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Module 1

Introduction to photography

Photographic composition

Understanding exposure

Basic concept of photography based on the work of

Oreste Di Cristino

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Location:�Lausanne,�Switzerland.

Aperture:�f/11,�shutter�speed:�1/500s,�

ISO:�200,�focal�length:�70�mm.

The

basics of digital

photography

A publication ofleMultimedia.info

A few words from the authorTaking good photographs can be a quite difficult task.It requires practice and sometimes hard work and, ofcourse, to obtain the image that you really wantrequires a lot of skill. With the aim of sharing mypassion for photography, I decided to run a free setof publications to help you get started with digitalphotography.

The publication - The basics of digital photography -will cover everything you need to know about thesubject and will be divided into simple and easy tounderstand modules with reference tables, guidelinesand useful information which involve the basicprinciples and rules to obtain good and pleasing photographs.

I will try to keep the publications as simple, but asinformative, as possible and will explain the technicaland creative aspects of digital photography to giveyou confidence during the process of shooting aphotograph while learning, at the same time, thecommon terminology involved. The publications aredesigned mainly for amateurs and hobbyists toprovide tips and guidelines on how to familiarizethemselves with the basic concept of digital photog-raphy.

I hope you will enjoy the photography publicationsand I look forward to sharing with you the basicknowledge of digital photography to create beautifulimages that also capture moments to remember.

This publication – Module 1 – is dedicated to:

Introduction to photography, photographic compositionand understanding exposure.

Enjoy and I hope you will find it interesting.

Oreste Di Cristino

Contents4 Introduction to photography

7 The publications

8 Photographic composition

10 Composition techniques & guidelines

11 The rule-of-thirds

13 Other basic composition guidelines

27 The Golden Ratio

29 The Golden Ratio vs The rule-of-thirds

30 Simple tips to improve composition

31 Understanding exposure

33 The exposure triangle

34 How to adjust exposure

35 Aperture

36 Shutter speed

37 ISO sensitivity

38 Conclusion

39 Terminology used in this publication

The basics of digital photography

Passion and dedication to photography

A publication of “lemultimedia.info”

If you notice any errors in thispublication, if you would like to makesuggestions or recommendations foradditional contents,do not hesitate tocontact us.

We are keen to receive all kinds ofsuggestions and comments for futureeditions.

We also welcome any feedback thatyou may wish to provide us whetherarticles, statements or other technicalinformation that can be inserted infuture publications.

The contents in this publication maybe subject to copyright which meansthat the contents are not in the publicdomain. However, the use of it is notrestricted. For any use of photo-graphs, drawings, artworks etc.,please contact us.

You can find us at:www.lemultimedia.info

or email us at:[email protected]

Editing, layout, graphic design,photography, studio andproduction shots:Oreste Di Cristino.

English proof reader:Anita Magnenat-Parisi.

About the authorOreste Di Cristino is a multimedia producer andphotojournalist who through lemultimedia.infoproduces commercial and editorial solutions coveringphotography, videography, multimedia production,web, print and photo design. Oreste is currentlybased in Lausanne, Switzerland. He is passionateabout sports photography where he is involved inboth photography and post production processes. Healso works on new technologies doing research as amedia developer and studying new ways and tech-niques to capture and transform fine art photogra-phy and digital artworks into a powerful andinteresting marketing tool. Oreste’s choice of camerais the Nikon D810 and the Nikon D4s with 14-24 mm,24-70 mm, 70-200 mm and the ultra telephoto 200-500 mm lenses covering long-distances 400-1000mm with teleconverter TC-20E III 2x.

Module 1The basics of digital photography | March 2015

- 4 -Introduction – Photographic composition – Exposure

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Location: Sant’Angelo del Pesco, Italy.

Hand-held photo with Nikon D810, lens 24-70 mm.Aperture: f/11, shutter speed: 1/250s, ISO: 200, focal length: 24 mm.

Fig. 1

Introduction to photographyWhat is photography? A short answer would be:photography is a mixture of art and science and is theprocess of recording images by exposing light rays ona light-sensitive camera sensor. In photography wehave to consider two main aspects: the technical andthe creative aspect. When taking a photograph weautomatically do the following:

We plan out a composition (this is the creative aspectwhere we arrange the elements on the frame to create a

pleasing composition),

we set up the exposure (this is the technical aspect

where we have to set our camera and lens to expose thesensor to light to achieve the correct exposure for our

photograph).

There are many different types ofphotography and almost all ofthese involve the same basic princi-ples and rules to obtain good andpleasing photographs.

In the next pages of this publicationwe will first talk about "composi-

tion" and then “exposure”. Compo-sition will determine the aesthetic,the uniformity and the relationshipof each element on the scene andwill have great impact on what wewould like to convey through thephotograph.



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Location: Lausanne, Switzerland.

Hand-held photo with Nikon D810, lens 24-70 mm.Aperture: f/5.6, shutter speed: 1/320s, ISO: 200, focal length: 34 mm.

Fig. 1a

Introduction to photographycontinued...

Like all works of art, good photographs come withpractice, patience and passion. It is necessary to knowthe basic concept of photography, to understandcameras and lenses, learn about photographic com-positions and, last but not least, learn the necessaryterminology.

These days to get started with photography is easierthan ever: digital photographic technology is contin-ually developing; digital cameras offer us special fea-tures designed to help us take great shots, Thusshooting photographs has become the most popularpassion in the world.

(Always be aware that photography can become a veryexpensive passion).

Even when using high-end cameras(professional DSLRs), we still haveto rely more on our own skills, aswell as on post-processing soft-ware. For everyday snapshots, apoint-and-shoot camera (compactcamera) is good enough: moreconvenient, easy to use and muchcheaper than professional cameras.



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Introduction to photographycontinued...

Good skills in photography along with an extensive

knowledge on how to use the camera is very impor-tant – these are the keys to create photographs withartistic effects and a unique look – no matter whatkind of camera you use.

So, what needs to be done to become a good photog-rapher? The answer is: take your time, practice a lotand be aware that only with effort and patience dowe get results.

As well as patience and practice, there are other tasksrequired:

• Learn what makes a good photo (composition,technical qualities etc.).

• Learn and familiarise yourself with all the functionsof the camera, in particularly the manual settings, (ifyour camera has them).

• Learn what digital formats shouldbe used and how to work photos inpost-processing.

All this will be explained in the dif-ferent modules of our upcomingpublications. We will try to keepthem as simple but as informativeas possible and will explain thetechnical and the creative aspectsof photography with explanationssupported by graphics, illustrationsand an easy to understand lan-guage.



Fig. 2



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MODULE 1• Introduction to photography• Photographic composition• Understanding exposure

MODULE 2• Understanding DSLR cameras

and camera lenses

MODULE 4• Focal length• Depth-of-field• Hyperfocal distance

MODULE 3• Aperture• Shutter speed• ISO sensitivity

MODULE 5• Focus and autofocus• Exposure metering• White balance

The publicationsThe publication series contain examples and explanations about the basic concept ofphotography and all the information is supported by photographs, images, graphics andillustrations. The complete set is divided into 5 publications and covers everything we needto know about the basics of photography.

Hereunder, Fig. 3, are the topics you will discover in each of the corresponding publications:

Fig. 3



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As already mentioned before, photographic compo-sition is the creative aspect we have to consider whenshooting photographs. For that reason the first thingwe need to do is to plan it out very carefully. In doingthat we have to identify what the key elements arein our scene and the relationship to each other. Inphotography we talk about primary and secondary

elements.

Primary elements are the most important elementsin our photographs i.e. there are important parts ofthe picture to which we would like to draw attentionand it is on these elements that we place the focusfor the shot.

Secondary elements give the primary subject contextand, in some cases, determine the message we wouldlike to tell through our photograph. These elementsare of less importance and will balance the “weight”of our primary element in the scene.


Fig. 4

The term composition means theorganisation of visual elements in awork of art according to a givenprinciple which achieves uniformityand enhances the impact of ourphotograph.

There are plenty of establishedcomposition techniques and guide-lines which can be applied to almostany situation.

In graphic design for press and publishingcomposition is referred to as the pagelayout.





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Photographic composition continued...

In addition to the primary and secondary elements

explained in the previous page, there are other basicelements we need to consider when planning ourphotographic composition: the frame, the positivespace and the white space (also called negative oropen space).

The frame is simply the rectangle of our picture. Thepositive space is the space in our rectangle (frame)occupied by the main subject. The white space (also

called negative or open space) is the surrounding spacein our frame excluding the space occupied by themain subject.

White space in the composition can be of great inter-est and creative utility and can provide a morebalanced, dynamic and harmonized photograph.

Fig. 4a


In the picture below, the space occupied bythe sailing boat is the “positive space” andthe surrounding space, in this case the skyand the lake surface, is the “white space ornegative space”.

The white space can be made up ofmany different elements (blue sky,

surface of water, shallow background

etc.). Its purpose is to emphasize themain subject (the positive space) andlead the viewer’s eye directly to it.

White space can also be used to bal-ance our picture. Using twice asmuch white space as positive spacewill result in a better balanced andpleasing photograph.

Hand-held photo with Nikon D810, lens 24-70 mm.Aperture: f/9, shutter speed: 1/250s, ISO: 200, focal lenght: 70 mm.



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Photography is a creative art. However, using somebasic guidelines when planning the photographiccomposition can help us to enhance the impact andthe visual appeal of our photographs.

In the visual arts – in particular in painting, graphicdesign, photography and sculpture – the compositionis the placement or arrangement of visual elementsor ingredients in a work of art. It can also be thoughtof as the organization of the elements of art accord-ing to the principles of art.

Composition techniques and guidelines will help ustake more compelling photographs, giving them anatural balance, drawing attention to the importantparts of the scene and leading the viewer's eyethrough the photograph.

When planning out the composition for our photograph, we willneed to be aware that the elements in it often have an implieddirection. A traveling car has a direction of travel, stairs imply adirection of motion and so on. It is very important to leave themoving subjects enough space in the frame as this will suggestthe direction of movement through the image.

A work of art is said to be aesthetically pleasing to the eye if theelements within the work are arranged and composed in a bal-anced way.

Breaking the rules

There are plenty of theories about photographic composition.

To take good pictures it is not necessary to remember and apply every one of these rules.What we need is time and patience to practice and familiarize ourselves with the differentsituations and then apply the corresponding rule to obtain the best effect.

It is most important, of course, to understand how to plan the composition, how the keyelements should be positioned on the scene and, last but not least, how people will perceiveour photographs.

Some of the conventional composi-tions which can be achieved byusing a number of techniques orguidelines:

• Rule-of-thirds

• Balancing elements

• Leading lines

• Symmetry

• Patterns

• Viewpoint

• Background

• Depth

• Orientation

• Diagonals

• Active space and dead space

• Framing

• The Golden Ratio

Composition techniques & guidelines



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The most well known principle of photographic com-position is the rule-of-thirds.

The basic principle behind the rule-of-thirds is toimagine the scene divided into thirds (both horizon-tally and vertically) so that we have 9 parts.

With this grid in mind the rule-of-thirds now identi-fies four important parts of the image in which weshould consider placing points of interest when weframe our image.

In other words, if we place points of interest in theintersections or along the lines, the photograph be-comes more balanced and will enable the viewer ofthe image to interact with it more naturally and itwill help us to create a pleasing, balanced composi-tion.

Fig. 5

The most well known principle of photographic composition is the rule-of-thirds.

The rule-of-thirds – The key of photographiic composition.

The rule-of-thirdsThe main reason for applying therule-of-thirds is to avoid the place-ment of subjects at the centre, or toprevent, for example, a horizontalline from appearing to divide thepicture in half.

Using the rule-of-thirds comesnaturally to some photographersbut for many of us it takes a littletime and practice for it to becomesecond nature.

The rule-of-thirds was first mentioned in1797 by the English painter John ThomasSmith. Smith’s (1797) work “Remarks onRural Scenery” contains what appears to bethe earliest reference to the compositional"rule-of-thirds".



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The rule-of-thirds continued...

When learning how to use the rule-of-thirds it isvery important to know:

• What are the points of interest in the photograph?

• Where am I placing and focusing them?

Let us divide the image into nine (9) equal sections(2 vertical and 2 horizontal lines). The rule-of-thirds

says that the most important elements in the sceneshould be positioned along those lines, or at thepoints where they intersect. By doing so we will addvisual balance and interest to our photo.

Some cameras offer an option to superimpose therule-of-thirds grid over the LCD screen.

The rule-of-thirds – The key of photographic composition.

Fig. 6


In the picture below the girl, the lake andthe horizon are aligned along the rule-of-thirds lines.

Keep the rule-of-thirds in mind as you edit your photographs later on. Post production editing toolstoday have good tools for cropping and reframing images so that they fit within the rules.

When using it to photograph peo-ple, it is common to line up thebody to a vertical line and the per-son's eyes to a horizontal line withthe majority of the extra roombeing in front of the person (theway they are moving). Likewise,when photographing a still subjectwho is not directly facing the cam-era, the majority of the extra roomshould be in front of it.



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Balancing elements

As already explained, placing an element in the sceneoff-centre, as with the rule-of-thirds, creates a morebalanced and interesting picture. But, sometimes, ifwe have only one element, the picture may feelempty. In this case, to fill this space, it would be agood idea to balance the “weight” of the main subjectin the scene with another, perhaps less important,element in the scene.

In the picture above, the trunk and the street lamp, primary elements in the scene, are well balanced in a landscape (background) which is part of the story the photograph is trying to convey.

Other basic composition guidelines

To create a particular impact and apleasing appeal in the photographs,the "weight" of the differentelements in the scene must be wellbalanced. Always remember that awell balanced composition alsorequires a balanced combination ofcolours, shapes, light and shadows.All these elements must comple-ment each other.

A balanced composition means a balanced combination of elements in the scene, colours, light and shadows.

Fig. 7




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Leading lines

Lines are powerful elements in a picture as whenobserving a picture our eye is automatically led alongthe lines. Lines are a simple technique which guidesthe viewer’s eye towards the main element andinvites them to observe the picture more carefully.

Leading lines (straight, diagonal, curved, zigzag, etc.)can be used to enhance our composition. Lines can beplaced in the centre or off-centre of the frame; it alldepends on what we would like convey with our pho-tograph and how we would like to impact particularparts of it.

In everyday situations there are all

kind of features that could be used

as leading lines to enhance our

composition: roads, bridges, tele-

phone wires, railway tracks, rivers,

foot-paths in the countryside, etc.

Leading lines can also be created in

different manners. Repeated

elements in the scene – a series of

objects which go from the fore-

ground to the distant background

will give us the illusion of a path or

road which will draw our attention

throughout the scene or straight to

another point of the image – the

focal point.

The only thing to keep in mind is

that nothing should appear in our

composition by accident. To create

a strong composition, all the

elements of the photograph should

add interest to it and must comple-

ment each other.

In the picture on the left, the lines createdby the foot-path in the field lead the eyefrom the edge of the frame to one third ofit (the rule-of-thirds). The eye naturallyfollows the “route” which draws us straightto the focal point –the little farm house.

All the other elements in the scene, the bigtree, the blue sky and the back of the farmhouse are complements to the mainsubject, resulting in a pleasing and harmo-nious composition.

Balanced elements and harmony of colours createcompositions of high impact which lead us to the story of ourphotograph.

Fig. 8




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Symmetry

Symmetric elements, patterns and textures simplifythe scene and work quite well for simple composi-tions. They automatically create a focal point to thescene catching the viewer’s eye. Objects with perfectsymmetry are very often placed in the centre of theframe.

Using symmetry in a composition means the creationof an image which is divided into two parts: startingfrom the centre, one half of the image looks thesame or at least “similar” to the other half, eitherhorizontally or vertically, or both.

To obtain good results when usingsymmetry, the symmetric object re-quires at least two basic elements:an eye-catching point of interest(focal point usually in the centre)and a rich and powerful composi-tion. We can find horizontalsymmetry in reflections of ele-ments in the water, or vertical symmetry in buildings, landscapes,and many other things. Of course,we can also find, in the same image,both horizontal and vertical sym-metry.

The picture above shows an example of horizontal symmetry. The reflection of the different elements in thewater divides the image into two parts. The focal point (the tower of the abbey) is placed in the centre.

Symmetry creates harmony, balance and proportion in the composition.

Fig. 9

Location: Pont-à-Mousson, France.



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Symmetry continued...

As explained, an image can follow both vertical andhorizontal symmetry – from side to side (horizontal),from top to bottom (vertical) or both horizontal and ver-

tical.

To achieve good symmetrical compositions, we haveto shoot from the centre of our subject. When com-posing the frame, the centre of the point of interest(focal point) has to have the same distance on bothsides and the camera must be kept parallel and infront of the object.

We can also use symmetry byshooting symmetrical shapes withdifferent contrast levels. For exam-ple, a picture of a corridor in whichone wall is well-lit and another oneis shadowed.

Sometimes, to introduce more tension andan eye-catching focal point to the scene,we can break the symmetry or pattern insome way and move the focal point outof the centre.

The picture above shows an example of vertical symmetry. The building is placed exactly in the centre of theframe keeping the same distance on both sides and the camera was held parallel and in front of the building.

Symmetry creates harmony, balance and proportion in the composition.

Fig. 9a




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Viewpoint

Photographs do not always need to be shot at eyelevel. To increase the impact on the composition, justtake the time to work out the best position fromwhich you will take your photograph.

Shooting from above, below, from the side, from far

or near can greatly affect the message we would liketo convey creating, at the same time, a more dynamic

and powerful composition. Changing the camera’sposition in relation to our subject can produce inter-esting and unexpected results.

If we shoot something (animal,birds, etc.) from above whilelooking down, we will very often“flatten” our subject, creating animpression of dominance over it. Ifwe would like to render our subjectimportant or more dramatic, thebest way to achieve this is to getdown and shoot from below whilelooking up. Therefore, the choice ofthe viewer's position is very impor-tant.

Before photographing our subject,we have to take some time to thinkabout where we will shoot it from.Our viewpoint has an important im-pact on the composition and cangreatly affect the message that thephotograph wishes to convey.Rather than just shooting from eyelevel, let’s consider photographingfrom high above, down to groundlevel, moving laterally, from a longway away, from very close up, ortilting and moving the cameravertically.

Remember: the position from where wetake a photograph has a strong impact onwhat the image wishes to convey. Thewrong position could influence the aes-thetics of the picture and could lead toquite a different interpretation of thephotograph.

The viewpoint (from below) chosen in thispicture creates a solid composition result-ing in a striking photograph.

Altering the position of the camera can have an importantimpact on the composition of our photograph.

Fig. 10




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Background

Photography is two-dimensional. When we take ashot we have to compose the image in such a waythat the sense of depth that is actually present in thescene is conveyed to the viewer.

There are different techniques to create depth in aphoto: including an object in the foreground, middleground and background, or overlapping objects (inthis case we partially obscure one element with an-other in the scene). Our eye will naturally recognizethese layers and will mentally separate them,creating an image with more depth (see next page).

In photography the background is considered as im-portant as the main element in the composition.

When composing a photograph wehave to decide if the backgroundshould be an integral part of ourmain subject (sharp background) orjust a complement to it (diffused

background).

The background as a complement of our composition.

Fig. 11


The diffused (out-of-focus) background in this “shallow depth-of-field composition” completely isolates thestatue from the background.

For in-depth information and further details on depth-of field (diffused and sharp backgrounds) refer toa separate publication, Module 4, which is fully dedicated to this topic.

Remember that busy and messy back-grounds, burnt-out areas or high contrastsand unwanted intrusions in the scene willdistract the viewer’s eye and take theattention away from the main subject.



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Depth

When taking a photograph, particularly landscape

photographs with a large depth-of-field, a strongforeground element can help to draw the viewer’seye into the picture, as well as provide a sense ofdepth. At the same time, by adding different levels toour composition, we can also create depth in thephoto. By including objects in the foreground, middleground and background, overlapping certainelements that are in the distance or by partially obscuring one layer with another, the viewer’s eyewill automatically interpret this information asdepth.

In adding different levels to our composition we can create depth in the photo.

Fig. 12


In the picture above, the different elements on the lake, the foggy line in the distance and the mountainson the horizon emphasise the depth of the photograph.

If we pay too much attention tostrict rules and guidelines, we risklosing spontaneity. In photography,what makes the difference, apartfrom the photographic composi-tion, is the technical know-how, thecreative approach and the visualknowledge. The choice and adjust-ments of technical elements of thecamera, the way in how you approach the creative aspect whenframing and focusing, as well as thevisual balance of the elements inthe scene, are the key points toproducing great photographs.



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Orientation

We all make the same mistake when starting off withphotography, as most of our photographs are shotwith a horizontal orientation.

When shooting a photograph in the field, we have todecide which orientation to follow (horizontal or

vertical) for our photograph. Most of the time weshoot using both orientations in order to work outhow our composition would look with the cameratilted at 90 degrees (90°).

The choice depends, as always, on what we want toconvey with our image and, last but not least, thepurpose of the final use of our photograph.

It is not true that all landscape picturesmust be horizontal or all portraits must bevertical. The more creativity is involvedwhen composing a photograph, the betterand more successful the pictures will be.

The vertical orientation in a composition makes thephotograph more dynamic and powerful.

Fig. 13


The rule of thumb is when an imagecontains many horizontal lines thengo for horizontal orientation, whenthe image contains strong verticallines then go for vertical orienta-tion. But of course, we can also takegood pictures of horizontal lineswith a vertical orientation.

Apart from the many rules ofthumb in photography, it is veryimportant that the choice be madeaccording to the final use of ourphotograph.

In commercial photography thereare images that work better in aparticular orientation. For example,calendars need horizontal imagesmost of the time, cover pages ofmagazines need vertical images, bigprints need vertical shots etc.

Since it is very difficult to know inadvance what photograph andwhich orientation will be required,the best thing to do is to shoot inboth orientations.



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Diagonals

Lines add so much more to our photograph and areso important in the art of composition. Horizontallines appear to make an image calm whereas verticallines suggest stability and diagonal lines create afeeling of drama or movement.

Diagonal lines in a photograph are very attractive asthey introduce a sense of dynamics, create stunningperspectives and draw the attention of the viewervery quickly. Sometimes, when tilting the cameraslightly upwards we can capture pictures which areout of the ordinary.

In this composition the guardrails at thebottom and the wires on the top formdiagonals, a kind of “leading lines” whichgive the photograph a perspective and asense of dynamics.

Diagonal lines in photographic composition.

Fig. 14


In the picture below we find very sub-tle diagonal lines, the guardrails at bot-tom and the wires on top – a kind ofconverging lines leading from left toright – that automatically lead our eyes

to the right.

In photography, we can create diag-onal lines by tilting the camera up-wards or changing the cameraposition which means changing theperspective. As already explainedbefore, diagonal lines make ourphotograph more dynamic.

It can happen that at times that wehave no have diagonal lines in ourcomposition. By placing elementsof the scene in a diagonal manner,our eyes will create a line throughthose elements without any actuallines.

In photography, we can create diagonalsby tilting the camera upwards or changingthe camera position which means chang-ing the perspective.

Keep in mind that by introducing toomany diagonal lines leading in differentdirections, the composition might be a bitchaotic and confusing.



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Framing

Filling the frame will help us to simplify the photo-graph. Overhanging branches, trees, archways, rockformations, holes, architectural elements, etc. arevery useful to frame our scene in a natural way andwill turn our picture into a dynamic photograph. Byplacing these elements around the edge of the com-position it will help us to isolate the main subjectfrom the rest of our scene. The result is a morefocused image, which automatically draws our eyesto the main point of interest.

When framing our scene we should also considershape, colour and texture. Frames that contrastsharply with the objects they enclose can be veryeffective.

Framing is simply using other elements in the scene to frame the main subject, adding more depth tothe picture and a better focus on the main subject. Framing is one of the easiest composition techniquesin photography, but, sometimes, it is quite difficult to apply it in a way that works properly.

Filling the frame will help us to simplify the composition.

Fig. 15

Location: Pont-à-Mousson, France.

Always use other elements in yourcomposition to frame the subjectnaturally. This will help draw theviewer’s eye to your subject.

Framing can also be used to createa sense of depth in the picture andprovide a context to the photo-graph.



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Active space anddead space in composition

Photographs are static. However, a well balancedphotograph has to suggest a sense of motion. Whenwe look at a photograph, we always try to work outwhat was happening at that moment and in whichcontext the photograph was shot. Active space is thearea in front of a moving object that creates a feelingof movement and provides a more balanced, dynamicand harmonized photograph. Dead space is the spacebehind the subject where the action has alreadytaken place.

Active space can be applied to many types of photog-raphy including sports (cars, bikes, people etc),wildlife (animals in motion) or virtually any othersubject matter that is moving.

With enough “active space” in front of a moving subject, thepicture will be more balanced while at the same time providingan answer to the question: where is the subject going?

The running horse in the scene needs space to “move into” – ortherwise the picture willappear unbalanced and wrong.

Fig. 16


Space to “move into”

The active space rule says that weshould always leave some space to“move into” around the movingsubject – much more in front thanbehind.

If we shoot sport/action photogra-phy or other moving subjects, weshould remember to use the active

space rule giving the movingsubject some space to move into. Ifwe do not apply this rule, it feels asif there will be a collision in thephotograph i.e. the subject is goingto stop abruptly or is heading forthe outside of the frame.



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Space to “look into” in portraits

As already explained previously, leaving more emptyspace (active space) in front of a moving subject willmake the viewer’s eye move instinctively towardsthat direction giving the viewer a sense of where thesubject is going. This helps to create balance, dramaor a sense of anticipation in the photograph.

The active space rule is also used for subjects whichare not moving, for example in portrait photography.In this case we also leave some active space betweenboth the face and the frame to give our subject spaceto “look into”. In so doing, the person or animalappears to be looking at something in the distanceand not just towards the edge of the photograph.

If the person or animal is looking in one direction or even if the head is pointing in that direction(even just a slightly turn of the head or if the eyes are slightly drawn in that direction) it is best toplace enough active space in front of them. In doing that, we will give our subject space to “look into”and create a pleasing relationship between the viewer and the photograph.

The horse portrait in this composition needs space to “look into” – or the picture will appear unbalanced.

Fig. 17


One more thing to consider: if youare shooting a moving object, placeit one third of the way into theimage, leaving two thirds of theimage in front of it. The object willhave active space to “move into”.



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Breaking the “Active space” rule

As with every rule there are situations where it can bevery effective to also break this one.

The active space rule works very well almost alwaysand produces excellent results. But there are situa-tions when we can or should break this rule. It all de-pends on the message we would like to conveythrough our photograph.

In compositions with more space behind the subject thanin front, the picture can convey a totally different messageto the viewer. It can create a feeling of hurrying, speed,tension, dynamics, adding to the photograph a particular

charm.

In the picture above, the photographer did not leaves space in front of the subject as the message he/shewants to convey is that the person has almost arrived at the end of his destination – rather than to suggestthe direction where he is going.

To convey the message the photographer wants to give through this photograph, breaking the “active space”rule was the only way to go.

Fig. 18


Breaking this rule can also bothshow and convey at the same timewhat was happening behind themoving subject (waves behind a

surfer, smoke trails left by a jet liner,clouds of dust behind a racing car in a

competition, etc).

This type of composition placesmore weight and importance onwhat the subject did before, ratherthan where the subject is going.



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Breaking the “Active space” rulein portraits

Depending on the message we wish to conveythrough our photograph, there are always situationswhere it is appropriate to break this rule. Most of thetime in order to convey tension, anxiety, a sense of“no escape” in our photographs, we have to avoidactive space and keep our subject in a “box”.

In this case, as shown in the picture below, we place thedominant eye in the centre of the photo. This gives theimpression that the eyes are following us.

Breaking the “active space” rule in portraitscan produce interesting shots. In somecases, it might not be aesthetically pleasingand could convey to the viewer a messageof “no escape”, “obstruction” or “suffoca-tion”. The composition could appearuncomfortable.

This type of reaction can, sometimes,be very powerful in creating a sense ofanxiety and tension in the photograph.

In this portrait the photographer tookthe active space away from the modelkeeping it in a “box”. The reason beingthat the photographer wanted toconvey the meaningful look of themodel at that particular moment.

The model in the portrait was kept in a “box” without “activespace” – the best way to highlight expressions and emotions.

Fig. 19

Model: Angela.

With “no active space to look into” thesubject can appear vulnerable,trapped, confused or relaxed. This isan effective technique for relivingthe expressions of a particular mo-ment, especially if we would like toshow through the photograph themeaningful look of the subject ina specific situation (enthusiasm,

nostalgia, desire, joy, curiosity, passion,emotion and any other expression of

feeling).



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Around the 12th century the Italian mathematicianLeonardo Fibonacci introduced to Europe thesequence of “Golden numbers”: 1.618033, a numberwhich describes the relationship between two pro-portions (although discovered earlier in India it was not

previously known in Europe).

The Fibonacci numbers are intimately connectedwith the Golden Ratio (known at least since 2,400 years

or more). The relationship between the Fibonaccinumbers and the ”Golden Numbers” was discovered in

1611 by the German mathematician Keplero. Both followa ratio which can also be found in nature all aroundus (the spiral shape of shells, the flowering of anartichoke, the arrangement of leaves on a stem, etc.).Throughout the centuries, artists and architects haveproportioned their works of art to approximate thelaw of the Golden Ratio. Today, large companies andmany designers still use this guideline to design prod-ucts and logos.

The Fibonacci spiral applied to photography.

Fig. 20


The Golden RatioAlso known as the Golden Mean,divine proportion, or the Greekletter Phi, (Phi grid) this type ofdesign is something every designerand photographer should knowabout.

Famous works of art of the Renaissanceperiod such as Leonardo da Vinci’s MonaLisa and the Last Supper, the Birth ofVenus by Botticelli, and many other worksof art, were composed based on the prin-ciple of the Golden Ratio.



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Composition does not only consist of placing elements of interest along the lines or intersections of agrid. For a balanced photograph, shapes, colours, tones and actions must also be taken into account.This will enable the viewer to interact with our photograph more naturally.

The Golden Ratio continued...

The Golden Ratio, when applied to photography, cancreate an incredibly natural looking composition thatcan easily magnetize our sub-conscious and which isparticularly pleasing to the eye. By using these guide-lines for our photographic composition it will addsensibility to the design as well as an aestheticallypleasing proportion to our photograph allowing theviewer to be led around the picture in a natural flow.

The “Phi grid” (Golden Ratio). Something similar to the rule-of-thirds.

Fig. 21


It is believed that the Golden Ratio hasbeen in use for at least 4,000 years inhuman art and design, but it may be evenlonger than that - some people argue thatthe ancient Egyptians used the principle tobuild the pyramids.

Artists, architects and painters ofthe Renaissance such as Vitruvious,Leonardo da Vinci and AlbrechtDürer also used the Golden Num-bers to create divine proportions ofthe man’s body.

In the world of photography, people do not talk much about theGolden Ratio. Such an advanced method of composition is con-sidered by many people to be a “mysterious subject” and for thatreason a bit complex to understand. In photography, it is mucheasier to talk about the rule-of-thirds because it is easier tounderstand and much simpler to apply in compositions.



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When you take the “sweet spot” of the Fibonnacispiral (i.e. where the most important points of focus fall

around a small rectangular area at one of the corners in

the frame) and recreate it four times into a grid, youwill get a Phi grid, something similar to a rule-of-

thirds grid but with one very important difference.While the rule-of-thirds divides the frame into equalthirds (1+1+1), with the Phi grid the frame is dividedinto thirds which are not equal to each other. Theintersecting lines of the Phi grid are much closer tothe middle of the frame, (1+0.618+1). The rule-of-

thirds is a kind of simplification/approximation of thePhi grid (Golden Ratio).

The rule-of-thirds has a ratio of 1.67, whereas the “PhiGrid” is about 1.62.

The “Phi grid” is a better guide for composition than the rule-of-thirds as it makes photographs look a bit moreinteresting and more natural.

Fig. 22


In the picture below, the blue lines represent the rule-of-thirds, the red ones the“Phi grid”.

«The power of the Golden Section tocreate harmony arises from its uniquecapacity to unite different parts of awhole so that each one preserves itsown identity and yet blends into the

greater pattern of a single whole».

– György Dóczi, The Power of Limits –

The Golden Ratio vs The rule-of-thirds



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When facing a window or mirror directly

avoid using a flash as otherwise there

will be a noticeable reflection in the picturewhich will most certainly spoil it. If you stand

at an angle to the window or mirror, theproblem will be solved. If you want to document the size of some-

thing in your photograph, be sure to include

in the picture a point of reference that

has a recognizable size (person, coin etc.).

Eliminate uncessary items on the scene and

try to simplify the composition.

The simplier the composition, the morebeautiful the photograph.

You can get some very natural shots if noone notices the camera.

Try to take candid shots.

Sometimes , in order to get the best shot

you need to be patient. Wait a while

and try again.

When photographing children, animals,

people, etc, try to capture their

expressions. Babies laughing, dogs

playing, people enjoying a party, a child smiling over a birthday cake all make

great pictures.

When photographing in bright sunlightwith the subject either standing in the shade

or backlit, it is best to use flash.

Situations, without using flashlight, thesubject would be too dark.Framing – if you want to focus on the

ground, place your horizon one third of theway from the top of the image. If you want tofocus on the sky, place your horizon one third

of the way from the bottom of the image.

Dynamic and powerful compositions benefit

from an interesting perspective. Rather

than shooting at eye level, try to shoot fromhigh above, or at ground level, movinglaterally or tilting the camera vertically.

Taking shots looking down on the subjectis rarely the best perspective.

The best way to obtain a good photograph

is to use the focus lock on the camera.

Centre your subject (focal point) and pressthe shutter release half way down. This will

autofocus your subject. Keep the shutterbutton in this position, then place your

subject in the frame (using the rule-of-thirds)and press the shutter button the rest of the

way down.

Simple tips to improve compositionReading the camera manual and using the camera every day is the best way to learn more about

camera settings while acquiring at the same time thorough knowledge of their basic features.But catching the best exposure and aiming for the best composition is another thing altogether.

There are plenty of tips that help us to take a nice shot and enhance our photographic skills.Hereunder are some tips to keep in mind when taking photographs.

When photographing icons, monuments etc.ask yourself: how can I make my shot differ-

ent? Avoid clichés and try to make the

image look different to everyone else’s.Try another perspective of the same shot

that has been taken by millions before you.

Last but not least – The best way to improve our skills in photography is to know

exactly what we are doing wrong. Constructive criticism is welcome.

The others viewing the photograph will see things we did not realise at the momentof shooting. Things we can use and apply in our next shot.



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As already mentioned, the exposure is an importantaspect of photography and has to be chosen verycarefully when shooting photographs. Exposure isthe amount of light the subject is exposed to. Thecamera’s sensor is exposed to light via the camera’slens when the camera’s shutter opens. As a photog-rapher, you have full control over how much light isbeing exposed to the camera’s sensor by changingaperture, shutter speed and ISO sensitivity. Withthese three elements, the settings for exposure arecreated.

Therefore, it is very important to understand expo-sure and to be familiar with the well known “expo-

sure triangle”.

Understanding exposureExposure is the element that deter-mines how brightly or darkly apicture is recorded on the camera’ssensor. There are three adjustableelements that control the exposure– aperture, shutter speed and ISO.

The combination of these threeelements represent the exposurevalue (ev). Changing one of theseelements has a great impact on how the photograph will ultimatelylook.

When we shoot a photograph ourthought is to reproduce an imagewhich is the same as the one weare seeing in front of our eyes. How-ever, this is not true. Cameras cannever capture the same range ofcolours, brightness and shadows as thehuman eye. In this case, we have toaim, or at least try, to reproduce thebest approximation preserving high-lights and shadow details.

That is the only reason why there willalways be great differences in whatpeople consider to be a “correct expo-sure”.

The three following pictures showthree different exposures to light:

a correctly exposed picture on theleft, an under exposed and an over

exposed picture on the next page.

My personal choice of “correctly exposed”.

Fig. 23


The picture on the left shows my personalchoice of “correct exposure”.



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Fig. 24


< over exposed

under exposed >


Fig. 25

Over exposure refers to a white-looking orwashed-out image (over exposed image).This happens when the camera’s sensor isexposed too long a time or with too muchlight - or both, which results in a photo-graph being too bright (over exposed).

The example on the left, Fig. 24, clearlyshows a case of an over exposed photo-graph.

In this case the picture was shot with thewrong camera settings: either the aperturewas too large or the shutter speed tooslow.

Under exposure refers to a dark-lookingimage (under exposed image). This hap-pens when the camera’s sensor is exposedfor too short a time or with too little light- or both, which results in a photographbeing too dark (under exposed).

The example on the right, Fig. 25, clearlyshows a case of under exposed photo-graph.

In this case the picture was shot with thewrong camera settings: either the aperturewas too small or the shutter speed to0 fast.



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As explained on the previous page, when shootingphotographs we need to set the right exposure.When doing that we have to coordinate the three keyelements which will affect exposure: aperture, shut-ter speed and ISO sensitivity. These elements are usu-ally envisioned as a triangle known as the “exposuretriangle”.

Simply said, the exposure triangle explains therelationship between these elements. We alwayshave to keep in mind that adjusting one of theseelements will impact all of the others. This meansthat we can never isolate just one of the elementsalone but always need to have the others at the backof our mind.

Each of the three elements of the triangle is relatedto light and how it enters and interacts with thecamera.

Aperture, shutter speed and ISO sensitivity - The pillars of the exposure triangle.

Fig. 26

It is at the intersection of these three key elements that we find the correct exposure.

The exposure triangleRemember that exposure is theamount of light reaching the camera’s sensor (controlled by the

aperture), how long the sensor willbe “exposed” to light (controlled by

the shutter speed) and how thecamera’s sensor can absorb light(controlled by ISO).

The exposure triangle helps us tounderstand the combination ofthese three elements and how theyinteract with the camera to achievecorrect exposure.

Understanding how exposure can impactour photo is a good start for developing anintuition for photography and, with alot of practice, pleasure and passion forphotography we can master the “art ofexposure”.

Smaller apertureless light,

wide depth-of-field

Larger aperturemore light,

shallow depth-of-field

Larger ISO numbermore light,

higher grain/noise

Smaller ISO numberless light,

low grain/noise

Faster speedless light, freezes motion

Lower speedmore light, shows motion



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Many combinations of the three key elements of theexposure triangle can be used to achieve the sameexposure. But keep in mind that each setting alsoinfluences other image properties and controls expo-sure differently:

• Aperture controls the area through which the lightcan enter the camera.

• Shutter speed controls the duration of the expo-sure.

• ISO controls the sensitivity of the camera’s sensorto light.

APERTURE

is the size of the opening of the lens

when a photographer is taking a

picture and controls the area over

which the light enters the camera.

It is measured in f-stops: f/2.8, f/5.6, f/9

etc.

Larger aperture allows more light to

enter the camera.

Smaller apertures restricts light from

entering the camera.

SHUTTER SPEED

controls the duration of the exposure

and is measured in seconds, in most

cases in fraction of seconds.

For example: 1/100 is faster than 1/30.Shutter speed below 1/60th of a second

requires a tripod in order to stop the

camera from shaking.

To freeze movement use faster speed.

To blur movement use lower speed.

ISO SENSITIVITY

controls the sensitivity of the camera’s

sensor to light. The lower the number,

the less sensitive the camera is to light.

100 ISO (default setting) is generally

accepted as “normal” for taking goodphotographs without grain/noise.

Smaller ISO number: less sensitive to

light, darker images.

Larger ISO number: more sensitive to

light, brighter images.

How to adjust exposure

Aperture f/11, shutter speed 1/500s, ISO 200.Nikon D810 – lens 24-70 mm.

Fig. 27




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ApertureFig. 28



Fig. 29

The pictures on this page clearly show thegreat impact the aperture can have on ourphotographs.

The picture above, Fig. 28, was shot with alarge aperture – f/2.8. The best setting ifwe want to achieve a shallow depth-of-field (background out-of-focus) and isolateour subject from the background.

For the picture on the left, Fig. 29, wechose a small aperture – f/11. When usingthis setting, the subject is no longerisolated, and the sharp background is an in-tegral part of our photograph.

For in-depth information and furtherdetails on Aperture refer to a separatepublication, Module 3, which is fullydedicated to this topic.

large aperture: f/2.8 >

< small Aperture: f/11

Remember that the three elementsof the “Exposure Triangle” not onlywork together to create correctexposure (the technical aspect) butthey also control another impor-tant aspect of photography (the cre-

ative aspect) which has a greatimpact on the final look of our pho-tograph.

The creative aspect controlled bythe aperture is the depth-of-field.(Shallow or wide depth-of-field?).



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Shutter speed

As for the aperture explained in theprevious page, the same also appliesto the shutter speed. The shutter

speed, is not only fully responsiblefor the correct exposure of the pho-tograph (the technical aspect) but italso controls another aspect of pho-tography (the creative one) whichwill greatly impact our photograph.

The creative aspect controlled bythe shutter speed is the way inwhich we capture the motion. (Shall

we freeze or blur the movement?).

Fig. 30


Location: Lausanne Stadium, Switzerland.

Fig. 31

The pictures on this page clearly show thegreat impact the shutter speed can have onour photographs.

In the night shot (tripod) above, Fig. 30,the slow shutter speed (2.5 sec ) – long ex-posure – creates a blurry effect and makesthe running water a bit fluffy.

In the picture on the left, Fig. 31, to freezethe fast movement of the footballer a fastshutter speed (1/1000 sec) was the bestchoice.

For in-depth information and furtherdetails on Shutter speed refer to a separatepublication, Module 3, which is fullydedicated to this topic.

slow shutter speed: 1/30 sec >

< fast shutter speed: 1/1000 sec



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As for the aperture and the shutterspeed explained in the previouspages, the same also applies to theISO sensitivity. ISO not only con-trols how quickly the camera’s sen-sor can absorb light (the technical

aspect) but it can also be used forother creative utilities of greatinterest in art photography.

ISO sensitivity changes the graini-ness of our photograph. A grainytexture can add a particular appealto the photograph.

ISOFig. 32



Fig. 33

The pictures on this page clearly show thegreat impact the ISO sensitivity can haveon our photographs.

The tripod night shot given above, Fig. 32,with ISO sensitivity set to 200 (small ISOnumber), the picture has no “noise”. Thesharpness all over the scene is ensured.

In the night shot on the left, Fig. 33, theISO sensitivity was set to 12800 (large ISOnumber). The difference is clear: the pho-tograph has a grainy/noisy texture.

For in-depth information and furtherdetails on ISO sensitivity refer to a separatepublication, Module 3, which is fullydedicated to this topic.

low ISO value: 200 >

< high ISO value: 12800



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Conclusion



Fig. 34

Don’t be afraid to try out differentcompositions (the creative aspectof photography) following theguidelines explained in this publica-tion. Try different combination settings of the three key elementsof the exposure triangle (aperture,shutter speed and ISO) to achievethe same level of exposure whichwill, at the same time, help you tounderstand the basic technology ofyour camera.

Mastering any one of these ele-ments is the ideal tool to developyour skill and follow your passionfor photography.

Once you have all the material (camera, lens, tripod

and the other necessary accessories) it will help makeshooting photographs easier. Like all creative works,photographs cost next to nothing. However, bear inmind that one of the requirements of taking goodphotographs is a lot of practice in order to obtain themain advantages of digital photography. You willneed patience, pleasure and passion.

Always be aware that photography can become a very

expensive passion.

If you want good pictures then it also essential thatyou take into consideration and practise all threeelements of the exposure triangle. Experiment withthe camera controls, vary the settings and in this wayspontaneously discover what you are trying toexpress and the results you are aiming for.



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Photographic composition:The organisation of visual elements in thescene according to a given principle (rule-of-thirds or other) which achieves a uniformityand enhances the impact of our photograph.

Primary elements in a composition:The important parts of the photograph towhich we would like to draw attention. Thefocus for the shot is placed on these elements.

Secondary elements in a composition:Give the primary subject context and, in somecases, determine the message to be conveyedthrough the photograph. These elements areof less importance and will balance the“weight” of primary elements in the scene.

Exposure triangle:Explains the relationship between aperture,shutter speed and ISO and how they arerelated to the light to create the correctexposure.

Exposure:Amount of light reaching the camera sensorand how long the camera sensor will beexposed to it.

Aperture:Aperture (diameter) of the lens whichcontrols the amount of light reaching thecamera sensor.

Shutter speed:The length of time the shutter of the camerais open determining the amount of light thatreaches the camera sensor.

ISO:The sensitivity of the camera sensor to light.The larger the ISO number the more sensitivethe camera sensor to light.

Depth-of-field (DOF):The distance between the nearest and thefurthest objects in a scene that appearsacceptably sharp in an image.

Terminology used in this tutorial

Fig. 35

Location: Olympic Park in Lausanne, Switzerland.

Hand-held photo with Nikon D810, lens 24-70 mm.Aperture: f/5.6, shutter speed: 1/500s,ISO: 200, focal lenght: 70 mm.

The

basics of digital

photography

A publication ofleMultimedia.info

Module 1

Introduction to photography


Understanding exposure

Basic concept of photography based on the work of

Oreste Di Cristino

mise en page 1€¦ · in our scene and the relationship to each other. in photography we talk...

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