2020 SET SUBJECTS
Print & Projected Image Definitions
Architecture is a broad subject, encompassing everything from skyscrapers to shacks. Virtually everywhere we go, we are surrounded by some sort of architecture on a daily basis. Because of this, it should come as no surprise that architecture is such a popular subject in photography.
despite its diversity, there are a number of principles and techniques which can be applied to most situations. Keeping in mind at all times will encourage you to think more carefully about your framing, composition and lighting.
With practice, you will develop an eye for architecture photography, This will help you shoot your subjects in a more interesting way, avoiding commonly-repeated compositions and injecting more personality into your photos.
When photographing old architecture, a straightforward and simple composition usually works best, showing the natural beauty and elegance of the building. It usually helps to include some of the surrounding scenery to give context to the architecture and make it feel less cramped.
When photographing modern architecture you can get away with using much more modern abstract style. Experiment with wide angle lenses to produce extreme perspective, or photograph the building from unusual angles. Also, because modern buildings are often squeezed in very close to one another, you can crop in tightly on the building without making the photo feel unnatural.
PUT YOUR ARCHITECTURE IN CONTEXT....OR DON'T
The question of whether to show your building's surroundings depends on the situation and the message you want to convey. Ask yourself whether putting your building in context would add to or detract from the photo. If the scenery compliments your building then shoot a wider photo, but if the surroundings don't fit with the message you want to convey, cut them out.
As an example consider an old building in the middle of a modern city. If you wanted to capture this sense of not belonging then it would be important to include some of the surrounding modern buildings. But if you want to emphasise the beautiful old architecture then the newer buildings would only detract fro the photo, so you should crop them out.
Lighting is a crucial part of architecture photography. Of course we have no say over the position and orientation of a building, and lighting the building ourselves is usually out of the question (not to mention expensive). Instead we have to make do with what nature provides.
Side-front lighting usually produces the best architecture photos. It provides plenty of illumination and also casts long, interesting shadows across the face of the building, making its surface details stand out and giving the building a more three dimensional look.
Back lighting is the worst kind for architectural photography because it creates very uniform, dark surfaces. The best way to deal with a backlit building is to either crop out the sky and use a longer exposure to rescue some of the detail, or photograph the building as a silhouette. Alternatively you could wait until it gets dark.
SHOOT AT NIGHT
Even the most boring architecture can come alive at night-in fact many modern buildings and city centres are designed specifically with night time in mind. After dark these building are lit by dozens of lights which bring colour and vibrancy, and cast fantastic shadows across the face of the building. When photographing architecture at night be sure to use a tripod ans set your camera to its lowest ISO setting to reduce digital noise to a minimum.
Abstract photography is a very wide field of iage capturing. any subject can become abstract depending on the way it's photographed.
It only takes creative imagination and concept to be able to capture subjects in an abstract way. You are only limited by your vision and ideas.
Changing your usual perspective of the subject helps to create abstract images.
Shooting from up-down could allow you to focus on it's shape and form. This changes the subject's meaning and purpose.
You could even create something from scratch. Photographing an item relying on your off-camera creativity.
Other images such as multiple exposures and ICM (intentional camera movement) need the camera's help.
The best part of this area of photography, is there are no guidelines. There are no rules about composition or framing.
It all comes down to you, your view and what you find interesting or beautiful.
What you will discover from practicing this field, is the philosophy of subtraction. More often than not, What you leave out of the image is just as important as what you put in.
You are the composer in the creation of your abstractions.
Three photographers utilized and developed this field of photography. Man Ray and Làszlò Moholy-Nagy started the trend, but Alfred Stieglitz made it popular.
A triptych (pronounced trip tik), when applied to photography, is a group of three pictures. It could be three photographs mounted in a frame, closely associated pictures displayed near each other or three pictures in one image.
The subject of a triptych ia an important defining characteristic. The pictures should have a common theme. This could be a story, Similar compositional elements, colours, similar subject matter-anything that draws the pictures together as a group. The origin of the term triptych applies to three paintings on hinged wooden panels. They could fold into each other making a flat carrying pack. Originally the triptych was used for religious paintings. However, in modern times the format has been used in a wide variety of different situations and presentations.
Competition photographers often make an effort to ensure that the pictures are not only related but have a definite order. An example of triptych could be 1st image a duck shaking it's tail, and then another two showing the different stages of the duck drying itself off. An order may be applied to a triptych in other ways too. For example the first picture may be a portrait of someone facing to their left . In the second portrait the person faces the camera, and the third they would face to their right. The order shows all the aspects of the subjects face, but the inward-facing heads on either side also create a compositional frame by implying a boxed-in middle shot. It is common for photographers to use compositional elements in this way to create an overall effect across triptych.
CREATING A TRIPTYCH
1. Assemble your story grouping three images
2. Crop the three images to the same scale
3. Create a new blank canvas wider than the three images.
4. Allow for a border between them and all around if you want.
5. Colour the blank canvas to the colour you want the borders.
6. Paste the three pictures onto the new canvas
7. Arrange as appropriate leaving equal borders as necessary.
8. Crop the final image to suit your border or to tidy the shape/size.
9. Save the new canvas with an appropriate file name.
It is not essential that the pictures are of the same scale, size and shape. However, it helps to do it that way until you understand the process and get a feel for the format. When you have done a few you can try all sorts of creative ways to lay them out.
" J is For "
J in photograpy
J can be anything beginning with "J "John, Jim, Jennifer, Jeans, Jug's, Jam, Junk, Jets, Jaguar, ect ect.
Use your imagination, be creative, go for it. See what you can come up with.
Anything, Prawns through to Whales and Dolphins
Jellyfish, coral, crabs.
Fungi, there are many types, mushrooms, toadstools and they come in all shapes, colours and sizes.
A macro lens is a handy way to shoot fungi so give it a go, and get around to all those lovely wet bush areas and in gardens around to see what you can find.
Look beyond the food you're going to shoot and choose a setting the enhances, but doesn't distact, from your dish. Pick a simple, plain background or tablecloth, and use crockery that contrasts or harmonizes with the food. Keep away from plates that are the same colour as the food as it makes the photo messy and hard to focus on. The safest and cleanest option is to choose a white background and crockery.
Pay attention to what is around the plate and clear the scene of any clutter. If your camera allows you to play with aperture, pick a wide aperture which will help blur out the background and focus on the eye on the food in the final picture.
To make your food look appetising it's best to shoot in natural light. Set your camera up next to a large window, using a white sheet to diffuse the light if it's too bright. Under no circumstances should you use a flash as it will destroy all the detail, create shiny areas on the food and leave you with an image that is nothing like the finished product.
Get to know your white balance function on your camera. This will let you pick the right temperature for your shots. As a general rule, food should always be shot in warm tones.
In low light situations you need to hold your camera still to avoid any blur. Use a tripod whenever you can .
Use a macro lens to photograph your food. Get in as close as you can, filling the entire frame with the food. This will bring out textures and finer details, making the final photo look more interesting and intriguing.
Silhouettes are a wonderful way to convey drama, mystery, emotion and mood to the viewers of your photos and often stand out in an album because of the combination of their simplicity but also the story that they convey. I love them because they don't give the viewer of a clear picture of everything but leave part of the image up to their imagination to wonder about. The basic strategy you'll need to employ in taking silhouette shots is to place your subject (the shape you want to be blacked out) in front of some source of light and to force your camera to set its exposure based upon the brightest part of your picture (the background) and not the subject of your image.
In doing this your subject will be under exposed (and very dark, if not black).
There are a lot of very technical descriptions going around on how to take great silhouette shots that you might want to look up but let me attempt to run through some basic steps that should get you the results you're after. In essence what we're trying to do is make your camera think that it's the bright parts of the picture you are most interested in. Almost any object can be made into a silhouette, however some are better than others. Choose something with a strong and recognizable shape that will be interesting enough in its two dimensional form to hold the interest of those
viewing your image. Silhouettes can't draw on the colors, textures and tones of subjects to make them appealing - so the shape needs to be distinct.
Photography Light and Shadow
"It's all about the light." "To photograph is to write with light." Photographers devote so much time and discussion to the subject of light that it's easy to misunderstand its emphasis. New photographers often interpret the focus on light in photography as a need for even, direct light-and lots of it-in every scene they photograph. But, iť's light and shadows together that make a great photograph. While quantity of light is an important factor in creating photographs, there's more to
making an interesting image than shining even light at your subject. In most cases, even light falling across a subject eliminates all shadow and leaves the person or object in a photo looking flat. However, subtle shadows on one side of a person's face provide a sense of shape. And a beam of light shining into a room through a small passageway, leaving much of it in shadow, makes it look three dimensional. It's the way the light is used in
combination with shadows that makes a subject come to life.Aside from adding depth to imáges, shadows themselves can be the subject of a
photograph. There's something mysterious about a dark form. The viewer is left wondering about the person or thing casting the shadow. And shadows can be used to artistically fill in an otherwise empty space in a frame. Similarly, shadows create interesting architectural stripes and patterns that bring interest to a photo. Window frames and fences often cast long, bending shadows that change as the sun rises and sets. These shadows create the leading lines and curves that are essential to expert composition.
Not Just Cars
Cars are probably the first mode of transport that comes to mind when you think of transport
photography but there are plenty of other subjects that are worth a shot or two. Bikes, trains planes and boats can be slightly more challenging to capture but can produce good results. Trains are predictable as they have to follow a track, leave and arrive at certain stations and have a schedule they have to follow. Finding a spot to shoot from should be quite simple then all you have to do is perfect your technique. Most of us don't have to go that far to photograph boats. We are usually not a million miles from the coast, rivers with boats, canal and inland waterways or even water-sports centre to be able to photograph this form of transport.
For plane photography, airshows are probably the best place to perfect your technique and there's
usually planes on the ground you can photograph too if you don't fancy photographing them while up in the air. If you fancy trying your hand at sports photography, motocross is a great event to try. It's fast-paced, interesting to watch and there are plenty of events held around the country which means you shouldn't have to travel far to shoot some action shots. To further increase your chances of capturing your subject as they pass through your point of focus, switch to continuous shooting mode to capture a series of shots. Start shooting just before your subject goes through your focus point and you should get at least one shot that's spot on. As well as shooting photos where you get the whole car, plane or train in frame, take some close-up shots of the patterns, badges, paintwork and other detail the vehicle has. Most cameras feature quick and accurate AF (Auto Focus) systems making them great for capturing fleeting moments or action shots. Of course, how fast your subject is moving, how much light is around and how quickly your lens can focus will come into play but at least your chances of capturing a sharp shot will be increased with the help of Auto Focus.
Still life is a unique genre of photography. One thing that makes it so special is that often the subjects aren't very interesting. They're just ordinary objects that you normally wouldn't pay much attention to. That means that to be successful at still life photography, you need to find ways to make your photos interesting. That also means it's a great style of photography for learning new skills.
By experimenting with different arrangements, lighting, and compositions, still life photographers can breathe life into their subjects.
What is Still Life Photography?
You're probably familiar with still life in art-those paintings that depict a bowl of fruit or flowers in
a vase. Those are classic examples of a still life. But even when you're familiar with the concept, you might not know exactly what makes a still life a still life. In a nutshell, a still life is a work of art that focuses on inanimate subjects. Usually, the subjects are commonplace objects. That can include both manmade objects (such as vases, items of clothing and consumer products) and natural objects (like plants, food, rocks, and shells).
The major advantage offered by still life is the freedom to arrange the objects any way you want. Still life photography follows the same philosophy. A lot of emphasis is put on the arrangement of the items, the lighting, and the framing. That makes it a great genre to experiment with and it can help you become a better photographer.
Hone Your Photography Skills with Still life
Still life photography makes it easy to experiment. In contrast to portrait and landscape photography, you don't have to deal with live models, and you don't have to search out an interesting location or photo opportunity. Instead, you can create your own interesting composition using common objects you have or find nearby. By giving you complete control over every aspect of the scene, still life lets you try out different compositions and lighting setups to see what works and what doesn't. So once you understand how to create great still life photography, you'll be well equipped to create better photo compositions in any situation.Still life is also a great way to show off your skills and artistic flair, making still life shots a great addition to any photographer's online portfolio. By taking commonplace objects and turning them into interesting works of art, still life photography is the perfect way to show potential clients what you are capable of.
Old cars, trucks, planes, machinery, ect ect.
Recycled junk, Bottles, cans, plastic, timber, ect ect
Around the house
In the park
Any old junk anywhere
Be creative move it around play with lighting, ect ect
Minimalism is a style employed by many 20th Century artists, using a minimum amount of components such as colour, shape, line and texture. Within the art world it is considered an extremely subjective concept, leaving interpretation and meaning up to the viewers perception of the work. Some appreciate the openness of this idea, embracing the freedom of interpretation, where others despise the lack of direction or subject matter. For photographers, this is less of an issue, as more often than not, a photo remains a real-life moment captured on film. Despite this, we can employ some of the techniques of minimalism to enhance the impact of our work.
Keep It Simple
When understanding how to achieve minimalism, the rule is to keep it simple. But that doesn't mean it needs to be boring or uninteresting. Try to pick a striking and engaging subject that will catch the eye. The subject has to be the strongest element of the shot, even though it may not take up the majority of the frame. Before you take your shot, take a moment to consider what you are going to include in your shot, but also what you are going to leave out. The space around a subject will accentuate if's prominence, so look to zoom in or crop out any distractions.
Achieving a strong compositional element to a minimalist photo is absolutely key in enhancing the impact of the shot. Like I mentioned in Step 2, what you leave out is just as important as what you leave in, so take some time to consider the structure of the subject and the space within which it is placed. The "rule of thirds" applies here and will help when deciding how to frame your subject. Strong composition can also incorporate square structures and line, which we will come to later on, but keep an eye out for strong shapes and lines which might lend themselves to a minimalist shot. Be sure to focus in on the subject, and if possible, select a depth of field that will make the subject stand out, this will draw the eye into the shot and enhance
Weather photography is a highly rewarding genre of photography. To capture a wall hanger of a storm, it takes skill, knowledge, luck and determination to get the job done. From being able to read the storm and dialing in your settings to watching the radar to position yourself in a location that will yield a great shot while keeping you safe, weather photography can sound daunting, but it is easier than some.
Weather photography, while highly rewarding can be quite frustrating if you have not primed yourself for
what you may encounter. The weather can change in an instant. The storm can change direction and storms can appear out of nowhere and grow into behemoths that will prevent you from getting home.
TRY TO KNOW THE AREA
For the most part, stay in your local area when you chase storms, venture a little further out from time to time. This is fine if you know the area well enough. Although the last several years have seen advancements in cellular coverage, do not rely on your cellphone to guide you. There are still areas of the country where one carrier may not have coverage.
STAY ON PAVEMENT
Spend most of your time skirting the storm and staying out of the rain. Stay out of the storm as much as possible and position yourself where the storm track is either going away or running parallel to it. The National Weather Service can estimate how big the hail might be, but no one knows until eyes are laid upon a chunk of ice that has fallen out of the sky. That estimation of pea size hail can easily turn into baseball size inside that core
and at that size, it will destroy your windshield pretty quick. Hail can also accumulate on the roadway pretty quick, turning the landscape into what appears to be a
winter wonderland, making driving doubly dangerous.
So go out have fun but most of all be safe.
Allow creativity without being too challenging. I also wanted them to be difficult to create with a single photograph.
So here goes J ….
Oh What A Circus – Antonio Banderas, Madonna (Evita)
We’ve Done Us Proud – Slim Dusty
That’s Not Her Style – Billy Joel
Sixty Years On – Elton John
Between the Devil and the Deep Blue Sea – Frank Sinatra
The Good, The Bad and The Ugly – Ennio Morricone
To produce an image made up by layers, that portrays the story in both the song and the title.
The RULES (guidelines if you prefer):
The image must be a composite (layers in PS) or multiple images (in camera - double/triple - exposures) or a “set/stage” created for the sole purpose of creating the image.
Workshops will be conducted all year to enable members to understand and work with layers in Photoshop, to understand blending etc.
By Oct they should all be experts! J
For those without access to computers who want to try this challenge, I will more than happily provide time and assistance on mine (MAC or PC J)
I am sure there are other club members who can and will make the same offer.
In short NO excuses J
Photography of portraiture is a photograph of a person or group of people that captures the personality of the Subject by using effective lighting, backdrops and poses. A portrait picture might be artistic, or might be clinical as part of a medical study. Frequently portraits are commissioned for special occasions such as weddings or school events. Portraits can serve many purposes from usage on a personal website, or display in the lobby of a business.