Make Photographs for Yourself, Critics are Critics for a Reason Over the past ten installments from the Learning to See series (linked to below), I have hoped to lead the novice photographer through the basic concepts of not only what makes a photograph better, but also introduce some of the theories and principles to why. [...]
The limitations in your photography are in yourself. –Ernst Haas Diagonal lines, as we learned in our entry, are the subliminal connectors that keep the viewers eye within and moving around the picture. As you looked at the busy example by Rembrandt we saw how he cleverly positioned his supporting elements to facilitate the movement [...]
For the most part, as photographers, we avoid shooting into the sun for fear that we’ll get some unsightly flaring. The sun DOES present some exposure challenges, and of course, flare is a concern, but by carefully composing your shot, and properly exposing, including the sun in your images can create stunning results. The first [...]
You don’t take a photograph, you make it. – Ansel Adams In our last entry we learned that placing the subject at one of the four primary points of impact within the scene would greatly enhance the ease of viewing by way of good composition. We introduced the “Rule of Thirds” as a classic example [...]
Consulting the rules of composition before taking a photograph, is like consulting the laws of gravity before going for a walk. –Edward Weston To some photographers composition is an innate process, whereas to others it is a life-long learned challenge laden with frustration. Regardless of which category you find yourself, good composition is a [...]
Whereas photography is about vision, composition is about aesthetics. In our previous readings in this series we learned how colour, contrast and tonal range have a dramatic effect on the overall result. Some teachers may say the first important rule in making successful pictures is composition, and indeed that may be so. However, I also [...]
No Contrast – No Problem The most beautiful composition can be dashed by improper use of color and contrast. –CJ Rider As we learned in our last entry, harsh light can work well with bold and dramatic colours, yet blow-out the subtle and delicate tones. The colour red supported by black, or gold surrounded by [...]
The colour of the object illuminated partakes of the colour of that which illuminates it. – Leonardo da Vinci In our past columns (see links below) we have discussed such topics as how one colour can complement or distract from a bordering colour. We have also learned that to truly see colour one has to [...]
The Hues and Use of Colour, Part III Seek the strongest colour possible…the content is of no importance. –Henri Matisse Upon review of our last entry we learned that the colour, tone or shade of a perimeter colour can, and does, affect the primary subject. The works of the artists identified —Turner, Maisel and [...]
Read earlier posts in this series at “Learning to See – For Beginners” and “Learning to See Part 2“. The Hues and Use of Colour, Part II Colour is a means of expressing light. – Henri Matisse In the first installment of the “Hues and Use of Colour” we introduced a discussion on colour, albeit [...]
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