Buat yang demen ama yang namanya photography nature in Photography
March 08, 2009, 01:17 AM
by Felisia A
tips trick photography
CLARIFY YOUR MESSAGE
communicate. Good nature photos communicate well! Photographic
Composition refers to the arrangement of visual elements in a photo. As
a photographer, you use lines, shapes, colors, tones, patterns,
textures, balance, symmetry, depth, perspective, scale, and lighting to
bring your images to life. But to consider the interplay of all of
these visual elements in every photo is daunting. A more practical
approach to nature photo composition is to look through your viewfinder
and ask yourself two questions. (You probably shouldn''t ask these
questions out loud, or else nearby people and animals will wonder why
you are talking to yourself.
1. What is the message of this photo?
2. What is the best way to communicate that message? N ature
photos are successful when the message is clear. When the
photographer''s message is garbled, ambiguous, weak or obscured by
distracting visual elements in the composition, the photo is not a
keeper. Nature photos that convey a powerful message compel the viewer
to take a second look in order to soak in the beauty and meaning of the
capture moods, transmit information, and tell stories. As you compose
each scene in your viewfinder, consciously identify the message you
hope to communicate. (Fernhill Wetlands, Forest Grove; OR; January;
28-200mm zoom set at 200mm: Fujichrome- Provia 100F, 1/2 sec. @ f/16)
KEEP IT SIMPLE
single best watchword to keep in mind as you compose photos is
simplicity. Instead of trying to squeeze lots of subjects into a
photo-a flock of geese, a wildflower meadow, a spectacular sunset and
dear Aunt Thelma standing on her head-aiming for simplicity is often
the best strategy. Interestingly, some professional nature
photographers actually take a "subtractive" approach to composition
rather than an "additive" approach; instead of dwelling on what they
can add to the composition, they focus on what can be removed in order
to strengthen the composition. I n
many cases, a poor composition can be turned into a good composition by
fine-tuning through the viewfinder; that is, by moving the camera
slightly left, right, up or down with simplicity as a goal.
Compositions suffer when your message is diluted by unwanted visual
distractions. Avoid visual clutter and your compositions will sing!
Once you settle on a photo subject and roughly line it up in your
viewfinder, move your camera left, right, up and down to see if you can
improve the composition. This photo distills a craggy landscape into
three zones: blue sky, gray rock and dark shadows. (Rocky Mountain
National Park, CO; 28-70mm zoom; Kodachrome 25)
photo composition takes time; great photo composition cakes even more
time. Nature photos composed in ten seconds or less usually bear little
resemblance to those composed in ten minutes or more. There arc
occasions in wildlife photography when you must rapidly point and shoot
or else you will miss the opportunity altogether, but many nature photo
subjects change very slowly. When you slow down to meticulously compose
photos, the rewards may include a wonderful meditative experience along
with vast improvement in your photos. How much better would your nature
photos be if you spent at least ten minutes composing each one?!?
FILL THE FRAME
as a landscape painter would not leave a portion of the canvas totally
blank, you should not ignore any portion of the scene that you frame in
your viewfinder. Make the best use of the entire "canvas" of each
photo. When you look through the viewfinder, think of it as a
rectangular picture frame; as you compose, make use of all the
available space. Fill the frame! Y ou
can significantly strengthen many compositions by zooming in as much as
your lenses allow or, if possible, getting closer to your subject.
Photographic compositions are weakened when important subject matter is
too small to see.
length of a frame of 35mm film is 50% greater than its width, so every
photo is markedly rectangular, not square. Most people have a
pronounced tendency to take far more horizontal photos than verticals.
But many landscapes have strong vertical elements such as trees,
mountains and water talk. Also, depending on your perspective even
horizontal landscape features can appear vertical. If you arc standing
high on a bridge and looking up a river, the river will appear as a
vertical element in your photo. And in close-up photography, the stem
of a wildflower or a blade of grass can be a strong vertical element.
whether a vertical or a horizontal composition will be most attractive
in each situation. You can enliven your nature photography if you
consciously take more verticals!
see lines almost anywhere you point your camera. How can you use these
lines to enhance your photos? Three elements to look to in your photo
compositions are diagonal lines, leading lines and curved lines.
Judicious placement of these lines can create memorable images.
Horizontal and vertical lines in photos often frame the scene or create
visual boundaries within the image. Horizontal and vertical lines
characteristically have a static appearance in nature photos, whereas
diagonal lines frequently arc where the action is. Diagonals are
dynamic! O ne type or
diagonal line is known as a "leading line," A leading line may extend
from the proximity of any of the four corners of a photo toward the
middle of the image or toward a significant feature in the image. You
can find many leading lines in the landscape such as riverbanks,
borders between field and forest, and fallen trees. A leading line
often enhances a photo because it leads the viewer''s eve into the
picture; it visually links the foreground and background, creating
continuity and an added element of depth. C urved
lines add aesthetic appeal to nature photos. In particular, S-curves
frequently appear beautiful to the eye. S-curves in nature include
winding rivers, curled tree branches, sinuous vines, swirling clouds,
and slithering snakes
photos illustrate the option of horizontal or vertical composition that
you face in every photographic situation. Which one do you prefer?
Notice how the graceful S-curve of the river draws you into the scene.
(Rocky Mountain National Part, CO; September; 28mm lens; Fujichrome 100)
PLACE SUBJECTS OFF-CENTER
people routinely compose photos with the main subject in the middle of
the image. This approach produces a lot of photos that look rather
static as if they were studio portraits. You can often produce a more
interesting image by placing the main subject somewhere other than the
center of the image. All easy way to keep this in mind is to use "the
rule of thirds." Imagine the scene in your viewfinder is divided into
thirds both horizontally and vertically. To visualize this, pretend
that a tic-tac-toe grid has been superimposed on the scene. Now compose
the image so that the main subject of the photo is located
approximately at one of the intersections of these imaginary "thirds"
lines. F or instance, if a
deer is the main subject of your photo, you might compose the image so
that the deer is one-third of the way up from the bottom of the image
and one-third of the way across from the left side of the image. You
may also want to place prominent horizontal or vertical lines-such as
the horizon or a large tree trunk - approximately one-third of the way
from one of the four edges of the image. The objective of this rule is
to diversity your compositions by consciously positioning your photo
subjects away from the center.
rule of thirds is a simple guideline to encourage you to position
important photographic subjects, such as the crescent moon in this
image, away from the center of the composition to heighten visual
appeal. (Winema National Forest, OR; July, 75-300mm zoom; Fujichrome
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