Whenever you look at a photo either in print or on a screen, it is easy to forget that what you are seeing is a 2D representation of a three dimensional scene. This two dimensional image is an illusion and your mind deciphers the information to determine the 'depth'. Photographers make use of perspective to resemble a sense of depth and scale in photographs.
Defining Perspective
In photography, perspective is defined as the sense of spatial relationships between things and their dimensions in relation to the position of the viewer, producing a sense of depth. Here are our top ten tips on how to use perspective.
1. Blocking Subjects Partially
It is an obvious statement, but when one object is partially obstructing your view of something else, your mind tells you that the partially hidden object is further away than the object obstructing it.
By comparing their relative sizes we are able to get a sense of the depth. This is what we call overlap perspective.
2. Relative size
As an object gets smaller, our minds decipher this to let us know that the object is a distance away from the spot where the photo was taken. Our brain already knows rough sizes of familiar objects, such as people, vehicles, buildings and trees, so when we see a person who is three times taller than a car, our brain tells us that the person is much closer to us than the other object is. Our brain works this out based on familiar objects compared with other objects in the picture to get an idea of the distance and depths of relative objects. This is what we call scaling.
We can use some effective photography techniques by positioning several objects at different distances from the camera and create an illusion that they are on the same plane. You can get some peculiar images.
Having a single familiar object in a picture enables us to work out the sizes of other things in the frame in relation to that one familiar object. Think about how many pictures you have seen of people holding a fish they caught smiling at the camera. They do this so that you can see how large the fish is in comparison the people. Think about a photo of a man standing among some huge leaves in the jungle, which are bigger than he is. This will shock your mind because we we are used to seeing leaves that are smaller than our hands.
3. The Vanishing Point
The human eye judges depth by the way lines and planes converge at a point inside or outside of the picture. This is known as linear perspective.
Fish eye lenses create photos of objects which appear to be smaller along the edges of the photo than they would appear in reality. In a similar way, the objects in the middle of these shots look a lot larger than they would in reality when comparing to the size of the objects at the edges of the image.
Parallel lines in a picture which move away from the viewpoint appear to be converging or meeting with each other at a certain point, known as the vanishing point. This is very common in photography. Think of a photo of railway tracks converging in the distance.
4. The Lens Axis Level
All horizontal lines at the lens axis level appear as straight lines, while any other horizontal lines above and below the lens axis level appear as curved lines. With rectilinear perspective, the straight lines in the frame are reproduced as straight lines in the picture, in the same way that we perceive objects in reality. Regular lenses are rectilinear lenses.
5. Perspective Projection Distortion
All pictures may be subject to perspective projection distortion. This is when we use panoramic and fish eye lenses to deliberately produce warped perspectives to create interesting effects.
6. Deteriorating Colour Quality, Definition And Sharpness
Due to reduced contrast, scattering of light and other factors, our eyes cannot define objects in the distance as easily.Objects further away are harder to define because of light scattering and reduced contrast as well as other factors. Knowing this allows our brains to make more sense of distance. In photography, we can take this knowledge and use it to our advantage to create pictures where objects far away appear to have less definition and contrast. We do this by controlling the depth of field. An easy way to do this is by focusing the camera lens a little less than infinity to make the objects furthest away look out of focus. This is what gives the viewer a sense of distance and depth.
Our brains make us believe that when see these blurred, less colourful objects we are looking at something further away than the brighter, vibrant objects closer to the foreground.
Prior to taking a shot, you should decide whether you are trying to emphasize the depth of the scene or not.
7. Focus And Depth Of Field
The F-stop, focus distance and focal length can be used to control the depth of field. The depth of field (DoF) defines an area where objects are sharp in the picture. Anything closer to the viewpoint than this area, or further away than it will be blurred. A common mistake of beginner photographers is to try to get everything in the picture to appear sharp. They often try to maximize the DoF with smaller apertures. Sometimes this assumption can work well, but it is generally not seen as something more seasoned photographers like to do.
8. Isolating an object
If you separate an object from its environment using various techniques you can create some interesting effects. You could do this with a wide lens, which will divide the scene into different layers. Sometimes you will find that the background is unappealing. You can often resolve this by using a very small depth of field so that all objects behind the main object are out of focus. These objects now seem less important in the photo.
9. Compression
One of the most overused types of lenses in photography is the wide angle lens, which makes pretty bland-looking perspectives lacking in definition. The depth from a wide angle lens compresses the scene. It is far better to use a medium tele lens, because it is capable of emphasizing depth.
10. Layers
If you like taking shots of mountains and other landscapes, a great approach is to use the notion of layers. These mountains are usually the dominating feature of a photo. You can make your pictures much more interesting by using addition layers in the foreground and the centre.
If you're taking a photo of a scene which doesn't have trees, cars or other familiar objects, such as a desert, you have nothing to show the size of objects in the shot. One thing you can do is wait until someone enters the frame, or ask your friend to pretend to walk by.
Thank you for reading and don't forget to make use of some of the points written here next time you are shooting.
Defining Perspective
In photography, perspective is defined as the sense of spatial relationships between things and their dimensions in relation to the position of the viewer, producing a sense of depth. Here are our top ten tips on how to use perspective.
1. Blocking Subjects Partially
It is an obvious statement, but when one object is partially obstructing your view of something else, your mind tells you that the partially hidden object is further away than the object obstructing it.
By comparing their relative sizes we are able to get a sense of the depth. This is what we call overlap perspective.
2. Relative size
As an object gets smaller, our minds decipher this to let us know that the object is a distance away from the spot where the photo was taken. Our brain already knows rough sizes of familiar objects, such as people, vehicles, buildings and trees, so when we see a person who is three times taller than a car, our brain tells us that the person is much closer to us than the other object is. Our brain works this out based on familiar objects compared with other objects in the picture to get an idea of the distance and depths of relative objects. This is what we call scaling.
We can use some effective photography techniques by positioning several objects at different distances from the camera and create an illusion that they are on the same plane. You can get some peculiar images.
Having a single familiar object in a picture enables us to work out the sizes of other things in the frame in relation to that one familiar object. Think about how many pictures you have seen of people holding a fish they caught smiling at the camera. They do this so that you can see how large the fish is in comparison the people. Think about a photo of a man standing among some huge leaves in the jungle, which are bigger than he is. This will shock your mind because we we are used to seeing leaves that are smaller than our hands.
3. The Vanishing Point
The human eye judges depth by the way lines and planes converge at a point inside or outside of the picture. This is known as linear perspective.
Fish eye lenses create photos of objects which appear to be smaller along the edges of the photo than they would appear in reality. In a similar way, the objects in the middle of these shots look a lot larger than they would in reality when comparing to the size of the objects at the edges of the image.
Parallel lines in a picture which move away from the viewpoint appear to be converging or meeting with each other at a certain point, known as the vanishing point. This is very common in photography. Think of a photo of railway tracks converging in the distance.
4. The Lens Axis Level
All horizontal lines at the lens axis level appear as straight lines, while any other horizontal lines above and below the lens axis level appear as curved lines. With rectilinear perspective, the straight lines in the frame are reproduced as straight lines in the picture, in the same way that we perceive objects in reality. Regular lenses are rectilinear lenses.
5. Perspective Projection Distortion
All pictures may be subject to perspective projection distortion. This is when we use panoramic and fish eye lenses to deliberately produce warped perspectives to create interesting effects.
6. Deteriorating Colour Quality, Definition And Sharpness
Due to reduced contrast, scattering of light and other factors, our eyes cannot define objects in the distance as easily.Objects further away are harder to define because of light scattering and reduced contrast as well as other factors. Knowing this allows our brains to make more sense of distance. In photography, we can take this knowledge and use it to our advantage to create pictures where objects far away appear to have less definition and contrast. We do this by controlling the depth of field. An easy way to do this is by focusing the camera lens a little less than infinity to make the objects furthest away look out of focus. This is what gives the viewer a sense of distance and depth.
Our brains make us believe that when see these blurred, less colourful objects we are looking at something further away than the brighter, vibrant objects closer to the foreground.
Prior to taking a shot, you should decide whether you are trying to emphasize the depth of the scene or not.
7. Focus And Depth Of Field
The F-stop, focus distance and focal length can be used to control the depth of field. The depth of field (DoF) defines an area where objects are sharp in the picture. Anything closer to the viewpoint than this area, or further away than it will be blurred. A common mistake of beginner photographers is to try to get everything in the picture to appear sharp. They often try to maximize the DoF with smaller apertures. Sometimes this assumption can work well, but it is generally not seen as something more seasoned photographers like to do.
8. Isolating an object
If you separate an object from its environment using various techniques you can create some interesting effects. You could do this with a wide lens, which will divide the scene into different layers. Sometimes you will find that the background is unappealing. You can often resolve this by using a very small depth of field so that all objects behind the main object are out of focus. These objects now seem less important in the photo.
9. Compression
One of the most overused types of lenses in photography is the wide angle lens, which makes pretty bland-looking perspectives lacking in definition. The depth from a wide angle lens compresses the scene. It is far better to use a medium tele lens, because it is capable of emphasizing depth.
10. Layers
If you like taking shots of mountains and other landscapes, a great approach is to use the notion of layers. These mountains are usually the dominating feature of a photo. You can make your pictures much more interesting by using addition layers in the foreground and the centre.
If you're taking a photo of a scene which doesn't have trees, cars or other familiar objects, such as a desert, you have nothing to show the size of objects in the shot. One thing you can do is wait until someone enters the frame, or ask your friend to pretend to walk by.
Thank you for reading and don't forget to make use of some of the points written here next time you are shooting.
About the Author:
I hope this tutorial has enabled you to get more of a perspective on how you can improve your skills. If you would like to get even more great ideas and take your skills up a level further, please take a look at one of my blogs today and get even more great ideas.
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