Hello again,
Well, if you were not scared off by
Monday's update I applaud your determination. Our blog appears to
have crashed last night, so this week is a little off in timing. But
with patience comes pay-off. To save time and sanity I will jump
right in to the last two topics for this week...
Subject Focus:
If you did any of your
research, you will be somewhat familiar with the “Rule of Thirds”.
Of course, there are two applications of this rule, so we will cover
the one most misunderstood first. In portraits this can most be
explained with close-up images. Honestly, it is best to think of
this in a grid form, so I will show you three methods of blocking to
create thirds on different forms of head shot and close-up.
The best way to tell is
break the photo into thirds and plan on having the subject's eyes in
the top third, nose in center, and the lower line should run right
about the middle of the mouth. Though my subject in the example
photo here has a slightly tilted head, you will notice this frame is
very even all the way around. Using the top, middle, and lower
thirds you can ensure that you are clearly focused on the subject as
a whole.
You might want to refer now
to the earlier lesson update when I said this week would be full of
“well, Duh!” moments... because yes, the first application of the
“Rule of Thirds” is just that simple. Now... apply it; suddenly
it becomes so much more difficult to achieve. Don't worry, we've all
had those days.
Alright, next application is
slightly more abstract, so I'll try not to make you feel like this
week was a total let-down. This time the idea is making your subject
the obvious main feature in your photo. Again, it sounds simple, but
think of how often you see a vacation photo with the
less-than-thrilled kids crammed in the corner and about 70% of the
frame is a blurry backdrop of nondescript scenery.
Below are two methods of
using thirds to position a subject for dramatic effect. The first
set show the subject being brought to attention by using the
majority to their advantage. You can also see how this works to the
benefit of landscapes.While not all three are
exactly set to two thirds, you can see the general cropping intended
and how it promotes an attention grabbing detail
There is a time and place
for photos with an off-set subject. Even in portrait photography a well placed
profile or posed model with dramatic lighting can make a statement.
That said, you should remember that a framed photograph is meant to
be a keepsake. Telling a story can be great, but does not always
have to be done with abstract posing or placement.
The opposite set of
thirds can be used to create an ideal image for later editing. Think
if this in terms of advertising and you can understand why it is a
favorite trick of visual marketing firms. The key here is to use a
less imposing backdrop so that the focus can be placed on later
additions to the image. Text is a common addition so that a product
or spokes-image can be displayed along with company details. For
additional reference I suggest looking at a magazine, billboard, or
marketing campaign poster.
Focal Length:
I apologize completely right
now for any ranting I am about to do on this topic. This may well be
the one thing that most drives me insane when looking at the pictures
many people post online. I am sad to see many photographers who do
not know what focal length is at all; or who appear to simply not
care about the distortion that it can cause.
I am not talking about a
fish-eye lens being used to purposely curve and alter an image, but
the awkward exaggeration that comes from standing too close to a
subject and zooming out to fit it into the frame. I often refer to
poorly executed focal length in portraits as “Myspace Pix”. I
know this reference has become slightly outdated, but it is based on
the popularity of these shots really beginning with the rise of
social media sites. In particular, this was (and is still) a
favorite of teen girls as a self-portrait can be achieved with any
form of camera in any location.
To explain what I mean, I
have included two examples of such a self-portrait in the examples
of poor execution. This is done by holding the camera up over one's
head or at eye level and moving it back until the arm is fully
extended before snapping the shutter. You will note the enlarged
appearance of the forehead or nose in each image. The third example
here was achieved by simply standing quite close and zooming out as
the subject moved in for a look and failed to fit in the frame.
The solution to this whole
problem is simple. Step Back. I know you want to get that
ultra-tight cropped shot of the baby and her beautiful blue eyes; but
your camera can zoom in for a reason. Start at least two steps
farther away from your subject than you believe you will need to be.
From there you can move in physically or with your zoom options to
get the cropped image you want. The very first image on this lesson
is tightly zoomed and cropped, but taken without distortion by using
this exact method of control.
As you can see, the
angles explored in the first sequence can be achieved without
distortion. The next step is training your photographic eye to work
on selecting a particular location in the photograph to focus on.
This is done by planning where in the image you intend the audience
to direct their eye.
Most artworks are made by
placing the focal point in the foreground and creating a blurred
backdrop. Occasionally a prop or two may be added to tell a story,
but there items are placed at or near the level of the subject so
they remain in similar levels of focus. However, a truly unique
image can be achieved by positioning the subject so that the
foreground is not in sharp focus, asking the viewer to “step in to
the image”. Think of it as leading your audience down a path by
using your setting or subject pose to the advantage.
Here I offer two images
taken in sequence. The only change was made through the use of
manual focus to select the foreground or background as the focal
point. Notice how they display a
different sense of motion even being taken with the exact same elements in frame.
Finally, I want to present a
sample of how pose can be used to create depth of field when correct
focal length is applied. In this situation, the viewer must look
along the horse's back and up to the focal point centered on the
animal's eye. Again, it forces the audience to follow the visual
cues from foreground to focal point while still managing to have a
backdrop that is not completely in focus either.
And with that image, I give
this final advice; remember that once you know how to apply the rules
you can start to break them for specific reasons. Keep in mind that
there are many elements to a photo and bending one of the basic rules
works, but intentionally breaking several at once hardly ever ends in
a presentable photo. In general, try to follow the technical
guidelines and always test a shot before you try something in a
“one-time-only” setting. Never promise something you cannot
deliver, you will only loose clients that way.
