from basics to fine art download

from basics to fine art download

The steps I make when following the method of Photography Drawing are most of the times the same. Some are conscious steps, some others have become a habit I do not think about but just do what I do as an automated process.

What I do as a first stage is to compare my vision to the reality and evaluate how much they have in common and how much I need to change in order to make the journey from reality to the final image.

I will present these steps in the following paragraphs, explaining for each step what it consists of and how to practically go through the process. Compare the result you have captured in the camera with the final image you have in your mind. Try to find the differences and see what you will need to add or to remove in terms of light disposition so the image you captured becomes the image you envisioned.

This is a very important step as now you determine your assets in terms of image and set up a plan on how to work on your photograph in order to make it match your initial idea and vision. This is also the moment when you choose the image you will work on, among those you took of the subject, and this will have to do both with composition and with how you captured the light and also with how you can intervene in the image and work with this light in order to transform a lifeless RAW file into a personal piece of art.

Yes, the RAW file is lifeless as long as you have not intervened in it. Starting to work on a RAW file can be compared with the moment a painter sets up his canvas and looks at the scene in front of him. Nothing more. You have chosen the angle, chosen the light and clicked to capture those.

You may have travelled a long way to get there, or woke up really early or done other things that seemed like an effort, but this is still not creation, it is just preparing for the act of creation. This is only the beginning of the journey that will take you from an idea to a fine art photograph. The real part of creation, the visible part of it, is what starts right now.

Why are some black and white photographs better than others? All questions I have been asking myself and many other photographers with me. Good composition is the strongest way of seeing, to use a familiar quote. Now I want to go into some specific black and white aspects of a photograph only in this section, assuming that when we ask ourselves what makes a good black and white photograph, that the composition is already strong.

If you have a strong composition and your black and white interpretation reveals mastery, then you will have a winning combination that is hard or even impossible to beat by a colour photograph. Having set the limits of this topic here, let me start by saying that creating black and white photographs is done in post-production, not in-camera. Due to the absence of colour, the artist needs to decide how to translate a specific colour to just one tone.

What it comes down to is that, since we are talking about just one tone corresponding to one hue of color, the difference between the tones will only be shown by light or the absence of light, not by saturation or other colours. In other words, what makes a great black and white photograph? I have formulated a set of principles that I will call the Rule of Grays or the 10 Monochromatic Commandments, that will help you understand what a good black and white photograph is made of. Not black nor white, just gray.

Black is the complete absence of light and white obviously the complete presence of light. When we are talking about black and white photographs we are not really talking about a photo consisting only of a black or a white tone. They are the least interesting. No, we talk about the gray tones. Black is the darkest gray tone, stripped of all light, white is the lightest gray tone, exposed with too much light. In both cases we do not see anything, because it is either too bright or there is no light.

Add a bit of light to black and you have a dark gray tone, remove a bit of light from pure white and you have a light gray tone. There is only one pure black tone and there is only one pure white tone, but there are shades of gray. Gray rules and should be dominating a black and white photograph: the rule of grays. The eye is always drawn to the area in a photo that has the most contrast. If there is an area in the image that has pure black against pure white, then that area will get all the attention.

If you create an image with too much contrast that has not been carefully chosen then the eye will go all over the image and does not know where to look at. How to create contrast in a correct way? It is not just a matter of hitting the contrast button. It is a matter of analyzing first where you want the eye to look at. If you do it right then you start with creating contrast by getting it right in-camera. But even if you do not do it right in-camera because the light is not perfect, then you can always create more contrast in post production in the areas in the images that you have chosen as an artist.

That is one of the benefits of converting colour to black and white instead of having the black and white in-camera. You can simply create contrast where there was no contrast and remove where it once was.

If you have a colour photograph that has a subject with a blue shirt against a blue background, then the subject will fade away against the background. But you can decide in post-production to translate the blue background to different tonal values than the subject with the blue shirt. The freedom of black and white conversion.

Creating contrast or enhancing contrast should be done carefully and very selectively and not by just brightening the whites and darken the blacks.

Selective use of tonal contrast is one of the most important elements in any great black and white photograph. To conclude this section on what makes a great black and white photograph I will show you an example from my work. It shows an analysis of how to work with tonal zones and how to distribute them across the image and also how to use selective contrast to create depth and definition in volumes. Out of the possibilities of fine art, street photography is a recent concept.

It stems from being able to see the street and daily life in a different way. You will sense him in his images. You can feel his creativity and his playfulness in the subjects he photographs.

His artistic background helped him see the world in a different way. Portrait photography is the biggest area of conceptual and fine art. As the focus is the portrait, posing the model is key. Twisting the body is a great way to escape the rigged, block body shape. This will also give them a sense of movement, instead of standing still. To keep that mood of wonderment, separate arms, and legs. This dreamy stance allows negative space to give an impression of the model moving.

Imagine Alice entering Wonderland. Her innocent, childlike poses encapsulated in a strange, mystical land. Underwater photography is an area of portrait photography. Here, the setting helps to create beautiful poses. The suspended models look like they exist on some mythical, ethereal plane. This reiterates the wonderful, dream-like state that attributes to the fine art feel. The styling of hair, makeup and clothing are important to give the mood and feeling of the image.

Big dresses work well to extenuate that creative, free-flowing atmosphere. Fashion photography captures the flamboyancy of hair, makeup, and clothing. These three things combined with the model and setting all come from a clear, creative vision. The styling of the mise en scene denotes the mood and air of the model through poses and expressions. All together, they create fine art photography. You will find a large part of fashion photography focuses on the fine art aspect.

This is down to fashion houses not selling a product. They sell a mood and feeling. They are creative and eye-catching, and sometimes shocking. This is because they have to be to stand out and grab attention. Food photography can fall into two different categories. Those images used for commercial and social media use.

And those that follow something artistic. An example of the latter would be to photograph the food as still life. By placing the items with intent in a still life composition, you can recreate classical paintings.

To achieve this style, first, look at the light. Use one light source and keep the shadows and negative space. Wedding photography is about running around. Hopefully capturing all the faces and little moments of a matrimonial event. Making sure you have captured all the relatives is an art in itself. But what about a fine art approach? Fine art wedding photography is an area where a lot of thought has gone into the photography session. Fine art photographer. Up to that point, my editing was loosely based around a workflow which catered for making mostly global adjustments to an image.

In the book, both Joel and Julia Anna outlined the benefits of breaking an image down into a number of carefully selected areas. Once selected, those areas can be adjusted and the result blended into the overall image, typically using a gradient mask.

That simple principle was the foundation for a completely new editing process for me. It is now central to everything I do in Photoshop. Lots of tips and tricks to sidestep the learning curve. The way you explain the vision and technique is beyond imagination, even small macro details are there. No words to describe such a great book. Chapeaux to both of you and thank you again. I was so inspired by the two of you. I am extremely happy with the purchase and the inspiration and training that the book provided.

Just thought that you would like to know how people see the book and what they are able to achieve thanks to you. Thank you!!! And with this book you hit me and this is what I like. A few weeks ago I showed a picture I have made according to your book and people liked it. Dear ZLibrary User, now we have a dedicated domain 1lib. You can bookmark the new address and use it in the future. Amir Taheri. Rose Images.

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