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Artistic considerations for better photos

Have you ever wondered how serious consumers or photo lovers have the "eye"? or the ability to frame a photo with great colors? This person can be classified as "artistic". or have an artistic perspective on his or her personality. Do you think this person was born with this trait or did she develop it? I think with practice everyone has the ability to improve their photos. It is, however, a matter of discipline. Are you ready to take many pictures and then ask yourself, "How can I improve this picture?" There are many ways to improve your photos from an artistic point of view. But I want to focus on four. They are simple forms, the decisive moment, golden hours and the rule of the thirds.

Simple shapes
One day, after an assignment, I passed an art gallery where photography was on display when she met me. The photographs that are simple are the most powerful. When a photographer draws your attention to the simple shapes of triangle, square and circle, you have less time to distract your eye. The result is that you can get it easier. or you get the meaningful message the photographer is trying to convey. One of the most-watched photographs of the 20th century is Steve McCurry's cover photo from 1985 for National Geographic Magazine. It is a young Afghan girl with green eyes called Sharbat Gula. Sharbat's simple green background and her ragged red bandanna suggest a counter-clockwise movement around her face. It is the circle of the scarf, the triangle that makes up its nose, and the circles that are those penetrating green eyes that convey simplicity and power.

How can you get simpler shapes in your photographs? For starters, I always bring a camera with me when I am on a speaking order. Even though I am employed for a photo assignment, I always make additional photos for my personal archive. This & # 39; in front of and behind the lens & # 39; The practice prompted me to develop the Staash Perspective System (SPS). The SPS teaches that simplicity leads to more efficient communication. While you do not necessarily have to have these simple shapes in your photos, you need to keep thinking about how to represent them in your pictures. Moreover, this could include a concept called "the crucial moment".

The decisive moment
The master of "The Ultimate Moment" was a hugely successful photographer named Henri Cartier-Bresson. He has captured some of Paris' most memorable black and white street scenes and has used his patience and creativity to bring this & # 39; decisive & # 39; Moment occur. One of his most famous black-and-white photographs shows a man leaping over a large puddle of water in the midst of the air and whose reflection is in the puddle below. The passion of Henri attracted students, lovers and collectors alike and made him a leading photographer.

How do you master the crucial moment? It's getting harder and harder to do this in our fast-paced society and it's almost impossible to be on a group trip. Often Henri waited for hours at a staircase or at a very interesting intersection to see the right person pass by or a memorable event. He was lucky. Louis Pasteur defines happiness as "when opportunity and preparation meet". I was a bit lucky when I photographed the Golden Gate Bridge in San Francisco.

It was my first time there to understand where the sun was setting and how it would affect the bridge. My first visit was in the harsh light of noon and the bridge looked in her & # 39; cold gray color. I came back two days later and only had about 20 minutes to set up my tripod. I framed the bridge in a landscape view and waited. Every photographer that was there stayed behind and I started to wonder if I was missing something or forgot to take a shower. Finally I saw an ocean tanker who was ready to go under the bridge and complete not only a crucial moment, but also a triangle in the photo.

Golden hours
The main reason why I visited the Golden Gate Bridge for the first time was to pay attention to the light and understand where it would shine in relation to my subject. This is a crucial step in taking pictures and even people with the best possible light. In fact, the quality of your photos would dramatically increase if you took more photos during the golden hours or at sunrise and sunset.

The main obstacle that prevents most serious consumers or photography enthusiasts from getting up early in the morning. I recently took morning photos of the US Capitol Building from the roof of another building on Capitol Hill. I had to get up before 5 in the morning to drive to the desired location and set up my equipment. In the near darkness, I waited for the light to fall on the dome of the Capitol before the sun rose. The result was an appealing image that bathed the capital in a soft light. I've taken a lot of photos and bracketing (lots of photos with different apertures and shutter speeds) to make sure I get the best possible final images.

The rule of the third
Sometimes I photographed the capitol building just to the left of the center and sometimes I took the picture a bit to the right. It was not difficult for me to bring the picture directly into the middle of the picture. rather, I wanted to practice what the ancient Greeks called the "rule of thirds." The ancient Greeks realized 3,000 years ago that the most beautiful works of art were those that could be divided into thirds. Earlier in the week, I visited the opposite side of the Capitol to take pictures next to the Botanical Gardens at sunset and framed the building in the middle, but I put trees to the left and right to complete the rule of thirds.

The rule of thirds is not limited to images in horizontal or vertical direction. It can also be used diagonally or even within the photo as a foreground, background and background. You can also extend the rule of thirds to one fifth. This is very handy the next time you take pictures of people. It's easy if you have three or five people in one photo, but what happens if you have two? Create an imaginary third person and put this & # 39; Extra & # 39; Person either right or left of the other two persons. The result is a more balanced and interesting photo.

All these artistic suggestions I put to the test at a family wedding. Towards sunset, I collected my three-year-old son, my nephew of the same age, and another six-year-old nephew. I set her up in front of an old wooden door, where the evening sun stood in St. John's oldest house in Augustine, Florida. I place my six-year-old nephew in the middle and my son and my other nephews on both sides. I had the golden hour light, practiced the rule of thirds and used simple forms (the square door, the triangle of the three boys and the circle of their faces). All that was missing was the decisive moment. If you have ever taken pictures of children, their patience is limited. I took seven photos before going to the garden to track me. One of the seven photographs had the natural or photojournalistic look I was looking for. It was unplanned and crucial. It could be called a lucky photo, but in fact it was taken when opportunity and preparation met.

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