What is a

photograph?
 What is a photograph?

A picture made using a camera, in which an image is focused on to light-sensitive material

and then made visible and permanent by chemical treatment, or stored digitally.

What makes a good photograph?

VISUAL ART (Art of Framing) LIGHTING TECHNIQUES
45% 35% 20%
PHOTOGRAPHY
GREEK
PHOTO GRAPHY
LIGHT DRAWING/PAINTING
Elements, Principles, Composition and Perspective
in Photography…

USE IN PHOTOGRAPHY,

BASIC NEED,

IMPORTANCE,

IMPACT
The Elements and Principles are
used in making photographs
not just taking photographs.

You have to know and understand

the elements and principles of art to
see them all around you and capture
them in your photos.
.
Photography is the art
of capturing light with
a camera, usually via a
digital sensor or film,
to create an image.
 Key to good framing is
EYE MOVEMENT
# How much to include.
# How much to exclude .
# What to include.
 ➢Line

➢Shape/ forms

➢Space
ELEMENT OF DESIGN
➢Value

➢Texture

➢Color
▪ A mark made by a moving point.
▪ Has greater length than width.
▪ Directs the eye – horizontal, vertical, diagonal,
curvy, zig–zag , etc.
▪ Can be actual obvious lines or the borders or edges
of shapes.
▪ Feelings- sharp, jagged ,graceful, smooth
▪ Horizontal lines
Suggests a feeling of rest and repose – they are calm & quiet
▪ Vertical lines
Can also communicate a feeling of loftiness and spirituality.
▪ Diagonal lines
Diagonal lines show action, falling, leaning, or growing – they suggest a feeling of movement or
direction.
▪ Curved Lines
Suggest comfort, safety, familiarity, relaxation. They recall the curves of the human body, and therefore
have a pleasing, sensual quality.
▪ Directional Lines
Aren’t always straight; the “line” of a model’s body can create an “S” shape that will lead the viewer’s
eye all along her body
▪ Pointed or jagged lines
Can express uncertainty or anger
▪ Meandering lines
are whimsical and happy
▪ Flowing lines
are graceful and mystical
▪ Outlines – lines made by the edge of an object or silhouette.
▪ Contour lines – lines that describes the shape of an object.
▪ Gesture lines- lines that are energetic and catch the movement of a figure in
motion/action figure.
▪ Sketch lines – lines that capture the appearance of an object or impression of a
place.
▪ Calligraphy Lines – Greek word meaning “beautiful writing” precise , elegant
handwriting or lettering done by hand. Also artwork that has
flowing lines like an elegant handwriting.
▪ Implied lines- lines that are not actually drawn but created by a group of objects
seen from a distance. The direction an object is pointing to, or the
direction a person is looking at.
 SHAPE AND FORMS
▪ Shape and Form are two of the most commonly misunderstood elements of
composition in photography. ... Shape is simply the two-dimensional outline of an
object or subject. Form is similar to shape but has three-dimensional aspect created
by light and shade.
▪ Some shapes are more effective than others in providing an interesting frame for your
photo. For instance, squares and circles tend to be too symmetrical and leave too much
empty space around the subjects. The shapes that work best for composition are
triangles and diamonds.
Triangles can be formed a few different ways:
If your subject is already triangular or diamond-shaped (like a pyramid), the
viewer's eye will automatically focus on that shape.
Your best results will come as a combined effort of thinking and trying over and over
again.
 SPACE
▪ The area used or unused in an image
▪ Foreground, Middle Ground and Background
▪ Positive space (filled with subject)
▪ Negative space (empty or blank areas)
▪ Breathing space – when negative adds on to the composition or adds any meaning
to the composition it becomes breathing space in the composition.
▪ Special relationships can be used to create DEPTH
 POSITIVE SPACE
▪ Positive space is space taken up by something - such as your subject.
▪ Abstract compositions are often all positive space.
▪ Don’t be afraid to use open compositions which cut off parts of your subjects and
fill the frame with the subject.
 NEGATIVE SPACE
▪ Negative space is an “empty” or “blank” space, which may still have something in
it.
▪ Negative space is what is in between all the positive space.
▪ Don’t be afraid to use negative space in your images!
 FOREGROUND, MIDDLE GROUND,
BACKGROUND

▪ All images (especially landscapes) should have some kind of foreground, middle
ground, and a background. This is a simple way to move your viewer’s eye all
around your image and even back in space
▪ The element of the photo closest to you makes up the foreground. The furthest
element away from you is the background, while the middle ground makes up the
area in between. Not all photos have (or need) all three elements — some might
only have a foreground and background, or a middle ground and background.
 VALUE
▪ Black and White and all the Grays in between.
▪ Dark to Light.
▪ Can add drama and impact to composition.
▪ Can give a sense of timelessness.
▪ Train your eye to read color as Black and White!
 TEXTURE
WHAT DOES TEXTURE MEAN WHEN TALKING ABOUT PHOTOGRAPHY?
When talking about photography texture refers to the visual quality of the surface of
an object, revealed through variances in shape, tone and color depth.
Texture brings life and vibrance to images that would otherwise appear flat and
uninspiring. Capturing high levels of detail is extremely important when attempting
to capture lifelike textures making exposure choices critical. Underexpose and
texture will be lost in shadow and blurring, overexpose and it will be lost in blown
highlights and lack of dynamic range. The texture of an object, as seen through the
lens of a camera can be heavily manipulated by the use of supplemental lighting;
Changes in directional lighting alone can dramatically effect the visibility and depth
of texture within an image.
• The surface quality or feel of an object – its smoothness, roughness, softness, etc.

• Texture can be real (tactile) or implied.

• Textured background can help subjects to stand out.

• Textured skin adds character to interesting people, giving them a story – especially the
elderly.

• Texture adds interest to an image – a sense of sight and touch is involved.

• Can add mood and emotive qualities to artworks.

 REAL TEXTURE & IMPLIED TEXTURE
Create real texture by:
• Printing on textured surface (e.g. canvas, wood, material)
• Photo transfers onto textured surfaces
• Using mixed media (e.g. photography + paint)
• Collage

Implied texture can be created through:

. Shooting textured subjects
. Using strong side lighting
. Adding textures in Photoshop
. High ISO settings (grain/noise)
. Multiple Exposure Photography
Color consists of:

▪ Hue (another word for color)

▪ Intensity /Saturation (brightness or dullness)

▪ Value (lightness or darkness)

▪ Primary Colors: Red, yellow, and blue are what we call “pure colors.” They are not created

by the combining of other colors.

▪ Secondary Colors: A 50/50 combination of any two primary colors. Example: Red +

Yellow = Orange.

▪ Tertiary Colors: A 25/75 or 75/25 combination of a primary color and secondary color.

Example: Blue + Green = Tourquise.

The primary colors do not
distract the eye from the
subject. By using strong primary
reds and blues, the subject is
clear to the viewer.
Strong secondary colors
often add interest and can
easily become a subject on
their own.
Tertiary colors are often used
to create visual interest and
make for other-worldly vibes.
Tints, Shades and Tones
• Tints are made by adding white to a pure hue

• Tones are made by adding grey to a pure hue

• Shades are made by adding black to a pure hue

How to use color
• Use color schemes to enhance, appeal or make an impact
in your work
• Understand the color wheel

Warm Color Schemes

Are vivid and energetic
Tend to advance in space
When shooting in the morning or evening colors will look warmer.

Cool Color Scheme

Create a calm and soothing impression.
They tend to recede in space
When the sun is high in the sky colors will look cooler.
Tone
The lightness or darkness of a color or shade .Can add drama, liveliness and impact to your
images. In photography – it is created by using light .
Light tones advance, dark tones recede. Black and white photos rely completely on tone
because of their lack of color. Tone can be used to make your subject stand out through contrast.
▪ Chiaroscuro in Photography:
In photography, black and white images that utilise chiaroscuro are often referred to as “noir”.
Noir is a technique that involves using “hard lights” (those that leave sharp edged shadows). Try
using a small or narrow source of light. Tools such snoots and honeycombs will help you to
achieve this effect.
▪ Monotone
Images described as “Monotone” have very little tonal variation .Can create a feeling of
eeriness or voyeurism.
▪ Analogous Color Schemes:
Lie alongside each other on the color wheel
They usually match well and create serene and comfortable designs
They are harmonious and pleasing on the eye
Make sure you have enough contrast when choosing an analogous color scheme.
Choose one color to dominate, a second to support. The third color is used (along with
black, white or grey) as an accent.
▪ Complementary Color Schemes
Opposite each other on the color wheel
The high contrast of complementary colors creates a vibrant look especially when used at
full saturation. This color scheme must be managed well so it is not jarring.
Works well when you want something to stand out
Often used in advertising
▪ Triadic Color Schemes
A triadic color scheme uses colors that are evenly spaced around the color wheel
(forming a triangle).
Triadic color schemes tend to be quite vibrant, even if you use pale or unsaturated
versions of your hues.
To use a triadic harmony successfully, the colors should be carefully balanced - let one
color dominate and use the two others for accent.
▪ Monochromatic Color Scheme
Creates bold and dramatic photographs.
Try getting in closer to subjects, isolating one color from its surroundings and making the
color the focal point.
Focus becomes the tone or the meaning of the image / color.
 Color Psychology
Colors can have emotional impact. E.g:
• Red = love, lust, excitement, rage

• Yellow = happiness, warmth, optimism

• Green = envy, peaceful

• Blue = masculinity, corporate, trust, strength

• Pink = sophistication, sincerity

• Purple = spirituality, power, authority, creativity • Black = grief, fear, power

• White = purity, sincerity, happiness

 THE RULES AND PRINCIPLES
As a rule of photography, you must frame the photograph visually inside the camera
itself. The surroundings are full of objects which make ideal natural frames, such as
trees, archways, and holes. By placing these around the edge of the composition you
help to isolate the main subject from the outside world.
The ways in which the Art Elements are arranged or organized within the frame of the
photograph is referred to as The Principles.
We use these arrangements to create artistic, interesting and more visually powerful
photographs.
 RULES OF COMPOSITION
1. Golden Ratio and Golden Triangle

2. Rule of Third

3. Rule of Curve

4. Frame within Frame

Golden Ratio

Golden number – 1.618

The golden ratio is a compositional rule of thumb dating back to
antiquity. It describes proportions that people find especially
pleasing. The golden ratio is often found in nature and even in the
human body, and is used to great effect in art, architecture, and
even typography.
 Golden Triangle
The golden triangle is instead a classical rule of composition used in paintings and
photography. This timeless rule states that to create a harmonious image, the main
subject should describe the shape of a triangle. The reason: This kind of
arrangement exudes peace while the symmetry conveys clarity and harmony.
 RULE OF THIRDS
ONE OF THE BASICS IN PHOTOGRAPHY COMPOSITION
The rule of thirds is one of the composition basics.

According to this photo composition rule, if we divide the frame vertically and
horizontally in 3 equal sections, we should place the important elements of the
image on the lines or at the intersections of the lines.
The rule of thirds is a very simple and effective way to frame your composition,
and today most digital cameras include compositional grids divided into thirds for
composing images.
 CURVE
If you want to make your images more dynamic and aesthetically pleasing?
Try looking for curves when you are photographing!
Once you start looking for them, you will find them everywhere. Curves make an
image easy to look at by leading the viewer’s eye through the frame. It is almost as
if the photographer takes the viewer by the hand, draws them into the landscape,
and points the way. The viewer’s eyes are compelled to follow the line. Curves are
graceful, rhythmic, dynamic and add energy to an image. They can separate or
connect elements or simply offer a balance.

Look for C Curves

C curves, or semi-circles, are probably the easiest curves to find since almost any
curve qualifies. It can be anything from the gentle curve of a seashore, lakeshore, a
rounded rock, or grasses blowing in the wind. While visiting a plantation I was
immediately drawn to these live oak trees with branches that curve over the entire
lawn forming a canopy overhead.
 S Curves
S curves can have a mesmerizing effect on the viewer as their eyes sweep back
and forth through the frame. They also create a sense of depth as the eye moves
from foreground to background.

S curves can be found in the natural flow of a river, a winding road, or a pathway.
 Frame within Frame

In photography, a frame within a frame is when the photographer uses something

within the scene in front of them to frame the main subject. Therefore a second
frame is created within the image hence: a frame within a frame. This
compositional rule can improve your image in several ways: Firstly it draws
attention to the subject helping to isolate it from any distraction and clutter within
the image. Secondly it can add depth and layers to an otherwise flat and boring
image. Finally a frame within a frame can create mystery and intrigue within a
photo resulting in the viewer exploring the picture for longer.