Benjamin Goliwas’ Photo Analysis
Depth of Field
Depth of Field: The breadth of
sharpness in an image.
The greater the aperture
(small Fstop) the smaller the
area of clear picture.
As the aperture size
decreases (large Fstop)
more of the image becomes
clear.
Shutter Speed
Shutter Speed: The amount of time film
is exposed to light.
These two pictures show the difference of different levels of shutter
speed. The picture on the left is taken with a fast shutter speed, the one
on the right slow. The faster the shutter speed the less time the film is
exposed to the image. By decreasing shutter speed one is able to
achieve stop action.
Film Stock
Film Stock: the sensitivity of the film
to light.
Because of the multiple factors
that lead to the look of a
photograph, it is somewhat
difficult to demonstrate it with
examples. Here we see two
photographs the upper one
taken with 100 film stock the
lower with 400 stock. The
higher the number the less
sensitive film is to light. A less
sensitive film stock will require a
higher amount of light to create
an image.
Color Vs. Black and White
Color:
More closely represents reality
More stimulating to the eye
Black and White:
Often creates a dramatic effect
Requires more emotional investment from the viewer
Camera Angle
The camera angle conveys
the subject’s power. A low
angle is achieved by placing
the camera below the
subject looking up. A high
angle is achieved from
pointing the camera down on
the subject.
The upper image is a high
angle the subjects seem
vulnerable.
In contrast the low angle
shot conveys power.
Image Framing
Image framing is achieved
by using the elements of the
picture to create a picture
within the picture. It can also
be achieved by using lenses
or effects in post production
software like Photoshop.
Lighting
Lighting has a huge influence on the “feel” of an image. The
image on the left has very dramatic lighting. The image on the
right is much more bright and “feels” happier.
Lighting II
Lighting can also create
effects such as fall off. In this
case the use of the strong
light on the right of the
subject causes a fast fall off
of the light.
Another lighting effect is this
silhouette, caused by the
lighting behind the subject.
Composition
There are several “rules” one must acknowledge when considering
composition. Like any other art, photography has some
elementary rules.
FILL THE FRAME
Cut out excess space and zoom in on your subject matter.
NEVER HAVE THE HORIZON IN THE MIDDLE OF THE FRAME
Dividing a frame neatly into two halves is visually boring.
THE RULE OF THIRDS
To draw the viewer's eye into the reader, place the subject matter
at the intersection points of this rule.
VIEWFINDER DISPLAY VS ACTUAL IMAGE FIELD
The viewfinder only shows 90% of the image, so don't worry about
zooming in too tightly.
Composition II
LEADING LINES
Lines on a photograph lead the eye into the subject, or into the
distance, creating visual interest.
FOREGROUND FRAMES
By framing the subject matter through a doorway, an arch or
another object, you're adding interest to the overall composition.
FOREGROUND OR BACKGROUND EMPHASIS
Decide on what will accentuate your subject matter more.
SWITCH TO VERTICAL WHERE APPROPRIATE
Remember there's more to photography than taking horizontal
shots.
HAVE THE SUBJECT MOVING OR MOVING INTO THE FRAME
To give a sense of direction and movement, position the subject so
that it is moving into the frame.
Composition Examples
We can clearly see the
subject utilizing the right third
of this photograph.
Here we can see the
movement moving at a
diagonal.
Composition III
EXCEPTIONS
Rules are made to be broken, but break them only if you know what
you're trying to say in the photograph.
SCALE
Bring people and objects of a recognizable size into the frame to
emphasize scale.
GETTING PEOPLE IN THE FRAME
Put people in your pictures, preferably in natural or spontaneous
mode (even if you do have to 'direct' them to get the result).
CONCENTRATE ON ONE THING AT A TIME
Don't try to cram in all aspects of composition into one picture,
show each element separately.