The document discusses placing a single point of focus in a photograph. It describes three zones for positioning the point: central, close to the edge, and markedly eccentric. A central point is static and uninteresting, while an eccentric point demands justification from the photographer. The ideal position is slightly off-center to make the photo more dynamic and balanced without being extreme. Conditions may require compromising the photographer's preferred placement. Overall the goal is to create an aesthetically pleasing composition while avoiding predictability.
The document discusses placing a single point of focus in a photograph. It describes three zones for positioning the point: central, close to the edge, and markedly eccentric. A central point is static and uninteresting, while an eccentric point demands justification from the photographer. The ideal position is slightly off-center to make the photo more dynamic and balanced without being extreme. Conditions may require compromising the photographer's preferred placement. Overall the goal is to create an aesthetically pleasing composition while avoiding predictability.
The document discusses placing a single point of focus in a photograph. It describes three zones for positioning the point: central, close to the edge, and markedly eccentric. A central point is static and uninteresting, while an eccentric point demands justification from the photographer. The ideal position is slightly off-center to make the photo more dynamic and balanced without being extreme. Conditions may require compromising the photographer's preferred placement. Overall the goal is to create an aesthetically pleasing composition while avoiding predictability.
The document discusses placing a single point of focus in a photograph. It describes three zones for positioning the point: central, close to the edge, and markedly eccentric. A central point is static and uninteresting, while an eccentric point demands justification from the photographer. The ideal position is slightly off-center to make the photo more dynamic and balanced without being extreme. Conditions may require compromising the photographer's preferred placement. Overall the goal is to create an aesthetically pleasing composition while avoiding predictability.
definition, a point has to be a very small part of the total image, but to be significant it must 0,!#%-%.4 :/.%3 0RACTICALLY THERE ARE THREE ZONES IN A PICTURE FRAME FOR PLACING A SINGLE DOMINANT POINT (OWEVER THE LIMITS THAT ARE DRAWN HERE FOR CONVENIENCE ARE NOT contrast in some way with its setting—in tone or IN REALITY PRECISE ! POINT HAS TWO BASIC RELATIONSHIPS color, for example. The simplest form of a point WITH THE FRAME )N ONE THERE ARE IMPLIED FORCES THAT in a photograph is an isolated object seen from ARE IN PROPORTION TO ITS DISTANCE FROM EACH CORNER AND a distance, against a relatively plain background, SIDE )N THE OTHER IMPLIED LINES SUGGEST A HORIZONTAL such as a boat on water, or a bird against the AND VERTICAL DIVISION OF THE FRAME sky. There is no simpler design situation in photography than this: one element without significant shape, and a single background. The main consideration, then, is the matter of placement. Wherever the point is in the frame, it will be seen straight away. Placing it in a certain position is chiefly for the aesthetics of the picture, to give it whatever balance or interest is wanted, and perhaps paying heed to background. Some of the issues involved in positioning the subject in the frame have already been covered on #%.42!, pages 24-25, and most of what was said applies 3TATIC AND USUALLY DULL here. To summarize: from a purely aesthetic point of view, placing a point right in the middle of the frame may be logical, but it is also static and uninteresting, and is rarely satisfactory. The choice then becomes how far off center to place the point, and in what direction? The more eccentric the position, the more it demands justification. Free placement, however, is never guaranteed in photography, and the conditions are often such that you cannot arrange things exactly as you would like them, even with changes of lens or #,/3% 4/ 4(% %$'% viewpoint. This is the case with the photograph -ARKEDLY ECCENTRIC NEEDING SOME JUSTI½CATION of the rice farmer on pages 68-69, but the result is still not so bad. What it demonstrates is how much leeway exists in photographic composition. Also (and this is a personal judgment), it is usually better to err on the side of doing something unusual than to be predictable.