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PHOTOGRAPHY

PHOTOGRAPHY. Every Good Photograph Is . . . Dramatic . . . Offering unique storytelling appeal Creative . . . Shot with various composition techniques Flawless . . . Having impeccable technical quality. Storytelling Power Interesting and intriguing photos . . . Cover every angle

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PHOTOGRAPHY

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  1. PHOTOGRAPHY

  2. Every Good Photograph Is . . . Dramatic . . . Offering unique storytelling appeal Creative . . .Shot with various composition techniques Flawless . . .Having impeccable technical quality

  3. Storytelling Power Interesting and intriguing photos . . . • Cover every angle • Freeze action • Express emotion • Show conflict • Illuminate personalities • Establish relationships

  4. Diversify storytelling photo content: • Action • Reaction • Scrapbook • Illustrations

  5. STORYTELLINGPHOTOGRAPHY ACTION

  6. STORYTELLINGPHOTOGRAPHY REACTION

  7. STORYTELLINGPHOTOGRAPHY ACTION & REACTION

  8. STORYTELLINGPHOTOGRAPHY SCRAPBOOK

  9. STORYTELLINGPHOTOGRAPHY ILLUSTRATION

  10. STORYTELLINGPHOTOGRAPHY ILLUSTRATION

  11. Basic Content & Composition • Follow the Rule of Thirds • A composition technique that places the main subject off-center for a more appealing picture. The primary action should take place along one of the intersecting lines. • Diversity of storytelling content • Cover the entire event. • Avoid: same photo just with different subjects, just the “popular people,” and the yearbook staff. • Variety of photo elements • Shape: vertical, horizontal, square • Size: dominant, subordinate • Numbers: single, multiple subjects

  12. STORYTELLINGPHOTOGRAPHY RULE OF THIRDS

  13. STORYTELLINGPHOTOGRAPHY BEFORE, DURING, & AFTER

  14. STORYTELLINGPHOTOGRAPHY SHAPES & SIZES

  15. STORYTELLINGPHOTOGRAPHY NUMBER

  16. Advanced Content & Composition • Framing • Angle • Leading Lines • Shallow Depth of Field (Selective Focus) • Repetition • Silhouettes

  17. STORYTELLINGPHOTOGRAPHY FRAMING • Framing:Positioning the camera so that foreground and background objects form a natural frame around the primary subject

  18. STORYTELLINGPHOTOGRAPHY ANGLE • Bird’s-eye View: shots taken from above • Worm’s-eye View: shots taken from ground level

  19. STORYTELLINGPHOTOGRAPHY LEADING LINES • Leading Lines: Using natural lines to direct attention to the center of interest

  20. STORYTELLINGPHOTOGRAPHY LEADING LINES

  21. STORYTELLINGPHOTOGRAPHY SHALLOW DEPTH OF FIELD • Shallow Depth of Field: Choosing a lens opening that produces a shallow depth of field, so that some of the picture is out of focus to emphasize another part of the picture. • The lens aperture mainly controls depth of field. Larger apertures (greater diameter of the lens that allows light to enter) will yield pictures with shallow depth of field. For instance, an f/stop of f/2.8 would produce a picture with very shallow depth of field.

  22. STORYTELLINGPHOTOGRAPHY SHALLOW DEPTH OF FIELD

  23. STORYTELLINGPHOTOGRAPHY REPETITION • Repetition: When two or more subjects or elements repeat in a given scene

  24. STORYTELLINGPHOTOGRAPHY SILHOUETTES Silhouettes:the image of a person, an object or scene represented as a solid shape of a single color, usually black, its edges matching the outline of the subject.

  25. STORYTELLINGPHOTOGRAPHY SILHOUETTES

  26. Photo No-Nos • Blurry • Poorly Lit • Poorly Composed and Cropped • Boring • Inappropriate content

  27. STORYTELLINGPHOTOGRAPHY BLURRY • Probable Causes • Holding the camera unsteadily • Inappropriate camera settings—usually when taking fast-action shots

  28. Solutions 1. Create a solid base on which to rest the camera

  29. Solutions 2. Set the Camera for the correct fast-action setting Of course, this depends on the camera, but the “running man” setting on the mode wheel is the usual default for fast-action/sports shots. This setting works best for daytime sports, when there is enough light for a fast shutter speed.

  30. 3. Use the appropriate ISO (International Organization for Standardization)—AKA film speed. With digital cameras, it really is a standard of measurement of the camera sensor’s light sensitivity. For fast-action shots during the day, this should be set at 400. For fast-action shots at night and with a flash, this should be set at 800 or 1600. For fast-action shots at night and without a flash, this should be set at 1600 or 3200. Higher ISOs can result in more digital noise (grain) though. ISOs range from 100 to 3200, depending on the camera. Solutions

  31. 4. Setting the camera to a higher shutter speed (the length of time it takes light to reach the sensor) can decrease image blurring as well. Basically, the “running man” icon on the mode wheel automatically selects a fast shutter speed, but—sometimes—by using the Shutter Priority mode (S or TV), the photographer can select an even faster shutter speed. Shutter speeds for fast-action shots should be 1/250 or faster (shutter speeds range from 30 seconds to 1/8000 second, depending on the camera). Solutions

  32. STORYTELLINGPHOTOGRAPHY POORLY LIT • Probable Causes • No flash when one is needed • Shooting too far away from the subject • Too much light/flash • Shooting with the sun or other light source directly in front of the photographer

  33. Solutions • 1. Physically move closer to the subject, so that • the camera’s built-in flash will illuminate the • subject and surrounding area. Normally, a built-in • flash is only adequate from 12’ or closer. • 2. Shoot a faraway subject with a telephoto • lens (80mm or greater) and an external flash.

  34. Solutions • 3. In situations where there is no flash available or when the • photographer cannot use a flash, . . . • Set the ISO to 800+ • Increase the size of the Aperture (F/stop) • The Aperture is the size of the diameter in the lens that allows light to enter. • The smaller the F/stop number, the larger the Aperture. For instance, a f/1.8 is a very large Aperture, whereas f/22 is a very small Aperture. • The larger the Aperture, the more amount of light is let in the lens. • The Aperture Priority mode (AV or A) will allow the photographer to set the Aperture. • FYI, Aperture also dictates Depth of Field (the area in front of and behind the subject that is in acceptable focus)

  35. Solutions 4. If you do not desire a silhouette, shoot with the sun behind you. 5. If there is too much flash, simply turn the internal flash off, remove the external flash, or bounce the flash. Bouncing a flash can only be accomplished with an external flash and occurs when the photographer reflects the flash off of the ceiling, wall, etc., resulting in a soft, indirect light. 6. Just after sunrise and just before sunset are called the “golden hours”—when subjects are bathed in a golden light—and are ideal times to take pictures outside.

  36. STORYTELLINGPHOTOGRAPHY POORLY COMPOSED/CROPPED • Probable Causes • Not knowing the basic rules of cropping pictures • Placing the subject of the photo in the dead center, rather than off-center and based on the Rule of Thirds

  37. Solutions • 1. Learn to crop correctly. • Ideally, crop either so that the entire body, from the waist up or from the shoulders up is in the picture. • Avoid cutting off people’s appendages. • If an action picture, crop so that the subject has room in the picture to continue the action. • Eliminate any “dead space” by cropping in/zooming in on the subject.

  38. Solutions 2. Follow the Rule of Thirds.

  39. STORYTELLINGPHOTOGRAPHY BORING • Probable Causes • Laziness • Unworthy events or activities covered • Tired/Predictable angles • Fear

  40. Solutions 1. Simply insist on quality pictures and motivate students through praise, grades, photo credits, awards, scholarships, etc. 2. Avoid covering mundane events, like students at desks taking notes, etc.—unless for a specific story around the school. 3. Discourage students from taking those types of pictures by not uploading them to YBA or the school’s computers. Instead, make sure to have on hand a list of “always useful” pictures the staff could use and other tasks, like photo corrections, tagging pictures with names, etc., the photographers can work on.

  41. Solutions 4. Use the advanced composition techniques. Angle Framing

  42. Leading Lines Repetition

  43. Shallow Depth of Field

  44. STORYTELLINGPHOTOGRAPHY INAPPROPRIATE CONTENT • Probable Cause • Not looking at the picture • Solution • Look at the picture

  45. WHAT MAKES THIS PHOTOGREAT

  46. WHAT MAKES THIS PHOTOGREAT

  47. WHAT MAKES THIS PHOTOGREAT

  48. WHAT MAKES THIS PHOTOGREAT

  49. WHAT MAKES THIS PHOTOGREAT

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