1. Advanced Photography
YEARBOOK CAMP
2010

2. Snapshots vs. Photographs

3. Snapshots vs. Photographs

4. Composition: Rule of Thirds

5. Composition: Rule of Thirds

6. Composition: Rule of Thirds

7. Composition: Rule of Thirds

8. Keep it simple Keep background uncluttered Avoid mergers
Have single dominant subject

9. Uncluttered background, dominant subject

10. Single dominant subject

11.                                     
Avoid mergers

12. Avoid mergers

13. Cluttered backgrounds, no single dominant subject, mergers and – don’t cut people in half

14. Working with angles Low angles High angle Avoid centered horizons
Clear sky backdrop
Accentuate movement or action
High angle
Eliminate cloudy sky
Avoid centered horizons
Use the light
Emphasize a point, tone

15. Low angle
Low angle and accentuate movement
Avoid center horizon

16. Have a strong center of interest
Take pictures at different angles with different compositions
Work around the rule of thirds

18. Allow for room to run off page

19. Leading Line
Leading lines draw the viewer's eye to the point of interest or help create the illusion of depth and/or distance in a composition.

20. Composition: Leading Lines

21. Composition: Leading Lines

22. Composition: Leading Lines

23. Composition: Leading Lines

24. Leading lines
Lines draw the viewer's eye through the image from one spot to the next, sometimes all the way around and sometimes in one direction.
Keep lines simple
Don't make lines take attention away from the intended subject.
We first notice the bright spot in the lower left, The canyon rims provide the visual line that takes us through the rest of the image.

25. Lines cont….
The eye is led through the image following the lay of the rocks.
The bright logs in the foreground are the first thing the eye is attracted to, and bring the viewer deeper into the image.

26. Work with line Line leads the eye Static vs. dynamic lines Shape
Diagonals
S-curves
Static vs. dynamic lines
Shape

27.                                       
Static line vs dynamic line

28. Directional
Straight and S-curve line

29. Diagonals

30. Shape – directional

31. Rhythm
Objects repeating in a picture creating a feeling of depth.

32. Framing
Framing is a technique that creates the illusion of depth and draws the viewer's eye to a focal point of interest.
Think of focusing the viewers attention on the main subject by photographing the subject THROUGH something else.  

33. Natural Frames
Take advantage of natural "frames". These can be doorways, windows, rock arches, or anything that encircles or encloses the subject. The frame can even become the subject itself.
A hollow log serves to frame the subject, whose face is dead centre in the image, emphasising its importance. Even the lines in the log point to the centre of interest
A snow-capped mountain scene as seen through an old barn window

34. Use frames Adds depth Should fit theme Watch focus on foreground
Focus on foreground in landscape
Focus on subject in portraits
Auto-focus should be centered on main topic
Overall—DEPENDS ON CAMERA

35. Depth
Fits theme

38. Fill the frame Would this picture look better if I was closer?
Focus on subject
Detail
Start far and move closer
Fill the frame with objects that “fit”
Long range shots provide depth and perspective

39. Fill the frame – which one could be improved?
                  
Fill the frame – which one could be improved?
How would you improve it? - move closer or zoom

40. Fill with objects that fit

41. Vertical
Tall Crop
Tall, narrow picture, view taken only by lifting the head

42. Horizontal Letterbox/ Wide Angle
Wide, narrow, horizontal, good for framing

43. Informal Balance
Informal or "asymmetrical" Balance is uneven or unequal balance.
The objects have nearly the same "visual weight" on either side of the vertical center of the photograph composition, but are different in size, shape, texture, or value.

44. Formal Balance Formal balance is equal or symmetrical balance.
Each side of the vertical center of the photograph has equal weight and similar or exactly the same shape, texture, and value contrast.

45. Balance Balance color and weight in a picture Formal and informal
Symmetrical and asymmetrical

46. Balance wheels

47. Formal vs informal
Balance of color and weight

48. Symmetrical - balanced proportions
versus asymmetrical - unbalanced proportions

49. High Key Low Key

50. Lighting Lighting adds dramatic effect.
"Backlighting" occurs when the light source is in front of the lens (and behind your subject), creating dark silhouettes. 

51. Lighting: Backlight

52. Lighting: Backlight

53. Lighting: Sidelight

54. Angles Up- You may have to lay on the ground and look up
Down – You may have to stand on a chair and look down
Straight- You look straight ahead, dead on.

55. Depth of Field
SHALLOW DEPTH OF FIELD - the thing closest to the camera is in focus and the distance is not in focus. 

56. Aperture The aperture is larger, the DOF is shorter. PORTRAIT MODE
The aperture is smaller, the DOF is longer.
MOUNTAIN MODE

57. Distance of Object
The distance of object is longer, the DOF is longer.
The distance of object is shorter, the DOF is shorter.

58. Example of DOF

60. Advanced Photography
Camera Functions

61. Typical Mode Dial
This mode does everything for you. If you want any control, do NOT use this.
Auto Mode

62. Typical Mode Dial Why is this mode bad? Auto Mode
FLASH IS BAD. This mode will pop the flash when it wants to. Flash =Flatness
Auto Mode

63. flash vs. no flash
Flash
No Flash

64. Typical Mode Dial Use these modes if you know what you are doing
P= Program
AV (or A)= Aperture Value
TV (or S)=Time Value
M= Manual
Use these modes if you know what you are doing
Manual Modes

65. Typical Mode Dial “P” is the BEST REGULAR SHOOTING MODE.
This mode will create a decent exposure, but YOU still have control over ISO, White Balance, Flash, and many other functions.

66. Typical Mode Dial Portrait Mode
Use this mode for a shallow Depth Of Field

67. Depth of Field
Subject in focus
Everything else blurry
©Joseph Meehan

68. Depth of Field
When using the Portrait mode to create a shallow depth of field make sure:
Your camera focuses on what YOU want the emphasis to be
If you camera has a tendency to focus on whatever is in the CENTER of the frame, make sure you focus THEN recompose (while your finger holds the 1/2 way point)

69. Choose The Wrong Object

70. Typical Mode Dial
Landscape, really. Use this mode for a GREAT depth of field
Mountain Mode

71. Typical Mode Dial
This mode is for FREEZING motion, not for showing blur (although some blur may happen depending on how fast the subject is moving. Great for ACTION SHOTS on the outdoor field, not so successful in the dim gymnasium.
Sport Mode

72. How to get a better “freeze motion” indoor Gymnasium shot
Crank the ISO to 800 or 1600
Use a GOOD QUALITY lens on your DSLR camera. The more expensive the lens, the more LIGHT the lens will let in. The more light the camera has to work with, the less blurry your photograph will be.
Use Photoshop © to reduce noise that resulted from the high ISO

73. Examples of noise

74. Examples of noise

75. Assignment Photograph each one of the techniques on the handout.
If you would like to be eligible for the Photography prize, your BEST SHOT to

76. Email the photograph to chadmikegreg@yahoo.com by NOON on FRIDAY
How to Turn it in:
the photograph to by NOON on FRIDAY
Don’t forget to tell me who you are!