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COLOR REVIEW: Sessions 33 through 37 461
S e s s i o n s 3 3 t h r o u g h 3 7
COLORREVIEW:
Three Keys to Good Composition: Balance, Viewpoint and Dominant Point of Interest
In earlier sessions you learned about the Rule of Thirds as one of those compositiontools you can use to instantly improve your photographs.
There are times, however, when you’ll want to purposefully and deliberately break the Rule of Thirds.
This woman sittingalone in a crowd ofpeople would not (and could not) tellthe same story hadthe Rule of Thirdsbeen applied to this shot.
Shell
y Pe
rry
462 COLOR REVIEW: Sessions 33 through 37
Framing
Notice how the French doors provide aframe for the image that not only makesthe photograph more unique but also givesthe image a sense of place. You know thecouple is standing on a balcony in Paris.They’re not on a beach, or overlooking TheStrip in Vegas. The Framing in this shotallows the photographer to tell a story.
Shell
y Pe
rry
Leading Lines
This is a great example of multiple compositiontechniques combined in one photograph. Here, thephotographer has used all the details, from theDiagonals of the pier to the softer water line on the side, to lead us right to the subject of thephoto. She’s also used the Rule of Thirds and astrong Framing composition on the right. Sh
elly
Perr
y
Notice how the building on the right balances theman on the left. And the man is placed on thefirst thirds line.
Our subject — the monks — is located on athirds line and the long contrasting shadowlines lead into the image. The whole thing isbalanced and held together on the left by thethicker, darker, “heavier” shadow.
Balance
Combing balance with the Rule of Thirds…
COLOR REVIEW: Sessions 33 through 37 463
Three is a strong number inphotography. Notice how the fries and even the straw are strategicallyplaced to provide balance.
Whose viewpoint might thisbe? See how the unusualvantage point offers storyopportunities?
This viewpoint places us in thescene. From this vantage point weinstantly know we are on a cruiseship. Had the photographer taken this shot from a differentperspective we might not know.
Here is a sunset shot — onethat incorporates a DominantPoint of Interest, the Rule of Thirds, Balance and anunusual vantage point.
The use of apposing colors — blue and orange — are directopposites on the color wheel, very complimentary. See how withthe predominate color of this image being blue — the orangefish stands out and then the tip of the snorkel and the orangetone of the man’s face draw your attention around the frame(essentially they are three separate objects.)
Using Color and Numbers to Create a Sense of Balance
Viewpoint
464 COLOR REVIEW: Sessions 33 through 37
Speed Up Your Learning Curve — 13 TemplatesDesert Scenes
Beaches
Rich
Wag
ner
Allowing your camera to averagethe scene to 18% gray won’tcapture the brilliant colors anddramatic light that desertscenes offer.
Shell
y Pe
rry
Alwayshave an
eye out forinteresting
patterns— natural
ormanmade.
Shell
y Pe
rry
There are moreopportunities at the beach than just the
sea and sand.
Paul
us R
usya
nto
This photo is the perfectexample of the interestingpatterns and textures youcan find in the desert.
Shell
y Pe
rry
COLOR REVIEW: Sessions 33 through 37 465
Night Photography
Mist and Fog
Rich
Wag
ner
Bright objects at night can come out quitestunning if you bring the proper equipment anduse a little patience.
Lori
Allen
Lori Allen, Director of AWAI’s Travel Division,took this picture at our very first travelphotography workshop in Paris with a digitalpoint-and-shoot camera. This isn’t the bestcamera for night photography, but as you cansee, it worked for her in this instance. If sheenlarges the image, however, she’ll notice a lotof photo grain. So… she got a picture she canbe proud of. It’s just not saleable to anyoneexcept maybe a web editor. Pictures usedonline don’t have to be nearly as high-qualityas those that are printed on paper.
Shooting at twilight is the best time for nightphotography. All the lights are on, but theambient light is a little easier to shoot in.
Caro
l Shi
elds
The heavymist overthe lakeevokes asense ofpeacefulness in thisimage.
Shell
y Pe
rryAgain, the
mist helpsmake thisshot.
A foggymorning can turnsomethingmundane, like a building, intosomethingextraordinary.
466 COLOR REVIEW: Sessions 33 through 37
Photographing Snow
Rich
Wag
ner
A bright splash of color adds interest to yoursnow photos.
Rich
Wag
ner
The trick to good snow photographs is makingsure your snow comes out true white.
Rain
Rainy daysoffer unusual
reflectionthat add
interest tophotographs.
Colors canalso appear
moresaturated
on a rainy day.
Ron
Hohe
nhau
s
This rain-soaked scene differs dramaticallyfrom the everyday look of a street.
Photographing Sunsets and Sunrises
Dale
Taylo
r
This sunset (which has brilliant colors) issaleable because of the couple.
You canuse
yourselfas a
model ifyou havea tripod.
COLOR REVIEW: Sessions 33 through 37 467
Photographing Landscapes
Rich
Wag
ner
Notice how the horizon sits at the lower thirdof the picture. The major mountain peaksobey the Rule of Thirds, too.
Notice how both rocks in the foreground and themountain in the background are in sharp focus.
Photographing Pets
Getting inclose canmake a hugedifference to your petphotographs.
There are threekeys to petphotography.Get in close,keep yourcamera level withthe animal’s face,and be patient.Your patience will be rewarded.
Waterfalls
A waterfallusing afaster
shutterspeed (1/60)
stops themotion andgives more
detail in thewhite areas
of the water.
A waterfallshot with
a slowershutter
speed (1/15seen here)
conveys themovement of
the water.
Terr
y Al
lenWaterfalls are everywhere. This shot wastaken by one of our workshop attendees inThe Bahamas at the famous Atlantis Resort.
468 COLOR REVIEW: Sessions 33 through 37
Street Photography
Caro
l Shi
elds
Candid photos like this one arethe type of images editors andstock agencies love.
Shooting close in to yoursubjects adds detail andintimacy to your shots.
Notice the focus in thispicture is on the eyes,although it is thecolorful outfit thatmakes it so interesting.
Sports
Rob
Fried
man
Rich
Wag
ner
Using a telephoto lens lets you get up-closeshots without interfering with the action.
Set yourshutter asfast asyou canget it tostop theaction andcapturegreat (andsaleable)images likethis one.
Photographing Fireworks
Notice howsharp the
streams oflight are —
you need a tripod
to capturethis effect.
Notice thevertical
angle andhow thefirework
bloom fills the frame.
COLOR REVIEW: Sessions 33 through 37 469
Adjusting for Distortions and Perspective
Notice how the building feels like it might just keel overbackwards… this is a dangerwhenever you tilt yourcamera up to photograph tall buildings.
Shooting at a distance or from an angle will help to preventdistortion, too.
With a little adjustment inPhotoshop, you can save afalling building shot and turn it into something saleable.
Rich
Wag
ner
Rich
Wag
ner
Rich
Wag
ner
470 COLOR REVIEW: Sessions 33 through 37
This concludes the Full
COLOR REVIEWfor Sessions 33 through 37.
Working with Stock Photo Agencies
This is an example ofthe kinds of imagesthat stock agencies like to receive. As thewoman is clearlyidentifiable, a modelrelease was neededbefore sending this to an agency.
People. People. People. We can’t say it enough— people are what sellmost photos. Withoutthe couples walking onthe beach, this would
be a useless shot.
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07-D
D7