A Crash Course in Photographic Composition | Frank Wang | Skillshare

A Crash Course in Photographic Composition

Frank Wang, Photographer

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4 Lessons (2h 16m)
    • 1. Intro to Composition

      23:08
    • 2. Geometry and Lines

      27:47
    • 3. Optional: Previously recorded Q&A Video

      57:03
    • 4. Putting It All Together

      28:17
48 students are watching this class

About This Class

This class is for anybody who wants to create visually compelling photographs. You will learn photographic composition - a crucial element for great photos. 

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What You'll Learn

  • Composition. We'll focus on why certain images just "work" and discuss the importance of proportion in photographic composition, starting off with a discussion of the photographic frame, and then moving onto subject placement, and then going to more specific forms of proportion such as balance, the rule of thirds, golden ratio and its variants.
  • Geometry & Lines. Building on what we've learned about proportion, we'll add geometry and lines to the equation, and will explore how the use of verticals, diagonals, and horizontal lines affect your images as well as how various shapes (circles, rectangles, triangles) can be utilized in isolation and in patterns.
  • Putting It All Together. We will build on the last two sessions and  utilize shapes, color, and contrast to achieve the above compositions, as well as various ways of training your eye to see opportunities to make use of what we've learned so far (such as flattening / expanding perspective and use of abstraction).

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What You'll Make

This class will be fiercely analytical and teach you the above concepts and how you can use them effectively. There will be less discussion on exposure, gear and other technical aspects. You will be given an assignment to apply what you've learned in each session to your project.  At the end of the class you should have posted 5 images per module, for a total of 15 amazing photos. 

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Transcripts

1. Intro to Composition: - hello and welcome to a crash course in photographic composition. - For those of you have taken my DSLR crash course. - You know, - this class has been a long time income, - and I'm glad that things finally here a note about the format for those of you have taken a - skill share online or hybrid class before. - You may be expecting a live video feed or a Web cam feed. - Then the today I decided that it was best for you not to have me talking at you for 30 - minutes on and said just to present the content first along with an audio narration. - So here we go about this class. - What are we going to learn and do the gold? - This class is to de mystify and to simplify compositions. - Um Thean goal. - That is to have everybody learn how to take better pictures. - Uh, - part of things. - One of the things we're going to do is Teoh. - Learn the rules that some conceptual rules of composition on and then have you start - breaking with rules towards the we are going to approach the subject. - From an analytical point of view, - it's going to basically break down a bunch of image images and and we're gonna talk about - why certain images working? - Maybe. - Why certain images do now, - What are we not going to do? - We're not gonna talk much about gear. - There will be a little bit about gear, - how certain lenses can help you achieve your goal. - But for the most part, - this is a class that you can take with your camera phone or your point and shoot, - and you need not have, - ah fancy, - expensive camera to get the most out of this class. - We're also not going to talk much about content, - meaning in otherwise get Artie or two metaphorical. - I think there's immense value and the things above, - but it's beyond the scope of this class. - However, - during the pure review part this class where you post your pictures onto the skills your - project page, - feel free to take your your commentary and feedback to your fellow students in that direct - . - If you spot something particularly engaging, - but a photo that has nothing to do with its composition feel free to to let your classmates - know, - was this class for I've designed this class event. - Just about anybody, - uh, - has a camera can take it, - uh, - requires zero technical aptitude. - It doesn't require that you know anything about photography or know anything about exposure - or gear, - equipment or software. - Even the people. - We're probably gonna get the most out of this class or there was a view picked up a camera - for the first time, - a little bit about the format. - We are going to introduce concepts, - first, - compositional concepts. - And then I'm going to demonstrate those concepts with some visual examples, - both from my work and the work of other photographers. - And we're gonna do it over and over again until you recognize there's concepts and can - execute them in your own work. - What makes a picture interesting? - I would say that they're two broad categories of things and make a picture interesting. - The first is content. - The contents refers to the subject matter of an image. - Essentially one is in the image heart. - They're interesting things in the image. - Does it have brightened vivid colors? - Does it show you something you've never seen before? - The second thing is how all that content is arranged in your photo. - Essentially, - if you have something interesting, - how do you present it? - In a way that is visually or aesthetically appealing, - and this is what we're really gonna talk about. - So in that light, - we're gonna talk about things like balance and ratios, - lights and darks, - perspectives or lack of perspective, - death or lack of death. - We're gonna talk about lines and shapes and geometry, - triangle circles, - etcetera. - For this module, - we're gonna talk really about two broad categories of concepts. - The first has to do a subject placement in balance and ratios. - The second really has to do with use of distinct four grounds. - Can backgrounds to enhance depth and to give you you give you a sense of being drawn into - into the picture. - First off, - let's talk a little bit about the frame, - and what I mean by the frame is the aspect ratio of your camera. - Most camera shooting two by three This is the equivalent of a four by six print. - It's the same ratio and most cameras these days shooting this format. - However, - some of you might be shooting in square format. - Those of you armed with mean for about six by six or rol a flex might be shooting in this - format or those of you armed with a smartphone and Instagram will also be shooting in this - form. - Application of compositional concepts will differ a little bit between rectangular and - square format. - We're going to talk a little bit about both. - Okay, - subject placement and balance. - A quick note about subject placement and formats If you're shooting to buy three. - Ah, - I would try not placing your subject in the middle of the frame, - uh, - for square format that actually works look better. - But in either case, - we're gonna talk about the rule of thirds and how to apply the rule of thirds when it comes - this subject placement. - Take this image, - for example. - It was, - ah from a client engagement shoot. - And while it's kind of an interesting picture due to the subject matter, - I think that it lacks a little bit compositionally. - In fact, - that would argue that this picture will be better off if we place the subjects off the - decide. - Same with this photo and these photos and this photo. - So in each of these photos, - the subject is somewhere not in the center of the image to the left, - that rights. - But it's not dead center. - One more example from Henry Card a person who is on the list of photographers you all - should be reviewing this week. - Ah, - here personas puts his subject right here, - which is again not in the center of the photo. - So all this to say, - Get your subject off the center. - But why? - Why do we do this? - Why? - Does it look good? - No. - What informs this decision? - Well, - the simplest reason for this is the famous or rather infamous rule of thirds. - The rule of thirds is something you will most likely have heard of or read about. - They're really two camps to applying the rule of thirds and photography. - The first says the rule of thirds can be a useful tool in creating compositionally - attractive pictures. - The second camp says this is a limiting tool and you should not use it. - And even teaching it is doing a disservice to your students. - I fall in the first camp. - Our professors tend following the second care. - So how do we apply this? - This image, - which you saw earlier, - is divided neatly into Call it two sections. - The background takes up the top third of the image in the foreground in middle ground. - Take the bottom third of the image. - You'll also find that I have sub divided the upper right hand quadrant into further thirds - in have placed my subject or the focal point of my subject here on one of the vergis ease. - The rule of thirds essentially says that if you can manage to divine your image along these - lines, - whether vertically or horizontally and if you can manage to put one of your focal points in - your image along these Vergis is essentially where these lines intersect. - Uh, - you're well on your way of making a more compositionally interesting image. - Okay, - I admit that this rule is simple and maybe limiting, - but I think there is value to it. - For example, - on this image, - I've placed my subject on the verge ISI here. - How to put it smack in the middle of the center of the image, - I think would have been OK, - but I think it's a little more compelling right here. - Same with these two images. - You'll find the subjects along the left line here, - and you'll find that in the image on the left, - the foreground, - which is the grass, - roughly takes up 1/3 of the image in the bottom and the background roughly takes up the - other 2/3 you'll find, - then re cardio person use this effects rather effectively for this image. - The left side of the image, - which is the dark background, - takes up roughly this 1/3. - Well, - his foreground roughly takes up the right 2/3. - You also noticed that he's placed his subject right where these two vergis ease right where - these two lines intersect. - So the rule of thirds is essentially a simplified application of the golden ratio. - What is the golden ratio you say? - Well, - the gold ratio could be defined as a ratio of 1.618 to 1. - More specifically, - the golden ratio refers to a naturally occurring ratio that we humans tend to find - aesthetically pleasing. - And because of that, - you can find it in art and architecture, - classical art, - classical architecture, - Um, - fairly, - fairly consistently throughout history. - A more technical description of what the golden ratio is is that the golden ratio is where - the length a plus B here, - huh? - The ratio of sorry, - the ratio of April's be to a is the same as ratio of A to be here. - We have a rectangle divided into two sections. - The section on the left is 1.618 times bigger than section on the right, - and photographers have discovered it. - If you condemn vine your photo into sections like these hi, - people tend to find these images a little more aesthetically pleasing. - Either these rectangles were there on the left or the right can be further divided into - smaller sections of 1.618 to 1. - If you do so, - for example, - in this picture you will end up dividing the picture into several of these smaller - rectangles. - And if you draw a line from the corner of one rectangle, - toe another and continue it, - you get this spiral. - And this spiral is actually something you might find in nature, - For example, - in a conscious shell and where the spiral concludes here can often be a an interesting - place to place your subject. - For example, - here, - Carney person used this to great effect. - Uh, - and he placed this subject for the focal point of this image. - Right here you'll notice that there are blue diagonal lines here. - The blue diagonal lines also do a good job of approximating where that focal point could be - these Magnum, - where lines could be drawn from all corners of the image. - But we'll show it to you just with this one. - We'll talk more about diagonals in the following weeks, - but this is just to give you an idea. - Elliott Erwitt is also on your list of photographers, - and you'll see that Erwitt used both the rule of thirds will use the rule of thirds. - Really in two ways. - You'll see that this image is roughly divided into two turds on the left and went through - on the right, - and you'll find that he's place this subjects on the right hand side, - where the float is coming behind the building and on the left, - where the Children are looking out the window back. - Teoh one. - My original images here. - Ah, - you'll see that the subject roughly is where this point is a little bit about square format - . - For this image, - I've placed my subject roughly 1/3 from the top of the but if otherwise made the image - symmetrical from left to right. - There is roughly the same Mount amount of visual weight of left side, - as there is on the right side of the image insane. - With this image, - Subjects head. - He is roughly 1/3 from the top, - but left and right, - a relatively symmetrical. - You can also make it asymmetrical, - and in this case, - I placed my subject right around here. - So that is the golden ratio on its fairly simple, - somewhat argue. - Too simple. - But I believe it to be a valuable tool, - nothing less. - Now let's move on and talk about distinct four grounds and backgrounds. - It is sink, - foreground or background can help draw your eye to the subject. - It can help create a sense in depth, - and it can also frame your subject. - Using a distinct foreground. - Indistinct background can help you maximize a sense of death in an image. - Ah, - and later modules will talk a little bit more about how to actually reduce the sense of - death and have abstracts, - uh, - in image. - Before. - Now, - let's talk about creating a sense that so back to this image members on you'll notice that - he has a distinct background here. - Distinct foreground here in the foreground is actually serving to frame his image or a - subject here. - For these two images, - you'll notice a distinct foreground here. - Distinct background here and a mid ground where the subjects are located here, - back to person. - On this image. - On the left, - you'll notice a foreground here, - this subject here, - a background here, - terms of the image on the right. - The foreground is comprised mostly of the street, - which draws your eyes, - that a subject here of the man interacting with the cats and you'll find the background - distinct from the foreground. - Mid ground here, - another image from results. - You'll see he's created distinct foreground here with these subjects, - but something going interesting going on in the mid ground and something distinct on the - plain as the background in this portrait person uses. - Parakeets are birds here in the foreground, - um, - distinct from subject in mid ground and distinct also from background. - Once more, - Uh, - you'll see he's put this rusted car in the foreground but trained again in the mid ground, - which is this subject and a distinct background with landscape here. - Okay, - so back to this image. - How does foreground and background apply? - You'll see the foreground here with the vertical lines draws your eye to the mid ground. - Here, - the subject takes up most of the middle part, - but it is also distinct from the background in terms of tone and color. - Here for this image of the form ground is here. - Subject is here in the background is here, - and once more you'll see the foreground draws your eye to the subject in the foreground, - roughly takes up this 1/3 of the image in the background in the ground. - Take of this tooth once again. - With this image, - you'll find the foreground here, - subject here in background here. - If we look at this image again, - you'll find that the former around, - which is the doors here, - creates a sense of death that is different from the mid ground, - which is what the spot of light is, - which is different and distinct from the background. - Here in this portrait, - I've placed my foreground here, - subject in the middle and a distinct background here. - Okay, - now back the decision. - One specific application of using distinct four grounds and backgrounds is that you can - often use the foreground to frame your subject, - and Cartier Bresson uses the great effect with this subject here or for these two. - I have used the foreground and created a literal frame here the background here and on the - right image I've created again a literal frame. - Uh, - by shooting through these windows, - this photographer decided to take it literally and use a frame within a camera frame. - And this photographer use this to effect by shooting through a window and framing his - subjects with the foreground created by the window. - And here you have a distinct foreground, - mid ground in background. - But in this case, - the mid ground. - It is what it is. - What is framing your subject here in the foreground. - So this is the end of port one. - We've talked about placement. - We've talked about ratios. - Another words of golden gration. - We've talked about distinct foreground and backgrounds. - So with that knowledge, - I'd like for you to go out and take some pictures. - Your assignment for this week is to utilize the golden ratio in subject placement or - dividing your friend. - I would urge you to get creative and push your application of the golden ratio. - You need not place your subject on one of the vergis ease. - You can further subdivide that image and place your subject on a secondary virtue seasons. - At one of those quadrants you can use the ratio to divide your image in the second separate - parts you can do divided into separate ports and place your subject in a certain way. - There a variety of ways to apply it, - and I would I urge you to explore those. - Second, - I would urge you to take some pictures that happy, - distinct foreground and background. - Look for situations where you can use the foreground to draw your eye into your subject and - look for situations where you can use the foreground of Mandarin mid ground background to - frame your subject. - How, - like Cartier Bresson did, - too, - did with the image we saw a couple frames ago. - So exercises and homework from all you want go out and take some pictures that utilize the - golden ratio. - Use it to inform your subject placement and use it to divide your frame or do both in the - same shop. - Second, - I'd like you to take some pictures that utilize a distinct foreground and a distinct - background. - Attempt to use your foreground to draw your idea subject, - or use your foreground to frame your subject or use your background to frame your subject. - Think about the concept of a frame within a frame. - When you've taken those photos, - I would ah urge that you post those images to the class project page. - I will give constructive feedback as much as I can, - and I would urge you to also to give feedback to your classmates project pages. - Some tips on executing your images for this week of it. - Start small and simple. - I don't try and be too ambitious with your image. - For the 1st 5 or 10 images you shoot. - Just try and get 19 A of how to apply. - UH, - either the concepts we talked about in terms of ah, - the ratio and in terms of using four grounds and frames look for naturally incurring - divisions. - Doorways, - seems lines, - architectural elements and are often good ways to t utilize this. - For example, - placing your subject, - uh, - inside a window and shooting them through the window or putting your subject. - If you're doing portraiture inside a car rolling down the window and shooting them while - they're inside the car, - just make sure to leave some of the car the car frame to frame your subject. - Second cheat. - Yes, - you can cheat. - For most of you, - you probably have a camera that has a grid over laid your on your viewfinder. - This grid is meant to approximate the rule of thirds. - The guidelines are there for a reason. - You should use them. - Uh, - I know your iPhone has it, - and I know most point shoots have it, - though TSL ours may not. - Another thing you can do is find a picture that you like that you think you can copy and - coffee. - There's no shame in doing so. - Chances are it's not gonna look exactly like the original image anyways. - And if you're not selling the image, - it can be a useful exercise in, - ah, - exploring your photographic skills and finally, - crop crop like hell. - Don't be afraid to do so. - Most photographers crop, - and though a lot of them won't like telling you that they do crop their images, - it is highly, - highly useful. - If you can use software like I photo or light room, - they provide pretty handy cropping tools. - But even if you don't shoot the image right the first time, - learning how the crop the photo so that it is compositionally attractive is also a good - lesson to learn. - So that's it for this week's module. - Enjoy your time shooting, - and I don't forget to post your pictures to the class page 2. Geometry and Lines: - and guys. - Welcome to module to crash course in photographic composition. - First off, - thank you, - everybody for your hard work. - I like what I see from your project pages a lot on especially thank you to those who are - taken time Teoh repost new versions of their images or re crowd versions. - Um, - it's encouraging for me to see that you guys are that involved in Are that engaged? - So please keep it coming. - If you have questions, - feel free to ask them, - post them in the discussion pages or email me directly. - Wanted to highlight some shooting tips. - I've posted ah list in the discussions page. - I don't know if all you have seen it. - If not, - please go read them. - But I didn't want to highlight a number of things that I think might help in your in your - homework. - The first is the watch out for distracting elements or quarter. - I'm seeing a bunch of images out there where people are using the rule of thirds a good - effect, - except that there's a lot of stuff going on in the photo. - Um, - there is just there to many things, - distracting that either to me, - items in the image. - Um, - it's hard to know what the look at. - Or even if I do know what the look at. - There are a number of things in the foreground or background that kind of distract from the - focal point, - or they it's hard to see or to get in separation between the subject in the background. - If the background is particularly busy or distracted and same for the four gram, - the second point here relates to first, - and it's don't try to capture too much in your image. - The cliche less is more really does apply here there, - those who make their entire career photography producing very minimalist, - minimalistic images do that for a reason because those images stand out. - Um, - they're often very compositionally strong, - so don't try and capture everything. - If you're taking the time to set up a shot in placing still life objects, - they're doing a still life. - I'd consider putting just a couple of things in there, - or even just one image or a one item in there playing around wit with going more minimal in - your composition. - The third is is also related to first to, - and that's the half a clear subject or focal point. - I'm seeing images that again may have a distinct foreground or background or, - you know, - clearly or literally interpreted the role thirds. - But there's no subject, - and there's no focal point, - you know. - Or if there is one it get. - It's hard to see. - So try and think about having a clear subject or focal point. - I know. - I mean, - the other way to approach it is not to have a single subject or focal point at all. - It's to go completely abstracted where you turn your image itself into 22 dimensional - painting or a graphic. - We're going talk a little bit more about this later. - Finally, - watch your angles on my Bangles. - I mean the angle of attack and angle that you're shooting or images at. - I'm seeing images where you guys are just a couple of degrees to the right or the left, - and you're creating diagonals with lines that are really or otherwise meant to be - horizontal in the image and those slight diagnose air actually distracting from from the - image. - So, - um, - take away here is trying to shoot stuff dead on right in front, - uh, - of your of your subject. - You'll know you when you've accomplished this, - when the horizontal emit horizontal lines in your image are perfectly level or very close - to it. - If they're not, - when you shoot it, - you can always rotate him and an edit that later. - But I would try to get it pretty good out of the camera, - as it another thing is the look of the work of your peers. - And to read the comments, - read the comments of your peers and read my comments. - There are things I'm seeing you guys do that come up again and again in their things that - only certain of you are doing. - But it would be helped and be helpful. - I think, - for you to read my comments on other people's work, - don't try and apply every part of the rule in your image. - You can't always do it all by that mean by that, - I mean, - if you're playing the rule of thirds, - you may have to choose between applying that rule that to divide your image or to applying - that rule in terms of subject placement, - you can't always do both. - I mean, - there are times when you can, - but don't feel compelled to do both um, - I wanted to show you guys this image again. - It's cardio person who you'll see lots of in the next few slides, - but it's pretty clear to see what he did here. - He, - uh, - has his ah is divided his image your neatly into thirds is utilizing frames. - He's boxing, - um, - is different subjects. - And, - you know, - the focal point of, - uh, - subject here on the left is really smacking into one of those. - Vergis is of the rule of thirds. - Okay, - let's talk about diagonals, - and I'm gonna move fairly quickly through this model cause there's a lot to talk about. - Okay, - talk about geometry of lines. - Painters and sculptors have been using geometry for millennia and social photographers. - One of the ways they used the geometry lines and shapes is he's really informed by the - golden ratio. - We've talked about that, - and that's the ratio of 1.61 beats to one come. - But when you use lines and shapes in your images, - those lines and shapes conduce. - Number of things first is that it can divide your images into the favorable proportions - which we've seen, - Um, - just like in the proceeding photo. - You can also draw your eye to the focal point, - so this particularly goes, - are applies for diagonals. - Wagnalls kin really lead your eye into the image or out of the image on if you're not using - diagonals carefully, - for example, - when you're shooting from an angle but not paying attention with the Dagnall lives, - doing those diagonals made may simply leave your eye out of the image and distract from - from what you really want your viewer to be focusing on. - Lines can shapes can also create movement. - They can create stillness, - stability they can take. - It invokes certain emotions in in your images. - Diagonal lines can create a sense of of movement. - Horizontal lines can create a sense of stillness. - Strong vertical lines can evoke strength. - Eso lines conduce a number of things on. - We're gonna We're gonna talk about permanently about diagonals. - But horizontal lines and vertical lines can do a lot as well. - Uh, - lines and shape can also create visual interest, - meaning out lines can simply become very abstracted in geometric and turning to patterns of - textures. - Uh or repeating, - especially repeating lines can turn into patterns and textures. - Langton also create the sense of dimensions sense of death or lines can flatten it. - Uh, - the things like the rule of thirds and things like using a distinct foreground and - background can create dimension. - Or they can flatten it. - And we're gonna be talking a little bit about trying to flatten your images into two - dimensional representations. - In other words, - abstracting your images lines again can be very literal lines. - They can be a physical line that's drawn the image or lamp posts or trees, - or you're very literal or they could be very abstract. - As you can see, - I can be a bunch of items lined up in a row that creative vertical lines. - Or it can be, - you know, - a certain pattern that is, - I don't know in the woodwork that creates a new interesting line. - Eso lines will have to be literal. - They can be abstract, - and they can be. - You can create lines out of several disparate objects. - Do you take away here is that you can employ a dominant line or curve in your photo, - and by doing so, - it can really help create some create your more. - I just create more interest in your photo, - and second is look for repetition off lines repeating vertical, - horizontal or diagonal lines can can really do some cool things in your photos. - So let's talk a little bit more about the diagnosed. - They're sort of two diagonals. - All right, - primary diagonals. - We're gonna talk about, - uh and it's the one, - the two diagonals that cut your images in half from each of the corners. - The one that starts in the bottom left and goes to upper right is that baroque diagonal. - It is the positive Bagnall, - and the one that goes from upper left to bottom right is the sinister or the negative - Dagnall. - Those black lines are the reciprocal they're called reciprocal is because they intercept - intersect the broken, - sinister diagonals at a 90 degree angle and where they intersect, - there was adults. - Excuse me, - is called the I in the I just so happens how to be very close to where the the vergis ease - of your rule of thirds are okay here. - Um, - we have another image by cardio person, - and it's pretty cool image. - And if you start looking at it closely, - you're going to see how he divided his image. - For example, - you can see that the bottom third of the images were just taken up perfectly by the - foreground. - That bench serves as a dividing line. - I also noticed that his subject in the upper left hand corner of the guy framed by the - window just happens to sit on the top dividing line. - And then you also noticed that where that diagonal comes in, - the two heads into subjects full just off of that diagonal end, - you'll notice that he's used a frame within a frame quite nicely toe highlight his subject - . - Another cardio for some peace if you don't see the diagnosed on the diagonals rights here, - and this is a pretty cool composition, - and but it's also pretty simple in that it just has one strong Bagnall running through it - from bottom left to upper right. - This is another cool image by person, - and you'll see some very strong and repetitive lines here, - and his diagonal in this case doesn't run from bottom left upper right in the corners. - However home he's got repeating Dagnall lines going from left to right or really bottom - left upper right, - and then he he kind of uses a reciprocal here. - The stick this gentleman is holding just happened sort of the lie right on that alternative - for the opposite Bagnall light. - And you also notice that he has a bunch of vertical lines here created by that The support - on the stairs. - You're on the railing. - More car neighbors on here. - Um, - most of you, - at this point, - should recognize that he's created again. - A frame within a frame the foreground happens to beat is crumbling wall here. - But what he also does does he also has sort of a subtle Dagnall here. - And this is what I mean by an abstract diagonal line. - The heads of his subjects. - Here the Children create kind of a nice Dagnall. - We're excusing diagonal composition. - Um, - they all kind of fall along this one line again. - You don't have to go to a literal in this case when applying diagonal lines. - So more abstract one, - they're probably harder to see which is why person was such a fantastic photographer. - So when you're when you're doing the homework assignment, - look for both abstract and literal Bagnall lines. - Uh, - here we go again. - Um, - he's got diagonal lines in the line of the divers here, - and we're back to this image. - But this time I wanted to highlight something else. - So the first time we noted that this image in many ways does follow the rule of thirds or - utilizes. - Really, - Do you know the rule of thirds? - But it also has these strong Bagnall lines throughout the image. - This is by Albert Watson, - who is also on your list of photographers to review. - And here he's used strong horizontal lines to create a cool pattern in geometric effect in - the image. - And he also has some Dagnall Lloyds. - So when you're doing your homework this week, - look for opportunities to capture repetitive lines, - whether they be literal in this case or abstract, - as we saw earlier here. - Again, - um, - this person used shadows to great effect to create cool diagonal lines in here again, - this one is cool for a number of reasons, - but the main reason I wanted Teoh highlight it is again the use of Dagnall eyes, - and they're not. - They're not so literal and as they are, - someone abstract. - Some people saying this over built. - It's cool light, - but if you kind of look at it in two dimensions, - you see repeating diagonal shapes and trying. - This image is also pretty cool and that it uses diagonal lines in two ways. - You have a diagonal line of the of the heart shapes. - Stamper painting. - What if it happens to be and uh, - then the diagonal lines going the opposite direction? - This is another kardian percentage. - And, - um, - you've got cool diagonal line coming in from the bottom rights, - which is a leading line, - and we'll get to that. - And he also some strong verticals that repeat themselves. - So there's verticals of the trees and the sign posts, - but also the vertical of his subject. - Walking down more cardio person. - Um, - he's got repeating diagonal lines in that is subject here in the mid ground. - Is that the same exact angle as the statue? - In foreground, - there's a strong bag, - a strong vertical line where that white statue is right about where you know, - 1/3 from the right and, - uh, - just to add another element to it. - The statue the gentleman is holding. - It kind of works on the reciprocal wise, - and it's and so on. - The opposite angle, - maybe 90 degrees shifted from the other diagonal lines. - One more bite Got every Sunday. - Uh, - this one I love because He's got a strong diagonal created by the guy line on the ground, - but he's also got strong horizontal. - Is that kind of repeat themselves? - You'll notice that the four round here just happens to be 1/3 of the image on the bottom. - And then he's got strong horizontal lines recurring throughout. - And a couple of those lines are created simply by that line of heads, - you see, - so it's not again a literal line, - but your lines can be abstract. - Next, - we'll talk about leading lines. - Leading lines are a form of or can be a form of Dagnall lines. - So we've seen lines used in geometric repetitions or repeating lines used Thio thio sort of - create a pattern after, - uh, - diagonals in this case can also be used not just as great geometric shapes, - but they can also lead your eye into the image, - and they can lead your eye out of the image. - And that's what I mean when I say the AG Nell's are a double edged sword. - If you're shooting from an angle, - you're automatically creating diagonal lines with any sort of horizontal line in the image - . - So, - uh, - by horizontal line, - I mean if it's a countertop that's otherwise horizontal, - but you shoot it at an angle that turns into a diagonal line. - If you don't do that intentionally, - that diagonal line doesn't lose its its effect to director gaze. - So I would urge you guys to pay attention to how the diagonal lines are working in your - image. - If you have misplaced a random diagonals running through your image, - they can lead your eye away. - You can lead your eye away from your subject. - On the other hand, - correctly used ag Nell's can lead your eye into the image and create a sense of death and - sort of engage your your viewer. - And those lines are called leading lines. - Leading lines typically start from the foreground or from the cores, - and they draw your eye into the center of the image. - No, - they're always Dagnall, - but more often or not, - you'll see diagonals using this way. - They could also include curves, - and they could be very, - very powerful tools if used correctly. - For example, - this photographer is used a strong leading line, - very literally in the middle of the frame, - and he's also used Dagnall lines coming in from the side. - This photographer has used a diagonal line a little more abstract Lee, - but no less. - Obviously, - with the tree line in the separation of the street from the trees and background, - the Dagnall here may not be as obvious, - but if you look at the line of the mountains, - you'll see that they form a Dagnall on the sinister Dagnall. - This image is a good example of a curve leading line. - These these these roads come in from the sign and the bottom left and right of the image, - and just lead your eye into into the landscape here. - Really, - Erwitt eyes also on your list of photographers. - I believe here. - He's used not only the rule of thirds, - which I think you guys are pretty keen on identifying at this point, - but he's also used that that Pat, - as a leading light on, - draws your eye to the image and bring your eye to the shadowy figure. - Sort of added that Vertex there. - This is an abstract composition that's almost two dimensional and quality on. - It just has this one strong Bagnall running right through the and you'll notice where this - photographer placed the tree just happens to be roughly 1/3 from the right, - roughly 1/3 bottom back then, - this image that you guys saw in the first module. - Well, - not only is this a good example of thirds, - it's also a good example of the leading line is that path starts in the foreground, - destroys your eye straight into the another cardy person here, - um, - that sheet for that, - A long white strip. - He's a good example of the leading line as well. - Start to the bottom left just draws your eye. - This one is particularly interesting in that it sort of conforms that that golden spiral, - Um, - but again, - at its most simple level, - it's another leading line. - It's created, - um, - by using the heads, - the figures of these Children, - one more bite present you're deleting when they're created by the sides of the street and - the tree line. - And they all just happened to point your right directly into into the head of his subject. - You annual noticed his subject. - A strong vertical line just happens. - This sit 1/3 from the right of the photo, - another cool leading line by person created by soldiers here. - If you look closely, - you'll see his subject, - which is the girl peeking out from behind the flag on the left. - This photographer is used leading lines from the left and also kind of from the middle as - well. - Um, - employing the foreground here to sort of draw your eye into the landscape. - I'm gonna talk a little about bid about going abstract, - and this is where we take a three dimensional image of three dimensional scene and compress - it into a two dimensional scene. - We're talking more about it next week, - but I wanted to give you an idea of how this have this concept intersects or works with - lines and diagonals. - For example, - this is a pretty bland scene of a corner of an office building. - But, - um, - it's also sort of an abstract representation of of some triangles in some rectangles and, - uh, - diagonal lines kind of running running through the image. - I would look for opportunities not just to create a sense of that, - but to minimize a sense of death. - If you can manage to minimize that sense of depth than your three dimensional image turns - into a collection of rectangles and triangles and and squares and another shapes and your - images can take on a very graphic or two dimensional effect or feel. - This is pretty simple shot of what looks like a skylight, - but because it's shot at a certain angle because the photographer is maximized a contrast - between white and dark here, - light and dark Here, - Um, - what? - You sees a geometric pattern. - It could simply be a collection of blinds drawn on a white piece of paper. - Same with this image. - Um, - you know, - your your mind tells you. - Okay, - I'm looking at, - you know, - stadium of some sorts. - But if you look at it again, - you know, - I just see, - see circles, - concentric circles. - And I can see you know, - that the negative white space here creating shapes, - 30 images This is, - well, - your your mind tells you you're looking at some collection of straw and wood. - But if you look at it again hey, - I see I see circles. - I see concentric circles, - Another skylight. - You know, - I shot this with my phone, - actually, - and I just local pattern and, - you know, - it was very much a three dimensional skylight is actually arched if you if you look closely - . - But if you look at it from two dimensions so just it turns into a cool geometric pattern. - And same with this image, - it's clearly building a photograph of a building, - but it's also a collection of black rectangles in a great in a white grid. - So we've come to the end of this module, - and I've tried not to make it too long. - But I think it's already going kind of long here. - So I'm gonna priest with the rest of this. - So for module to take more pictures, - look for Wade. - Ways to utilize Dagnall lines they could be repeating. - They can be leading lines that can create patterns. - Um, - that I want you to do the same, - if you can, - with vertical and horizontal lines. - We haven't talked too much about vertical or horizontal lines. - Um, - but a lot of same things apply. - Look for repetition. - Look for patterns. - Look for vertical lines could be found in fences. - Horizontal lines could be found. - Crosswalks. - Those could be Bagnall lines if you shoot it from an angle. - Um, - look for a naturally occurring patterns. - You might get into the habit of shooting some boring things at first, - but then stick subject in there. - Find a vertical find vertical repeating lines on offense. - Put your friend in the picture and suddenly you have. - Um, - you have a cool geometric background to frame your friend, - but when you do this, - make sure to keep your vertical lines. - Vertical Innkeeper. - Horizontal lines level horizontal. - Um, - if you're often rotating rotated just by a couple of degrees, - you can kind of ruin the effect and the violently consider flattening your perspective, - meaning try and take a three dimensional scene and make it two dimensional. - This helps to emphasize lines and shapes and patterns were gonna talk more about this next - week about going creating more abstract images. - But if you want, - start on it this week and then finally, - as last for last week. - Poster Images Class Project Page. - I will comment on your images as soon as I can. - They're starting to be a lot of images, - so may take me a while from this point on, - but I will try and get everybody's images. - Um, - again, - Please give feedbacks other people's images and read my comments. - My existing comets on the other project pages, - but only some more tips on execution. - This is a repeat from last week, - but it bears mentioning again. - Start small. - Start simple. - Don't try and be too ambitious and try and capture too many things or utilized to many of - these concepts. - Um, - and don't try to take thes rules to literally I call. - I call them rules, - but, - um, - you know, - the really guidelines, - I think the rule of thirds is is called a rule, - but you think of these old as guidelines that can help inform your your composition in the - last thing I want to mention. - And I've mentioned it already, - but it he's, - I think, - crucial here trying Shoot, - Your image is dead on. - I know this can be restricting and in placing a lot of you in a box, - and a lot of you like to shoot things that funky angles. - But just give it a try. - I give this, - give it a try getting a habit of it and see what it does. - Do you see what you can do in your photography? - Um, - you can, - you know, - this is just for this class. - And after after you're done with me, - you can go and start to do things on a tingles again. - But I think you might be surprised at what you find. - So that's it for this week. - You go out, - have fun to take lots of pictures, - post them, - and, - uh, - I'll see you guys in the comment section. 3. Optional: Previously recorded Q&A Video: - - Yeah - . - Uh huh. - - No - , - I think guys, - welcome to office hours Just waiting for Thinks more people to show up. - I've got three of you here and, - uh, - give miss the first time I've done this. - I'm not sure how how I take questions here. - There's an ability to ah, - have you submit questions or if you have ability to talk back at me through this, - so you'll hang on a second. - Alright, - guys, - So I don't have any questions for many of you. - Um, - I've posted a quick discussion note in the discussion section. - If you do have questions and let's say I don't know how you would submit it through Google - hang out, - feel free to post it in that in the discussion section. - And I can take your questions from there. - So and I think you're just figured out the chat function. - So if you are all using this on the left side, - there should be a chat function or if it's not already there, - um, - it should be on the right side of your Google hangouts screen. - I'll be right back. - So anybody here - I see there, - two of you logged in right now. - Um, - this I'll be sitting in for 30 minutes to take your questions, - if you have any. - Otherwise I don't have any prepared material. - Other. - Uh, - yeah, - I'm other than the city here. - And Teoh answer anything. - Quite any questions you may have. - This is open season. - So anything about gear of a technique about technical stuff Having used sculpture page, - Um, - this is the time to do it. - And so - all - right, - now I see five of you on here. - Alternatively, - you can email me questions as well, - if you prefer to do it that way. - - Still - have no questions. - - Okay - , - first question from Stephanie. - The question is whether I'm familiar with using a range finder, - and if so, - um, - kind of over using one. - Uh, - unfortunately, - I am not familiar with using a range finder at broadly speaking, - um, - range finder is where Looks along like this, - actually. - And you basically frame your mid using this. - Um, - now, - this is a quasi judicial rain find range finder, - so it's kind of cheating. - But the range finder, - you could manually controlled the focus with a focus ring, - and it's sort of zone based, - uh, - zone based focusing is inventing where you've turned this ring it will the camera focus a - certain distance away from your subject or certain certain distance away from the camera. - And so it's kind of hard to use because you're not focusing directly through the lens. - So what you see here, - um, - is gonna be shifted from what the lens sees by a couple of a couple of inches. - And so usually in this view finder is grid or are guidelines that left on the right to let - you know where exactly the frame is going to end. - And depending on what kind of lens you have in a range finder, - you're gonna be using a different set of lines. - So why name lend? - You should be using the widest set of lines in your in your viewfinder with the longer lens - you're gonna be using. - Ah, - narrower set of ones. - So that's about all I know about using a range finder. - Um, - this is X 100. - I think some of you guys were using, - but it's not really a range finder. - And Fuji's made a lot easier for for you to use other than you know, - versus a traditional range finder. - So, - Stephanie, - I'm sorry don't have. - Ah, - too much to say about that. - There are resource is online. - There's range finder forms and things like that that could get you started. - Um, - but yeah, - that's not something I can really help you out with. - Um, - another question is whether you we can or you consume it photos you've taken prior to - starting escorts for feedback. - However, - if we, - uh, - I want new shots, - feel free to submit them. - Um, - I would only ask that you if you do, - submit those that you don't submit 10 new shots at the same time. - I do have a capacity issue discovering that if each of you post 10 photos need to be to get - three times with the 30 project, - that's 900 photos. - Have the comment on And, - uh, - I think overall quality is just going to go down. - If if I do that, - so feel free to post old stuff for comment. - So if you took last month last year and other students actually already doing that, - um, - they're posting stuff that they took on making, - you know, - vacation's over the last 3 to 5 years, - and there, - you know, - they re cropping them to Ah, - you know, - based on the concepts and week one week two and, - uh, - yeah, - so feel free to post older things. - Just just try not to post 20 images or 10 images, - even at the same time. - That gets a little overwhelming for me to comment on. - Yeah. - Okay. - Okay. - So, - Scott Axworthy, - if you are if you're on here Hello? - Thanks for saying Hi. - Who else? - Joyce, - if you have any questions, - feel free to updates the discussion form. - I thought there would be a way for you all to ask questions. - Life on this, - which when makes instances, - is an office hour. - But I don't know if it's a tech issue. - I don't know if it's just something on my end, - but looks like the only way you can ask questions now is through discussion. - Forum on, - um, - on the skill share web page. - So, - - uh - , - um, - you know what I have? - I think one of you just says said you have access to this. - Thank you. - What you just said said you have access to this. - Okay, - so now I can see comments. - That's weird. - Um, - I'm looking a Google hangouts on air, - and now I can see your comics. - Um, - Grace Bello, - Any insights on Portrait's in particular candids? - Better generally that pose ones. - Sorry, - guys, - but all this technical stuff, - um, - that's frankly up. - T you depending on what you want. - Accomplish. - True street photography can be really engaging Really interesting. - Street photography is mostly candid on a lot of time at ST portraiture. - I can be tough because you'll be trying to catch somebody completely candid, - and they're gonna look at you and they're going to scale at you. - And they're gonna ask me, - like, - don't take my photo, - Get away from me. - Especially plays. - They're like New York people to be a little sensitive about that. - Um, - insides of portraiture in general, - You know, - just shoot two people that are interesting to you, - and frankly, - it's not. - Not a big deal. - Just ask if you see somebody on the street. - And for some reason, - they catch your eye. - If you ask nicely up, - sometimes they will say yes. - Sometimes I'll say no, - and you have to just keep moving on. - Um, - see, - I'm trying to get - okay - , - So now I can finally see all your your comments and your questions on the YouTube page, - which is different from what I see. - I have this. - I have his Google hang out interface with the skill Scher live Plug in. - Um, - and I've been typing comments on myself. - Apparently. - You see this using this application? - No. - So anyone else have other questions? - You have me for at least another 15 minutes. - Stephen, - Um, - I think if you write, - if you write to me using the comments page on YouTube, - then I can see those, - Um, - Or if you want to tweet me, - questions at Frank Wing photo that will work as well. - Okay, - Stephen is asking is your photo Ah, - you might have or know of that incorporates all we have learned to date. - Actually, - I think a couple of you have, - um, - have taken photos and incorporate lease multiple concepts have definitely seen pictures - where somebody has utilized the rule of thirds in terms of subject placement or dividing - the frame when I mean by dividing the frame is you have the foreground. - Take up 2/3. - Ah, - and the background take up 1/3 and I've also seen them incorporate that and with distinct - four grounds backgrounds of mid grounds to create that sort of sense of depth and structure - , - And, - uh, - and there might be a diagonal or two thrown in there. - I definitely seen that among among ah, - your classmates work. - So take a look through that. - If I see one, - I will definitely pointed out. - Um, - And then there are a couple of photos I think in lecture one lecture to if you go back and - scan through those that take, - uh, - use multiple concepts that we've discussed. - Yeah. - Huh? - Okay, - No more comments or questions, - guys. - Again, - if you are somebody live comments. - Do it via the do it via the YouTube channel that you likely are looking at. - Or you can send me a tweet on Twitter at Frank Wing photo, - or you can post in the class discussion page. - That's likely to slowest way to do it. - So I'm gonna sign on Twitter and make sure you guys haven't sent anything. - Um, - since you guys haven't submitted anything else, - I want to go back to the portrait question that Grace submitted. - Another insight, - I think, - is used. - That's useful for portrait is if you can fill your frame with your subject's face. - A Zatz sounds. - You may have to get kind of closer use. - Ah, - telephoto lens. - Often times that could be a fairly interesting photo. - Um, - the human face these for most people sort of divided, - you know, - 1/3 between your eyes and top of your head, - and probably 2/3 between here and your chin. - It's automatically. - You sort of have that ratio. - Um, - shoot in portrait own meaning. - Shoot vertically. - Put their eyes about 2/3 from the top of the frame and see what you get. - The concept of distinct foreground background and mid ground is also great for portraiture - . - If you have somebody sitting at a desk stand right in front of them, - um, - the death becomes the foreground. - Your subject or your portrait subject is less in the background. - And then sometimes, - and if you have a nice background behind them, - then that's your background. - You'll see. - Actually, - picture like these a lot in magazines in newspapers. - Um, - where you know, - the for editorial portraiture. - They've done something very similar, - though. - Shoot somebody's important. - Sitting at their desk just got a bunch of stuff on the desk that becomes a foreground, - their paintings behind them or bookshelf behind them. - and, - ah, - it's a very easy way to to get a fairly solid image. - You can do this with square portrait. - It's May. - Sorry square format. - You can do this with two by three. - You do with an even longer, - even even an even wider aspect ratio if you like, - but a check to see if you have any more questions. - Another thing to note for the five year who are on here is a continually checked the - composition tips on, - um, - the composition tips discussion note in the class page. - I'm continually updating that as I see certain things that are, - most of you guys were doing our mistakes that your that I see a lot of you repeating or - justify, - come up with things I think would be helpful that I neglected to mention in, - um, - lectures one or two or things that don't really fit in lectures one or two, - uh, - another compliments about the about my comments on your photos. - I'm trying to stay away from from technical commentary. - You're not gonna hear me say your highlights. - Air blown. - Are you need Teoh, - You increase your shutter speed, - decrease your shutter speed the most I might say is, - you know, - use more death of Euler or shallower depth looked up the field. - And even then I'm only Onley reserving those comments for those of you are quickly using - equipment that will enable you to do that. - There those Are you taking this class with cell phones. - And so I'm not gonna, - you know, - trouble you by telling you to do, - you shall lowered at the field with your cell phone. - That's - yeah. - So what else do you guys have you've taken? - Ah, - it's been two weeks now. - You've had two lectures, - have hopefully taken a whole bunch of photos and a lot of them. - And really cool. - As I've been going through, - uh, - through your work. - A lot of you guys have had really interesting photos. - And, - uh, - someone really creative, - actually. - So definitely happened to see that. - Um, - but I'm surprised none of you have comments or questions If you haven't done so yet. - I would go through and look at the five photographers I listed under lecture one. - The lecture One resource is I go click on their websites, - go do a Google image, - searches for their work on take a look. - You might be. - Ah, - you might like what you find that I picked them Not only because they're famous and well - known, - but they're famous and well known for for for good reason. - Cardio person obviously be used several examples from fantastic street photographer and was - also master composition. - Albert Watson is very graphic in his, - uh, - his compositions. - And ah, - he relies on his training as a graphic designer. - Actually, - I think toe compose some of these photos. - Who else is on their arm? - Arnold Newman is on the list. - Is well, - he, - uh he doesn't fantastic portraiture, - and his compositions are pretty cool. - You should check out and Google his portrait of, - ah, - Stravinsky. - Uh, - I think was Stravinsky sitting at the piano? - Um, - sorry. - Yeah, - it was Igor Stravinsky sitting at the piano. - Um, - it's just a wonderfully composed image. - Um, - and it's almost two dimensional and its effect, - but as a kind of environmental portraiture, - it's pretty cool too. - Um, - so I wouldn't go that when you get a chance. - So I'm still waiting for more comments. - Questions? - Helene, - I think you just posted, - um, - something that Okay, - So I'm just I'm looking at all the comments here. - if I'm not seeing any comments If their comments I'm not I haven't answered questions I - haven't answered on the YouTube side posted in the class discussion side, - please. - Yeah, - that's, - uh Okay, - so I finally concedes, - um, - new questions. - So, - um, - we'll be giving a class on light room by chance, - I take a given live like your classes in the past. - Like, - room is kind of hard to teacher. - Take some. - It's harder at least for me to conceive how to teach it. - Um, - they're in on the online class, - but I'm pretty sure you can goto lynda dot com or other places and maybe coursera and take - Leiterman classes. - I've taught a a couple of live light room classes or you happen to be in New York City, - email me and let me know you want to take it. - I wasn't sure that there wasn't a demand for it to continually teach it like the DSLR class - . - But ah, - yeah, - If you guys are interested in light or email me, - maybe we can work something out. - I know not all of you are based in New York, - but if I chance some of your maybe we can figure out life. - Ah, - live session. - Otherwise, - I have to think about how to teach it effectively online. - I don't want to just get, - you know, - started string screen casting Start walking through a light room. - So I think it takes it takes some time to develop an effective an effective curriculum, - especially if you're teaching online. - Finding teaching stuff online is actually, - um, - in some ways, - a lot harder. - Been been teaching it live because you have to be very. - You have to be very thoughtful about what you present, - why you present it and and how you present it so that nothing is sort of lost in the - translation between digital in the real world. - Um, - Sylvia. - Good. - I want to apply your comments, - improve my images. - Should I remove the older version or leave everything so that others have access to your - comments and go back to the pictures? - Go ahead and leave your old versions. - I know you posted a lot of pictures, - but I would just simply post the new ones up top and just more commits new on. - Leave the old ones there. - Uh, - when you're doing street photography, - do you mostly used manual automatic focus. - I switch back and forth if I have, - um, - if I have the option to use auto, - I will use auto. - Sometimes manual focus can be be faster because there's no shutter lag while your camera - attempts to find focus. - Um, - so if I can sit there planted and I know what I want to take a photo of and I'm waiting for - the right moment, - I can use manual focus, - and the way you would do that is you would focus, - say, - on a garbage can or a tree or stump. - Oh, - are some fixture that is not moving with your out of focus flipped the switch to manual and - then when the person walking by or your subject enters the frame, - Um, - whenever you hit that, - whenever hit the shutter release, - you'll be taking pictures. - But our in focus so long as your subject is near your stump or nearer and nearer your - garbage can or whatever you focused on. - Uh, - other than practice a lot, - is there anything else you can suggest to someone interested in capturing street candids? - Um, - that's a good question. - I would look at the work of famous street photographers. - There is a street photography class on skill share. - It is a top by Caitlin the best story finger. - Last name is I took the class and she provides some helpful hints and walks you through the - work of some some more well known street photographers. - And you'll post comments just like you do in this class, - and she will give you feedback. - So if you are interested in photography, - take Caitlyn's class on skill share. - Let's see. - Joyce Sex. - Do you plan on to take a class out and use a DSLR? - Um, - I think you mean, - um, - it will there be a physical, - like photo walk? - And yes, - there will be that's gonna be for those of you were in New York. - I'm not sure when it's going to be, - but likely sometime after the last class, - and we have some time as when we can schedule it. - We're not bound by having that that photo. - Look, - within two weeks or one week of the last session here, - we could do it in April, - redoing maven if if nobody can make it. - So that's something wanted all for students who are based here in New York. - Ah, - lot of you have taken, - um, - my crash course. - Uh, - the DSLR crash course. - So I just wanted to sort of face that Thanks and spend some time, - you know, - shooting with you guys and to meet you. - Um, - so, - yeah, - there. - I've created a group within the discussion or within the class pages. - It's called the New York Photo Walk. - Just joined that group and way. - Start talking about dates and times. - Then where is the best place to practice taking photos beside Highlight. - You know, - honestly, - I would get the heck out of the high line. - Um, - I hate taking photos of the high line because they're way, - way, - way too many people. - Unless you show up. - Uh, - really early in the morning or really late at night, - Actually, - even at night, - it's going bad. - So unless you're there right when it opens, - the high line's gonna be really tough. - Because there's going to be people getting into your shot. - If you have a friend. - Intrinsic Portrait's of them. - Good luck trying to get a clean background. - Um, - places that are that might be a little more interesting or a little easier. - Take photos. - The oysters. - If you're into nature, - is never really that crowded, - but it's, - Ah, - way up in an upper Manhattan. - You take the A train, - I think up there. - So the question is, - is always a cool place to shoot and, - uh, - the outer boroughs really getting Brooklyn? - You know, - we did a A photo walk with fellow students in the In the street photography class in - Williamsburg on a Saturday morning, - and they just weren't that many people walking around in Manhattan. - You don't have crazy amounts of street traffic, - and I was a fairly successful time. - We were there maybe an hour and 1/2. - We each came back with a whole bunch of interesting photos on and in. - Williamsburg has its own unique character. - It's got funky. - It's got funky street art. - It's Scott, - some industrial character. - 62 It's got some modern architecture because of low condos. - That's another place you may want. - Want to check out? - Governors Island actually is really cool if you Congar on a day that's not really packed - with people, - and there's not a festival going on a walker and Governors Island can be be kind of cool. - Well, - I'll be doing the DSLR crash course anytime soon. - Yes. - Uh, - that's actually been posted. - There. - Will. - The next one is gonna be a March 26. - And I believe that's a Thursday. - Um, - sorry. - That is a Tuesday, - but it is posted on skill share. - Just do. - If you subscribe a mirror click on me, - I think list of my classes will come up. - So that will be under 26th. - Is there one criteria that I think about the second you point your camera and shoot the - first thing that comes in mind? - My instinct now is sort of the check my frame to make sure there isn't anything in the - frame that I don't want in the frame. - Whether it is a piece of garbage on the ground, - uh, - you know, - plastic bag floating around. - Um, - sometimes you can, - you know, - take two seconds and move that object. - Or you can move in or move out. - Sit Teoh to get get. - Really? - What you want in your frame or what you want out of your friend. - Um What is it going to say if you're taking portrait of somebody and you know they're there - ? - They're sitting there, - there, - posing. - If you notice and carrying. - I don't know, - like a shopping bag or coffee cup unless you want that coffee cup in the shot in the - shopping bag in this shot were have given their handbag in the shot you take. - Take three seconds. - Take that stuff from them, - put off the decide on and then take the photo. - A lot of people in there taking photos of the friends that way because they have to be - holding whatever crap they happen building. - And, - um, - it's just that's not a clean shot. - You'll be surprised how much better portraiture looks or even just casual photos of your - friends. - Look without them holding on to a whole bunch of stuff in their hands. - Um, - see, - what is my favorite lens? - My favorite lens? - That's a good question. - The 50 millimeter lens on a full frame camera. - That means something to you apologized, - but the 50 millimeters a nice lens. - Um, - for those of you who are new to the lenses in such 50 millimeters approximates a human - field of view. - So when you put a 50 millimeters lens up to your eye on a full frame or 35 millimeter - equivalent camera, - you get approximately the same level of zoom when you look through the viewfinder so the - scene isn't too big or too magnified and sent to zoomed out. - So 50 sort of replicates what you see with your eye and then an everyday walkabout lens for - me is a 24 70. - That gives me a pretty flexible zoom range if I don't want to carry three different lenses - fixed prime lenses with me, - 24 70 is pretty pretty useful. - Um, - one of you said is asking, - Ah, - a lot of your shots end up without a strong subjects. - I struggle. - So I find I struggled with that a bit, - maybe overthinking that shot before it before taking it plays a part that's that's a hard - one to answer. - If you're having trouble finding a strong subject, - I would actually take more time before you take a photo. - Often times, - I think when people first started shooting, - they're walking around the street like Oh, - cool, - that's that's a cool architectural effect, - or that's a cool sign or that's something interesting. - I'm just going to take a photo of it, - but I don't think about how to take a photo of it or how to um, - how Teoh frame matter to compose it. - And oftentimes that means they're subject sort of gets lost among, - like, - a busy background or something. - Um, - I would look for opportunities that isolate your subject. - Sometimes it's not about the strength of your subject, - but how well you've isolated it. - You can isolate subjects by finding some contrast. - So if you're shooting a leaf, - make sure there are 100 leaves behind the leaf. - Maybe you put the leaf against open sky, - which might mean getting, - you know, - shooting from a really low angle. - Um, - to do that, - or you can isolate a subject using depth of field, - but again, - that requires that you have the equipment to do that. - It's 7 37 now, - but since we started late with the lead technical stuff, - I'm gonna keep going on until 7 25 So keep asking questions. - When I do a photo shoot. - Do I find it hard giving directions, - especially the group of people? - Ah, - yes. - Giving directions the one or two or three people is a lot easier in giving directions to 50 - people. - When you have a larger group picture, - it is frankly, - like herding cats and you would benefit from having an assistant or somebody there to do - crowd control. - That's one reason why I like should engagements. - And I don't like shooting shooting weddings. - So I don't have very many of those trying to get, - you know, - whole 45 people that extended family or they're all 100 people that you went to college - with in one photo. - Uh, - is not a lot of fun. - Uh, - any specific tips to take pictures of kids? - Yes, - for kids. - Kids are often running around pretty fast, - and they're not paying attention. - Cameron, - your two year old's running around wreaking havoc somewhere. - Set your camera, - um, - to use a faster shutter speed. - Um, - if that means nothing to you, - um, - didn't take my course on 26th but, - uh, - faster shutter speed means you have the ability to capture less motion, - which means you have ability of the freeze motion. - You can freeze a fast moving subject so that that subject will not pure blurry eso. - For kids, - fast shutter Street is essential. - If they're not fidgeting, - they're probably moving. - Another tip for kids is is the the angle and what you shoot the Mac and can be can actually - make a big difference if you shoot them from above. - That could make a pretty interesting picture if the kid is looking directly up at the lens - . - But you may want to get down at their level, - which means getting on your hands and knees or just lying down the floor and shooting - shooting in a prone position that could make interesting photos for kids as well. - See, - Did I miss anything here happen? - Uh, - Lane. - For some reason, - one of your comments has been flagged as spam. - I would repost that it's the one after specific tips to take pictures of kids E and asks - any advice and organizing photo shoot Street photographer You 3 to 4 friends. - Um, - that's probably not a lot of work, - actually. - You simply say a email three of your friends and say we're going to go shoot Saturday - morning at 10 a.m. At this location, - and that's it. - Um, - I don't know that you really need anything more than that other than you may want - intentionally plan When you gonna shoot for a certain time of day? - If you want. - Ah, - lot of contrast. - And if you want a lot of sharp, - you know, - shadows. - Then you may want to go When? - When it's the midday and you know it's bright, - sunny day and there's a lot of dark sunlight if you want sort of a warmer Tony images. - If you want a backlighting and the sun sort of lowered arising, - you can place the sun behind some of these head and do you know and shoot with silhouettes - . - Uh, - you know, - go go later during the day, - Go go before sunset or right around sunset, - Um, - or if you don't want a lot of contrasts and you want sort of flattened, - even lighting, - you know, - schedule that that shoot for a cloudy day. - And I know there's it's hard to figure out what is actually going to cloudy, - but cloudy days could be fantastic opportunities to take photos, - especially of people. - But not only a people of you know of structures and buildings, - because you don't have all these sharp shadows in the in the scene scene. - Um, - and shadows can really be tough to work with. - Unless do you really pay attention to them? - What is my opinion regarding the current job market in the photography field? - whether commercial weddings, - senior portrait snitch markets. - Um, - the way that I look at it is this. - There are probably four buckets of photography you can working as a photographer. - You can be a portrait photographer. - And when I see a portrait photographer, - I mean portrait photographer for families, - for weddings, - receiving portrait's things like that, - there will always be a market for that in that's largely going to depend on your ability to - market yourself in your ability to build connections and to have really Teoh build build a - network because a lot of that businesses is referral based. - But, - you know, - you start taking pictures of somebody when they're high school senior. - They can come back to you when they get engaged, - and then they come back to you when they get married, - and then they come back to you to shoot their kid's first birthday party. - Um, - and then then God knows what. - You're gonna shoot their corporate event if they have it, - and then maybe you're gonna be shooting, - um, - you know, - second kid's birthday party. - Maybe they get the force and the ship that you would shoot their second wedding. - So you know that kind of business is is fairly relational. - Um, - then you can be an editorial photographer. - This is where you're shooting for magazines. - I think that market has waxed and waned. - Does wax and wane. - With the economy, - budgets go down, - budgets go up with advertising dollars as well. - Saw magazines get skinnier and skinnier because that adds went out. - Eso did budgets for photographers. - Um, - And then there's commercial photography, - and I like to separate this into two buckets. - One is you're shooting for small companies. - You're shooting for startups you're shooting for, - um, - you know, - medium small to medium sized businesses who need work for need images for their website for - the corporate. - You know, - for corporate documents for print, - um, - for the company's annual reports for e commerce for the website, - they're gonna hire you directly again. - That's highly dependent on the economy. - So these days it might be coming back forth categories. - Advertising photography where you're shooting again for Corporates. - With this time for an ad agency, - that's big money. - It's it's ah, - smaller. - They're smaller number people playing in that field because it's highly highly competitive - . - But this is where you're shooting your shooting for 19 year shooting for four Ford or - you're shooting an ad campaign for Coca Cola, - Um, - and then those air in a massive budgets. - But most of those wax and wane and the economy that I think you know, - weddings and seen report There will always be a need for that. - Um, - what is a good rule of thumb for changing photos to be black and white, - if any. - I that's that's depending on what you're converting into where you're converting to black - and white with, - Ah, - light room has a lot of tools. - You can convert the black and white. - You know, - one thing you do is just slide the saturation slider all the way to zero, - and you got black and white. - But you may also want to play with the tint and the color of the image before you convert, - because different colors will convert to different tones of grey, - white, - black. - I don't too much time to talk about that. - I mean, - you know, - in this context, - but if you Google black and white conversions, - I think you will find a wealth of stuff. - Um, - let's see, - always takes you a few shots to understand how to improve the image while shooting any - tipped improve this and to be faster. - Mm, - That I think just comes a time and experience. - The more you shoot more, - you review your own images. - The more you start seeing patterns when you walk, - walk around with their camera. - Um, - as you shoot more, - you're going to start seeing visual patterns. - So you walk down the street and you see somebody looking out through a window boom frame - within a frame and a portrait. - I'm gonna get back a little bit in your shoot The picture. - Um, - there times, - you see somebody sitting on the bench and you can say, - OK, - I shot this picture before for somebody else, - and it's very similar scene. - Uh, - and the more you shoot, - the more these things were just gonna click it in. - The pattern recognition part of your brain starts to fire how to increase sharpness. - Sharpness is gonna be a function of, - uh, - focus. - How will you focused? - How will your autofocus is working? - It is also gonna be a function of your gear. - Unfortunately, - um, - cheap lenses will not give you, - um that sharpen the image versus a haiku higher quality lens. - However, - I would look up your lens on those lens databases. - Um, - a look of a lens review for your lens, - and they will often tell you which aperture and aperture still prefers that the size of the - hole that is letting light in your lens. - Which aperture provides you the sharpest results for that particular lens and within any - given lens, - your sharpness is going to vary depending if you're shooting with a big hole wide open at F - one F two, - or if you're shooting at F eight or F F 11 with smoke. - Um, - what inspires me that is a really good question. - I'm always looking for for other photographers and looking at other people's work that CNN - photo blogging, - they sent everybody. - I found that to be inspiring. - You know, - 11 place you can find. - Good work actually is on Instagram. - There's a lot of crap on Instagram, - to be honest, - a lot of pictures of people's fingernails are painted nails and a lot of pictures of - people's lunches and and what not, - But there guys on Instagram, - they're doing a lot of really good work. - If you want, - I can try and post a list of those later, - but I follow them on Instagram and I look at their work and some of them are are, - frankly, - amazing. - And they turn out amazing pictures day after day. - And I'm not really quite sure how they do that in the middle of jealous that they can do - that for their some really amazing photographers on and scram. - So I take a few minutes and if you're already on instagram just to see if you can find them - , - um, - and follow them when taking photos of friends or family. - If they noticed the camera, - they going to oppose what's the best way to get them to drop the post? - Huh? - That's funny. - Um, - yeah, - I think they're a couple of ways you 4. Putting It All Together: - welcome Teoh. - Part three of a crash course in photographic composition. - The quick recap over last week's work. - Good work, - everybody. - Images are looking better and better each week, - and I'm, - ah, - been pretty have been pretty encouraged by the work you guys have been producing. - Ah, - a little bit more about lines. - The first is not to forget horizontal and verticals. - Um, - you guys have done a pretty good job of diagonals, - but the signal is just one part of ah of utilizing lines. - I haven't spent as much time on horizontal and vertical simply because they're typically - easier to spot than diagnosed. - But, - um, - don't forget to utilize them. - Have you see repeating Horizontal is repeating verticals. - Feel free Teoh to start composing using those elements. - Another thing didn't note is that not all lines are literal. - Some lines are implied. - And what I mean by Applied line is, - ah, - line created by maybe several objects standing in a row instead of a line that is literally - painted on a wall. - So keep that in mind. - Look for horizontal, - look for verticals and look for lines that aren't necessarily as obvious or as literal. - In fact, - any sort of difference in color and contrast in an image essentially is a line. - If you see a long object that is a different color or of a different tone, - meaning it's brighter or darker than its surroundings. - Then you have a line created by the outline of that object, - Uh, - and when we're talking about the outline of an object, - will that outline often creates shape so you can then use lines? - Um, - if you're looking carefully, - you'll notice that lines can create different shapes and your images, - and this goes back to geometry. - If you go back and look over the images you've created using diagonal lines, - you'll start to notice that you can sort of connect the dots, - and some of those diagonals turn two triangles. - Some turn into rectangles. - Some turn into other shapes. - And so when you're looking out, - lines don't miss necessarily look just from literal diagonals or horizontal Zo or verticals - . - But look for triangles and rectangles and circles again. - These could be literal. - You can have some paint a rectangle or somebody take a picture window frame when you have a - literal example of that, - but they can be implied as well. - Objects arranged in a circular fashion or things that happened. - Teoh. - You know the create contrast in a circular fashion. - These things are all lines and all these all all of these lines create shapes. - Some miscellaneous shooting tips. - Look for ways to isolate to your subject on dive. - Put these tips and discussion note, - but I want to highlight them here. - Two primary ways you can isolate your subject. - One is to create contrast. - We'll look for areas of contrast, - meaning If your subject is light, - make sure they're they're on a dark background or foreground, - and if they're, - uh, - your subject is dark, - look for vice versa. - Another way to create contrast is by utilizing focus, - meaning you can use shallow depth of field. - The isolated subject. - This is somewhat dependent on your gear, - so if you're using a phone, - that might be kind of tough. - But for those of you with SL ours and with with lenses, - especially those long lenses or lenses that can give you are Jap a Cher's, - and you can definitely use shallow that the field to isolate your subject. - Another random sort of tip is watch out for the bright parts of your image. - Somebody have taken pretty cool photos, - but they're really, - really bright parts, - like on the periphery of your image. - That can be kind of distracting. - Sometimes all it takes is to move a couple of feet or couple inches one way or no. - There are change angle slightly to get that part, - that very bright, - distracting area completely out of your frame. - And finally, - when thinking about things like foreground and diagonals, - don't always look on the ground. - You can look for four rounds at the top of the image. - Ceiling can create foreground a wall or a offense can create foreground that the left or - the right of the image. - So start pushing yourself Teoh. - Explore these concepts Ah, - little differently and see if you can find ways to execute them a little differently than - you have been doing. - I want to talk a little bit about vertical lines and just want to point to this image out. - It's another Elliott Erwitt image, - and he not only has the agonal minds created by dead between the ground and the wall, - but he's also got these cool vertical lines created by these repeating statues. - And, - um, - it's a funny picture because, - you know, - I feel like I've taken this picture before where I've actually tried to be in that picture - before, - but ah, - the repeating vertical lines is it just adds like an extra element, - and he's taken it from the side angle, - whereas most of us probably taking this from the front. - And we're actually gonna revisit this image later on in this lecture. - This image. - I wanted the highlight because it not only has vertical lines but also as horizontal lines - the movement. - In this image I feels horizontal. - And then there are a bunch of lines created by was great in the background that are - horizontal, - but it also has vertical lines, - and when you take the two together creates this kind of cool like rectangular pattern in - the background. - I wanted to give you another example of horizontal lines, - and this one's fairly obvious, - but it's also a silhouette, - which is something that we're going to talk about later in this lecture. - However, - first off, - I want to talk about symmetry and balance. - So far, - we've been trying to get our focal points or subjects out of the middle of the frame we've - been using the rule of thirds Teoh informer Subject placement by placing our subject that - left or right or a top third of the bottom third, - however, - I want t take a break from that and Explorer, - where symmetry can work well and compositions symmetry can help. - Abstract An image in a can actually create patterns because inheritance symmetry, - you have kind of two of everything on, - and it's also really easy to incorporate geometry and lines in symmetry. - Um, - or another way of putting it is that every time you see something geometric and heavy on on - straight lines, - chances are you can create a symmetrical image out of it. - One thing note is that your images don't have to have perfect symmetry and that the objects - in your image don't have to be perfectly symmetrical. - Bacon. - Just be a similar weight or similar style. - They can be of actually different objects altogether. - You know, - thinking take up similar visual weight and the image. - One thing to note when taking images like that is not the tilt. - The image. - Make sure everything is leveled because if you have it tilted to one side than that sort of - ruins, - the symmetrical effect I want to show you some examples of symmetry done. - Well, - this is a hair Willman photographer named Romney Smith. - Notice the use of distinct foreground Szmyd grounds and backgrounds here, - and he's got these two guys on either side of the Empire State Building. - There's another example from Rodney Smith. - You can see that he's used sort of the mid ground or foreground to to frame his image, - which is something we've talked about. - But there's also a nice symmetry to this image. - Here's another very literal example of ah symmetry, - and this photographer has also made pretty good use of diagonal lines. - This is yet another literal version of symmetry. - But this time this photographer has also utilized wrong vertical lines as you get them from - the pattern. - And he is also sort of a purchase from a graphic point of view release. - That's what I see as he repeating vertical lines, - repeating rectangles from the windows and the doors and the panels in the doors, - another sort of geometrically oriented ah, - use of symmetry. - And again, - no, - this is not perfectly symmetrical because the garbage can. - The middle was not all that some vegetables kind of tilted But overall, - the composition works another example of physical symmetry. - This one I like is It's also somewhat geometric, - with repeating rectangles, - vertical rectangles and adores and horizontal rectangles in the panels. - And it's got some nice repeating verticals in the railing as well. - I like this image because it uses both symmetry and, - um, - and leading lines you have diagnose coming in from all four corners and, - uh, - their Rosalie symmetrical on each side, - just sort of drawing your eye into into the vanishing point of the image. - This image as well. - This makes great use of leading lines coming in from the top of the images Melissa leaning - line created by the reflection straight up through the middle. - This is a fantastic image in that is use of both symmetry ah and abstraction. - And ah, - you also note that he's got to. - This photographer has shadows on the left side of the walkway here, - so it's not a perfectly symmetrical image, - but you know, - symmetrical enough and it's actually quite effective. - Cemetery also works for Ah Square compositions, - and I think we mentioned this really early on in class on the fact sometimes they work - better for a square for square compositions. - If you guys are shooting square, - you may want to pay a little more attention to symmetry than you would if you were shooting - , - ah, - to buy three or another rectangular format. - Now symmetry doesn't always have to be as literal as examples we've been seeing. - Sometimes it's, - ah, - little more subtle. - Now this is a picture by Cartier Bresson, - and he's placed his subjects smack in the middle of the frame, - which is what we're trying not to do, - but because he has a sort of symmetry here, - where the background has a frame on the left, - in a frame on the right, - and because he's places subjects Mac Dead center in the middle of frame. - It kind of works. - He's placed the subject there for a good reason. - And even though it's sort of a classic example of putting a porch portrait subject right in - the middle of frame because I think of the symmetry in the back, - it's would have works. - I also wanted to go back to this image I showed you, - and this image is also square format and also sort of has a nice symmetry. - You have your subject in the middle, - and you also have her flanked by two sort of similar kind of shapes. - And so the left side has a woman in the right stand. - As woman, - they sort of balance out the visual weight of the image. - This image is well again. - It's a square crop, - but because the left side and the right side or fairly similar, - it works in a fairly symmetrical way. - So that symmetry symmetry is a fairly easy in concept to understand, - and you'll probably find it pretty easy. - Teoh Execute in your pictures. - Contrast in the hand is a little more subtle, - and I wanted to spend a little more time on the concept of contrast. - First, - I want to talk about contrast in in the context of isolating your subject. - Unease. - E way to do this is to have a light or a bright object, - a subject on a dark background. - If you can achieve that, - then automatically that bright object is isolated because it has contrasts with what's - around it and because it's a bright object of your eye. - Off on Ackley goes the right image, - so you can definitely begin to use if you haven't already contrast to isolate your subjects - . - So start looking for subjects that are brighter than the surroundings and also look for - subjects that are dark hurt than surroundings. - And then they're surrounded. - And when you have subjects that are much darker than their surroundings, - that starts to create a silhouette. - Scylla leading to me is an extreme example of using contrast, - and you have all definitely seen examples of this. - But going back to our description of contrasts as any sort of line or any sort of line - could be created. - By contrast, - the silhouette is an extreme example of this. - Ah, - when you've got a silhouette with very light lights and very dark darks, - it flattens the sense of depth in an image, - and it begins to abstract that image. - So silhouettes, - because they are a an extreme example of of lines and because an extreme example of - contrast is also an easy way to isolate your subject. - I think of Silla letting as a combination of abstraction because of flattens the image in - use of high contrast, - because in order to have a civil, - what you're required have area large differential between your lights and the darks in in - an image. - So any time you see that anytime you see a very bright background in a very dark foreground - , - it's a good opportunity to nitty toe to try and take a picture that usually utilizes a - silhouette. - But also remember, - you can choose the silhouette either either the foreground or the background. - I mean, - typically, - we do it with the foreground because of background is typically brighter. - But if you every bright foreground, - a very dark background, - you can easily do the same thing. - And you don't always have the fully silhouette, - the image. - You know, - the silhouette, - everything in it. - You can also still a part of the image. - But first I want to talk about the concept of light on dark Cartier person yet again, - and this is a fairly subtle version or example of light on dark. - You'll notice that the faces here is to two subjects. - Not only are they nicely framed by these windows there, - they're peeking through, - but their faces are also considerably brighter than their surroundings. - And because of that, - you're I autumn act. - We go straight to focus on his two subjects. - More dramatic example. - Cardio percent using this is with these for one. - This image is interesting for a number of reasons, - but, - um, - the one I want to highlight here is the fact that the skin tones are all very bright, - but their clothing is all very darks. - Your eye automatically goes to all these bright spots. - It doesn't have to be a black and white image. - It could be a color image. - In this case of three nuns looked like because they're playing volleyball immediately stand - out because they are very bright. - But there's also contrast in terms of color, - their white on red and gray. - And and it's also ah, - good use of verticals. - You have the story of repeating vertical lines. - This is an image I took and I converted in black and white because I felt like it would - highlight the subject more. - When you convert things a black and white year you're only working with light and dark. - So in this case, - when I converted it on, - the background became very dark, - but the skin tones remained remained relatively light. - Because of that, - your eye automatically goes towards the subject. - A similar effect happen here, - where when I converted it, - the black and white, - the skin tones stood out much more brightly against the clothes they're wearing, - and so your eye automatically goes towards the subject. - I said we'd revisit this image, - and we are. - And this time I want to point out the fact that not only does it use vertical lines and - diagonal lines, - it uses the concept of light on dark, - where the little girl on the right is wearing a bright dress that contrasts pretty strongly - against not only her background but against the four figures to her left. - On the flip side, - you can also utilize dark on light, - and this is where your silhouette ing the four gun or the mid ground. - I introduced this image to you in the first lecture as an example of subject placement, - but it's also a good example of using silhouettes. - This is another image by Rodney Smith, - and what's cool about this image is that not only is he using ah silhouette, - he's also using a frame within a frame, - and he's allowed the dark foreground to frame his subject. - You've seen this image are already, - and it was in the context of ah, - well, - thirds and using leading lines. - But what you may not have noticed is that there's a silhouette and image right there, - And what's cool about this image is that the foreground created by that walkway leads your - eye straight to that image. - And because because there's such high contrast between the figure and its background, - it only takes you a few seconds to notice that man standing there. - This is another example of, - ah, - full silhouette in that the subject is fully darkened, - Um, - but it's also a good example of ah, - diagnose line. - One easy way to create a silhouette is the shoot into the sunset with the sun setting than - the background. - Sky becomes very bright, - but your foreground is relatively dark because everything's backlit. - This picture was was process really heavily from what I can tell, - and the colors are saturated. - But it's a good example of sunset and something in the foreground automatically becoming - silhouetted because of the difference between light from the sun and light in the - foreground, - another example of a civil it created by shooting into the sun. - Yet another example here. - What you might already notice now is this. - Photographers choice of subject placement in his choice of framing because it pretty much - follows the rule of thirds again. - Another image shooting with the sun shooting directly into a setting sun. - A use of the rule of thirds. - Another cool image that I like where the photographer decided to shooting the sun. - Distill what his images, - another image where the photographer has decided to make use of the rule of thirds. - One more example of shooting into a setting sun on this time, - the photographer has decided. - So utilize a strong diagonal. - This one's a little different. - It's a lot more stylized, - more processed. - But I wanted to point it out because not only is this photographer using silhouette, - the photographers also using a frame within the frame one more example of ah, - shooting into the sun. - But not all silhouettes have to be done where you're shooting into a beautiful sunset. - Anytime you see a tunnel tunnel under bridge or overpass, - she you're going to see a scene like this, - which is just two things. - One. - It creates a nice frame. - In this case, - it's framing the house and the boy with his dog, - but also creates a nice silhouette. - So you start seeing if you start seeing patterns like this. - It's almost automatic. - You go cool, - it's got a frame within a frame and I have a nisi salute. - I just need a subject. - This is a good example, - not saluting the entire scene. - It's also a good example of foreground created by the tree branches in the top, - which is distinct from the background created by the pyramid and which is distinct from the - subject, - which is the silhouetted monkey. - And this image also has a pretty nice diagnose. - I believe this image is from a National Geographic photographer, - which explains why it's so damn good. - Another cool example of a silhouette, - and, - uh, - his use of the rule of thirds as may not be as obvious. - But you see this figure. - This vertical figure sort of walking right into that left vertical and the horizon line, - while obscured by all the cows, - is probably right about where that bottom horizontal line is. - Remember, - I said, - silhouettes can also help create patterns or abstractions. - This image is kind of cool because you have not only silhouettes, - but you have this repeating pattern made by these balloons, - so let's can also be found in reflections. - If you have, - ah, - a shadow cast by, - you know, - a subject onto reflection. - It typically results in a sharp shadow against a bright sky. - This one's kind of cool, - as it also has a strong diagonal running through it. - A couple of you have taken pictures like this. - Bird sitting Honda Branch also always make kind of cool silhouettes, - but the reason it's easy to take a picture like this is because of bird is already elevated - , - and you can often just use this a bright sky as a background and have the bird in the - branches in the foreground and typically again with the setting sun that backgrounds going - too much brighter than the foreground. - And this isn't this photographer has also decided to use the rule of thirds another example - of vertical lines but also off, - ah silhouette, - with the subject here completely darkened against the bright vertical neon lights and this - image again, - I want to show you because not only does it use the horizontal lines, - but it also employs silhouette, - and I haven't completely blacked out my subjects here because I still wanted some back - light to dispel onto the subject that give it a little bit of dimension. - And I like this image because it utilises silhouette but also manages to frame the subjects - with this opening on the same bridge. - Okay, - so we've come to the end of module three. - Keep on shooting. - Keep on creating all this really cool work that I'm seeing. - I want you to start incorporating what you've learned in the 1st 2 modules in your third - model, - so incorporate the rule of thirds of you can incorporate into distinct foreground and - background. - Start incorporating diagnose and verticals, - horizontal zand, - repeating shapes and, - um, - started abstracting your images and see if you can start incorporating some symmetry and - some some silhouettes into your image. - Start looking for ah, - uh, - scenes where your subject has ah strong contrast against its surroundings. - It's a light on dark or dark on light. - Consider shooting into sunsets. - Consider using this sky as a background. - If anything is elevated, - whether it be like a flagpole or a lamp post for shooting from the ground automatically, - that object is simply framed by the sky. - I see if you can isolate it with just your subject and the sky. - Make sure there aren't too many trees or branches or miscellaneous stuff in the image, - and then that can help you create a minimalistic sort of image. - And finally, - I'd like you to take all these concepts. - We've discussed an Explorer obstruction a little more. - Here's some tips for creating abstract images. - Look for repeating patterns of shapes and of lines. - Look for repeating lines that turn into patterns. - When there's a strong pattern, - the pattern can actually dominate the actual subject or object you're photographing. - Also look for isolation. - So if you see an object that is isolated because it has a strong contrast in color or tone - against background, - that's that's an easy recipe for abstracting. - The image alone object on like a solid color background, - whether be lightened, - darker, - darker light. - Um, - if there's something else in the frame and it's just a lone object against a plain blue - background, - that's a pretty cool image, - because not only is it make use of contrast, - it also makes use of abstraction and of minimalism as well. - If you do on Instagram, - search for a hashtag I G minimal, - you'll find a lot of examples of this, - and you'll be surprised at how simple those images are it could be as simple as a fuse box - that is on like a brown fuse box or gray fuse box that happens to be sitting and gets a - bright green wall. - And the only thing in the frame is a green wall and a fuse box, - and the fuse box is composed using rule of thirds, - and it's a beautiful image. - It's got a nice graphic quality to it, - and it's not that complex you're going to start reckoned. - If you start looking for things like this, - you're gonna start recognizing these patterns fairly quickly. - Another tip to abstract ER images is is pay attention to your distance. - Sometimes, - if you get really close to a subject, - it can help abstract the image out. - Because when you get really close, - you start removing context. - Once you start removing context and you're just looking at lines and shapes instead of an - actual object that registers in your brain, - or you can get really far away again when you get really far away, - remove context and different form. - You remove the context created by detail, - and when you do that, - then you know a bunch of houses sitting on a hill just become a bunch of rectangles and - triangles. - Finally, - lenses can help create a sense of abstraction. - Lenses to have a longer focal lengths can flatten perspective, - and when you flatten perspective, - it immediately begins to compress a three dimensional image into two dimensions, - therefore, - making it a little more abstract. - Ah, - I know I wasn't gonna focus on gear, - but for those of you who happened tohave long lenses available. - Um, - try shooting with it. - If you have ah, - 200 millimeters zoom, - Try shooting with the 200 millimeters zoom and pay attention to the compression effect that - lenses like that give you. - So that's all I have for this week. - So if you have any questions, - if you have any other things that haven't covered in these lectures, - feel free again to email me or to post a question on the discussion page. - I will try and get to those a soon as possible. - For those of you who are so waiting on my comments for your images, - bear with me. - You guys have posted all thought of images, - so it's taking me a while t crank through all those images. - In any case, - good luck this week, - and I'll see you in the comment section