By locating a subject at one of the four intersections—as opposed to nailing it squarely in the center of the frame, for example—you give it added emphasis. The technique works well with all subjects but is particularly effective when you are photographing a relatively small subject surrounded by a large expanse of space or against a plain background. The visual weight of your subject balances the vast emptiness. A sailboat on a calm sea centered in the frame appears stagnant and overwhelmed by its surroundings, but if it is placed at a thirds intersection, its position fulfills our need for a dynamic visual tension.
You can also use thirds to help organize and support secondary subjects by setting them at diagonally opposite intersections—for example, placing a lone oak tree (the main subject) at the lower left juncture and the rising full moon (a secondary subject) diagonally opposite and above at the upper right intersection. Again, balance and dynamics.
Thirds divisions can also help you decide where to place the horizon. If you place it along one of the two frame divisions, you have a quick and effective shortcut for deciding how to arrange the composition. Imagine, for instance, that you're photographing a Caribbean beach scene that includes sand, sea, and sky. Placing the horizon at the upper line gives the sky one third of the frame and the foreground two thirds, accenting the beach and water. Conversely, placing it along the bottom division line accents the sky by giving it two thirds of the frame. You can use the same principle whether you're shooting horizontally or vertically.
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| f/8 1/160 ISO 100 Raemon is sitting on the intersection. Not a focused image my camera is having a melt down, very difficult to get it focused. |
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| f/8 1/160 ISO 100 Raemon again is on the intersection. The truck and trailer rides along an intersection line. |
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| f/14 1/80 ISO 100 The sun and Kyle are on an intersection. |
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| f/3.5 1/30 ISO 800 Termites eye is on an intersection. |
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| f/9 1/1000 ISO 1600 The full moon is on an intersection in this image. |
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| f/1.4 1/320 ISO 100 The stem of the glass maybe on the intersection in this image. |
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| f/20 1/5 ISO 100 My pine is on an intersection. |
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| f/2.8 1/400 ISO 100 This Rose is on an intersection and I would say it runs on the horizontal line of thirds. |
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| f/25 1/40 ISO 100 The cloud is on the intersection and maybe the corner of the sky divers parachute. Wide DOF low angle. |
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| f/29 1/15 ISO 400 The prongs on the bike run through an intersection. photo is cropped and highlighted in camera raw. A low angle and wide DOF. |
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| f/6.3 1/1000 ISO 100 In the foreground the bike and the rider are on an intersection. Narrow DOF . I have a high shutter speed because the bike is moving. |
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| f/5.6 1/20 ISO 1600 Travelling in a vehicle the car is on an intersection. |
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| f/32 1/8 ISO 100 Tamati is on the intersection here. Wide DOF low angle shot slightly out of focus but I like his expressions. |
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| f/11 1/160 ISO 3200 The flag here runs verticaly with the rule of thirds and an intersection. |
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| f/20 1/200 ISO 200 The stink beetle is on the intersection. Shutter speed to high the beetle wasn't moving. Wide DOf |
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| f/2.8 1/400 ISO 100 This copper sculpture is on a rule of thirds and an intersection. Shutter speed to high. I really need to slow down and focus and look at my settings. |
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| f/1.8 1/400 ISO 1600 flash on The fire works are on the intersection in this image. The fstop should be higher again not focusing on my settings. |
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| f/3.5 1/50 ISO 100 The flowers are on an intersection in this image. Narrow DOF high angle. |
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| f/4 1/60 ISO 400 The chimney is on an intersection and runs up the rule of thirds line. Low angle shot |
Exercise 4
Find a piece of architecture and shoot a Bernd and Hilla Becher inspired photo. ( Flat light, vantage
point : front on view point, wide depth of field, straight lines )
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| f/8 1/80 ISO 100 On our walk outside MIT we came across this house which suited the Bercher exercise. |
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| f/8 1/80 ISO 100 Another image on our walk that I thought would be good for our exercise on the Berchers. |
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| f/8 1/160 ISO 100 The lines are what attracted me to this image for this exercise. |
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| f/4 1/2 ISO 400 My fstop is to low it was suppose to be around f22 as the Berchers took wide DOF shots. I like this image . Changed to black and white in camera raw. The same image is in colour 2 pics down. |
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| f/4 1/25 ISO 1600 This image isn't in total focus I mucked around trying to get these shots but I had family yelling at me to hurry up and with the full moon , the clouds and the machinery I couldn't resist. Changed to black and white in camera raw. |
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| f/4 1/2 ISO 400 F stop to low. It would of been an awesome pic had I had the settings right. I was to rushed and just didn't focus. Low angle , narrow DOF. |
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| f/1.8 1/250 ISO 1600 Driving along the motorway spotted this factory , just totally thought about the Berchers . Front on , High shutter speed because we were moving. High angle , narrow DOF , ISO high because it was dark. Image isn't in focus but I liked it anyway. |
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| f/1.8 1/250 ISO 1600 As above only in colour. |
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| f/18 1/80 ISO 100 Spot metering. Low angle , wide DOF a bit out of focus because in a car. Colour picture turned black and white in camera raw. I noticed in their photos they had a lot of space around there images. |
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| f/22 1/80 ISO 800 Wide DOF as they would shoot , low angle , not sure about the cars because there wouldn't of been vehicles parked up but I think the image is perfect for the exercise. As above turned black and white in camera raw. |
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| f/9 1/1600 ISO 200 Again travelling in a car had to take this pic. Low angle , wide DOF . |
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| f/5.6 1/1250 ISO 100 Another image I had to take whilst travelling in a car. Cropped and changed to black in white in camera raw. Low angle, Narrow DOF I wished I had of checked my settings then the house would of been in focus had I changed it to f22 or higher. |
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| f/9 1/1600 ISO 200 I cropped this image as below. |
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| f/9 1/1600 ISO 200 Travelling again . low angle, wide DOF, evaluative metering, changed to black and white in camera raw and cropped. |
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| f/9 1/1,600 ISO 200 Another travelling image I couldn't miss out on. Reminds me of the Berchers, Wide DOF, low angle changed to black and white in camera raw. ISO 200 because Im in a car. |
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| f/4.5 1/500 ISO 100 I have cropped this image and changed it to black and white. Again I think this is a good image for the exercise. High angle, evaluative metering. |
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| f/4 1/80 ISO 100 Another image I couldn't resist in taking reminds of the Berchers. |
Exercise 5
Look for and photograph pattern. This could be found within architecture, nature, shadow something you construct etc. Experiment with angle , filling the frame. Try shooting wider so there is negative space within the frame. See if a pattern has been disruptive in any way.
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| f/2.8 1/250 ISO 100 This pattern is the hedges disrupted by the three palms . I had this image in camera raw to brighten it up bit. |
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| f/5.6 1/250 ISO 400 This pattern is of the Police marching , the trees are perhaps the only disruptive part in this image. I had to put this image in camera raw as the picture was really dull and over exposed to brighten it up. My settings in the ISO should of been 100 the shutter speed could of been less. I was at the same angle as them. This is a narrow DOF as the background is slightly out of focus. |
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| f/22 1/40 ISO 100 Clearly Ive got my settings wrong here but I do have a pattern. The wire fence and the planters . High angle shot , looks like a narrow DOF. I feel the stop should of been f4 or f/5.6 . |
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| f/5.6 1/800 ISO 200 I have a pattern of the three trees, the cars and the wooden fence. Narrow DOF |
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| f/22 1/60 ISO 100 We have a pattern of planters and a wire fence, the disruptive part here I feel is to the left the piece of green in the post of the fence. Low angle shot and narrow DOF . Wrong fstop i think could of been f/4 of f/5.6 . |
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| f/10 1/2 ISO 100 Wide DOF , low angle ever so slightly, the pattern is the chairs and they are disrupted by the change in their pattern. |
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| f/4.5 1/1100 ISO 100. Ridiculous shutter speed here should have been 60 - 80 narrow DOF, high angle . The pattern is the pavers disrupted by the plants and edging. |
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| f/29 1/30 ISO 400 We have a swerving pattern of a hedge, steel poles and a building a lot going on but I feel its the blue and red shop that disrupts this image. Wide DOF and a eye shot , settings ok shutter speed could have been a little higher. |
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| f/2.5 1/160 ISO 100 A neat pattern with the white bricks. The lights I feel are the disruptive part of this pattern. Shutter speed could of come down as I was only photographing a still object. Low angle and a narrow DOF. |
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| f/5 1/500 ISO 160 Line of Palms pretty pattern. Slightly low angle shot wide DOF. perhaps not in focus either I don't think anything is disrupting this pattern. Shutter speed was 500 because I was in a car. |
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| f/29 1/15 ISO 400 Side of the Library building, poles and hedge pattern |
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| f/1.4 1/1000 ISO 100 Stone wall and the pattern is the bricks , The bricks that poke out are the disruptive part of the pattern. Front on shot.. Narrow DOF . The settings are wild and wooley. Shutter speed should have been 60 - 80 . |
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| f/8 1/30 ISO 100 This is Farmers carpark, Low angle shot Settings are good. Pattern to me in this image is the car parks going horizontal and then we have the disruptive vertical wires of the gate. |
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| f5/6 1/30 ISO 100 This is the first example with negative space within the frame. The next image has been taken from out of this photograph.. I feel in this image as the image below the disruptive part of the pattern is to me the odd green or yellow colours sticks. High angle and a narrow DOF. The settings are good for this exercise. |
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| f/5.6 1/250 ISO 100 This is high angle , narrow DOF and the pattern here is crazy. For my eyes the green stick is the disruptive part of this pattern. |
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| f/22 1/100 ISO 100 I have a wide DOF , a high angle and I think the 2 middle islands are the disruptive part of the pattern. My settings are ok for this photograph.I cropped this image perhaps it would have been better to have left it. |
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| f/4.5 1/80 ISO 100 This is a low angle , narrow DOF shot. In this image the trucks are my pattern and and the second one from the left here is the disruptive part of the image, as it is parked a little more forward than the others. All my settings I think are correct for this photograph. |
EXERCISE 6
Using evaluative metering mode take a portrait with the sun behind your subject. Keeping your subject in the same place change to spot metering mode.
I didn't do this exercise at MIT as I couldn't work out how to find the metering mode on my camera . I did two shots at school with Raemons camera but I wanted to do this exercise at home.
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| f/22 1/50 ISO 100 Spot metering . Wide DOF and a low angle This image is under exposed but in focus |
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| f/22 1/1000 ISO 100 Spot metering Wide DOF Well a very under exposed image here , the back ground is fine, shutter speed is ridiculous The shutter speed here is to fast and didn't let enough light in . I should of checked and set it around 60 - 80. |
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| f/2 1/2000 ISO 100 Evaluative metering This image is brighter but the aperture has changed and the shutter speed omg. Not a crisp in focus shot. Narrow DOF and a low angle shot. |
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| f4 1/640 ISO 100 Spot metering. Low angle and a narrow DOF. Really focused foreground , mid/ background are not as much in focus. |
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| f/4 1/640 ISO 100 Evaluative metering , low angle , Narrow DOF. The foreground is in focus. In these shots I preferred the Evaluative metering, more light. |
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| f/4 1/80 ISO 100 Evaluative metering , low angle narrow DOF The light is even everywhere in this image. |
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| f/4 1/80 ISO 100 Spot metering , low angle, narrow DOF. Damion is in focus |
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| f/4 1/80 ISO 100 Spot metering , low angle , narrow DOF Damion is very crisp in this photo.His T shirt is very bright. |
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| f/4 1/80 ISO 100 Evaluative metering Damion is in focus , low angle and narrow DOF |
Week 3 cropping, composition, line and pattern..
researchers :
OLIVE COTTON
Olive Edith Cotton
Australian born ( July 11 1911 ) . An outstanding Australian female photographer of the 1930s - 40s working in Sydney.
Her mum was a pianist and a painter her dad Leo a geologist who took photos for Sir Ernest Shakeltons expedition to the Antarctic in 1907. Clearly a talented family Olive was one of five children.
Given a Kodak camera when she was 11 with the help of her father they made a darkroom in there laundry where she processed film and printed her first black and white images.
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| Only to taste the warmth, the light the wind...1939 Beautiful composition and the frame is perfect. |
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| I love this image I tried to take a photograph showing the same shadow. |
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| f/5.6 1/60 ISO 100 Well not as good but had I framed it and placed the salt and pepper more forward had no other shadows in the photograph I may have had a winner ...not.. |
In 1939 Olive Cotton married her long time friend Max Dupain. They separated in 1941 and were divorced in 1944.[2]
Cotton received numerous commissions in 1945, including photographs of winter and spring flowers for Helen Blaxland's book Flowerpieces, which also included some images by Dupain.[1] Sydney Ure Smith was an advocate of her work, and she did many commissions for his various art publications.
In mid-1947 Cotton went to live in the bush 35 km from Cowra, New South Wales, with her new husband Ross McInerney. They lived in a tent for the first three years, then moving to a small farm where their two children grew up. She taught Mathematics at Cowra High School for five years until 1964 when she opened a small photographic studio in the town, taking many portraits, wedding photographs, etc., for people in the surrounding district, where her work became well-known and much appreciated, although she was as yet unknown on the postwar city art scene until 1985.
What an inspirational woman.
The Tea cup ballet image is a lovely pattern , I really enjoy looking at that photograph.
Olive Cotton died on 28 September 2003, aged 92.
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MY SECOND PRACTIONER IS PAUL STRAND
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| Born | October 16, 1890 New York City |
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| Died | March 31, 1976 (aged 85) Orgeval, Yvelines |
| Nationality | American |
| Known for | Photography |
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| Wall Street 1915 |
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| Harold Greengard Twin Lakes , Connecticut 1916 |
Paul Strand was an amazing American photographer and film maker who helped establish photography as an art form in the 20th century.
Well known for his early abstraction his return to still photography produced some of his most significant work in the form of six book ' Portraits of Place ' .
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| Gaston Lachise 1927-28 |
Paul Strand's debut in photography coincided with the first stirrings of modernism in the visual arts in America. Born in New York in 1890, he attended both the class and club in photography taught by Hine at the Ethical Culture School in 1908. A visit to Stieglitz's 291 gallery arranged by Hine inspired Strand to explore the expressive possibilities of the medium, which until then he had considered a hobby.
Although he was active for a brief period at the Camera Club of New York, whose darkrooms he continued to use for about 20 years, his ideas derived first from the circle around Stieglitz and then from the group that evolved around the Modern Gallery in 1915, including Sheeler and Schamberg.
Strand's work, which was exhibited at 291, the Modem Gallery, and the Camera Club, gained prizes at the Wanamaker Photography exhibitions and was featured in the last two issues of Camera Work
He mainly photographed urban sites, continued with the machine forms begun earlier, and turned his attention to nature, using 5 x 7 and 8 x 10 inch view cameras and making contact prints on platinum paper.
In these works, acknowledged as seminal in the evolution of the New Objectivity, form and feeling are indivisible and intense. In addition, Strand's writings, beginning in 1917 with "Photography and the New God," set forth the necessity for the photographer to evolve an aesthetic based on the objective nature of reality and on the intrinsic capabilities of the large-format camera with sharp lens.
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| Portrait, Washington Square Park 1916 |
Unable to finance filmmaking after World War II, Strand turned to the printed publication for a format that might integrate image and text in a matter akin to the cinema. Time in New England, a collaboration with Nancy Newhall, sought to evoke a sense of past and present through images of artifact and nature combined with quotations from the region's most lucid writers.
Strand continued with enterprises of this nature after he moved to Europe in 1950, eventually producing La France de profil (A Profile of France) with Claude Roy (1952), Un Paese (A Village) with Cesare Zavattini (1955), and Tir a'Mhurain with Basil Davidson (1962), among other works.
At his death in 1976, he had been photographing for nearly three-quarters of a century, gradually finding his ideal of beauty and decorum in nature and the simple life.
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