Texture & Negative Space
something else to look for is texture and texture really is a pattern in many ways. It's something else, though, that we might have a little bit more awareness of what it feels like. Is it Hot is a cold. We're gonna relate to that subject in a different way. Does anyone know what this is? Raise your hand. Let's see if we get what we have. Your microphone. Elephant skin that is correct. It's a close up of an elephant. Elephant got so close to me when I was on safari. My big lens didn't do much good, but I figured this is a good opportunity to get a nice close up of it. But I think it would make a nice backdrop on a desktop for, you know, computer screen or something. It's nice, simple, clean background and so texture. You know, the smoothness of those rocks is something that you can almost reach out and feel aluminum siding and that side lighting all that detail. And there really makes you feel for what that might be like toe walk on or feel with your own hands. And when you can really ...
identify with that subject on another level just beyond the visual level. You start imagining what that would feel like. You're drawn a little bit more closely into understanding what that is like. I love these old walkways in some various small European countries because they're just so slick and smooth. But I would hate to be there on a rainy day because you just know how smooth they are, and you can tell it how slippery this is and how hard it must be to walk around on this and get photos, because it's very, very slippery. And one of my favorite textures is the differ on the baby King penguins, which are really these soft brown bears. They call them bears with beaks and flippers, and when it gets wet, the texture completely changes. And so then you know it's just kind of that wet coat, wet cat feeling here, another concept to think about, and this is the reverse of filling the frame. This is having some negative space around your subject to give it context in size and location, and this is for those times where you don't need to fill the frame with with every bit of detail, and you may be. You need space for one reason or another. Maybe you're gonna use it for a poster and you need to put text in there. Or maybe you just want to show size and scale, as I say of what else is around that subject, what's filling that space? And so it's okay to have a bunch of blue sky from time to time in your photographs. I was up in northern Canada and we were canoeing down this river and there was just nothing, but it really felt like this was a good picture of nothingness. How this is what it felt like, just nothing around. Everything was just very, very far away and so showing your subject within their environment. This is one of my favorite photos of cars in Cuba, and it's unusual because generally cars don't have smooth, clean paint jobs. And I wanted to show as much of the smooth, clean paint job that this really is all that very, very smooth, giving the idea of that dark cloud just hanging above their a little bit, giving space a little bit of direction for that chair. That curve of that chair leaning forward wouldn't like what it's like to be in the Mali desert, the Sahara Desert here and there's just a lot of big open sky above you big open expanse. Having that negative space there helps you give a feel for that area, and this might be my favorite slide of the whole class. So we have a little bit of scale here, but we don't have to get in close. We just like to have this person's sometimes a little bit to show us where we are in this giant expanse of this beautiful place.
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Full-length class: Fundamentals of Photography with John Greengo
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As a photographer, you will need to master the technical basics of the camera and form an understanding of the kind of equipment you need. The Fundamentals of Digital Photography will also teach something even more important (and crucial for success) - how to bring your creative vision to fruition.
Taught by seasoned photographer John Greengo, the Fundamentals of Digital Photography places emphasis on quality visuals and experiential learning. In this course, you’ll learn:
- How to bring together the elements of manual mode to create an evocative image: shutter speed, aperture, and image composition.
- How to choose the right gear, and develop efficient workflow.
- How to recognize and take advantage of beautiful natural light.
John will teach you to step back from your images and think critically about your motivations, process, and ultimate goals for your photography project. You’ll learn to analyze your vision and identify areas for growth. John will also explore the difference between the world seen by the human eye and the world seen by the camera sensor. By forming an awareness of the gap between the two, you will be able to use your equipment to its greatest potential.