Assignment #2 Compositional Tools

Due Tuesday Sept 29 : 6 images along with paragraph self-evaluation

The object of this assignment is to explore compositional tools using motion, depth of field and framing. Try to shoot 50 images for each basic technique.

Depth - Aperture

Depth of field determines how much of the image will be in focus from foreground to background. Several things determine this: the smaller the aperture (size, not number, ie: F22 is a very small aperture, F2.8 is a very large one) or the closer you are to the subject, the less depth of field, or overall focus, you will have. Depth of field can be used for artisitic purposes to isolate a subject, or to show an extreme amount of focus.

A good way to go about doing this is to create images that evoke a sense of isolation or alienation, by separating the main subject of the image from the secondary elements of the composition. Think of foreground, middleground and background, being consious of where you place them in relation to one another in the composition. Another tactic is to set up obstructions in the foreground that force the viewer to make a relationship between foreground and background, or to struggle to see the background through the foreground. Play with the effects of aperture and space, trying the same composition with different apertures (don't forget to take new meter readings when you change aperture, or to use reciprocal exposures).

Motion - Shutter Speed

The other side of the coin is shutter speed. You can isolate and obstruct through the use of stop action and blur. Sometimes stopped in mid-flight will immediately become our compositional focus, because we have expectations of the subject – we expect it to be subject to the laws of gravity. This can be a device to get the viewer's attention. Blur can be used as an obstruction that adds energy to a composition. When you are creating your images, try not to think purely about capturing movement, but how the movement is rendered, where it is placed. Also, think about the implications of the motion – when should something show motion through blur as opposed to stop action?

> As you adjust your aperture and shutter speed, you will be dealing with faster or slower speeds, inadvertently getting blurry pictures. It is a good idea to check out a tripod for this exercise.
> Remember that everything is in motion, it is just a matter of how patient you are with it. Try to avoid the obvious, rather considering the complete composition and how you might be able to add an element of motion to it through your own actions – panning, shaking, throwing the camera.

You will probably want to use a lower ISO for this assignment. WHY?

Things you may not photograph for this assignment: ceiling fans, faucets, cars, flags!

Framing - Boundaries

With this aspect of the assignment I want you to really consider the frame of your image and how it relates to your subject matter. Use the view finding frame as a boundary that you either respect by staying within or you transgress by pushing against and even crossing over. When the image maker thinks about what is happening on the edges, it can create a tension in the image keeping it lively and interesting. So for this assignment, forget all about the center and go for the edges. Although it takes practice, you can even try shooting “from the hip” for some shots to try to create a sense of energy.

Ideas:

* Abstraction - emphasize the shape of the subject rather than the reality of it
* Frame within a frame
* Edge transgression
* Shoot right up to the edge.
* Tilt & swivel going for dynamic lines.
* Go out into the public and into the crowd – see how you can control the chaos… or lose control by shooting “from the hip”.
* Think of the subjects in your image as geometrical shapes – organize them in their relationship to one another.
* Photograph something you really hate and try to make it attractive by the way you organize it in the frame.
* Photograph something really beautiful and try to make it uncomfortable by creating a more tense composition.
* Use every bit of the viewing space, even the corners.