Composition Tips On Michael Willems' Images FRAMING the earth toned mall with the bold and contrasting red street symbol on the left where your eye is first drawn, then sending you across the street. It is enjoyable to study this image and note the details of the parallel street sign across, just above the traffic cop, who is looking at the man in the black shirt, as is the b/w street sign of a direction arrow. Continuing the man in the black shirt is looking back and upward toward the brown building that then takes you in to the recesses of the scene and back via the white truck. The eye and brain of the viewer are having a great time here. Another FRAMING Shot, exemplified by the arched entryway into the hall. PATTERNS AND COLORS are always visually pleasant. Note the added dimension with the green grocery flags at the top of the image. Another trick to create appealing images of produce is to go close up and fill the entire frame with the fruit or vegetable, turning the contents into a colorful abstraction. LEADING LINES of the produce draws the viewer in to the interior of the scene. LEADING LINES in this shot are combined with an ASYMMETRICAL focus on the strawberries in the foreground. Great way to tell the viewer what they are looking at by FRAMING the building with the sign on the lower left. So many composition options inside a church with stained glass windows. In this case work with PATTERNS and LEADING LINES PANNING to create the effect of speed and motion With a SIMPLISTIC red background this street portrait helps one to view the individual in an empathic way, particularly with the same red in the jacket. The dark shadow under the vehicle is also a PARALLEL in shape and color to his legs in black pants. He is leaning on a post that anchors the eye of the viewer into the narrative taking place to the left. The bird is flying away, and out of the frame but your gaze is anchored by the structure at the bottom of the image. The visual between the bird and the wall at the bottom can be referred to as NEGATIVE SPACE, playing the role of keeping your eye movement within the frame. APERTURE CONTROL, where the photographer focuses the scene, blurs the background in a dramatic and visually pleasing manner to create a focus on the bust. There is also a RULE OF THIRDS at play, creating a more dynamic layout instead of an image with the bust dead center. Sometimes an image with the main subject in dead center is exactly that, DEAD. Depending on SHUTTER SPEED, moving water can be captured as a smooth flow or a split second of action.
Rick Gerrity, DPA Instructor in NYC and NJ, adding a splash of drama of this man on a horse. The morning light brought it home. 1. Time-Morning Light 2. Place of photo – Costa Rica 3. Name of Photographer and which Digital Photo Academy teacher is in-Rick Gerrity Digital Photo Academy instructor in NYC/NJ 4. f/stop-f 5.6 5. Shutter Speed-1/1600th sec 6.Back story- This image was made while leading a workshop with my business partner DPA Instructor, in Atlanta, Rob Knight in Costa Rica concentrating on freezing motion. 7. Lens- 35-100mm on a Panasonic Lumix GH4 8. How one might succeed with a version of the image if all they had was a cell phone- With a cell phone one may follow subject while pressing the shutter button creating a blurred background. A cell phone may or may not freeze the motion. Panning will ensure a sharp subject. 9. Photographer’s Strategy- Teaching the importance of lighting, being patient and getting the shot.. Composition regarding the rule of thirds..
That photo was taken during the Sunday workshop and Long Dock Park. It was just a grab shot since I rarely shoot during a workshop. 24mm on full frame Nikon D810 camera, 0.6 second exposure at F18. Shutter speed was important to render the water texture just right, so shutter speed of 0.6 seconds was chosen, then F18 was chosen to render a good exposure. Exposure was intentionally 1 stop less than the meter reading. The camera meter wants to render the scene a middle gray, but at this time of day, the scene is darker than middle gray. Using the exposure meter’s setting would have caused the photo to be too bright. Story 1: The chap who sails this boat swims to and from it from shore. Note that the water temperature on April is still quite chilly. Story 2: Most photographers go to Long Dock Park at low tide to shoot the pilings in the river that are visible at low tide. This beautiful view south towards the Hudson Highlands near high tide is rarely photographed.
BEAUTY IN THE EYE-Orlando Camera Club had a "Creative Macro" competition with results being presented this past Monday and David Montague walked away with the first place in this particular category. Says he, "I shoot with a Nikon D750 and used my 105mm macro lens. I placed my son in a chair, underneath the lanai shade, and his wife more in the sun so she would show up better within his eye. Placed the camera on a tripod and positioned it within a few inches of his eye. Took quite a few shots to get the focus just right. As your aware, using a macro lens that tight is tough to get a sharp image unless everything is perfectly still."
The photo is two images…the location of the moon rise while we were at Church Street Station was over a high-rise apartment building. So, we hoofed it to Lake Eola. To get it into position near the fountain wasn’t happening, and to get the exposure right for both wasn’t going to happen either. So, I shot the moon and fountain separately with this double exposure in mind. Attached is the picture straight out of the camera. ISO 100, 1/80, f/11 Canon 100-400L @ 400mm. Note that I used a simple app called PicBender; it just puts one picture on top of the other. Photoshop requires many more steps. John Cullum, Jr., Orlando DPA Instructor
February 20, 2016 - February 20, 2016 | Register Description: Register
Critique from Harry Wendt of Mylio.com and Digital Photo Academy Team-Sarah Corbin – “Galloping through the Marsh”
"Galloping Through the Marsh" taken in the Camargue, France. Copyright 2011 Sarah Corbin You’ve made a lot of really nice decisions here, Sarah. First, we like the sepia tone. We were wondering if you chose to shoot in monochrome or if it was a post-process choice. A lot of pros will tell you to make the choice in the camera to shoot monochrome, instead of it being a computer edit. You’ve done a great job of capturing these wild horses in their own world. Composition-wise, there really are no suggestions for you here. This is a really nicely layered image with the water in the foreground, the horses and splashing water in the mid, and the reeds and trees in the background, all which bring our eyes back to the subject. Geographically, we would advise you that there are still wild horse and pony herds in Tonto National Park, near Saguaro Lake in Arizona (though these are going to be relocated), and along the Outer Banks of North Carolina. Artistically, we would recommend you look up Robert Farber and Bobbie Goodrich, both of whom photograph wild horses. You might also be interested in the work of Paul Caponigro, who shot wild white deer. He was born in 1932, and a world renown master shooter and father of accomplished photographer, John Pajul Caponigro. The high shutter speed and 5.6 f-stop are both great technical choices. The shutter speed is going to stop the action of the horses and water splashing. The 5.6 aperture is enough to keep your subjects within your depth of field, but keep your foreground and background out of focus. My suggestions on technique would be that if you shoot a little lower shutter speed (anything over 1/1000s should stop the action) you could lower your ISO, increasing image quality and decreasing noise (not that any noise is seen here, just a note). We looked at your other images on your site and see that you make good post-production choices. We also liked the profile picture of the horses that we saw. We were wondering if you used a brush (Mylio will have brushes as of Monday) to burn in the background behind the horses a little? If so, was it a conscious choice to leave some shadow in the bushes immediately surrounding the horses to help them stand out, or was that just a lucky coincidence? Either way, it really helps the white horses pop out of the background.
From Don Peters/ DPA instructor in Chicago To view more of his images please visit http://digitalphotoacademy.com/portfolio/donald-peters/ My mantra, as I teach Composition in the Field Classes for DPA, is to look for building blocks of composition ---color, shape, texture, pattern, line, form….etc. This in-studio composition of a simple array of colored pencils gave me an opportunity to explore several of these elements. Using two, Kenko extension tubes, mounted between my tripod mounted camera and lens, I was able to focus very closely on my composition of the pencil tips to bring out the detail of the shaved wood. Using a goose-neck desk lamp was all the illumination needed and I was able to move the lamp around to try various pleasing light angles to create shadow and best show off the texture of the pencil tips. Because the bulb was incandescent, I adjusted the white balance setting in my camera accordingly to overcome the “yellow” cast of the bulb to make the subject’s colors appear more natural. Finally, I arranged the pencils in tight rows pointing at one another to add an element of “tension” to the composition. (Nikon D300 on tripod with 100mm Tamron macro lens and two, Kenko extension tubes, ISO 200, 1/125, f/16, side lit with desk lamp.)