By Cora Banek, Georg Banek
The 2 volumes of the training to picture sequence provide scholars and novice photographers crucial information regarding strategy and layout in addition to an realizing of the massive techniques of images. starting and complicated photographers alike will locate the content material instructive, completely defined, and successfully illustrated, making this publication an invaluable source for readers to increase their very own craft.
This moment quantity addresses the themes of visible layout and composition. The authors describe numerous tools of visible layout and the way you should use those tools successfully. you are going to research which innovations to exploit to layout your photographs whereas even as education your photographic eye. you'll strengthen the facility to aid the message of your topic purposefully, hone your photographic kind, and research your individual paintings and the paintings of others competently.
The amazing photographs and informational pix not just illustrate the suggestions to hand, but in addition make the teachings visually interesting and supply important examples for readers to imitate of their personal work.
• visible perception
• Composition, shapes, and lines
• handling light
• colour and its effects
• Sharpness, blur, and movement
• The interaction of visible layout elements
• photograph research and evaluation
The prior quantity within the studying to photo sequence addresses cameras, apparatus, and simple photographic concepts.
Read or Download Learning to Photograph, Volume 2: Visual Concepts and Composition PDF
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Extra info for Learning to Photograph, Volume 2: Visual Concepts and Composition
I start by creating a new layer using the Screen Blend Mode and ﬁlling it with Black – this makes the ﬂare editable, as opposed to applying it to an image layer. I then go to Filter>Render>Lens Flare and choose my ﬂare position and intensity. The ﬂare is quite cold, so I add a Photo Filter layer to the ﬂare to add warmth. MANDY DISHER RAWCHALLENGE3:JORDANBUTTERS JORDAN’S FINAL RAW EDIT Subtletweakstoexposureandcontrast alongsideashiftinhueandthatdynamicflare givestheimageacompletelydifferentfeel!
Instead, using Split Toning, I address the highlights and shadows separately. By changing the Hue to 60 I enhance the warmth of the yellows, and shifting the Shadows to 288 adds a pink tinge. I left the Saturation for both around 16 to keep the tones muted and subtle. REMOVE POLLEN As the ﬁnal act, I zoom into the petals that have yellow pollen spots and select the Spot Removal tool, set to Heal. I use a brush size that covers the area that I want to hide and a large Feather to make it blend with the edges.
Wrong 2 Consider the light once you find your location, you need to consider the angle of the sun to select your time of day. You want the sun to be diffused by cloud or about 45° to the window to get soft light, great reflections and to minimise glare. shooting with the sun behind you often means the background is underexposed and reflections are minimal, too, which is not what you want. 1 Find your loCation What is behind you is actually more important than what is behind your subject; it’s the reflection in the window that creates the interest.