WHAT IS A GOOD PHOTOGRAPH?

Seeing is thinking. Thinking involves putting together random pieces of our private experience into an orderly manner.

We like what is familiar to us and tend to back away from anything unfamiliar. Becoming more visually literate makes us more flexible. The photograph is like a window through which a scene is viewed, or a mirror that reflects a concrete reality. A photograph is nothing more than light-sensitive emulsion on a surface. It is possible that it shows us something recognizable, but may be it only shows us lines, shapes, and colours. "

How do you make a good photograph? It is a good question, even if we do not have the answer. Keep looking. The search will probably reveal there is no single answer, but many. Think about what Paul Strand said: "No matter what lens you use, no matter what speed the film, no matter how you develop it, no matter how you print it, you cannot say more than you see."

The people are looking into the camera and are smiling, it was taken at eye level, it isn't too cluttered, and it isn't too sparse.

The first and most important step in determining what makes a good photograph is emptying the mind of all images that have been bombarding us on television, magazines, newspapers, movies, or home computers. We know what is familiar; that a good photograph is supposed to be centered, focused, the subject is clearly identified.

A photograph is a picture that goes beyond a snapshot; it communicates your experience to another. A photograph has its own history - past, present, and future - and does not require any outside support. It can stand alone, as a statement. A photograph should be able to state something in a way that would be impossible to do in another medium.

Photography is a matter of order and harmony. The photographer battles the physical laws of universal entropy by attempting to control disorder within the photograph. The arrangement of objects within the pictorial space determines the success of the photograph. Order is good composition, which as Edward Weston said, "is the strongest way of seeing" the subject. The basis of composition is design.

Design includes all the visual elements that make up a composition. Visual design is the organization of materials and forms in a certain way to fulfill a specific purpose. Design begins with the organization of parts into a coherent whole. A good photograph is an extension of the part of the photographer that will create a response in the viewer. If the intentions are communicated successfully, the design of the photograph must be considered effective.

Anything that is touched by light can be photographed. Since it appears so easy when starting out in photography, many people tend to try and say too much in their pictures. They often overcrowd the confines of their visual space with too much information.

When making photographs for this section work simply and subtractively. A painter starts with nothing. Through the process of addition, the picture comes into being. A photographer, on the other hand, begins with everything. The photographic process is one of subtraction. The photographer must decide what to leave out of the picture.

In the act of photography, selectivity is everything. Use subtractive composing by going directly for what you want to include in the picture and subtracting all that is not required. This subtractive method of putting the picture together can help the photographer learn the basic vocabulary that produces the image. A good photographer is like a magician who knows how to make all the unwanted objects on stage disappear, leaving only the necessary items to create a striking illusion. For this reason it is necessary for the photographer to have a point of departure.

If you pick up the camera and go out to do something deliberate and specific, the possibility of encountering the significant and the useful is greater than standing on the corner hoping and waiting for something to occur. Do not be like the photographer described by George Bernard Shaw, who, like a codfish, lays a million eggs in the hope that one might hatch. Have a specific direction, but remain flexible and open to the unexpected. A work that continues to say something visually over a long period of time has what is called staying power. It usually takes years to cultivate this ability. It has almost nothing to do with the technical matters and means of producing a photograph, for the truth is how we feel about something. When this feeling is found in the picture, something of significance is expressed. For many things that we see, there are no words. As Albert Camus said: "If we understood the enigmas of life, there would be no need for art."

COLOUR HARMONY

Harmonic colours are closely grouped together on the colour wheel and present a limited group of colours. Any quarter section of the colour wheel is considered to
show colour harmony. The simplest harmonic compositions contain only two colours
that are desaturated. /

Colour harmony is found everywhere in nature. Passive colours tend to be peaceful and harmonize more easily than the warm active hues.

Harmony is a subjective matter and its effectiveness depends upon the colours involved, the situation, and the effect that the photographer wants to produce. The actual visual effect depends on the colours themselves.

Harmonic effects can be reinforced through the linkage of colours. This is accomplished by repeating and weaving the harmonic colours throughout the composition. This will place importance upon patterns and shapes within the picture. Soft unsaturated colours in diffused light have been a traditional way of creating harmonious relationships of colours. Special attention in framing the picture is necessary. Be aware of exactly what is in all comers of the frame. Eliminate any hue that can interfere with the fragile interplay of the closely related colours.

In an urban man-made environment there is a great possibility of encountering discordant, unharmonious colours. This happens when contrasting colours are placed next to each other in such a way as to create a jarring, or even unpleasant, combination to view. Care in the use of light, the angle of view, and the right mixture and proportions of these discordant colours can introduce balance and vitality into a flat or static composition.

Basic techniques to orchestrate a mood of unison include using a slight amount of filtration in front of the lens that matches the cast of the colour of the light in the scene and desaturating the hues through the use of diffused light or using a soft filter in front of the lens. Differences in diverse colours can be deemphasized by incorporating neutral areas which make for balance within the picture. Both contrasting and harmonic colours can be linked together by working with the basic design elements such as repeating patterns and shapes. Look for common qualities in balance, rhythm, texture, and tone to unite the colours.

FILM

There are many types of 35 mm film: black and white, colour slide, colour print, tungsten, etc. There are also numerous brands: Kodak, Ilford, Fuji, and Agfa among others. 35 mm film gets its name because it is 35 millimetre wide. Most 35mm film is sold in length of 12, 20, 24, and 36 exposures.

All film is basically the same whether it is colour or black and white. It is a thin plastic, coated with light-sensitive film emulsion. When light comes through the lens and strikes the film emulsion, it turns in that spot. The brighter the light or longer the length of time the light strikes the film, the darker the emulsion turns. These dark areas are called the latent image. The image is then visible when it’s developed into a negative or slide (positive). The negative is then used to make a positive print. The slide (positive) is used for projection or printing. Each type of film has its own sensitivity to light. Films that are not very sensitive to light are called low speed or slow films. Films that are very sensitive to light are called fast or high speed films. The faster the film, the larger the light sensitive bromide crystals on the emulsion. This is called grain. Grain can appear in some prints especially if enlarged. The slower and less sensitive the film, the finer the grain. The faster and more sensitive the film, the larger the grain. Each type of film has its own sensitivity to light. This sensitivity is rated by film speed. The film speed is indicated by either an ISO or ASA number. These numbers are expressed the same way and mean the same thing. The higher the number, the more sensitive and faster the film. They can be used under available room light without a flash. Fast films are the most popular black and white films because they can easily be used in either low or bright lighting conditions. A main disadvantage is that fast films are grainy especially when greatly enlarged.

Medium speed films are not as sensitive as fast films and there fore not as grainy. They produce clear and relatively grainless enlarged prints. However, medium speed films require more light than fast films and must be used outside or inside with lights or a flash.

Slow speed films are usually used outside under bright sunlight or inside with extra lights or a flash.

Colour film is available in two main categories: print film and slide film. It is also available in a variety of film speeds ranging from 25 to the very sensitive 400 and super-fast 1600. Colour print film is processed into colour negatives and then printed on photographic paper. Colour slide film is processed directly into positive slides. Print can be made from these slides. Slides are usually projected and many times are made into slide shows.

A “rule of thumb” for distinguishing between colour slide and print film: Kodachrome and Ektachrome or film that ends in the word “chrome” is a slide film. Kodacolor and Fujicolor or film that ends in the word “colour” is for colour prints.

Colour film also comes in either daylight or tungsten film. Each type has special colour dyes to match for sunlight (daylight) or artificial light (tungsten).

Selecting a film for your needs comes from experimenting with different types. Each type has its unique grain, contrast, and colour qualities.

However, there are guidelines that will help you select the right film: film speed and grain.

Film speed. Are you shooting in low light? Are you shooting fast moooving subjects that you want to freeze on film? If so, you may want to select a sensitive, fast film such as black and white Tri-X or Ektachrome 200, Echtachrome 400, and Kodacolor 400. Remember, these films are very sensitive and will appear a bit grainy if enlarged.

Grain. Are you shooting subjects such as portraits or landscapes where you want clear, low grain enlarged prints or slides? If so, you may want to select a slow black and white film like Plus-X or Ilford Pan F. for colour select Kodachrome 25, 65, Kodacolor 100. These films have fine grain.

There are many other brands and types of film. Don’t be afraid to experiment and find out which you like best. When you buy film check the expiration date. It’s important to use fresh dated film and to have your film processed as soon as possible after taking your photos. Also keep your film in cool, dry place away from dust. Expensive heat or moisture can damage the emulsion and affect the colour.

If you plan on shorting film for any long period of time, it is a good idea to keep it in the plastic container and stored in the refrigerator. The cool temperature will keep the film from aging and will help it last longer.

Date: 2015-12-11; view: 840