As there are many of these types of lists all over the internet, I wanted to offer something different on a practical and conceptual level for both novice and professional. When I review my principles of photography and post-processing during my workshops. I delve into these concepts and much more. I hope you find it useful in your own workflow. You could always add noise or grain as an artistic choice later on in your edits.
Flat black and white images tend to lack contrast and range in the grey zones. Focus on varying grey tones in your images with special emphasis on the midtones as they add a vibrancy to images. The greys are just as important as the whites and blacks. Sometimes a symmetry-asymmetry of patterns and elements in your composition can offer a dynamism that you least expect. It may also look like the shape of a diamond when there is more emphasis on the rich grey tones. I think there is merit in this idea depending on what final vision you have for your black and white images.
This often creates an appealing contrast to the eyes. Both principles are equally important and synergistic. This is a conscious but intuitive choice on my part when creating art. Whether you create with pixels or paint, consideration of these principles helps make a statement about your own vision as a photographer. The red channel, in particular, will offer an almost infrared quality to your images. It may look good on your screen or on a photography site on the internet but the true test is the printed image.
About this book
Sometimes you have to boost the contrast and sharpening a bit for a final print. Printing is an art and a science and well worth the investment. How is it that you approach these two, sometimes conflicting, practices when creating your art? Gordon for the honour and opportunity to not only display some of my photography but the chance to elucidate some of my thoughts and theories about photography that have evolved with my own personal vision. Let me start by stating that I do not believe in rules of photography in absolute terms.
Many photographers, including myself, tend to gravitate towards the rule of thirds, the golden ratio, and even the diagonal method as a basis for composition when they first pick up a camera. Although I believe photography is a skill that develops and evolves with experience and time like any other skill, these rules of composition are helpful but they set limits for instinctual discovery and trajectories of ingenuity in photography. There are many geometric compositions, such as the Gamut or 1.
However, if we were to imagine a tesseract composition, for example, where the inner cube of the cube focuses on the main subject s and the outer cube stretches to elements within the frame that compliment the position of the subject, we would be creating a more complex geometric perception that may work well or not. In many ways, a resilient composition is the foundation of a strong visual aesthetic in photography because it balances and orders all elements within a minimalist or multi-layered scene into a flowing perspective with a pleasurable and powerful sensory and emotional impact.
When a photograph offers resistance to true vision because it lacks a stimulating subject matter, perspective, or composition, it disavows the Rothkoesque notion of the felt aesthetic as an essential condition and content of all art. In essence, a good composition, whether standard or idiosyncratic, instinctual or calculated, is the starting point for all photographers but it also becomes a tipping point for a natural and beautiful geometric harmony in the photograph that just looks and feels right.
The content of a photograph is equally important but is not limited to one subject or style of photography. Originality in content is not a prerequisite for mastery of one or more subject matters in photography. However, I do believe we should strive for true innovation as photographers and try to distinguish our own work from others while pleasing ourselves first and foremost.
Inevitably, promotion of our own work on social media, for example, may take away our second and third virginity. Fine art photography is about the communication and contemplation of a revealed aesthetic meant to awaken something within us. There is vast but precarious agreement about what is beautiful as a subject in fine art based on masterful works and our own learning about what beauty is and means as individuals. I may find architecture as a striking subject for artistic expression but you may disagree.
- Lesson Plan #2: A Tale of Two Cities;
- The Zest Hive?
In the simplest of terms, context is the way a photographer uses photographic and post-processing techniques to realize their own vision of beauty based on content and composition. We evolve as photographers when we understand how to liberate beauty and make it profound. For the photographer, it becomes a phenomenological experience, a mindful praxis, and a continuous liveable moment prior to taking the photograph until the photographer makes the photograph, as Ansel Adams famously said, into something both real and unreal at the same time.
Overall, good photography offers personal milestones in technical prowess where a rose becomes a rose; exceptional photography reaches the status of fine art when the artist can create visual poetry through an innovative unification of philosophy e. While the evening would be improved by judicious editing and culling especially post-Crucifixion , the plays speed by more swiftly than expected.
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As in the Sophocles show, the cast interacts with the audience between acts. So prepare to cede your toilet stall to an angel or take your dinner plate from a smiling Roman soldier. Though the actors vary in skill — some are excellent, others shouty — all enthusiastically embrace Mr. The playwrights and Mr. Part of the G. So what if another camera is better than mine?
Ethics and the Arts | SpringerLink
Does it mean that mine cease taking great pictures? So why even get a new one? I had to stop fantasizing on what I could have and start appreciating what I had. And, after a few email exchanges, I believe it hit the spot. I mean look at all you will be able to accomplish with it! For less than a week, that is.
Would that be TRUE happiness? Nope, it was the contrary. Actually, let me make you enjoy your next shower. I used to shower with a bucket and a cup, with boiling water thrown in.
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Quite the perspective shift from something that is so basic right? I probably can do whatever I fantasize with my current gear. I think about how lucky I am to even have those cameras and have enough time to take pictures while some are struggling to pay their rent. It never fails to drive the lie that a new piece of gear would make me happy.
Thank you for opinion, Mr Self Talk, but I have more than enough to rejoice. Oh I love this one. S has a tendency to blow a feature out of proportion, like the holy grail, even if you never relied on it in the past. I have a 10 fps camera, but have never used it, even in event situations. Pressing on with your current gear when everybody else is upgrading will make you a better photographer. My mother used to be a pottery artist, I used to watch her hands molding that pot, forming it into what she wanted.
Her hands where her tools. She knew how every little movement could have a drastic change on the pot when it was turning.
My tool and your tool is the camera, and the more you know it, the less camera there will be between what you have in your Vision. I think one of the keys to better photography is not to upgrade the camera but to upgrade your relationship with it, know it like the back of your hands. After all the best camera is the one you love.
Also the very bad consequence of that self talk is that you start associating the camera with being a good photographer. Compensating for a weakness is the nail on the head.
There are many reasons for buying more and more gear Maybe sense of lack? My PDA collection was to hide the fact that I was never really productive, no matter what system I used. Every piece of gear I bought was an excuse, it provided me a way to rationalize my mediocrity: The bigger the camera, the more it screamed photographer, the better it is. If I wanted to be a respected photographer, I needed to stop wasting my money on gear, and actually start producing work.
I shift the attention from the looks of the camera to what really matters: What I have found out is that there is a guilty pleasure in using what other people consider outdated. Look at these pics from a 5 megapixel point and shoot , my NEX7 will never impress me like that. I boosts self confidence less than new equipment because it focuses the attention on the photographer and less the equipment.
Most of what I write on my blog , all my articles over at Inspired Eye , and my free guides were written on a 20 year old HPlx computer. Learn more about Amazon Prime. New pictures, new tips.
https://bankcaconspona.ml This abridged edition of Easy Photography introduces a minimalist approach to DSLR photography that allows the user to take full advantage of a camera's automatic functions, leaving minor tweaking to do to bring out that perfect exposure. The result is a picture that looks just as good as the one taken by an old pro — with less effort, after giving free rein to your creativity. The lessons you will learn from this book will apply just as well to the DSLR as to any other kind of camera, including the point-and-shoot. As in his book "Easy Landscape," the author walks you through various settings accompanied by pictures that illustrate the basics of photography.
His most self-satisfying advice is to "trust your camera" as it will get the job done without too much fussing - most of the time. He cuts through the fog of confusing concepts in photography. For example, the counter-intuitive rule on aperture values: The higher the aperture value, the smaller the lens opening and vice versa?