Picture perfect practice
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PicturePerfectPractice
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ASelf-TrainingGuidetoMasteringtheChallengesofTakingWorld-Class
Photographs
RobertoValenzuela
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PicturePerfectPractice:ASelf-TrainingGuidetoMasteringtheChallengesof
TakingWorld-ClassPhotographs
RobertoValenzuela
NewRiders
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Berkeley,CA94710
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510/524-2221(fax)
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Toreporterrors,pleasesendanoteto
NewRidersisanimprintofPeachpit,adivisionofPearsonEducation
Copyright©2012byRobertoValenzuela
Allphotography©RobertoValenzuelaexceptwherenoted
AcquisitionsEditor:TedWaitt
DevelopmentalEditor:NolanHester
ProductionEditor:LisaBrazieal
InteriorDesign:MimiHeft
Compositor:WolfsonDesign
Indexer:JamesMinkin
CoverDesign:MimiHeft
CoverPhotography:RobertoValenzuela
NoticeofRights
Allrightsreserved.Nopartofthisbookmaybereproducedortransmittedinanyformby
anymeans,electronic,mechanical,photocopying,recording,orotherwise,withoutthe
priorwrittenpermissionofthepublisher.Forinformationongettingpermissionfor
reprintsandexcerpts,contact
NoticeofLiability
Theinformationinthisbookisdistributedonan“AsIs”basiswithoutwarranty.While
everyprecautionhasbeentakeninthepreparationofthebook,neithertheauthorsnor
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causedorallegedtobecauseddirectlyorindirectlybytheinstructionscontainedinthis
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Dedication
Iwanttodedicatethisbooktomybeautifulmother,whoworkeddayandnighttofeedus
andputaroofoverourheadswhenlifedealtusabadhand.Withouther,Iwouldn’tbe
heretowritethisbook.
Tomywifeandbestfriend,Kim,youramazingloveandconstantsupportarethegreatest
giftsIhave.ForeverymomentIspendwithyou,IthankGodforputtingyouinmylife.
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Acknowledgments
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Thisbookwasquitetheadventuretowrite.Iwroteitinthemidstofthebusiestwedding
seasonofmylifewhilealsoteachingworkshopsandseminarsaroundtheworld.I
dedicatedsomuchtimetothisbookthatIowemywife,Kim,mygratitudefornotmaking
mesleeponthecouch.Kimhasbeenapillarinmylife,thefuelthatkeepsmegoing,and
themotivationtokeeppushingmyself.Shehasalsobeenthesubjectofhundredsofmy
practicesessionsthroughoutmycareer.ThelistofhowblessedIamtobemarriedtoher
couldgoonfor500pages,sotokeepthingssimple,IwanttothankKimforherpatience,
unwaveringsupport,andunconditionallove.Iloveyousomuch,sweetie!
Ialsowanttothankmyfamily,startingwithmyMutti,mybigbroAntonio,myolder
sisterBlanca,myyoungersisterSusana,mybrother-in-lawKent,mynephewsEthanand
Caleb,andmynieceElliana.Youguysmeaneverythingtome.Itreasureeverymoment
wespendtogether,andIfeelsoblessedtocallyoumyfamily.
Iwanttosendaspecialthankstomymother-in-lawChristinaforreadingandediting
everysinglechapterinthisbook.Thankyouforfixingmybadgrammarandformaking
thebookreadbeautifully.Thiswastrulyateameffort;Iwouldwriteandshewouldfixall
mymistakes.Thankyousomuch,Christina!
Myfather-in-lawPeterhasbeensupportingmyendeavors,nomatterhowcrazytheymay
be.HehasalwaysbeenthereprovidingmewiththetoolsIneededtolearnwhateveritisI
waslearningatthattime.ThankyouPeter!
IwanttosaythatIowealotofmysuccesstomyfriendsatRangefinder(WPPI).Arlene,
George,Bill,andSusangavemetheopportunitytolaunchmyinternationalphotography
teachingcareer.TheybelievedinmeandIwillneverforgetwhattheydidforme.Iam
forevergratefultothem.
ThefirsttimeIreallygottoknowmygoodfriendSkipCohenandhiswifeSheilawillbe
anightIwillneverforget.Skiphasbeenaninvaluablefriendandmentortome.Itisso
nicetoknowthatIcancountonsomeonewithexperienceasvastasthatofSkip’s.Noone
knowsthisphotographicindustrybetterthanhim.Iamhonoredtocallhimatruefriend
andthankhimforwritingtheforewordtothisbook.
Abigthankstothebestexecutiveeditorontheplanet,TedWaitt,forgivingmethe
opportunitytowritethisbook.Also,thankyoutothewholeteamatPeachpitwhoworked
sohardtomakethisintoabeautifulbookandgetitinyourhands.
Lastbutnotleast,Iwanttothankallthebeautifulbridesandawesomegroomsthathave
allowedmetobeapartoftheirlivesbydocumentingthebeginningoftheirnewfamilies.
Itakemyresponsibilityasyourweddingphotographerseriously,whichiswhyI
constantlytrytobettermyselfweekafterweektorecordyourweddingdaythebestwayI
caneverytime.Thankyoufortrustingmewithyourwedding!
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AbouttheAuthor
RobertoValenzuelaisaweddingandfineartphotographerbasedinBeverlyHills,CA.
Hisacademicbackgroundisineconomicsandmarketing.However,itwashis10yearsas
aconcertclassicalguitaristthathasgivenhimauniqueoutlookonhowtomaster
photography,havingusedthesamepracticetechniquestomasterhismusicalinstrument.
RobertoValenzuelaisamultipleinternationalaward-winningphotographerandthree-time
internationalfirstplacewinner.Heservesasaphotographyjudgeforthe16x20WPPI
(WeddingandPortraitPhotographersInternational),PPA(ProfessionalPhotographersof
America),Europeanphotographycompetitions,andtheWPPIInternationalwedding
albumcompetitioninLasVegas,NV.
Roberto’sprivatephotographyworkshopsandspeakingengagementsareheldworldwide.
Hisgoalistoencourageandinspireprofessionalphotographerstopracticetheircraft
whennotonthejob,asanyartistmustinordertoperformatanexceptionallevel.Heisan
activeteacherandplatformspeakeratWPPIandhasservedasthekeynotespeakerat
otherinternationalphotographyconventions.
HewasnamedoneofthetopweddingphotographersintheworldbyJunebugWeddings
(oneofthelargestweddingresourcewebsitesinAmerica).
Robertowillnotturndowntheopportunitytoplayagoodtabletennismatch,andheflies
hishigh-performance3DremotecontrolhelicopterseverySundayafternoon.Hecanoften
befoundatlocalbookstoreslookingformaterialsonsomethingnewthathewantsto
undertake.
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Contents
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Foreword
Introduction
HowtoReadThisBook
TheLocation,Posing,andExecutionCharts
Part1:Locations
1Geometry
GeometryforFraming
GeometryintheEnvironment
GeometryforBalance
PuttingItAllTogether
2Balance
BalancingwithPeople
BalancingwithObjects
FiveKeyQuestionsforChoosingaBalancePoint
BalancingwithSpace
3ParallelLines
WorkingwithHorizontalLines
WorkingwithVerticalLines
4Symmetry
CombiningVerticalSymmetrywithPeople
CombiningHorizontalSymmetrywithPeople
SeeingSymmetryEverywhere
5ColorElements
KeepContrastingColorstoaMinimum
FindanAreaWheretheColorsArePartoftheSameFamily
TheThree-ColorLimit
6Depth
DepthandtheEnvironment
DepthwithContext
DepthforMood
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DepthwithMovement
7Shadows
TheBrightSideofShadows
UsingDarkRoomsOutsidetoCreateStrikingPortraitswithShadows
1:ShootingfromtheShadowSide
2:ShootingintheMiddleBetweentheBrightandShadowSides
3:ShootingfromtheBrightSide
NavigatebytheShadowsontheGround
CastingShadowsfromObjectstoCreateGraphicalInterestonaPortrait
UsinganOff-CameraFlashorVideoLighttoForceShadowstoAppearWhere
Desired
8Silhouettes
VitalComponentsofSilhouettes
AVeryBrightBackgroundtoCreateContrast
SubjectsorObjectsShouldHaveLittleorNoLightFallingonThem
NoOn-CameraFlash
ClearandRecognizableShapes
CorrectExposure
CreatingtheOpportunityforSilhouettes
PartialSilhouettes
PosingSilhouettes
CreatingContrastingSilhouettes
9Reflections
ReflectionsUsingaSingleMirror
TwoSidesoftheSamePerson
CapturingExpressionsandRelationshipsthroughaMirror
TellingMultipleStoriesthroughaSingleMirror
CreatingBalancewithaSingleMirror
ReflectionsUsingTwoMirrors
UsingBeveledMirrors
ReflectionsfromWater
FindingReflectionsinUnlikelyPlaces
10PatternsandRepetitions
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IncorporatingPatternsintoPhotography
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BreakingaPatterntoIsolateaSubject
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CombiningPatternswithGeometry
UsingaFlashtoBringOutthePattern
CombiningPatternswithGeometryandSymmetry
WorkingwithRepetitions
PositioningSubjectsWithinorNeartheRepetition
PositioningSubjectstoBecomePartoftheRepetition
11Framing
CreatingActionInsideaFrame
CreatingFrames
NaturalFrames
DoubleFrames
AbstractFrames
FramingwithPeople
FramingwithMeaning
12PaintingsandArtwork
ChoosingtheRightArtwork
RemovingContext
CompositionwithPaintingsandArtwork
TechnicalandLightingTips
13Contrasts
OldandNew
BigandSmall
BrightandDark
ContrastingExpressions
AgeContrast
ContrastingColors
BreakingtheStatusQuo
14LensFlare
TheBenefitsofLensFlare
EverythinginModeration
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MovingHalosAwayfromtheBody
BlockandCrop
SettingPriorities
AdvancedLensFlareTechniques
15Walls,TranslucentSurfaces,andTextures
WallsandShade
ProximitytotheSun
ReflectingaPatchofSunlight
ReflectingWindowLightinFrontofWalls
UsinganExternalFlashonWalls
UsingWallsasReflectors
ThinkLikeaPhotographer
UsingNaturalWalls
SuperimposingDesignsonWalls
WallTextures
MakingTextureWorkforYou
UsingContrastingTextures
TranslucentMaterials
Part2:Poses
16FiveKeyPosingTechniques
MyPosingSystem
Technique1:SystematicallySculptingtheBody
DistributingWeightforNaturalPosing
SymmetricalPosing
Technique2:PosingtheHands
PosingHandsinLargeGroups
Technique3:PosingtheFace
The“X”Factor
Technique4:InjectingExpressionandBalancingEnergies
ClichésDon’tWork!
EyesMustBePosed
Technique5:GiveSpecificDirections
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17PosingChart
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GettingtheMostOutofThisChapter
Traditional
HimBehindHer
HerBehindHim
Walking
Kissing
Playful,Action,Movement
HoldingHands
Sitting
TogetherSidebySide
Interpretive
DistanceApart
Hugging
Foreground/Background
FacingEachOther
KissAnticipation
FeaturingHim
FeaturingHer
T-Pose
Part3:Execution
18Execution
LightingthroughDirection
SimplicitythroughSubtraction
BeautythroughAngles
TheTouristTest
Bird’sPerspective
Dog’sPerspective
PerspectivethroughLenses
Part4:DeliberatePractice
19DeliberatePractice
Perform
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Discover
TechnicalProblems
LocationProblems
LightingProblems
Pose/ExpressionProblems
ApproachProblems
Artistic/CreativeProblems
BreakingItDown
Analyze
Step-by-StepPracticeSession
Situation
BreakdownExerciseLog
IntegratingtheLocationChartandPreviousPracticeSessions
PracticeSessionPhotosandAnalysisofResults
Real-LifeApplicationofNewSkillSet
FinalPracticeExamples
WeedsorPlants
NarrowHallways
Foreground/BackgroundandSilhouettes
RuffledDress
FinalWords
Index
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Foreword
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BySkipCohen
Thedictionarydefinesforewordas“ashortintroductorystatementinapublished
work….”IfIhonestlysticktothedefinitionofthewordshort,thisisgoingtobevery
difficulttowrite!
So,let’sgowiththe“introductorystatement”part,whichisalsoachallenge.DoI
introduceyoutooneofthefinestphotographersintheindustry?DoIsoundobjectiveand
notletonthatIconsiderhimanincrediblygoodfriend?Eventougher,doItalkabouthis
amazingabilitytoteachandhelpsomanyofusbecomebetter,morecreativeartists?
Therealityisthathe’salloftheabove.Whenheaskedmetowritetheforewordforhis
firstbook,ittookmelessthan10secondstoanswer,“Yes!”Lotsofphotographershave
writtenbooks,butonlyahandfulcouldcreatethislevelofgenuineexcitementforme.All
youhavetodoisattendoneofRoberto’sprogramsandyou’llunderstand.
Thisisnoordinary“how-to”photographybook.Thisisaboutlearningtotrainyoureyes,
yourheart,andyourmind.Thisisaboutdevelopingsuchstronginstinctsthatallthe
normalchallengesinthosephotographicsituationsotherphotographersmightstruggle
withsimplybecomesecondnatureforyou.
Beinganoutstandingphotographercoversthefullrangeofwhatittakestobeasuccessful
artist.Mostimportantofall,it’saboutacceptingandunderstandingthatwithoutconstant
practiceandworkingtodevelopyourskillset,youcannevercreatetheultimateimage.
Imagineapersondecidingtheywereaprofessionalmusiciansimplybecausetheybought
thefinesttrumpetonthemarket,buttheyneverpracticed.Howmanyhoursadaydoyou
thinkWyntonMarsalispractices?Doyouthinkthere’sasingledaythathedoesn’t
practice?
TheanalogyofamusicianissoappropriatebecauseahugechapterofRoberto’slife
includesbeingaclassicalguitarist.Hisphilosophyasaphotographerisnodifferent,
especiallyinhisdisciplineanddedication.Infact,everywordexceptforthisforewordhas
beenwrittenbyRobertohimself—noghostwriters,noassistants—justRoberto
concentratingontherightchoiceofwordstohelpyoudevelopyourtruepotential.
Hewasalsoanoutstandinghighschoolteacher,helpingtoteachhisstudentsthattheir
onlylimitationsweretheirowndreams.Hisinnateabilitytoteachbecomessoapparentin
everythinghewritesandtalksaboutineachworkshop.
Asyoureadthepagesofthisbook,thinkofyourselfonajourney.You’llstartbyvisiting
ideasonhowtoseethephotographicpotentialineachlocationyouphotograph.Thenext
stopwilltakeyoutoposingandlearningtoblendthelocation,lighting,andtheoverall
scenewiththeappropriateposeinordertocaptureauniquefeelwitheachimage.
Nextcomestakingeverythingfromthosefirsttwostopsonthejourneyandblendingthem
alltogether,givingeveryimagethepotentialforaflawless,stress-freeexecution.Thelast
stopisdevelopingyourownsystemsoyoucanpracticeandimprove.Remember,your
goalonthisjourneyistobecomfortableineveryphotographicsituation.
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Thisisaveryspecialbook,butinallhonesty,I’mnotsureit’sreallyasmuchabout
photographyasitisaboutpassion.Robertonevercompromisesonanything,includingthe
qualityandintensityofhisimages.
JackCanfield,authorofChickenSoupfortheSoul,isquotedassaying,“Ifyou’re
passionateaboutwhatitisyoudo,thenyou’regoingtobelookingforeverythingyoucan
togetbetteratit.”
Robertoneverstopslearningandexploringwaystofine-tunehisskillset.Hispassionis
virtuallyunmatchedinourindustry.So,sitbackandenjoythejourneyRobertoisaboutto
takeyouon—ajourneytomakeyourselfnotonlyunique,butastronger,morecreative
artist.
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Introduction
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Iwrotethisbookwithaveryspecificpurpose.Itismeanttobeaself-trainingguidefor
teachingyourselfhowtolearntonolongerbeintimidatedbylight,andtounderstandhow
toharnessitsphotographicbeautyregardlessofthetimeofday,tobeabletobreakdown
anylocationinordertofinditshiddenpotential,andfinally,totackleanyposeand
achievenatural,flawlessposingwithanyone.Ifyouareholdingthisbookinyourhands,
thetitlemusthavespokentoyou:PicturePerfectPractice.Thewordpracticeisan
interestingwordbecauseitmeansdifferentthingstodifferentpeople.Forme,practicehas
beenalifestyle.IpracticeeverythingIwanttolearn.Iamrelentlessaboutit,andithas
paidoff.
Thisbookisaboutgivingyouthetoolsforscanninganysceneanddissectingitforits
photographicpotential.Itwillserveyouasatrainingguidewhereyouwilllearnhowto
turnordinaryobjectsintostunningphotographicelements.Throughdeliberatepractice,
youwilllearntobemoreresourcefulwithyoursurroundingsandlightconditions.Where
mostseejustawhitevanparkedonthestreet,youwillseeitasalightreflector.Where
peopleseeanaverageofficebuilding,youwillseeitforitsgeometry,patterns,symmetry,
andreflections,andyouwillknowexactlyhowtoincorporatethosecharacteristicsinto
yourphotographs.Photographyissointerestingtomebecauseitseemslikethecreative
potentialisendless.
ThepagesinthisbookcontainasystematicprogramIdevelopedoutofphotographic
curiosity.Weallknowtherearesomeartistsouttherewhocancreatemind-blowing
photographsanywhereandanytime.Iwantedthatability!Ihavegreatrespectfortheart
ofphotographybecause,tome,itallowsyoutocreatevisualmagic.Butphotographyis
likeanuntamedhorse;ifyoudon’thaveasystem,thepatience,andthededication
requiredtounderstandit,itwillrunawayfromyouandleaveacompletemessbehind.
Butiftamed,itwillrewardyoumorethanyoucouldimagine.Itwasfromthispassionand
desirethatthelearningsystemyouareabouttoreadwascreated.
Remembertokeepacamera,alens,andaflashreadilyavailablearoundyourhouseso
youcanquicklypracticeatechniqueatamoment’snotice.
Ihopeyouenjoythisbook.Thepagesthatfollowwillprepareyoutorecognize
photographicpotentialanywhere,reacttoitseamlessly,andexecuteyourvision.Ifeel
confidentsayingthatifyoucompletetheexercisesinthisbook,yourphotographicvision
andcreativitywillexponentiallyincrease.
Havefunandgoodluck!
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HowtoReadthisBook
If,withoneword,Ihadtoanswerthemillion-dollarquestionIhavebeenaskedsomany
times—“Howdoesonebecomeabetterphotographer?”—Iwouldhavetosaythatthekey
tobecominganexpertatanythingboilsdowntoonething:practice!Andnotjustpractice,
butdeliberatepractice.Thereisaconsiderabledifferencebetweenthetwo.Onewillget
younowhere,andtheotherwillchangeyourlife!
Thisbookisbestreadcovertocover.Iwrotethebookwithprinciplesandtechniquesthat
willbuilduponeachotherasyourknowledgeandskillsetincrease.Onceyouhaveread
thebook,itwillserveasareliablereferenceguideforwhattodoinmanyproblematic
situations.
Mymainfocusforthisbookisyou!Throughoutthebook,Ipurposelychosephotosthat
containedteachingsubstance.Iwasnotinterestedinonlyshowingyoubeautiful
photographyandtellingyouhowIdidit,orwhatcamerasettingswereused.Mydesireis
totakeyouthroughmythoughtprocesses,walkyouthroughthenecessarystepsthatgo
intocreatingremarkablephotographs,andteachyouhowtobecomeyourowncritic.
Then,youseewherethereisroomforimprovementandhowtoachieveit.
Thebookisbaseduponamethodwherewewilltakeaverydetailedlookathowto
recognizethephotographicpotentialoflocationsusingtheLocationchart,asystematic
approachtoposingpeopleusingthePosingchart,andthetechnicalandartisticexecution
ofbothchartscombinedusingtheExecutionchart.Allthreechartsworktogetherlikean
orchestratocreatebeautifulphotographs.Buttheentiresystemdependsuponyouactually
practicingwhatyouarelearning.Thedeliberatepracticesectionofthisbookwillteach
youhowtocorrectlyimplementdeliberatepracticetechniquesandtomaximizelearning
foreverypracticesession.
Keepinmindthatphotographyissubjective,andyoumightnotagreewithallthematerial
inthebook.Thebookisintendedtogiveyouadifferentperspective,soreaditwithan
openmind.Inart,nothingissetinstone.ButthissystemIcreatedhasworkedincredibly
wellforme,andithasbeenlargelyresponsibleformysuccessfulcareer.Myhopeisthat
youfindthisbookhelpful,aswell.
IsthisBookOnlyforWeddingPhotographers?
No.Thisbookisforphotographerswhophotographpeople.Itisaboutgivingyouthe
toolsandmindsettotakeremarkablephotographsatanylocation,regardlessofits
aestheticappeal.Itwillteachyouhowtobreakdownaposetocreatenatural,finessed,
andconfidentportraits,regardlessofwhoisinfrontofyourlens.Iamawedding
photographer,sonaturallymanyoftheportraitandposingexamplesshownwere
photographedatweddingsallacrosstheworld.Nonetheless,ifyouphotographchildren,
highschoolseniors,lifestyleportraits,couples,fashion,travelorweddings,theprinciples
taughtherecanbeseamlesslyappliedtoanyformofpeoplephotography.Aslongasthere
isapersoninfrontofyourcamera,thisbookisforyou.
WhyDoIRepeatPhotographsThroughouttheBook?
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Asyoureadthroughthechapters,sometimesyouwillnoticethesamephotoappearing
twoorthreetimes.ThisisbecauseIranoutofphotostoputinthebook.Okay,I’mjust
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kidding!It’sactuallybecausetheprinciplesofmyteachingmethodbuilduponeachother.
Therefore,asyouarelearningtheprinciplesfromallthreecharts,itisbesttoseethem
appliedtothesamephotograph.Thisway,youcanseethebuildingblockscoming
togethertocreateartisticphotographsthatyouwillbeveryproudof.
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TheLocation,Posing,andExecutionCharts
Thesearethethreechartsthatthewholebookisbasedon.Mysystemwasdesignedtouse
theLocation,Posing,andExecutionchartstogethertobesthelpyouseewhatothersdon’t
whenyouarelocationscouting,creatingandfinessingnaturalposes,andputtingtogether
thebuildingblockstoexecuteyourbestworkyet!Icarrythesethreechartswithme
everywhereIgo.
LocationChart
PosingChart
ExecutionChart
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Part1:Locations
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1.Geometry
ITHASTAKENmanyyearsandthousandsofphotosformetotrulyunderstandthe
hiddenpowerofthegeometricshapespresentinourenvironmentandtheinfluencethey
haveonaphoto’soverallimpact.
Youprobablyrecallplayinggamesasachildwhereyouhadtomatchthelittleplastic
geometricshapestotheircorrespondinggaps.Theplasticballsandthelittlewoodencars
thatweplayedwithareallmadeofgeometricshapes.Oureyeshavebeentrainedto
immediatelyrecognizetheseshapes.Asadults,weareexposedtosomuchvisualstimuli
competingforourattentionthatourbrainscopewiththisbyselectingtoseeonlywhat’s
importanttous.Everythingelsebecomeslostinthenoise,includinggeometricshapes.It
isourjobasphotographerstobeabletoseewhatmostpeoplecannot.
Someofthemostobviousshapesaresquares,rectangles,triangles,circles,lines,and
arches(1.1).Then,wealsohavesecondaryshapes,whicharethedifferenttypesof
polygons.Geometricshapesaresopowerfulthattheverydesignofourcamera’s
viewfinderisarectangle.Oneofthereasonsgeometricshapesplaysuchastrongrolein
theaestheticqualitiesofaphotographisbecausewehavebeenexposedtothemsinceour
earliestmemories.
MostPopularGeometricShapesinOurEnvironment
1.1.Themostcommongeometricshapesaroundus.
Thus,toseewhatshapesmakeuptheeverydayobjectsinourworld,wemustreachback
intoourchildpsyche.Adiningroomtablebecomesjustarectangle,abeachballoran
umbrellaarenowspheresandcircles,powerlinesontheroadarejustconverginglines,a
windowframeisagroupofsquares,andthefrontdoorsofourneighbors’housesare
rectangles.Lookatyoursurroundingsrightnow.Whereveryouare,startseeingobjects
aroundyouasgeometricshapes.
Takealookatimage1.2.IwaswalkingonalittlestreetinSegovia,asmalltownnearthe
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centerofSpain.Iwalkedpassedcountlessstoresandpicturesquehouses.Nothinggrabbed
myattentionasmuchasthisscene.EventhoughItriedtoignoreit,thatrandomgreen
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squarefloatingaroundthestuccowalljustdemandedmyattention.
1.2.
Asyoucanseein1.3,thereareotherrandomshapescreatedbydirtordiscolorationof
paint.Becausewecan’texactlydescribethoseshapes,ourbrainsignorethem.Butitis
practicallyimpossibletoignorethatgreensquare.Herearethreetechniquesyoucanuse
whenencounteringgeometryinascene.Let’slookatgeometryforframing,geometryin
theenvironment,andgeometryforbalance.
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1.3.
TheDarkSideofGeometry
Geometricshapesareadouble-edgedsword.Althoughtheycanbeanasset
toyourwork,theycanalsobeadetriment.Ifthegeometricshaperepeats
itselfacrossthephotograph,itbecomesastyleorapatternthatiseasyon
theeye.Butifyouhaveaneasilyrecognizedgeometricshapeinarandom
placeinyourframe,itwillnodoubtdrawyoureyetoit,nomatterwhere
orwhoyourmainsubjectis.
Thinkofitlikewatchingaclusterofcloudsacrossthesky.Whentheytake
onarandomshape,youdon’treallythinkanythingofit.Butassoonasa
cloudtakestheshapeofsomethingyourecognize,suchasasquareora
circle,youcan’thelpbutlookatitandacknowledgetheshape.Tryto
avoidhavingarandomfloatinggeometricshapeinyourframe,unlessyou
areusingthegeometricshapeasabalancepointinyourcomposition.
GeometryforFraming
Framingsubjectswithgeometricshapesisagreatwaytostartimplementinggeometryin
yourwork.Weareallfamiliarwiththetraditionalportraitofabridestandingindoors
lookingouttheframeofadoor.Thisisanexampleofusingarectangleforframing.You
canalsouseacircularwindowtoframeyoursubject.Thelistgoeson.
Inimage1.4,Icomposedmyshottocreateaframearoundthebrideandhermotherusing
therectangularwindowframe,asiftheywereanactualpaintinginsidetheframe.Ialso
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quicklynoticedthatthissceneismadeupofmanyrectangles.Thetwoverticalcolumns
makeuptwoverticalrectangles.Thewoodenrailinginthefrontisprettymuchnothing
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butrectangles.Thewallsupportingthewindowframeisalsoarectangle,andthewhole
photoisarectangle.NotethathadInotkeptmycamera’sviewfinderparalleltothetop
andbottomofthescene,manyoftherectangleswouldhavedisappearedandseveralrightangletriangleswouldhavebeenintroduced,destroyingthecomposition(1.5).Nottilting
yourcameraisimportantwhenframingwithgeometricshapes.
1.4.
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1.5.
GeometryintheEnvironment
Thekeytousinggeometryintheenvironmentistodifferentiategoodgeometryfrombad.
Thisissubjectivebecausethepossibilitiesareendless.However,Iusealittletricktohelp
mefindgoodgeometry.
Findgeometrythatisarrangedinpatterns.Forexample,lookforfivecirclestogether,20
trianglessidebyside,oraclusterofrectangles.In1.6youcanseeanexampleofusing
goodgeometryintheenvironment.Thissceneiscomposedofapatternofrectangles.
Somearehorizontalandsomearevertical.Icarefullyplacedthegroomsohisheadwould
beinthemiddleofaclearwindowandnotintersectingaframe.Otherwise,inthephoto
hewouldhaveametalpolecomingoutofhishead.Thatpositionalsoallowedmetotake
advantageofthemirrortomyleft.Thisservestwopurposes:thegeometrycreateseye
candythroughoutthephoto,andthereflectionbalancesthephotobeautifully.Combining
compositionalelementsinthiswayisthekeytobecomingagreatphotographer.
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