Frame boundaries. Cropping photos. Golden ratio rule
When composing a photograph, the photographer proceeds from certain dimensions and format of the picture plane, a rectangle limited by the frame of the frame, within which the depicted part of the object or the entire subject is placed. Moreover, each element of the composition has a specific place, the scale of its image, the relationship with other elements, etc. are established.
The dimensions of the frame can be different, as can the aspect ratio of the rectangular frame of the frame. This ratio determines the image format. There are two main groups of photographic image formats - horizontal and vertical, with a wide variety of aspect ratios within each group. There is also a square image format, which is somewhat less common in photography practice.
In some cases, but extremely rarely, when cropping a photograph, curved lines are used that limit it, enclosing the images in a circle, oval, etc. However, these formats are not widespread and do not arise during the shooting process, but only in the process of printing a positive or final design of the photograph.
The ratio of the vertical and horizontal sides of the photograph is determined primarily by the nature of the object being photographed, its proportions, as well as the creative intent of the author, his visual interpretation of the theme.
Photo 32. V. Tarasevich. Green Street
Thus, it is no coincidence that V. Tarasevich chooses a vertical format for his photograph “Green Street” (photo 32). The vertical format of the image here is suggested by the height of the subject itself: indeed, it is as if the smoking chimneys of a giant factory are rising into the sky. With the height of the frame set, it was possible to expand its vertical boundaries and compose the picture in a horizontal format. But then the angle of view of the lens would cover a much larger space and the emphasis on the traffic light with its green light would disappear in the abundance of material shown. And along with this, the clarity of expression of the theme would also disappear, since it is revealed here precisely in the active comparison of two elements of the composition - a giant factory in the depths of the frame and a traffic light in the foreground - and reads laconically, like a poster: “Green street for the seven-year period of Soviet industry! " The vertical format therefore helps to express the content of this photograph.
The horizontal format of M. Alpert’s photograph “Tracing the Slope” (photo 33) was also not taken by chance: the frame, elongated horizontally, makes it possible to cover a large area in which gigantic work on the construction of the canal unfolded. Along the way, it should be noted the precise linear composition of the photograph and its conciseness - a brief and clear expression of the content.
Photo 33. M. Alpert. Slope tracing
The photograph by M. Alpert “Academician N.P. Barabashov” (photo 34) is arranged in a square format, in which the frame of the frame outlines a space sufficient to accommodate all the most important elements of the composition. There is no reason to increase the height of the frame and compose it in a vertical format, and a horizontal format of the photograph would lead to the loss of the correct relationships between the main subject of the image and the secondary details of the composition.
Photo 34. M. Alpert. Academician N. P. Barabashov
The vertical image format is often used when shooting a half-length portrait. A typical example of such a composition is photo 35. The frame of the vertical frame in this case outlines the picture plane, on which the elements of the composition are well placed - the figure of the girl and the details of the situation that characterize the scene.
Photo 35. A. Zhukovsky (VGIK). Mashenka
The vertical aspect ratio is also often used when shooting close-ups. Consider, for example, the portrait of the Hero of Socialist Labor Nikolai Mamai (photo 36, author A. Garanin).
Photo 36. A. Garanin. Hero of Socialist Labor Nikolai Mamai
In its manner of execution, a portrait is close to a reportage: without completely feeling the presence of the photographer, we seem to see a moment of living reality. Apparently, a working day has just ended, a difficult working day for a miner: Nikolai Mamai’s face is still stained with coal, drops of sweat still glisten on it. But before us is smiling, cheerful, happy man, satisfied with the results of his work, a noble man of our country - a progressive worker and public figure.
The portrait is light and free in composition, the lines of which, despite the fact that it is a close-up, do not close within the boundaries of the frame and extend beyond its boundaries, clearing the way for movement; this makes the portrait especially dynamic.
The portrait is built on a relatively short range of dark tones, and this coloring of the image is most conducive to conveying the situation and scene of action.
To summarize, it can be noted that when choosing an image format, the photographer simultaneously decides the issue of filling the picture plane, its rational use for expressively revealing the theme and plot of the photo. For example, when photographing an architectural structure that has a significant height, but a relatively small horizontal extent, it is most often necessary to use a vertical image format. True, this is only true if the composition does not include additional elements that can fill the free spaces of the horizontal frame. In the absence of such elements, the horizontal format will be less suitable for photographing a given object than the vertical one, since a significant part of the frame in this case will remain unfilled, and the picture will give the impression of a compositionally incomplete picture.
The horizontal frame format is used when shooting objects that have a significant horizontal extent and are relatively small in height. Such an object well fills the picture plane of this format, which also makes it possible to include in the composition objects of the environment surrounding the main subject of photography. This enriches the photo, makes it fuller, more convincing.
When determining the image format and setting the frame, some points are taken into account that have become elementary rules composition of the photo. For example, the following pattern applies to them: as a rule, some free space is left in the frame in the direction of the person’s movement, turn, gesture or gaze.
This pattern has its own logical justification: the space left in this part of the frame, as it were, frees up space for development, continuation of movement, the object seems to pass through the left space at subsequent moments of time. Constructing a photograph taking into account this pattern is very important for the overall liveliness and dynamism of the photographic picture.
Indeed, the photograph captures and conveys only one short moment, one phase of movement, which is not always sufficient to characterize the entire movement as a whole. The free space left in the frame in the direction of movement complements this characteristic: the viewer gets an idea of how and in what direction this movement will develop in the future.
Even significant spaces left in the frame in the direction of a person’s movement or gaze do not cause a feeling of unfilled emptiness or imbalance in the picture. These spaces seem to be filled with the expected movement of the subject, developing movement, and this brings the entire composition system into balance: the frame looks complete, compositionally complete, balanced.
And, conversely, an unpleasant sensation is caused by cropping the image when the frame border appears directly in front of the moving object; it seems to become an obstacle to the developing movement. In this case, the movement seems to slow down, and the dynamics of the photo disappear.
The same dissonance is the free space left behind a moving object. The viewer evaluates it as accidental in the photo, unjustified; The balance in the frame is also disrupted.
For these reasons, in most photographic compositions the placement of moving objects is carried out according to the principle discussed above. But at the same time, in some special conditions this pattern can be violated if the goal is to achieve a certain visual result intended by the author. For example, a frame border that appears directly in front of a moving object can emphasize its unexpected and abrupt stop or suggest that the movement in the frame occurred completely unexpectedly, etc.
However, these exceptions only confirm general rule, since they show that its violation gives an effect diametrically opposite to that which is necessary to reproduce a smoothly developing movement in the picture.
When determining the boundaries of the frame in portrait compositions, the amount of free space above the head of the subject must be very precisely established. In the case when this space is too large, the plot center of the composition, which in a portrait is always the person’s face, shifts to the lower part of the frame and diverges from the visual center. In this case, the harmony of the composition is lost due to a violation of the general balance: such an image is unstable, as if it has a downward gravitational pull.
For the same reasons, it is undesirable to leave too little space above the head of the person being portrayed. In this case, the head seems to rest against the frame of the frame, and the image coincides with the visual center of the frame not of the face, but of the human figure, details of the costume, etc., that is, secondary elements in the portrait composition that should not attract the viewer’s attention, but to which In this case, the emphasis may shift.
It is also obvious that the choice of frame boundaries is associated with the solution of certain expressive tasks, since with one or another cropping of the image the photographer achieves various artistic and emotional expressiveness of the photograph. Thus, a sharp convergence of the frame boundaries leads to the viewer’s attention being focused on a certain detail of the subject. Thus, this detail acquires significance, becomes essential and should reveal to the viewer one or another characteristic feature of the object being photographed. Widely expanded frame boundaries create a feeling of spaciousness, freedom, lightness, etc. The frame format, narrowed and at the same time sharply elongated upward, conveys the height of the subject and emphasizes this height.
Often during shooting, and especially when shooting with a small format camera, the photographer determines the boundaries of the frame only approximately, with the expectation of more accurate framing of the image during projection printing, during enlargement. Indeed, printing provides some opportunities to clarify the boundaries of the frame. However, these possibilities should not be overestimated.
During the printing process, the overall composition of the photograph, conceived and mainly implemented by the author when shooting, can be only slightly refined.
Thus, in a number of cases, when shooting reportage, it may be impossible to approach the object at a sufficiently close distance from which it would be possible to obtain the required close-up in this case. You have to photograph from a considerable distance, and this creates inaccuracies in the composition. Basically, they consist in the fact that the central part of the subject takes up a small part of the frame, and its edges are filled with virtually unnecessary material, in which even the main subject of the image is lost. Such inaccuracies in the composition are easily eliminated during projection printing: with the appropriate degree of image magnification, the desired plan size is achieved. Random and unnecessary details that do not participate in the overall compositional solution of the theme and are located at the edges of the frame are easily eliminated by cropping.
But during printing, errors associated with incorrect determination of the height of the shooting point or incorrect displacement of the shooting point away from the central position cannot be corrected. The disadvantages of the composition here are the unsuccessful placement of its individual elements relative to each other, the incorrectly found relationship between the main object of the image and the background areas onto which this object is projected, etc.
A number of other compositional inaccuracies also cannot be eliminated during the printing process if they were introduced during shooting. For example, a frame taken without taking into account the subsequent cropping of the image and the proportions of the future photograph often cannot be corrected when printing. In this case, there may be a lot of empty space left in the image that is not filled in the horizontal or vertical direction. The exclusion of this space by cropping during printing leads to a violation of the proportions of the photograph, to frames that are unreasonably elongated in height or width and, therefore, compositionally unfinished.
Thus, the issues of the compositional solution of the photograph must be thought out and implemented by the photographer mainly during the shooting process. Inaccuracies in the composition that the photographer expects to be eliminated during the printing process should also be visible to him when shooting and are allowed only if limited opportunities Correcting compositional errors during printing allows you to make the necessary corrections in the future.
To summarize, we can conclude that the composition of a photograph begins with determining the shooting direction, the distance from the shooting point to the object, and the height of the camera. These techniques, with a lens with a given focal length and with a given negative format, determine the boundaries of the frame and one or another close-up of the shot. These are the primary techniques for the constructive construction of a photograph, the composition of a photographic picture.
Further work on the composition of the photograph, in the broad sense of the word - on its tonal structure, on the image of space, the volumetric and contour shape of figures and objects, textures and colors of the subject - is directly related to the lighting of the object. Therefore, it seems appropriate in the next chapter to outline precisely the issues of lighting when taking photographs so that in the future, when analyzing more complex visual and compositional problems, one can freely operate with this material.
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Professional photographers know how important composition is. In order for the photo to turn out natural and effective, you need to correctly focus on the depicted object, and knowledge of the basic rules of composition will help you with this.
Colors
It has been scientifically proven that every color has an emotional impact on a person. Thus, warm colors (red, orange, yellow) and their shades are associated with the sun and summer. Cool colors, such as purple, pink and blue, visually distance objects from the viewer. They are associated with water, winter and cold.
Particular attention must be paid to saturation if you want the composition of a photograph to evoke a certain feeling in viewers. To create a feeling of nostalgia and peace, use soft colors. If you want to attract attention, create a sensual shot that people will remember for a long time, give preference to bright colors.
Professionals warn beginners against mistakes when choosing colors. To ensure a harmonious photograph, do not place bright spots of color away from the most important subject. This will confuse the viewer and prevent people from properly perceiving the shot.
Contrast
The photo should attract attention. To keep your eyes drawn to the image, follow the tips listed below.
- It is customary to shoot light objects against a dark background, and vice versa.
- If you're photographing people, avoid brown and yellow backgrounds. Otherwise, the photo will turn out unnatural.
- If the idea does not require it, do not use colorful backgrounds, as they distract attention from the main object.
Remember that all objects must be in some kind of balance. Therefore, when placing a bright object in one part of the photo, make sure that there is something in the other that will also attract the viewer’s attention. This could be an action or a spot of color.
Texture and patterns
A pattern in photography is repeatedly repeating objects with the help of which the composition of a frame is created. You can use this technique in photography of an interior, landscape or architectural monument. Textures, combined with light and shadows, add some zest to the photo. With their help you can focus on various materials.
Odd Object Rule
Experienced photographers advise placing an odd number of objects in the frame. It is believed that this will help the viewer focus on important objects. In some cases, of course, this rule cannot be used: for example, if you are shooting a family portrait.
Location of objects
The composition of the frame should be constructed in such a way that the important elements of the photograph form the simplest geometric shapes, for example, squares or triangles. This will allow you to focus on the objects depicted. This advice is given by professional photographers.
- Rectangles and squares evoke a sense of stability.
- Circles and ovals are associated with a calm and cozy environment.
- The triangle located at the bottom of the frame creates the illusion of stability. Placing this figure on top of a photograph creates a sense of instability.
Above we already talked about color balance in the frame. Do not forget that the items must match each other in size and volume. If you have placed a large object in one part of the photo, then use the angle to emphasize the object in another part.
In some cases, the composition of a photograph needs to be structured using the laws of symmetry. Sometimes the main subject is placed in the center to create an unusual shot. The composition turns out to be centered (the important object is located exactly in the middle), which means that other objects can be placed symmetrically to each other. If you are shooting a landscape with water, then the rule of symmetry is simply necessary to apply! Choose an angle so that the objects and their reflection are symmetrical, and take one of the best photos of your life.
Golden ratio rule
If we look at historical data, we can understand that the ancient Egyptians knew about this rule. The world famous artist Leonardo da Vinci worked on studying the properties of the golden ratio. What is the essence of the rule? You need to visually “divide” the frame into 9 equal parts. The points where the lines intersect are called attention nodes. This is where you should place the main subject of the frame. You can achieve an interesting effect by placing the horizon line at one third of the photo.
Professionals advise not to neglect the rule of the golden ratio, because its use will make the photograph harmonious. By the way, modern cameras implement the ability to display such a grid, which makes the work of photographers easier.
Lines
Professionals advise building a frame composition using diagonal lines. This technique is considered one of the most effective; it can be used to create high quality pictures. The essence of the technique is to place all the most important objects along the diagonals. This will allow you to “direct” the viewer’s gaze in the right direction.
The human brain perceives the world around us from left to right and from bottom to top. People study photographs in the same order, so place important items in the bottom left of the photo. This will allow you to correctly place accents in the composition in the frame. The photos presented in this article illustrate this technique.
The lines don't have to be straight. Using smooth, curved lines, you unobtrusively “accompany” the viewer to the main element of the frame. You can “direct” people’s gaze using intersecting lines. If the intersection point is in front of the object you want to focus on, then it will act as an arrow. If the lines intersect outside the frame, then the illusion of free space is created, depth and perspective are added.
Format
When composing your shot, remember that you should use vertical frames for vertical objects, and the same goes for horizontal objects. The first option is suitable for shooting portraits, multi-story buildings and towers. Use a horizontal composition if you are shooting a landscape.
An interesting way to highlight the plot and compositional center using frame boundaries is a technique called “frame within a frame,” or framing. Windows, overhanging branches, doorways and arches can be used as frames.
Angle and shooting point
Experienced photographers know firsthand how important it is to find the right angle. Professionals give some tips on how to choose the most suitable shooting location.
- When shooting a portrait, position the camera at eye level. If you are photographing a person in full height, place the shooting point at the model's waist level.
- Watch the position of the horizon line: it should not divide the frame into two equal parts. It will be difficult for the viewer to focus on an important object if it is literally divided in half.
- The camera should be located at the level of the imaged object. If you photograph an object or person from above, it will appear too small, and vice versa.
Perspective
If you take a photograph without worrying about following the rules of frame composition, the picture will turn out to be two-dimensional. However, professionals have learned to convey volume, or depth of space, or perspective, using three plans: foreground, middle and background. Let's consider this technique using the example of a landscape. Place small objects like rocks in the foreground, trees and shrubs in the middle, and mountains in the background.
There is another way to convey perspective. To do this, you need to put the main subject in the foreground or middle ground, and blur the background. Photographers advise using the widest possible aperture to achieve natural blur.
With experience, you will learn to convey the depth of a frame using colors and shades. A feeling of volume will appear if darker objects are placed in the foreground. It is known that light objects appear more distant, and dark objects appear closer.
Movement
When composing a shot, there are many details to take into account, including movement. If you are shooting an object that is not in a static state, then you need to leave some space in front of it. The frame will look as if the object has just “entered” it, creating the illusion of spaciousness.
Practice
Experienced photographers advise beginners to use every opportunity to practice shooting. Basic composition techniques can be learned in quite a bit. short term, however, it is necessary to develop personal experience in creating photographs and constantly increasing knowledge.
This article presented only the basics of frame composition. This does not mean that all of the above recommendations must be followed unquestioningly. You need to know the rules by which the composition is built, and conscious violation of them will allow you to create unique shots.
10 simple rules for creating a composition in a frame.
1. Contrast
How to attract the viewer's attention to your photo? There should be contrast in the frame:
- A lighter object is photographed against a dark background, and a dark object against a light one.
- Do not photograph people against a yellow or brown background, the color of the photo will be unnatural.
- Don’t shoot people against a colorful background; such a background distracts the viewer’s attention from the model.
2. Accommodation
Important plot elements should not be placed randomly. It is better that they form simple geometric shapes.
3. Balance
Objects located in different parts of the frame must match each other in volume, size and tone.
4. Golden ratio
The golden ratio was known back in ancient Egypt, its properties were studied by Euclid and Leonardo da Vinci. The simplest description of the golden ratio: the best point to position the subject is approximately 1/3 of the horizontal or vertical border of the frame. The placement of important objects at these visual points looks natural and attracts the viewer's attention.
5. Diagonals
One of the most effective compositional patterns is the diagonal composition.
Its essence is very simple: we place the main objects of the frame along the diagonal of the frame. For example, from the top left corner of the frame to the bottom right.
This technique is good because such a composition continuously leads the viewer’s eye through the entire photograph.
6. Format
If the frame is dominated by vertical objects, shoot vertical frames. If you photograph a landscape, shoot horizontal frames.
7. Shooting point
The choice of shooting point directly affects the emotional perception of the photo. Let's remember a few simple rules:
- For a portrait, the best point is at eye level.
- For a full-length portrait - at waist level.
- Try to frame the frame so that the horizon line does not divide the photo in half. Otherwise, it will be difficult for the viewer to focus on the objects in the frame.
- Keep your camera level with your subject or you risk skewed proportions. An object taken from above appears smaller than it actually is. So, by photographing a person from the top point, you will get a person in the photograph vertically challenged. When photographing children or animals, get down to their eye level.
8. Direction
When building a composition, always take this point into account.
9. Color spot
If there is a spot of color in one part of the frame, then there should be something in another that will attract the viewer's attention. This could be a different spot of color or, for example, an action in the frame.
10. Movement in the frame
When photographing a moving subject (car, cyclist), always leave some space in front of the subject. Simply put, position the subject as if it had just “entered” the frame, rather than “exiting” it.
Define frame boundaries
So, you have placed a model in front of the lens and are looking at it through the viewfinder. Appreciated the background. Separate the subject from the background using lighting, color and sharpness. We found a shooting point so that the hats on the hanger behind her would not “hang” on the model’s ears.
The index finger is already trembling with impatience, lightly touching the camera shutter button. But stop! Not all. Without looking up from the viewfinder, do the following:
Rule:
Define the boundaries of the frame. There should be nothing superfluous in the frame. Only the subject being photographed.
Open your home album. In most of the pictures, your friends and relatives are photographed in full height with horizontal position frame. That is, the object occupies about ten percent of the frame area. What about the other ninety percent? In most cases - nothing, either bushes, benches, trash cans, etc.! Either just an empty space, or a background that does not carry any information.
Compare the two photos. Each of them has a right to exist, but look at how free space is perceived:
There should be no unnecessary emptiness in the picture
Exercise.
Take a photo standing man on a neutral plain background horizontally and vertically so that the subject enters the frame completely. Compare photos.
If the background against which you are photographing does not carry any information, then only the object being photographed should be in the frame. And the main thing here is not to be afraid to turn the camera 90 degrees to take a vertical shot. The most interesting thing is that the device works perfectly in this position! And as practice shows, two thirds of the photographs of experienced photographers are located vertically.
Well, when shooting a portrait, the horizontal format, as a rule, is justified in two cases: when the model is lying or sitting with her legs stretched to the side, and when shooting a fisherman who shows the size of the fish he “caught”, spreading his arms wide.
Rule:
There should be no unnecessary objects in the frame and no unnecessary emptiness.
Exercise.
Photograph the model in front of a neutral, solid background and a Persian rug decorating your wall. Take a vertical and horizontal shot in each case. Analyze the images.
It is not enough to position the subject in the frame so that there are no unnecessary details. It must be positioned correctly.
And now the most important thing - do not cut off small details of the subject being photographed with the frame boundaries. When photographing people, remember that they simply need ears, feet and hands. Don't make them cripples!
If a person “doesn’t fit” into the frame, cut off his legs above or just below the knee, but don’t cut off his feet! Don't cut your hands!
When taking a half-length portrait, it is better to ask the model to hold her hands above the level of her stomach, then the picture will show a full-fledged person. The hands in the frame should be completely visible or “cut off” at the very base.
At one time, the St. Petersburg metro was “decorated” with an advertisement for something fermented milk, which depicted our champion gymnast Svetlana Khorkina in half profile. One of her arms was raised vertically, the other was lowered. And they are circumcised: one is slightly above the head, the other is at chest level. Entering the carriage, I always shuddered, looking at this “find” advertising designer. And since then - no yogurt!
Any cropping of body parts must be justified (for example, in order to concentrate the viewer’s attention on the model’s eyes, a “cranial trepanation” is performed on top of her with the border of the frame).
This technique is often used in artistic photography.
Hands in pockets is a very risky option, which is only acceptable if the model is wearing long sleeves. Otherwise, your hands will turn out to be stumps. Let it happen already better model will coquettishly tuck his thumbs into his belt, or, in extreme cases, will stand in the pose of a “football player in the wall” (a favorite pose of our bosses and a “headache” for their image makers).
Make sure that your hands are not under the table or hidden by other objects, and that your fingers are always fully visible.
This approach fully applies to shooting inanimate objects and landscapes. If possible, the subjects should be included in the frame completely or in some significant part. And nothing else.
Compare the two photos.
In the first one, the front part of the ravine on the Tosna River is cut off.
But as soon as we show it completely, the frame becomes solid.
A tree growing from the edge of the frame becomes an object of increased interest for the forester, and not an artistic photograph. It should be completely in the frame. When photographing architectural objects, you should also not cut off the bottom or top of the building: in this case, the architectural detail that you want to draw the viewer’s attention to does not become the main one in the picture.
Rule:
Never cut off small details of the objects you are shooting with the border of the frame. If possible, place the entire subject in the frame. That is, you can’t “cut” a little, but you can cut a lot.
Here is an example of differently “cut” frames.
By cropping a lot, we focus the viewer's attention on the important parts of the frame, sweeping away everything unnecessary.
Although, in order to highlight the main thing in the frame, you can also find “natural” boundaries of the frame in the surrounding world.
While keeping an eye on the boundaries of the frame, you shouldn’t forget about the effect of “developing movement” (we’ll talk in detail later).
Exercise.
Take a kettle from the kitchen. Place it in front of you. Take a photo so that in one picture it is completely visible, and in the other, cut off the nose with the border of the frame. Compare photos.
Silently sneak up to your friend (or maybe a stranger) and loudly command: “Hyunda hoch!” Take two frames: in one the model should be complete, and in the other, cut off the feet and hands with the border of the frame (however, this can later be done with scissors, cutting the first photo). Compare the pictures.
And one more nuance: if there is a clearly defined line in the frame, then in most cases it is necessary to ensure that this line or lines are parallel to the boundaries of the frame. This is not a dogma, but in most cases it is still a necessity.
So, we have decided on the background and the boundaries of the frame. The breathtaking beauty observed through the viewfinder was breathtaking...
But stop! It’s too early to press the button!
Photo and text © Korablev D.V.
“Composition and Highlighting the Main Thing” is a book from the “Art of Photography” series, which includes books on sharpness and blurriness, exposure metering, light and color in photography, etc. The author shares with the reader the secrets of the photographic craft, without which it is impossible to get impressive photographs. The articles are accompanied by the author's illustrations describing the shooting conditions and data on the technical parameters of the equipment. The books are distinguished by their simplicity of presentation of complex material and are designed for a wide range of readers.
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The given introductory fragment of the book Composition and highlighting the main thing (Georgy Rozov) provided by our book partner - the company liters.
Frame Boundaries
Composition (from the Latin compositio - connection, composition) as applied to photography means placing all its elements on the plane of the photograph so that they form an organic whole.
A typewritten sheet of A4 format and the viewfinder frames of most cameras are united by one common feature - the ratio of their sides is approximately three to four, which corresponds to the law of the golden ratio, that is, harmonic proportion. Other cameras are also produced: many medium format have a square aspect ratio, panoramic 2x1, which does not prevent their owners from composing them within such a viewfinder beautiful pictures. But more often you have to construct a future frame by looking through the viewfinder eye with the classic aspect ratio of the frame.
A photographer observing what is happening through the viewfinder is like a horse with blinders on his eyes - he does not see anything outside the frame of the frame. Therefore, before shooting, whether you like it or not, you will have to choose an island in the surrounding world that is suitable for immortalization. I must admit that making a choice can be quite difficult.
In Norway, where I was part of a group, we were rushing to catch the last ferry when an unusually beautiful Roerich sunset happened. We would have to wait until the morning for the next ferry. There was also no time to think because the sun had set below the horizon half an hour before the shooting, the colors had already faded and were about to go out completely. Photos 1 and 2 had to be taken without leaving the car.
Photo 1. “Norwegian sunset”
Nikon D3s camera
Sensitivity 250 ISO
Shutter speed 1/160 sec. Aperture 6.3
Exposure compensation – 0.67 EV
Focal length 24 mm
The car stopped in the gap between two houses. The sunset was beautiful in itself, and the first thing I wanted to do was get rid of the foreground. However, the Norwegian houses reminded me of our “very crevice dorms” from the time of Komsomol construction, which were erected as temporary structures, but even half a century later did not release their captives. Taking a closer look, I realized that the houses here were solid, well-groomed and reminiscent of children’s drawings: cheerful, simple, without fancy. The one on the left winked at me through the windows that reflected the light of the sky. Its paneling, painted with Finnish Pinotex, was slightly mirrored, enlivening the gloomy surface of the wall. The sun from behind the horizon licked the cloud above me with crimson rays. The result was a picture of a harsh, gloomy sunset. From my point of view, this is exactly how the country of warlike Vikings should look.
As I was about to climb into the seat of the jeep to drive on, I buried my eyes in the glass of the back door. There, as if in a mirror, everything that I had just photographed was reflected. There was an opportunity to shoot two sunsets at once (see photo 2). How useful it is, however, to turn your head before you cover your camera!
Photo 2. “Norwegian sunset with reflection”
Nikon D3s camera
Zoom AF-S Nikkor 24-70/2.8 D G ED IF
Sensitivity 250 ISO
Shutter speed 1/200 sec.
Aperture 6.3
Exposure compensation – 0.67 EV
Focal length 24 mm
After driving about fifty meters, I again squealed with delight. The car was stopped again. Running to the shore, I took off the boat (see photo 3). These cases and many others like them allowed us to think about the meaning of the shooting point and how the initial choice of the subject affects the result of the shooting in general.
Photo 3. “Norwegian sunset with a boat”
Nikon D3s camera
Zoom AF-S Nikkor 24-70/2.8 D G ED IF
Sensitivity 1600 ISO
Shutter speed 1/640 sec.
Aperture 6.3
Exposure compensation – 0.67 EV
Focal length 70 mm
Another version of the same sunset. The shooting point changed: the camera went down with me several meters lower, almost to sea level. The foreground has disappeared. The focal length of the lens changed: the first frames (photos 1, 2) were taken with a wide-angle lens, and the third frame with a telephoto lens. I simply changed the angle of view of the same zoom, and it covered less space in front of me than in the first two versions of this plot. I had to raise the sensitivity to be able to remove short shutter speed and achieve satisfactory sharpness throughout the entire depth of the frame. As a parent, all children seem beautiful and unique to me. I couldn't throw any of the three into the trash.
In times shrouded in the haze of legends, the photographer of the most widely circulated illustrated magazine in the USSR was given a maximum of two or three medium format films, that is, 24-36 frames, to shoot the cover. I had to save money and, before deciding to pull the trigger, think through everything down to the smallest detail. Now, when digital allows you to think only about getting results, the psychology of the photographer’s behavior has changed. Many times I caught myself literally shooting at an object from different shooting angles, completely unable to restrain myself. The main thing is not to miss the moment, to make the most the best option frame so as not to regret missing a unique moment. Of course, you can return to the shooting location, but you won’t be able to repeat the missed shot no matter what – I’ve tried it more than once. And the light will be wrong, and the weather will be wrong, and the muse may go on strike.
It’s good to shoot with a reserve, of course, but, on the other hand, how painful it is to look through many almost identical files, finding among them the one for which dozens of takes were produced. The most offensive thing is when, staring at the monitor with a dull gaze from tension, you begin to understand that in the mountain of garbage you have viewed there is nothing worthy of attention and further processing. During the shooting, in a fit of creative fever, annoying technical or compositional errors were made, and the only moment that should have been stopped was not captured. The ability to shoot quickly and accurately comes with experience, when knowledge and skills are brought to automaticity. And at first, in the process of mastering compositional fundamentals, you need to rush slowly. For example, one cannot, at any cost, try to squeeze subjects that do not fit into the classical frame of a picture. Photos can be square, elongated horizontally or vertically. Frames of any aspect ratio can be composed seamlessly.
The size of the cropped matrix on the Nikon D7000 camera is a standard elongated rectangle. The plot of photo 4 did not fit into it. The picture began to live only after the forced amputation of the lower part of the frame. A square turned out to be better than a rectangle for this plot.
Photo 4. “Fern”
Camera Nikon D7000
Zoom AF-S Nikkor 24-70/2.8 D G ED IF
Sensitivity 100 ISO
Shutter speed 1/125 sec.
Aperture 5
Focal length 54mm
The waters of the Venetian lagoon splash onto the embankment, passers-by move along temporary walkways and bridges. The subject of photo 5 is strictly horizontal due to the fact that the embankment itself, the bridge in the foreground, and even the complex of the San Giorgio Maggiore temple on the island in the depths of the composition stretch along the horizon line. When framing, we had to remove the empty sky above and part of the pavement in the foreground below. The deleted parts of the file did not contain any useful information.
Photo 5. “New Year’s Rain” from the series “Flood in Venice”
Nikon D3 camera
Zoom AF-S Nikkor 24-70/2.8 D G ED IF
Sensitivity 800 ISO
Shutter speed 1/320 sec.
Aperture 3.5
Exposure compensation +0.67 EV
Focal length 60 mm
In this plot I wanted to emphasize the resistance of wind and rain that a man with an umbrella overcomes. To do this, it was necessary to leave as long a path behind the pedestrian as possible, without reducing the scale of the figure itself. The elongated shape of the frame also helps create the illusion of a longer path. This is also emphasized by the rhythmic division of the frame by the verticals of the bridge supports. The figure of a passerby with a colored umbrella in his hand stands out from the regular rhythm of black rectangles and leaves no doubt that there is nothing more important in this frame than human perseverance.
Photo 6. “Aqua Alta” from the series “Flood in Venice”
Nikon D3 camera
Zoom AF-S Nikkor 70-200/2.8 D G ED IF VR
Sensitivity 800 ISO
Shutter speed 1/160 sec.
Aperture 5
Exposure compensation – 0.67 EV
Focal length 200 mm
There are few tourists in this area of Venice, near the Arsenale (see photo 6). The streets flooded with water and the colored spots on the damp walls were enchanting. To bring the picture to life, we had to wait quite a long time for people to appear. The narrow streets of the cramped island city stretched upward like wells. The vertical frame was built in advance; a horizontal frame would be uninformative in such conditions.
