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TOPIC: 2018 Schedule - April Topics

2018 Schedule - April Topics 16 Dec 2017 08:10 #4353

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Kitchen Close Up
A photo about an object within your kitchen. This could be food (raw, cut, cooked) utensils, cooking equipment, liquids etc. Taken from different a different angle to creative, artistic shot.
When shooting indoors, you might not have adequate lighting. As such, ensure that you find a spot near a window where there is plenty of ‘soft’ light coming through. You will want to avoid direct sun light as this lighting will be too harsh and will cast unwanted shadows. Unless you are after a specific effect. If you are getting an uneven amount of light onto just one side of your subject, you can balance it out by reflecting some of the light back onto the darker side with an object that is white in colour – this includes a sheet of paper, a plate, a t-shirt, etc.
For sharper photos, consider using a tripod when you are shooting indoors with natural lighting. This will help to reduce camera shake which is the culprit for blurry photos. If you do not have a tripod, you could try to rest the camera onto a flat surface and taking the photo with a timer.
Consider the array of utensils, bottles and appliances, photograph the items from a different perspective that you would normally see it in day to day use.
Patterns in Nature
An image that depicts a pattern(s) created by nature (e.g.) colour, shape, light, shadow) Manmade elements may appear in the image but the pattern(s) must have been created by nature and not man. Focus should be on landscapes, wildlife and plant life as they are found in the natural environment.
There is almost no end to possible pattern subjects in nature: a patch of wildflowers, textured or weathered wood, the details of a bird’s feathers, bubbles in ice, or shapes carved in a beach by a retreating tide. They can be found in the smallest of subjects or in the grandest sweep of the landscape. And patterns don’t exist only as static elements. Dynamic elements—such as passing clouds, or a flock of birds, or flowing water—can converge or interact in compelling patterns.
Finding Patterns
To discern photogenic patterns, look for two things: pleasing repetition of shapes, and dynamic spacing of elements in a scene. Shape repetition is an easy concept to understand—think of a grove of trees in a spring forest. Or it could be a series of stacked mountain ridges. Patterns can be parallel, as in a grove of trees, and can exhibit a certain symmetry. Diverging patterns, on the other hand, involve one or more shapes that diverge from the rest—imagine a grove of trees aligning vertically, except for one tree that is tilted at a diagonal angle. This diverging shape then becomes an immediate focal point.
Random patterns—such as lichen splotches on a rock—are more chaotic, and the trickiest to work with. But to a patient eye, subtle patterns can emerge from the randomness. Look to juxtapose complementary or contrasting colors, or to place a few repeating shapes prominently in the image frame. The spacing of elements is sometimes less intuitive. As a rule, avoid having repeating elements merge or otherwise touch each other.
Regular spacing of elements, however, is typically not the best approach. Instead, look for uneven spacing and grouping of elements—a group of four closely spaced trees on one side of the image, counterpointed by one lone tree on the other side. Bunching or merging repeating shapes, though, can sometimes help one element flow into the next, leading the eye throughout the scene.
Patterns can also be produced by the interplay of color and light. A few fallen red autumn leaves may break up the pattern of crisscrossing green ferns. Reflections of different colors in moving water can create dynamic abstracts. Transitions between sunlit and shadow areas also create layers and shapes.
Pattern compositions can be very effective when working with wildlife, as well. It requires patience to wait for a group of animals to align in a pleasing pattern, but when the opportunity arises, seize the moment to create dynamic and different wildlife images.
You can render moving animals as abstract patterns by panning along at a slow shutter speed. And blurring and panning need not be limited to moving subjects. Experiment photographing a stand of trees, panning the camera upward during an exposure of 1/2 sec or so.
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