Elements of Design - Shape
Lesson 24 from: Mastering Photographic Composition and Visual StorytellingChris Weston
Elements of Design - Shape
Lesson 24 from: Mastering Photographic Composition and Visual StorytellingChris Weston
Lesson Info
24. Elements of Design - Shape
Lessons
Your 10,001st Photograph
03:24 2Camera Gear
03:03 3Piece of Gear We Always Forget
03:47 4Be a Storyteller
03:09 5Finding Ideas For Photography - Know Your Subject
06:59 6Cae Study - Why Are Zebras Black and White Striped
01:30 7Photograph What You Love
02:00 8See the Extraordinary in Ordinary Things
01:31Have an Opinion
01:46 10See With a Child’s Eyes
02:34 11Tell Your Story
08:46 12Find a Needle in the Haystack
01:38 13Lions Hunting Under Star Trails
04:21 14Ansel Adams and Visualisation in Practice
03:20 15Keeping an Open Mind and Thinking on Your Feet
02:47 16Case Study - The Maternal Bond
02:42 17Don’t Tell the Same Old Story
02:38 18Relevance
01:06 19#1 Reason Photographs Fail
02:57 20Getting Rid of Clutter
03:59 21Post Capture Cropping
02:04 22The Elements of Design
02:31 23Elements of Design
01:38 24Elements of Design - Shape
02:21 25Case Study - Shape
02:11 26Elements of Design - Color
01:55 27Case Study - Color
01:50 28Color in Camera
01:42 29Pattern
01:54 30Texture
02:24 31Seeing The Elements of Design
08:52 32Gestalt Theory
05:10 33Case Study - Cove
01:36 34Case Study - Hat
02:09 35Light and Contrast
01:54 36Light and Form
01:26 37Light and Depth
03:48 38Perspective
02:28 39Lenses and Perspective
02:47 40Rule of Thirds
02:48 41Centre of Frame
01:36 42Case Study - Positioning the Subject
01:48 43Positioning the Subject - Dynamic Symmetry
03:20 44The Horizon Line
02:52 45Should the Horizon Line Always be Straight and Level
02:13 46Other Lines
04:57 47Rhythm, Balance, and Visual Weight
02:59 48Negative Space
02:29 49The Two Most Important Controls on Your Camera
03:41 50Training the Mind
04:26Lesson Info
Elements of Design - Shape
in the same way distinct lines help define the visual story. The same could be said of shape. Some shape such a squares, rectangles and triangles or keyboards and pyramids typically depicts turning us and solidity. Imagine trying to topple over a pyramid and you'll get my point in a photograph. That solidity also creates status and the lack of visual energy on a triangle. A pyramid upside down, however, and it's prone to topple over all on its own is no longer stable and static is wobbly, andan balanced again. The visual implication is emitted energetically and psychologically so as to create a feeling of uneasiness, an imbalance in the viewer on Because an unbalanced objects suggest movement, it creates visual energy. Triangles can also be leading lines pointing into or out of the image space, drawing attention to the subject or area of the scene or taking you out of the space altogether. They are also strong metaphors. Sharp points are associated with danger and pain, so the triangle...
s formed by the jagged edges of a mountain range, for example, might reminders of a sore or serrated knife. All of these associations implications, metaphors and assumptions transmit emotive energy from the photograph to the viewer on their psychological effects must be considered when you're composing the image circles and ellipses, which have no beginning or end lead nowhere. Instead, they frame and enclose whatever is contained inside them. In this case, May, which holds the viewer's gaze to the exclusion of everything else. In that sense, whether implicit or like an archway, implied circles may be employed as a compositional tool for visually removing distracting detail circles, also a symbol of rhythm and unity. The Olympic emblem, for example, represents the Union of the five continents. However, another word for Enclosed is entrapped, which brings with it connotations of constraint. As with all other shapes, each of these overtones and intimations must be considered when composing a photograph. So how does this work in practice? Well, to answer that question in the next lesson, I'm going to take you back to one of my favorite photographic locations. Marrakech. No
Ratings and Reviews
Edmund Cheung
Perhaps the style of presentation and simple, short, and direct messaging does not "jive" with some; but others may really love this. Yes the production of each episode is stylized and perhaps a bit formal (like a TV Show?), but there is something to be said about it. Perhaps this is not meant for professional photographers? I think of myself as decent amateur / high level photographer. I found lots of great nuggets of wisdom and inspiration from this. Especially when I an in a rut for creativity. Yes I have heard all these concepts and ideas before. BUT it is always great to hear and see a different way of presentation and voice. Please do NOT take the naysayer reviews as the end all. You should judge for yourself and watch a few episodes. If the style and content click for you, I would highly recommend this course.
Kai Atherton
While I am perhaps more advanced in my photography then this course. It is always great to be able to go back to fundamentals and remind ourselves of the basic principles, and even camera function. I thoroughly enjoyed this course and Chris's other. It is a great motivational jumpstart when lacking fresh creative idea's.
Abdullah Alahmari
Thanks a lot to mr. Chris Weston This course is great and It is a 🌟 🌟 🌟 🌟 🌟 course for me. Beside the other course ( mastering the art of photography ) both courses are Complementing to each other and highly recommended.