CREATIVE PHOTOGRAPHY II

EMPHASIS/FRAMING

Assignment

INTRODUCTION

· Framing, in photography, means placing an additional object, or objects, in the foreground of the picture for aesthetic purposes. The object does not have to completely surround the main subject.

· A foreground object provides a point of reference.

· It gives a sense of distance and comparative size.

· It can hide elements which detract from the main subject.

· It is aesthetically pleasing, and gives a feeling of completeness to the picture.

· “A tree, a doorway, a window, or even a gap in a fence positioned around the subject can create a frame within the picture’s frame.” (Joy of Photography)

· What is the subject?

· Where is the subject?

· Where should the viewer look?

· What is important?

· There are many techniques used to show emphasis. The photographer can show emphasis through framing choice, whether he uses a vertical or horizontal format. Or he might show emphasis by the placement of the subject, governed by the rule of thirds. Or he might use selective focus to simplify the background. Or by drawing the viewers attention to a certain spot within the frame using perspective.

HAND IN

Turn in ONE roll of 36 exposures. Contact sheet, five 8”x10”.

INTRODUCTION
Landscape can mean many things. The definition goes beyond the "grand view" with great vistas. Land forms, vegetation, utility lines, cloud forms, intimate views, water, rocks, buildings with character, trees, root forms, and aerial views are but a few examples of subjects within the landscape genre.

A cityscape is the urban equivalent of a landscape.

HAND IN
Turn in ONE roll of 36 exposures. Contact sheet, five 8”x10”. Save zone system records of metering and processing. Have notes, exposure times and test stripes in binder.

PREPARATION
You are to research the work of Ansel Adams. In your sketchbook, write 2 paragraphs about Ansel Adams and include 4 images of his work. Make sure you mentioned his influence with the zone system.

SUBJECT MATTER AND ARTISTIC INTENTION
Whether you select to focus on seascape or find a more rural setting for you landscape, try to define for yourself the visual qualities that attract you to the setting. Use a whole film with the intention of finding the best way to communicate the special feeling that attracts you to the setting.

Look for both the most intimate detail and the largest view that your viewfinder can encompass without including distractions. Remember to try various camera angles and heights. If possible, try several lens focal lengths, to see which rendition seems most effective. See London/Upton, Chapter 14 on composition.

COMPOSITION IN LANDSCAPE
Animals, birds, and so on may need to be placed against contrasting tones. Face them into the composition. If there are directional forces in your composition, allow some balancing pace so the eye isn't led off the picture.

Adjustments may be prudent because of wires, poles, trees and other distractions. Or, express your environmental concern by using distractions intentionally to make a statement about viewscape pollution. Remember to consider the directional and compositional forces of wires, poles and other clutter.

Framing always cuts something off at the edges. Leave enough or cut it out all together. Avoid ambiguous mergers between objects and edges. Avoid continuations between foreground and background objects. Run your eye around the edge of the viewfinder to look for ways to organize and simplify. Avoid cluttered distracting backgrounds by trying another angle or get the camera lower.

FILM TO USE
Select film for the grain and effects you want. You will use the zone system for your exposure.

FILTERS
In black and white work, a red or orange filter is recommended to darken the tone of blue sky. See page 85 in London/Upton. Clouds are much more noticeable and skies are less apt to print white. If your meter is not through the lens and filter, be sure to subtract the filter factor.

If the sky blends in with parts of the building, a polarizing filter may also be helpful. It can also control reflections from windows and the surface of water. See pages 84 to 87 in London/Upton.

LIGHTING
Time of day, camera position, and weather conditions can all greatly contribute to the effects that you are after. Recall your previous results with natural light. Avoid direct sunlight on your lens surface. In some light, bright rooftops are hard to differentiate from sky tone. Cross-lighting that skims over the surface of textures and contours produces good definition and brings out textures better.

ZONE SYSTEM

Use the zone system to produce negatives with a full contrast range while having good shadow and highlight detail. If working with only a camera meter, find a shadowy area nearby which corresponds to your gray card.

The next reading, from the lightest portion of the scene, has nothing to do with taking the picture, but you need it to know how to develop the film with correct contrast. If a white cloud is the lightest area you may use the backside (white side) of your gray card. Never allow light to fall on the front of a camera or light meter lens surface when metering. Shade it from the sky or the sun. Light hitting the surface produces falsely optimistic readings. Write down this reading.

The last reading is the dark of the shadow. Also write this down.

Create a chart in your sketchbook. This will make is easier to determine your proper development. Remember to only change the aperture or the shutter speed, don't change both!

TAKE A LOOK AT THE FOLLOWING LINKS FOR MORE INFORMATION:

A SIMPLIFIED ZONE SYSTEM

ZONE SYSTEM

ZONE SYSTEM

WHAT IS THE ZONE SYSTEM

DEPTH OF FIELD
Don’t forget about depth of field. At f/22 you have a longer range in focus. At f/3.5 or f/4 you have a shorter range in focus.

EXPERIMENT WITH YOUR OWN IDEAS - ENJOY

REQUIRED EXPOSURE RECORD
What is your film speed? _____

Does your rewind crank turn when you advance film? If not, it could mean the film was not loaded correctly.

IMPORTANT FOR ZONE SYSTEM
Give the contrast range for your exposures - so you know how to process the film.

Some Ansel Adams photographs.

CREATIVE PHOTOGRAPHY II

Monday, April 9, 2018

Digital Photos

EMPHASIS/FRAMING DUE DATES

Emphasis & Framing Images

EMPHASIS & FRAMING ASSIGNMENT

PORTFOLIO & BINDER

Tuesday, February 13, 2018

LANDSCAPE/SEASCAPE - DUE DATE

LANDSCAPE/CITYSCAPE - ZONE SYSTEM