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be a good photographer The best photographers are those who know what to throw away Arranging the Key Elements The key elements of the composition need to be arranged in relation to the whole frame and to each other This includes the relationship of objects, background, light, and color The arrangements in a shot can be considered on both a two-dimensional plane (strictly as flat shapes on paper) or in three-dimensions (foreground, middle, background, and perspective) The orientation of the camera can play a factor here, too Study the composition of professional photographs and see how they balance all of these elements in unconventional ways Most of us, when starting out, tend to place the focal point at the center of the frame and not give too much consideration to other elements surrounding it Try to give every element of a photo an equal level of importance, and a major door of perception will open for you Don t be afraid to try unique approaches to taking your photos that might involve shooting from odd angles, adjusting the lighting,
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CHAPTER 4: Composing, Focusing, and Metering
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shooting at different times of day, or getting very close to the subject to name a few Swiveling LCD viewfinders give digital photographers unique opportunities for unusual viewpoints Framing the Photo The frame represents the extent of the image that will be captured by the camera s image sensors What you see when you look through the viewfinder will tell you the extent of the frame in most cases Optical viewfinders can suffer from parallax problems at close shooting distances, which can skew the frame boundaries up, down, or sideways (See Tip 24 later in the chapter for more information on parallax problems) Some cameras give you an indication of the shift to help you compensate, but some don t do this, so you need to learn how to accommodate parallax problems through experience For close-ups, you may find it more accurate to use the LCD to frame your shots Pay careful attention to any subject matter that is intersected by the frame boundary The human eye tends to suppress detail at the periphery of vision, so it is common for new photographers not to notice the frame edges when shooting a photograph, only to be surprised later when they see how much detail was lurking in those portions of the picture Be aware that the camera registers more than you do, so you need to look at all parts of the frame carefully to set up composition correctly Finding the Focal Point of the Picture The focal point is the main point of interest in the photo composition This is not necessarily the center of the frame (See the information on the Rule-of-Thirds in the section How Do I Achieve Good Composition earlier in this chapter) Two things clear focus and position define the focal point The eye will move to the sharpest detail in the photograph first Then the eye will move through the image guided by placement, color, contrast, perspective, and visual connections You want the viewer s eye to stay within the composition at all times, so be careful of elements that carry the eye out of the frame Try using the focus lock to move the focal point off center and balance that with other elements on the opposite side This creates a more dynamic and exciting image Few things in life are perfectly symmetrical on a one-for-one basis not even the human face So if you center objects, the composition usually feels unnatural While that might be okay if you intended it and it helps the shot, centering the main point of interest often tends to make the image static unmoving and boring Figure 4-3 shows how elements of perspective can draw the viewer to a focal point of the bird, then up and out into the sky The movement of your eye mimics the motion of the roller coaster, giving the viewer a visceral connection with the subject
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FIGURE 4-3
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All the visual elements should work to support the focal point of the photograph In this image, the perspective draws you into the composition
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Using Symmetry in the Arrangement Symmetry comes in two basic forms: static symmetry is balanced around a central axis, and dynamic symmetry uses proportional arrangement to create a less obvious solution Both produce a stable, balanced image, but static symmetry has a more graphical feel Dynamic symmetry has greater flexibility and a more natural look Again, you should try to overcome the tendency to place the focal point of the photo dead center in the frame Lock on your target and then try moving the camera off the focal point to develop a dynamic symmetry with the subject matter
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