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The term “photography” comes from the Greek words photo - light and grapho - write. Thus, photography translated into Russian literally means light painting. In a modern broad sense, photography is the recording of an image on a special material (paper, film, plate). History of photography
10th century The very first camera obscura was created by the Arab physicist and mathematician Alhazen
1769 Camera obscura: lightproof box with a mirror.
1727 Johann Schulz introduced silver salts that react to light into the photography process.
1826 Joseph Nicéphore Niepce The world's first heliographic photograph of Niepce, taken from life in 1826. View from the window of his workshop.
1835 William Henry Fox Talbot invented a method for producing a negative photographic image
1839 Russia Julius Fedorovich Fritzsche Photograms of plant leaves made using the Talbot method.
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History of photography
Photography (French photographie from ancient Greek φως / φωτος - light and γρ αφω - writing; light painting - technique of drawing with light) - obtaining and storing a static image on a photosensitive material (photo film or photographic matrix) using a camera.
In a broader sense, photography is the art of taking photographs, where the main creative process lies in finding and choosing the composition, lighting and moment (or moments) of the photograph. This choice is determined by the skill and skill of the photographer, as well as his personal preferences and taste, which is typical for any type of art.
Images using visible light reflected from objects were obtained in ancient times and were used for painting and technical work. The method, later called orthoscopic photography, does not require serious optical devices. In those days, only small holes and sometimes slits were used. Images were projected onto surfaces opposite to these holes.
The method was further improved with the help of optical instruments placed in place of the hole. This served as the basis for the creation of a camera that limits the resulting image from exposure to non-image-carrying light. The camera was called a pinhole; the image was projected onto its rear matte wall and redrawn along the contour by the artist. After the invention of methods for chemical image recording, the camera obscura became a structural prototype of the photographic apparatus. The name "photography" was chosen as the most euphonious of several options by the French Academy in 1839.
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History of photography (continued)
Therefore, the first photograph in history is considered to be the “view from the window” photograph taken by Niepce in 1826 using a camera obscura on a tin plate covered with a thin layer of asphalt. The exposure lasted eight hours in bright sunlight. The advantage of Niépce's method was that the image turned out to be in relief (after etching the asphalt), and it could easily be reproduced in any number of copies.
In 1839, the Frenchman Louis-Jacques Mandé Daguerre published a method for producing an image on a copper plate coated with silver. After thirty minutes of exposure, Daguerre moved the plate to a dark room and held it for some time over heated mercury vapor. Daguerre used table salt as an image fixative. The picture turned out to be of fairly high quality - well-developed details in both highlights and shadows, however, copying the picture was impossible. Daguerre called his method of obtaining a photographic image daguerreotype. An original Daguerre camera made by Alphonse Giroux, it measures 12 x 14.5 x 20 inches. The inscription on the tag “The device has no guarantee if it does not bear the signature of Mr. Daguerre and the seal of Mr. Giroud.
Almost at the same time, the Englishman William Henry Fox Talbot invented a method for producing a negative photographic image, which he called calotype. Talbot used paper impregnated with silver chloride as an image carrier. This technology combined high quality and the ability to copy photographs (positives were printed on similar paper).
A photographer's kit weighing between 70 and 120 pounds required for wet collodion photography.
A camera for business cards, patented by Adolphe-Eugene Disderi in 1854. Eight exposures were made on a 6.5 by 8.5 inch plate. The print was then cut and pasted onto cards the size of a business card - 4 by 2.5 inches.
Horse in motion. 1878 Photos from wet plates. First successful photographs of a horse moving along a track in Palo Alto, San Francisco, June 19, 1878. The exposure of each negative was less than 1/2000 of a second. 12 chambers similar to the chamber below were used.
Eastman in 1888 developed an excellent amateur camera for its time and gave birth to a word that has since become synonymous with the word “camera” - “kodak”. The Kodak camera was a small box (hence the name "detective camera"), a little over 6 inches long, 3.5 inches wide and less than 4 inches high. Anyone who, as stated in the instructions, could work with it was able to: 1. Direct the camera. 2. Press the button. 3. Turn the key. 4. Pull the cord.
Color photography appeared in the mid-19th century. The first permanent color photograph was taken in 1861 by James Maxwell using three-color photography (color separation method). To obtain a color photograph, three cameras with color filters installed on them (red, green and blue) were used. The resulting photographs made it possible to recreate a color image during projection (and later in printing).
On December 13, 1902, Prokudin-Gorsky first announced the creation of color transparencies using the method of three-color photography
Stenop (from French Sténopé) is a photographic device without a lens, the role of which is played by a small hole. Stenope is used to produce landscape photographs with a soft image, somewhat similar to the image during sleep.
Lesson 3. Certificate of photo composition and shooting. The basis of camera photography: the ability to see and choose.
Methodological development of an art teacher of the highest category at MBOU “Secondary School No. 50” in Ulyanovsk
Zhaleeva E.V.
Target:
- Mastering the basic basics of the filming process: studying photo and video cameras, choosing a shooting mode.
Tasks:
- Know the specifics of a photographic image and the technology of its production processes.
- Learn the basic rules of photo composition and shooting.
Personal results
- Development of aesthetic consciousness through the development of the artistic heritage of the peoples of Russia and the world, creative activity of an aesthetic nature;
- Formation of a responsible attitude towards learning, students’ readiness and ability for self-development and self-education based on motivation for learning and cognition;
Meta-subject results
- The ability to independently determine the goals of one’s learning, set and formulate new goals for oneself in learning and cognitive activity, develop the motives and interests of one’s cognitive activity;
- The ability to correlate your actions with the planned results, monitor your activities in the process of achieving results, determine methods of action within the framework of the proposed conditions and requirements, adjust your actions in accordance with the changing situation;
- The ability to evaluate the correctness of completing a learning task and one’s own capabilities to solve it.
Subject results
- Gaining experience in specific forms of artistic activity, including those based on ICT (digital photography, video recording, computer graphics, animation and animation).
Checking homework
- Photo story about yourself.
- To whom is it addressed?
- Is the meaning conveyed?
- What group of people is it interested in?
Update:
- What type of art is photography?
- How are these types of fine art similar?
- Can all photographers be called artists?
- What genres are there in fine art?
- Are there these genres in photography?
Composition in painting
- What is composition?
- Composition in painting is such an arrangement of image elements on the picture plane that allows you to express the idea with the greatest completeness and force. In any painting, the artist strives to build a composition, showing the object in the most expressive form. Everything unnecessary is discarded, only what is necessary is left, the secondary is subordinated to the main thing. All elements of compositional construction and a wide variety of visual means are used. Everything affects the strength of the emotional impact of the picture. The size of the painting depends on its content.
- A successful composition is achieved when the viewer has no desire to expand or reduce the edges of the canvas or change its scale.
Composition - what's in common?
- Do you think there are similarities in the compositional solution for a painting and a photograph?
Repetition: canvas format and size
- The round format of the canvas gives the painting a calm completeness.
- An oval portrait goes well with the roundness of the face and gives the person depicted softness and femininity.
The elongated rectangular format enhances the monumental impression of the image.
A rectangular canvas that is excessively elongated horizontally fetters and degrades the depicted object.
Point of view in composition
Where are still life objects arranged more successfully?
Point and angle of view
Which landscape looks better in the pictures?
Composition center
- Everything in the picture should be subordinated to the expression of the main thought, idea. The integrity of the composition depends on the subordination of the secondary to the main, linking the entire image into a single organism of the work. Every detail should add something to further the concept. Secondary, insignificant things in the composition should not be conspicuous; the main object should be highlighted.
Equilibrium
In which picture
In which picture has equilibrium been achieved?
Contrast
In Surikov’s film “Menshikov in Berezovo”
the compositional contrast is made up of the huge figure of Menshikov
and the low ceiling of the hut,
which creates the impression
that the indomitable figure of Menshikov is cramped in this room,
like in a cage. The painting contrasts with each other and the clothes
sisters: Alexandra’s gold-embroidered fur coat and black robe
Mary is made to feel the difference in their characters.
Rhythm in composition
In painting, rhythm is manifested in the repetition of individual elements of the image:
in alternating scale ratios,
in the arrangement of light and color spots,
in the dynamics of gestures, movements, etc.
Rhythmic constructions are carried out both on the picture plane itself and in the arrangement of objects in space. Rhythm is always connected with the content of the picture and is subordinate to the expression of the idea. Rhythm helps the viewer focus on important points and tunes him into a certain mood, enhancing the expressiveness of the image.
The role of color in composition
- The perception of color is inextricably linked with the perception of the object of the image.
- Just as the harmony of sounds in poetry is inseparable from meaning and content, so the aesthetic impact of colors, their harmony and beauty are inseparable from the things depicted and their properties.
- Color in painting is the result of the artist’s knowledge of the actual color richness of nature.
New material
- I suggest students find 10 rules of composition in a frame on the Internet and write them down next to
requirements for composition in the fine arts.
Then we summarize the information.
Requirements for composition in painting and photography
- format and size;
- point and angle of view;
- composition center;
- golden ratio;
- equilibrium;
- contrast;
- rhythm:
- color.
- To contrast ;
- R accommodation ;
- R balance ;
- h bare section ;
- d iagonals ;
- f format ;
- T shooting glasses ;
- n direction ;
- ts vet spot ;
- d movement in the frame .
1. Contrast . There should be contrast in the frame:
A lighter object is photographed against a dark background, and a dark object against a light one.
Do not photograph people against a yellow or brown background, the color of the photo will be unnatural. Don’t shoot people against a colorful background; such a background distracts the viewer’s attention from the model.
2. Accommodation. Important plot elements should not be placed randomly. It is better that they form simple geometric shapes.
3. Balance . Objects located in different parts of the frame must match each other in volume, size and tone.
It was known back in ancient Egypt, its properties were studied by Euclid and Leonardo da Vinci. The simplest description of the golden ratio: the best point to position the subject is approximately 1/3 of the horizontal or vertical border of the frame. The placement of important objects at these visual points looks natural and attracts the viewer's attention.
5. Diagonals. One of the most effective compositional techniques is diagonal composition. Its essence is very simple: we place the main objects of the frame along the diagonal of the frame. For example, from the top left corner of the frame to the bottom right.
This technique is good because such a composition continuously leads the viewer’s eye through the entire photograph.
6. Format .
If the frame is dominated by vertical objects, shoot vertical frames.
If you photograph a landscape, shoot horizontal frames.
7. Shooting point . The choice of shooting point directly affects the emotional perception of the photo.
8. Direction. Our brain is accustomed to reading from left to right, and we evaluate a photograph in the same way. Therefore, it is better to place the semantic center on the right side of the frame. Thus, the gaze and the subject of shooting seem to move towards each other. Always keep this point in mind.
9. Color spot . If there is a spot of color in one part of the frame, then there should be something in another that will attract the viewer's attention. This could be a different spot of color or, for example, an action in the frame.
10. Movement in the frame . When photographing a moving subject (car, cyclist), always leave some space in front of the subject. Simply put, position the subject as if it had just “entered” the frame, rather than “exiting” it.
Advice from an experienced photographer
Let's remember a few simple rules:
- For a portrait, the best point is at eye level.
- For a full-length portrait - at waist level.
- Try to position the frame so that the horizon line does not divide the photo in half. Otherwise, it will be difficult for the viewer to focus on the objects in the frame.
- Keep your camera level with your subject or you risk skewed proportions. An object taken from above appears smaller than it actually is. So, taking a person from the top point, you will get a short person in the photo. When photographing children or animals, get down to their eye level.
Reflection
- Conclusion: the requirements for composition in fine art and photography are the same, which once again proves that photography is a form of fine art. The difference is that painting uses paints, while photography uses light painting.
Practical work
- Create a still life from school objects.
- Take a photo.
- Explain the choice of format, point of view and angle of view, color scheme.
- Who is the photo addressed to?
- Will it be considered and for how long?
Homework
- Take photos of your pets using the advice of an experienced photographer.
A source of information
- https://fototips.ru/category/praktika/
- http://oformitelblok.ru/
Take the person (by the hand) and sit him on a chair in the middle of the room. Point the camera at him so that the whole person is in the frame, from head to toe, and look carefully: what is in the frame besides the person and the wall behind him? - Take a shot like this about ten seconds long. Let a person sit on a chair and be perplexed: - Why say something? What is this all for? Let me at least comb my hair, or what? - In no case! - you answer. - Please sit still while I’m here... Leave the camera on the tripod and “clean up the background.” Make sure that only the person remains in the frame against the background of the wall, with a small piece of floor under his feet. Record ten seconds of this picture. - Well, how long do I have to sit like this? - your ward is already indignant. Apologize and let him go, and look at what you got. - In the first frame, “props” - furniture or its fragments, household objects surrounding your hero, certainly indicate the place of action (“living room”) and, as it were, create a natural “habitat” for him. In the second frame, a person forcibly deprived of such surroundings sits in the frame “as if naked.” However, watch these two frames again and listen carefully to the words your hero says. Isn’t it true that in an “empty” frame, against the background of a smooth wall, his words seem to be more meaningful, his speech “sounds” more clearly? - After all, in this frame, nothing prevents you, the viewer, from focusing on him, the hero, and on what he says. In the very first frame, “with furniture,” your hero “drowns” in the things surrounding him, that is, more precisely, in the meaning of the frame, these things interact incorrectly with your hero, they are not needed in the frame, because they are not even secondary characters in the frame. Now, if your ward still has a bit of patience left, give him a piece of paper and sit him in the same position in the “empty frame”. Record another twenty seconds. - Well, what should we do with this paper? - he asks and turns the sheet of paper in his hands. If you subsequently show this frame to any stranger, he will “decipher” it as follows: “The person received a letter or wrote poetry, but is embarrassed to read it and quite naturally pretends that nothing is written on the sheet.” - This is how real props “work”, one single element of props that did not appear in the frame by accident, but was introduced into it on purpose!
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A good photographic portrait made by a photo artist allows the viewer to see in the features of a particular person an image-type that personifies people of a certain social category. Such a photographic portrait shows the typical through the individual, revealing the inner behind the external.
2 slide
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A profile photo portrait is a somewhat isolated type of image. The possibilities for characterizing appearance are limited. A photographic portrait in profile is more justified if the skull is not deformed and the facial features are large and proportionate. But even with the harmony of all parts of the head, it is very important to maintain their tonal coordination, since the dark mass of hair usually contrasts sharply with a light face. In the initial period of the development of photography, another type of profile photograph was widespread - a silhouette. The black planar outline of the profile of a head or figure is created by a light source hidden behind a shadowed object.
4 slide
In individual photographic portraits, the rotation of the head and the position of the torso are taken into account. The person being portrayed can be positioned frontally to the camera (full face), or three-quarters to it (troucar), or sideways (in profile).
5 slide
The visual quality of a photographic portrait is influenced not only by shooting techniques, but also by subsequent processing of the positive. The stylistic features of a photographic portrait are judged by its optical design, light balance, close-up, etc. Linear and aerial perspective, which conveys the depth of space, does not play such a dominant role in a photographic portrait as, say, in a landscape. But the tonal distribution of light and shade on the three-dimensional shape of the head and hands is of significant importance.
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In the practice of photography, a classification based on the techniques for obtaining a photographic portrait has also become established. There are photographic portraits: reportage, excluding staging, and staged (that is, prepared by the director). Every other type of photographic portrait is conditioned by the object itself. Let's say a child's portrait. Children are the most restless people. Their active opposition to any deliberateness obliges them to resort to instantaneous and, if possible, unnoticeable filming.
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Artistic photographic portraits, like paintings, are divided into individual and group. Further, in turn, on the head, chest (or bust), waist, knee, curly (in height). Photographic portraits have now received a wide variety of purposes. They are not only a work of art in their own right, but also an objective scientific document, anatomical atlas, information illustration, book cover, poster, etc.
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Composer I. Photography art Stravinsky". 1958. USA. Georges Dambier (b.1925)
Slide 9
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11 slide
Winston Churchill at the age of 7. Photo portrait, 1881. The Irish photographer managed to capture in the child's face and pose all those features of superiority that would distinguish Churchill in his adult career. M. V. Alpert. "Combat".
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Slide 13
A special place is occupied by the so-called “official” photographic portrait. Free interpretation of the image is completely excluded here. Filming, usually carried out at the location of the official (at a congress, receptions, meetings), is usually entrusted to the most qualified professionals.
Slide 14
The category of group photographic portraits also includes photographs of various delegations, employees of institutions, graduates of educational institutions and the like. The authors of this kind of photographs are often forced to limit themselves to pure documentation. Photo by N.N. Sazhina, Murom. Group portrait of the Zoshchenko family. Training team of the 162nd infantry reserve regiment. 1917 (GAPO. F. r-1693, op. 1, d. 84.)
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Genre stories are based on some kind of life situation. Such photographic portraits are characterized by eventfulness and dynamism. The characters are depicted in their relationships with each other - in a clash or community of interests and feelings. A genre photograph often turns into a group photograph if the author has managed to reveal the individual character of each character. Group portraits are very difficult to shoot. Only skillful technical execution makes it possible to show in it the typical traits of human character.
Slide 17
Narrative photographic portraits should also include photographs showing a person directly at the workplace in a work environment. The peculiarity of production, professional attributes - the whole atmosphere of the action serves as an additional characteristic of the image
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Only with the transition to projection printing (enlargement) did the opportunity to obtain photographic portraits of any size become possible. Huge photographic posters and panels are not uncommon these days. The progress of photographic technology has expanded the scope of application of photographic portraits. The shooting methods themselves have also changed. The advent of small-format cameras, highly sensitive emulsions, and high-aperture lenses significantly developed photo reporting. Without reportage photography there can be no living genre stories. Operational documentation of genuine facts and phenomena provides a true picture of human relations, convincingly reflecting the beauty and grandeur of the image of our contemporary. Photo by Julia Cameron Photo by Edward Curtis
Slide 19
The technology of photographic processes has invariably affected the evolution of forms of photographic portraiture. The photograph obtained from a negative by contact printing remained within the confines of the plate format for a long time. Hence the proliferation of photographic portraits - “business cards” (the size of a business card) and so-called “office” photographic portraits. The limited size of prints gave rise to a view of photography as an art of small forms. MARY (1867–1953), Queen of England, wife of the English king
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The genre of satirical photographic portrait is also available for photography. At one time, the famous photo artist G. Petrusov successfully worked in this area, demonstrating a subtle sense of humor and technical skill. Photographic portraits of this genre are obtained by resorting to stretching a wet positive, bending the paper during printing, superimposing negatives and other techniques. London photographer Weegee even designed a special lens that gives a caricatured image of a face. Of course, photo caricatures have nothing in common with ordinary caricatures, but they show what a variety of techniques a modern photographer has at his disposal when creating a photographic portrait.
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A self-portrait is also a unique type of photographic portrait. A self-portrait can also be used in a complex composition, as L. Lazarev tried to do, combining his own image with the profile of another person. Self-portrait with grandmother, 1959
CompositionThe subject is the “main character” of the frame, he should
attract the viewer's attention first. How's that
achieve? - First of all, the viewer must have
opportunity to see it properly, so the object
must be in focus and well lit.
But what to do if there is not one, but several objects in the frame? -
Decide for yourself which one is yours
stopped first, this is the object you need
film as the “main character”.
Composition
If you move the vase from the centerframe, then when viewing
such a frame the viewer's gaze is everything
will return equally to the center, but with
question: “Perhaps
in the middle of the table (center of the frame)
there is something that I don't
did you notice?
Composition
Which shot do you think is more successful?Stains
Carry out the experiment: by turning off “AUTOFOCUS”,purposely make the picture out of focus so that
the whole image turned into colored spots
different sizes (if the viewfinder in your
color camera). Which stain will attract yours?
attention first?
Stains
If the image were in focus you would stillpaid attention to objects (church, car)
exactly in this sequence: first the most
big and then your attention instantly
switches to moving, red.
We inherited this property of visual perception from
distant ancestors, when to pay attention to large
or, moreover, a moving object, sometimes meant
"to be or not to be".
Conclusion: the attention of your future viewers will be
attract primarily large, moving,
brightly colored, brightly lit objects. Please note: the degree of visual attention to
the color of the object exactly matches our perception
street traffic light colors - primarily red
(aggression, danger), then yellow (neutral
attention) and finally green (everything is ok), since
green is associated in humans with natural
flowers (grass, tree foliage), and red -
on the contrary, with alarming, dangerous (flame, blood).
Depth of composition
Imagine the picture: “Humble wildflowersgrew up on the side of a country road, which,
making a turn, hiding in the copse, and then
appeared again and stretched to the very horizon.” This clumsy improvisation describes the distribution
visual attention to objects depending on their
distance from the observer (camera):
flowers first (first depth plan),
then - the side of the road (background),
turn of the road (third),
next - a copse (fourth) and, finally,
that part of the road that “stretches to the very horizon” (fifth).
According to this dependence, you will have to
compose frames when shooting:
the most important object is closest to the camera,
secondary ones - away,
and the rest, insignificant ones, will play the role of background on
distant plans. It happens that it is the background, that is, the background, that plays in the frame
main role. If you move a large object away from
center of the frame and maybe sharpen it a little.
Such a composition will absolutely force the viewer to perceive
frame content in sequence:
sunset - glare - glass, and not vice versa.
General rule: The more complex the composition of the frame, the
a person needs more time for his full
perception. Which shots look better? The most successful shots are those in which the depth of the frame is “emphasized”, as if
tangible, that is, the foreground is connected with the background. For example: racing car
rapidly approaching the finish line or a boy taking aim with a blowgun
guns in a tin can placed on a fence peg - it is obvious that such
The frames look very unfavorable if they are shot from the side, in profile.
If you are located on the side of a race track or next to a cannery
with a can, the frame will turn out to be very impressive.
If you stand so that the house is visible from the corner, it will appear
three-dimensionality, and you will fill the space between the close-up (closest to you
corner of the house) and far (porch). From a geometric point of view, the relative position
objects of near and distant plans obeys the law of linear perspective.
Therefore, every time you shoot a frame with objects at different distances from the camera,
mentally superimpose perspective lines on the picture, rays diverging from
perspective center. True, I would advise changing the shooting point again and
stand so that the porch is closer and the corner of the house is further away.
“No plan - look for an angle!”
If you place the camera on the ground, raiselens so as not to lie next to the camera, but simply
bend down and look into the viewfinder: both the car and
the tower will miraculously “fit” into the frame, and this
there will be a shot taken “from a low angle.”
The “character” of the picture from this angle has changed: how impressive it looks
your car! But to slightly reduce the significance of the object,
You can “humiliate” him by taking a shot from a “top angle” when the camera is in
in the literal sense of the word “looks down.”
Largeness of plans
Long shot or "DLN"This is when a person is seen entirely, as they say in film scripts - this is a tiny
a human figure on a vast desert plain (usually this plan is like this
and is used).
Largeness of plans
General plan or "GEN"General plan or “GEN” - Object “from head to toe. Human's figure
fully.
Air. Determining how much is needed is quite difficult, because it depends on
background on which the Object is located: the more interesting, the more significant the background, the
more “air” can be left. However, it is possible to give an approximate value of this
parameter depending on the size of the plan: “GEN” - “air” is equal to the height
"Object's head + neck"
Largeness of plans
Medium plan. Designated SRD-2There are two of them: “thigh-deep” and “waist-deep”. Thigh-deep or Hollywood plan:
The bottom edge of the frame is at the level of the widest part of the hips.
"air" is equal to height: from the upper boundary
head to chin in “Hollywood” (“according to
hips")
Largeness of plans
Medium plan. Designated SRD-1“Half-length shot”, where the bottom edge of the frame is at trouser height
belt, - standard for shooting or chest-length.
“air” is equal to the height: from eyebrows to chin
Largeness of plans
Close-up or "KRP"Please note: on the plan, the eyes should always be “in line
horizon." The exception is frames taken from the top or bottom
angle.
“KRP” - “air” is equal to the height from the eyebrow line to
the upper border of the Object's head; "KRP" (face only)
- “air” just a little bit.
Largeness of plans
Detail.One of the excellent opportunities to focus the viewer’s attention
on the “small” action of the Object or on its internal,
"psychological condition.
“DETAIL” - there is no “air”. If you have several objects in the frame,
“air” is selected according to the largest of them. But not only from above - and
to the left and to the right of the Object in the frame there is also free space, too
a kind of "air".
Man in the frame Homework
Take a general shotMedium shot
Generational plan
Close-up
Detail
Capture a person in the frame
Eight
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