LESSON 2 EXPOSURE (BASIC)

As a point of reference, these are the tpica! whole stops for e"pos#re$
Aperture:
f2,
f2%&,
f',
f(%),
f&,
f**,
f*) an+
f22%
Shutter:
* secon+,
*,2 secon+,
*,',
*,&,
*,*(,
*,-.,
*,).,
*,*2(,
*,2(.,
*,(..,
*,*...,
*,2...,
*,'...%
/an ca0eras ha1e 0ore stops at either en+ of these sca!es, 2#t these are tpica!% As 3e!!, 0ost 0o+ern
ca0eras ha1e ha!f stops or thir+ stops% 4hese 0a5e !earnin6 a !itt!e 0ore +iffic#!t, 2#t 5eep the a2o1e
n#02ers in 0in+ to +o proper e"pos#res%
Note: Completing this lesson requires a camera capable of manually setting exposure.
What is the right exposure? Not to 0a5e this co0p!icate+, 2#t e"pos#re is a choice o# ha1e to 0a5e%
4he e"pos#re o# choose +eter0ines ho3 the i0a6e !oo5s% B#t, 3e7!! start 3ith a 2asic #n+erstan+in6 an+
3or5 #p fro0 there%
1
Exposure consists of four factors:
1. ho3 0#ch !i6ht is in front of o# 3hich can 2e chan6e+ 2 a++in6 !i6hts or f!ash,
2. ho3 sensiti1e the fi!0 is to !i6ht ca!!e+ ISO (remember, I use the word film to refer to
whate!er medium used for capturing the image, whether it is the "igital Camera#s sensor or actually
film,$
3. the a0o#nt of !i6ht 6oin6 thro#6h a !ens ca!!e+ the aperture,
4. ho3 !on6 the fi!0 is e"pose+ ca!!e+ the shutter speed%
8or a !itt!e 0ore a2o#t ho3 this 3or5s see the Ca0era Basics Pa6e%
8or the 0o0ent, 3e7!! set an a1era6e e"pos#re on an a1era6e scene%
If o#7re ca0era +oes not ha1e a 2#i!t in 0eter its rea!! o!+% B#t, that7s o5a% 9o#7!! :#st ha1e to 2# a
han+ he!+ 0eter% If o# ha1e an SLR or a+1ance+ point an+ shoot +i6ita! ca0era, spen+ so0e ti0e 3ith
the 0an#a! to fin+ o#t ho3 to 2rin6 #p the ;<isto6ra0= 3hich 6raphica!! sho3s the a0o#nt of !i6ht in
an e"pos#re%
Exercise set o#r ISO to *.., set o#r ca0era to >*) an+ the sh#tter to *,*2(th of a secon+% (So0e
+i6ita! ca0eras are !i0ite+ to ISO 2.. 3hich 0eans o# ha1e to c#t o#r e"pos#re 2 one stop, i%e% #se
*,2(.th instea+ of *,*2(th of a secon+) ?ith this settin6, ta5e o#r ca0era o#t +#rin6 a s#nn +a, p#t the
s#n 2ehin+ o# an+ shoot anthin6 o#7!! ha1e a 3e!! e"pose+ i0a6e% This is called the Sunny 1!
rule"
4o 0a5e !ife interestin6, an+ o#r photo6raph 0ore creati1e, o# can chan6e the settin6 an+ sti!! ha1e
the sa0e e"pos#re% 4hese are e@#i1a!ent e"pos#resA 4r 6oin6 to >** at *,2(.th of a secon+% P#sh it a
!itt!e f#rther at >& at *,(..th of a secon+% 4hese are a!! the sa0e e"pos#re 2eca#se the sa0e tota! a0o#nt
of !i6ht is hittin6 the fi!0%
Of co#rse, o#7re not a!3as 6oin6 to shoot 3ith the s#n 2ehin+ o# on a s#nn +a% 8or other sit#ations
o# nee+ to 2e a2!e to fin+ o#t o#r e"pos#re 3ith a 0eter% 4his can 2e in o#r ca0era or han+ he!+%
Loo5in6 at an scene, o#r 0eter 3i!! 6i1e o# a s#66estion as to 3hat e"pos#re to #se% /ost of the ti0e
this is fair! acc#rate%
Usin6 o#r 0eter, ta5e a rea+in6 off of so0ethin6 3ith 0i"e+ tones in sha+e on a s#nn +a o#7!! fin+
the e"pos#re is t3o or three stops s!o3er than the ;S#nn *)%=
A final note A 0eter is 1er han+ for 6ettin6 o#r e"pos#re, 2#t it +oes ha1e a !i0itation% As sai+
ear!ier, the 0eter thin5s the 3or!+ is *& per cent 6re% /ost of the 3or!+ is 5in+ of !i5e *& per cent 6re,
2#t not a!! of it%
Loo5 at 3hat o#7re shootin6% If its 2!ac5 (or 1er +ar5), o#r 0eter 3i!! tr to 0a5e it 6re an+ 0a5e
the e"pos#re too !i6ht% Con1erse!, if o#7re s#2:ect is 3hite, the 0eter 3i!! tr to 0a5e it +ar5er or *&
per cent 6re%
2
4here are t3o 0ore !essons on hi6h 5e an+ !o3 5e photos 3hich 3i!! he!p o# han+!e 0ore e"tre0e
sit#ations%
#ote: Be a3are that so0e +i6ita! ca0eras ha1e e"pos#re co0pensation 2#i!t in to pre1ent o1ere"pos#re%
If e"pos#re is too 2ri6ht the hi6h!i6hts co#!+ 2e ;2!o3n o#t= an+ +etai! !ost in the 2ri6htest parts of the
i0a6e% B artificia!! ;+ar5enin6= the i0a6e, the ca0era 0a5ers tr to 0a5e s#re the e"pos#res aren7t too
2ri6ht% 4his +oesn7t affect a!! ca0eras 2#t it +oes see0 to 2e the case for so0e% 4hat 0eans that the
e"pos#re nee+e+ in !essons 2, - an+ ' 0a 2e s!i6ht! hi6her than s#66este+ in the !essons% 9o# 0i6ht #se
the ;e"pose to the ri6ht= 0etho+%
LESSON - EXPOSUREA <IB< CE9
A hi6hD5e photo is 2asica!! 3hite on 3hite% 4his st!e of photo6raph con1es a fee!in6 of !i6htness
an+ c!arit% 4pica!! 3hat happens is the ca0era 3ants to 0a5e the 3hite of the photo 3itho#t +ar5
areas to E2a!ance7 the e"pos#re too +ar5% So o#r 3hite7s 2eco0e 6ra% 9o# 0a ha1e seen this
partic#!ar! 3hen shootin6 a sno3 fie!+ on a 6ra +a% <o3e1er, e"posin6 for hi6h 5e is fair! eas%
?ith an in ca0era 0eter, o# can 0eas#re the !i6ht hittin6 a 3hite area, an+ open #p t3o stops s#ch as
chan6in6 the apert#re fro0 >** to >(%)%
Exercise: P#t a !ar6e piece of 3hite paper or 3hite fa2ric on a ta2!e 2esi+e a !ar6e north facin6 3in+o3,
p!ace a 3hite o2:ect s#ch as a Strofoa0 c#p or e66 in the 0i++!e%
4a5e a pict#re 3ith the e"pos#re that the inDca0era 0eter s#66ests% 9o# 0a ha1e to #se a tripo+ to 5eep
the ca0era sti!! if the sh#tter spee+ is too s!o3%
Ne"t, 0eter off a 3hite area an+ open #p * an+ *,- or 2 stops as +escri2e+ at the top of the this pa6e%
Co0pare the i0a6es%
4his can 3or5 3e!! for other scenarios 3here e"pos#re is a tric5 thin6 !i5e 3e++in6s 3here the 2ri+e is
3earin6 3hite an+ the 6roo0 is in 2!ac5% F#ite often, the +ress 3in+s #p 2!o3n o#t 3ith no +etai! in the
+ress% B 0eterin6 off the +ress an+ openin6 #p t3o stops o# can pre1ent this fro0 happenin6%
9o# can a!so #se a han+ he!+ 0eter to 0eas#re the !i6ht hittin6 the s#2:ect, 3hich 3i!! 2e 0ore acc#rate
than the inDca0era 0eter%
Note: %e aware that some digital cameras ha!e exposure compensation built in to pre!ent o!erexposure.
If exposure is too bright the highlights could be blown out and detail lost int the brightest parts of the
image. %y artificially dar&ening the image, the camera ma&ers try to ma&e sure the exposures aren#t
too bright. 'his doesn#t affect all cameras but it does seem to be the case for some. 'hat means that the
exposure needed in lessons (, ) and * may be slightly higher than suggested in the lessons. +ou might use
the expose to the right method.
3
LESSON ' EXPOSUREA LO? CE9
4his is the opposite of the pre1io#s !esson% A !o3 5e photo is prett 0#ch 2!ac5 on 2!ac5, or at !east 1er
+ar5 on +ar5% 4his 5in+ of photo can create a sense of inti0ac, fore2o+in6, sa+ness, an+ , or hea1iness%
9o# 0i6ht ha1e a face or o2:ect ri00e+ 3ith !i6ht in a si!ho#ette, 2#t +ar5 on the si+e to3ar+s the ca0era
an+ +ar5 2ac56ro#n+%
4he pro2!e0 3ith shootin6 +ar5 on +ar5 is that the ca0era 3i!! tr to !i6hten the i0a6e #p 0a5in6 the
pict#re !oo5 3ashe+ o#t an+ 6re%
8or this shot o#7!! nee+ a rea!! +ar5 c!oth, prefera2! 2!ac5, an+ an o2:ect that is +ar5 or has so0e +ar5
tones in it% 9o# co#!+ shoot a portrait of a +ar5 haire+ person in +ar5 c!othin6 a6ainst a 2!ac5 or +ar5
2ac56ro#n+ for a !o3D5e portrait%
NoteA Shootin6 an o2:ect or person that is 1er !i6ht or 3hite a6ainst 2!ac5 has a +ifferent effect an+ is not
rea!! consi+ere+ ;!o3 5e=, a!tho#6h it can 2e stri5in6 i0a6e an3as%
Exercise: 8irst, shoot the i0a6e 3ith 3hat o# ca0era sas is the ri6ht e"pos#re% Ger fe3 inDca0era
0eters 3i!! ren+er this scene acc#rate!% No3, ta5e a 0eter rea+in6 on so0ethin6 +ar5,2!ac5 that has the
!i6ht hittin6 it an+ c!ose the apert#re t3o stops (i%e% if it is >*%& o#7!! 3ant to 6o to >'%)
Co0pare the t3o i0a6es an+ see 3hat +ifference it 0a+e%
4
LESSON ( HEP4< O8 8IELH
Hepth of fie!+ a!so so0eti0es 5no3n as +epth of foc#s (a!tho#6h that +oes has a +ifferent technica!
0eanin6 so0e peop!e #se that ter0) is an area 0an photo6raphers fee! so0e conf#sion o1er%
B chan6in6 the apert#re in the !ens, o# can 0a5e the res#!tin6 pict#re ha1e 0ore of the pict#re in foc#s
fro0 near to far, or o# can !i0it the pict#re7s foc#s on one p!ace%
At >*%&, the foc#s point 3i!! 2e 0#ch 0ore +efine+ 3ith thin6s in front of an+ 2ehin+ the s#2:ect
2eco0in6 softer !oo5in6 the f#rther fro0 the s#2:ect the are% 4his is a 1er nice 3a to 2rin6 attention to
the s#2:ect%
At >22, the foc#s 3i!! see0 to 2e sharp fro0 1er c!ose to the ca0era to prett 0#ch infinit% 4his is 6reat
for 6i1in6 a sense of the p!ace o# shot the i0a6e, or for inc!#+in6 0an peop!e in the i0a6e an+ 5eepin6
e1erone c!ear! in foc#s%
<o3e1er, there are !i0its to ho3 that 3i!! appear in the fina! i0a6e%
E"erciseA 8in+ a s#2:ect,o2:ect that is sti!! or 3i!! 2e in one p!ace for a co#p!e of 0in#tes% Stan+ a2o#t 2
feet fro0 the s#2:ect an+ foc#s on it% Set o#r >stop to *%& (or a c!ose as possi2!e to that 2ase+ on the
!i6ht) an+ set the sh#tter spee+ to 6et a proper e"pos#re accor+in6 to o#r 0eter% 9o# can set the ca0era
to E"pos#re Priorit (AG 0o+e) an+ !et the ca0era set the sh#tter spee+ a#to0atica!!% 9o# sho#!+ 2e
#sin6 (. 00 !ens or a Ioo0 !ens set to a2o#t (. 00%
No3 set o#r >stop to *) an+ chan6e the sh#tter as nee+e+%
Step 2ac5 to a2o#t *. feet fro0 o#r s#2:ect an+ re +o the a2o1e settin6s first at >*%& then at >*)%
4o rea!! p#sh this e"ercise, tr a!! the a2o1e steps 3ith +ifferent !enses or at +ifferent !en6ths if o# ha1e
a Ioo0 !ens i%e%% tr it at -( 00 an+ at 2..00, or 3hate1er o#r Ioo0 !ens ran6e is%
PS a re!ate+ s#2:ect is Bo5eh 3hich is a ta5en fro0 a Japanese 3or+ E2o5e7 3hich ro#6h! 0eans 2!#r
or haIe% ?hen a photo6rapher sas an i0a6e has E6oo+ 2o5eh7 he 0eans the o#t of foc#s areas ha1e a
s0ooth @#a!it% Hifferent !ens an+ ca0era co02ination ha1e +ifferent @#a!ities of 2o5eh%
5
LESSON ) S<U44ER E88EC4S
9o#71e pro2a2! seen those pict#res of a race car or 2i5e ri+er 3here the s#2:ect is in fair! sharp foc#s
2#t the 2ac56ro#n+ is 2!#rr 3ith strea5s +enotin6 spee+% Perhaps o#71e seen a 3aterfa!! that !oo5s !i5e
f!o3in6 si!5% Or o# seen a pict#re 3ith so0eone tota!! froIen in p!ace +#rin6 an ath!etic 0o0ent%
4hese are a res#!t of creati1e! #sin6 the sh#tter on the ca0era% <i6h sh#tter spee+s, s#ch as *,(..th,
*,*...th, *,2...th or hi6her (re0e02er these are fractions of a secon+) create a stoppe+ 0otion%
A!ternati1e!, s!o3 sh#tter spee+s s#ch as *,*(th, *,', or e1en 3ho!e secon+s, creates a sense of 0otion
thro#6h 2!#rrin6 of so0e part of the pict#re%
One of the iss#es is @#ite often if the sh#tter spee+ is too s!o3, an i0a6e can 2e 2!#rr fro0 ;0otion 2!#r=
3hich can +etract fro0 an i0a6e if the effect isn7t intentiona!%
Exercise: 4his is 2est +one on a !i6ht! c!o#+e+ +a that isn7t too +ar5 or too 2ri6ht% 8in+ a frien+ 3ith a
2icc!e or 3ho !i5es to r#n% Bo to an open area an+ set #p o#r position% <a1e o#r frien+ ri+e or r#n past
o# 0an 0an ti0es% 9o#7!! nee+ to +o !ots of e"pos#res to 6et the shots%
8irst set o#r sh#tter spee+ as hi6h as o# can for the !i6ht hopef#!! aro#n+ *,(.. to *,2... 3ith the
apert#re as open as o# can set (i%e% >*%&)%
As o#r frien+ 0o1es past o#, 5eep hi0 or her in the 1ie3fin+er, t#rnin6 o#rse!f at the 3aist to
constant! point o#r ca0era at o#r frien+% 4a5e !ots of pict#res for se1era! passes% 4his is 5no3n as
;pannin6%= 9o# 0i6ht 3ant to tr a co#p!e of passes 3itho#t trippin6 the sh#tter an+ practicin6 5eepin6
o#r frien+ in the 1ie3fin+er as he or she 6oes past o#%
No3, set o#r sh#tter spee+ as !o3 as o# can I7+ s#66est aro#n+ *,-., re0e02erin6 to set the apert#re
as hi6h as o# can for the !i6ht% Repeat the a2o1e pannin6 0otion to 5eep o#r frien+ in the 1ie3fin+er%
4a5e !ots 0ore pict#res, re0e02erin6 to 5eep t#rnin6 o#rse!f at the 3aist as o#r frien+ 6oes 2%
$S % to 5eep o#r i0a6es accepta2! sharp, the r#!eDofDth#02 is to 5eep o#r sh#tter spee+ at !east the
sa0e as o#r foca! !en6th ie a (. 00 !ens sho#!+ 2e #se+ 3ith a sh#tter spee+ of *,(. of a secon+ or
faster% <o3e1er, I fin+ 3ith 0ost +i6ita! ca0eras o# 3ant to a++ another (. K to that so o# 3ant to
shoot at *,&. or faster (4he one thir+ of a stop e@#i1a!ent of *,L()%
8or sharp pict#res a tripo+ is a 1er han+ too! to free #p o#r choice of sh#tter spee+s%
A!ternati1e!, o# can han+ ho!+ a ca0era to s#rprisin6! e"ten+e+ ti0es 3ith 6oo+ techni@#eA p!ace the
2otto0 of the ca0era 2o+ in o#r !eft han+ an+ s#pport its 3ei6ht 3ith that han+, then t#c5 o#r !eft
e!2o3 2asica!! into o#r !o3er !eft ri2 ca6e% 8ina!! ho!+ the 1ie3fin+er c!ose to o#r ee an+ #se o#r
6
ri6ht han+ to tri66er the sh#tter an+ f#rther sta2i!iIe the ca0era% Breath in an+ !et o#r 2reath o#t s!o3!
3hi!e s@#eeIin6 the sh#tter%
LESSON L RULE O8 4<IRHS
4he 0ost #se+ !esson in artistic co0position is the r#!e of
thir+s% ?hi!e there are !ots of 3as to co0pose pict#res, this short c#t a!3as 0a5es an i0a6e 0ore
interestin6 than 0ost 3here the s#2:ect is +ea+ center% If o#7re shootin6 a c!ose #p of a person7s face or
other o2:ect, p#ttin6 it in the center is the thin6 to +o% B#t, if o# ha1e a pict#re 3ith a person in the
center an+ !ots of scener aro#n+ hi0 or her 3e!!, it co#!+ 2e i0pro1e+%
Exercise: 4a5e a piece of paper an+ +ra3 t3o horiIonta! !ines +i1i+in6 the paper into thir+s%
Hra3 t3o 1ertica! !ines a6ain +i1in6 the paper into thir+s%
Note the fo#r p!aces 3here !ines intersect each other%
No3 6o ta5e a pict#re of anthin6 p!acin6 the 0ain s#2:ect at one of those fo#r positions one thir+ of
the 3a fro0 the top or 2otto0 an+ one thir+ of the 3a fro0 the si+e% In fact, tr p!acin6 the sa0e
s#2:ect at a!! fo#r intersection positions% 4a5e a !oo5 at the pict#res%
7
LESSON & HIABONAL LINES
A nice +na0ic 0etho+ of co0posin6 a photo is to ha1e a +ia6ona! !ine r#nnin6
thro#6h he photo, fro0 corner to corner or fro0 *,- +o3n fro0 the top to *,- #p fro0 the 2otto0% 4he
!ine co#!+ 2e a street, a fence rai!, a roa+ or a shore!ine% Anthin6 3hich creates a !ine or +i1ision in the
pict#re%
?hether the !ine rises or fa!!s creates +ifferent fee!in6s a2o#t the photo% 4pica!!, for En6!ish spea5in6
peop!e an+ others 3ith ;!eft to ri6ht= +irection of 3ritin6, if an !ine +escen+s into the pict#re fro0 top !eft
to 2otto0 ri6ht it appears to 2e enterin6 the pict#re% If the !ine rises fro0 2otto0 !eft to top ri6ht, it
appears to 2e !ea1in6 the pict#re%
9o# can #se those concepts to create specific fee!in6s in o#r pict#re% S#ch as, a person stan+in6 2esi+e a
!a5e shore if the !ine +escen+s, it 3o#!+ s#66est the person is enterin6 the pict#re an+ th#s 3o#!+ 2e,
perhaps, happier an+ 0ore inc!#si1e% If the !ine is risin6 it 3o#!+ s#66est the person is !ea1in6 an+ is th#s
0ore +istant an+ re0o1e+%
Hia6ona! !ines in photos can 2e #se+ for 3hat is ca!!e+ a ;!ea+in6 !ine= 3hich he!ps the 1ie3 2e !ea+
thro#6h the i0a6e in +irecte+ 0anner% 4pica!! o#7+ ha1e the !ines ;pointin6= at the 0ain s#2:ect of
o#r photo 3hich p#ts the !ea+in6 !ines into the Ne6ati1e Space (o#7!! co0e across 0ore a2o#t
Ne6ati1e Space in Lesson **%)
ExerciseA 8in+ a !ocation 3here o# can #se a !ine to r#n +ia6ona!! thro#6h a pict#re% 4a5e t3o pict#res,
one 3ith the !ine +escen+in6 into the pict#re fro0 the !eft, an+ the other risin6 to ri6ht%
8
LESSON M ES7 CURGES
Another +na0ic co0position too! is to inc!#+e a ;S= c#r1e% As the na0e s#66ests,
a 0a:or e!e0ent of the co0position 3o#!+ 2e an o2:ect s#ch as a strea0, path, rai!in6, or other c#r1e+
o2:ect that creates an ;S%=
If the S is ri6ht facin6 an+ starts in the !o3er !eft corner an+ e"its the #pper ri6ht corner the fee!in6 for
0ost En6!ish spea5in6 peop!e is that the pict#re is 0o1in6 a3a fro0 the 1ie3er%
If the ;S= is re1erse+, an+ starts in the #pper !eft corner co0in6 +o3n to the !o3er ri6ht, the pict#re see0s
to 2e co0in6 to3ar+s the 1ie3er% 4his effect is fro0, I 2e!ie1e, !earnin6 to rea+ !eft to ri6ht%
Exercise: Bo o#t an+ fin+ an S C#r1e to photo6raph% E"p!ore ri6ht facin6 an+ !eft facin6 c#r1es an+ see
ho3 the fee! to o#%
9
LESSON *. BALANCE
4here are a fe3 3as to achie1e 2a!ance in photos%
4he first is thro#6h s00etr 3here o# ha1e e@#a! siIe s#2:ects on either si+e of
the photo% 4his creates a static, so!i+ !oo5 3ith !itt!e 0o1e0ent%
4he secon+ is to p!ace +issi0i!ar siIe o2:ects on either si+e, 2#t to #se the center of
the photo as a 2a!ance point in an as00etrica! co0position% J#st !i5e an a+#!t an+ a chi!+ on a teeterD
toter, the a+#!t has to 2e 0#ch c!oser to the center 2a!ance point for the chi!+ not to 2e he!+ 3a #p in the
air the 3ho!e ti0e% If o# ha1e a 6ro#pin6 of o2:ects on one si+e, o#7!! nee+ so0ethin6 f#rther o#t on the
other si+e to create 2a!ance% An as00etrica! co0position creates a sense of 0o1e0ent an+ action, e1en
if the s#2:ect is a stone%
Exercise co!!ect a 2#nch of roc5s, so0e si0i!ar siIe an+ so0e +issi0i!ar% On the si+e3a!5 or other
han+ s#rface, tr creatin6 se1era! s00etric an+ as00etric co0positions, ta5in6 pict#res of each%
10
LESSON ** NEBA4IGE SPACE
One 3a of 0a5in6 s#re o#r co0position is stron6 is to pa attention to
the positi1e an+ ne6ati1e spaces%
4he pri0ar s#2:ect of o#r photo, a person, 2#i!+in6, to car, 3hate1er, is the ;positi1e space%=
Ne6ati1e space is e1erthin6 e!se% So0ethin6 o# see in a !ot of photo6raph is thin6s stic5in6 o#t of
hea+s, 3ires across the scene o# +i+n7t see 3hen ta5in6 the pict#re, an+ so on% 4his is :#st fro0 pain6
so 0#ch attention to the s#2:ect that photo6raphers for6et 3hat is in the 2ac56ro#n+ or s#rro#n+in6 the
s#2:ect%
Exercise: ta5e pict#res of three +ifferent s#2:ects o#tsi+e% Hoesn7t 0atter 3hat the are, a person, a car, a
2#i!+in6% ?hi!e ta5in6 the pict#re, +on7t 3orr a2o#t the s#2:ect, :#st pa attention to 3hat is aro#n+ an+
2ehin+ the s#2:ect%
Use the 2ac56ro#n+ to co0pose the shot for this e"ercise, the act#a! s#2:ect is not i0portant% If the
2ac56ro#n+ is not 3or5in6 for o#, 0o1e aro#n+ #nti! it is Ioo0 in or Ioo0 o#t to chan6e perspecti1e,
6et !o3, or 6o hi6her% ?hate1er 0a5es the 2ac56ro#n+ a p!easin6 photo%
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LESSON *2 PICC A SUBJEC4
4he a2so!#te 2est 3a to i0pro1e as a photo6rapher is to HO photo6raph 6et o#t an+ shoot% A 6reat
3a to p#sh o#rse!f into 2etter photos is 2 concentratin6 on one s#2:ect o1er a perio+ of ti0e% Each
ti0e o# photo6raph o#r s#2:ect, 3hether its a person, p!ant, p!ace or thin6, fin+ a ne3 3a to
photo6raph it% It co#!+ 2e fro0 a +ifferent an6!e, +ifferent ti0e of +a, +ifferent !i6ht 3hate1er o# can
+o to see the s#2:ect in a ne3 3a%
8or this !esson, pic5 so0ethin6 near 2 o# can photo6raph on a re6#!ar 2asis% It co#!+ 2eA o#r car, o#r
cat, o#r ;si6nificant other=, o#r 6#itar, 3hat o# see 3hi!e 3a!5in6 thro#6h the nei6h2o#rhoo+, o2:ects
that !oo5 !i5e n#02ers, r#st o2:ects, etc%
Anthin6 that o# !i5e to !oo5 at%
Exercise:
E1er +a for the ne"t *. +as ta5e so0e pict#res of it% Loo5 for +ifferent 3as of seein6 the sa0e
s#2:ect% P!ace o#r s#2:ect in +ifferent p!aces, +ifferent !i6ht sit#ations, tr so0e of the +ifferent e"ercises
in co0position fin+ an S c#r1e in the s#2:ect, or p!ace o#r s#2:ect into an S c#r1e, sa0e 3ith +ia6ona!
!ines, etc% J#st 5eep shootin6 an+ !earnin6 a2o#t the sa0e s#2:ect%
?hat o# !earn fro0 this si0p!e e"ercise 3i!! carr thro#6h into 0ost thin6s o# shoot%
En:o%
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