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Anonymous
/p/, could you give me some basic tips about framing and composition before I get a new camera? Just general comments like rule of thirds, etc. What elements make a picture visually pleasing if you ignore the subject matter? Any tips that you have discovered and live by?
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Camera-Specific Properties:Equipment MakeCanonCamera ModelCanon PowerShot A520Maximum Lens Aperturef/2.6Sensing MethodOne-Chip Color AreaLens Size5.81 - 23.19 mmFirmware VersionFirmware Version 1.00Image-Specific Properties:Image OrientationTop, Left-HandHorizontal Resolution180 dpiVertical Resolution180 dpiImage Created2006:09:03 13:09:57Exposure Time1/13 secF-Numberf/2.6Lens Aperturef/2.6Exposure Bias0 EVFlashNo Flash, CompulsoryFocal Length5.81 mmColor Space InformationsRGBImage Width1024Image Height768RenderingNormalExposure ModeAutoScene Capture TypeStandardExposure ModeProgramFocus TypeAutoMetering ModeEvaluativeISO Speed RatingAutoSharpnessNormalSaturationNormalContrastNormalShooting ModeManualImage SizeUnknownFocus ModeSingleDrive ModeSingleFlash ModeOffCompression SettingSuperfineMacro ModeNormalSubject Distance1.700 mWhite BalanceDaylightExposure Compensation3Sensor ISO Speed128Image Number120-2097
>> Anonymous
>>153686
>>153724

fagfag
>> Anonymous
>>153722
Thanks. I'll keep those in mind. I didn't really like what I saw, but maybe with a bit more experience, I'll be able to understand the reasons why these photographers are considered great.
>> Anonymous
>>153720
Someone wants to be an hero, they are just working their way up.
>> Anonymous
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>>153730
Well, take this photography by Cartier-Bresson. Captioned "SPAIN. Valencia. 1933. Inside the sliding doors of the bullfight arena." Very simple, but...

1. The "7" copies the shape of the boy in the background, and the rings circle and highlight him.
2. Right down a rule of thirds line, or almost, is the division between the dark background and the white door and wall.
3. The white door and wall contrast with the dark-clothed guard and shoulder of presumably another guard, both smack in the middle of them. The guard's reflective monocle pops out on his face.
4. The window in the door perfectly frames the guard. The window could just as easily the outer frame of a photograph in itself, albeit an inferior one.
5. The line of the white wall stops and yield to sky just up and to the side of the guard's head.
6. The boy in the background is energized somehow, the older guard is stoic and wary. And since the boy is out of focus, we can't tell if he's energized with excitement or apphrehension. (sp?)

Now, Cartier-Bresson probably wasn't thinking all this when he shot it. Composition is intuitive. And the photograph hits without this analysis because of all the little details I outlined. But that's how it works. Just keep composing and studying and it'll become intuitive.
>> elf_man !!DdAnyoDMfCe
>>153685
Do you remember art class in high school, the basic art theory they taught you? Still applies. Spend an hour on wikipedia, you will be well-versed in the basics.
Then learn to see the light, and the way it layers over things. Look for interesting light, to highlight your subject, to give it separation and emphasis.
Try different angles, on different planes. Just shoot and keep shooting, but with intention to make each shot different from the last. This will teach you what you need.