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Mastering Photographic Composition and Visual Storytelling

Lesson 38 of 50

Perspective

Chris Weston

Mastering Photographic Composition and Visual Storytelling

Chris Weston

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Lesson Info

38. Perspective

Lessons

  Class Trailer
Now Playing
1 Your 10,001st Photograph Duration:03:24
2 Camera Gear Duration:03:03
4 Be a Storyteller Duration:03:09
7 Photograph What You Love Duration:02:00
9 Have an Opinion Duration:01:46
10 See With a Child’s Eyes Duration:02:34
11 Tell Your Story Duration:08:46
12 Find a Needle in the Haystack Duration:01:38
16 Case Study - The Maternal Bond Duration:02:42
18 Relevance Duration:01:06
19 #1 Reason Photographs Fail Duration:02:57
20 Getting Rid of Clutter Duration:03:59
21 Post Capture Cropping Duration:02:04
22 The Elements of Design Duration:02:31
23 Elements of Design Duration:01:38
24 Elements of Design - Shape Duration:02:21
25 Case Study - Shape Duration:02:11
26 Elements of Design - Color Duration:01:55
27 Case Study - Color Duration:01:50
28 Color in Camera Duration:01:42
29 Pattern Duration:01:54
30 Texture Duration:02:24
31 Seeing The Elements of Design Duration:08:52
32 Gestalt Theory Duration:05:10
33 Case Study - Cove Duration:01:36
34 Case Study - Hat Duration:02:09
35 Light and Contrast Duration:01:54
36 Light and Form Duration:01:26
37 Light and Depth Duration:03:48
38 Perspective Duration:02:28
39 Lenses and Perspective Duration:02:47
40 Rule of Thirds Duration:02:48
41 Centre of Frame Duration:01:36
44 The Horizon Line Duration:02:52
46 Other Lines Duration:04:57
48 Negative Space Duration:02:29
50 Training the Mind Duration:04:26

Lesson Info

Perspective

there's an old erroneous saying, often stated in relation to landscape photography that is summarized by the phrase F eight and be that now the reason it's erroneous is while the FAA part of some technical merit, the same never lose to where they're actually is, which surely is the important point. Back in the day, art critics denounced then modernist painter Claude Monet for his apparent disregard for composition. One critic they adore do, Ray wrote. He sits down on the bank of a river and paints what he has in front of him, which is a little like saying, as photographers, you and I just point the camera and shoot the point. Gerais failed to grass. Wasit was by choice of viewpoint of exactly where he sat on the river bank, that more nave performed his active composition. The truth is far from disregard. Money was an absolute master of composition, so same critics later came to applaud when he walked his garden, Monday would stop screw up his eyes, shielding them with his right hand, h...

is step back and forth, move a little to the left, and then to the right and then nod. This signified had just selected the subject of his next piece of work. And this is what I mean when I talk about perspective in life. Perspective is how we see the world in photography. Perspective is how we present the world. We see in this sense our point of view and the cameras point of view are intrinsically linked. We position the camera to compose the elements in a particular way to reveal the story we want to tell. To change the story, we simply have to change the cameras point of view. Unfortunately, the camera is on inanimate objects, so to change its point of view like Monday, you have to move camera to subject distance affects the visual weight of the objects in the scene, stand close and nearby objects of visually heavier san. Further away in the visual weight reduces because objects appear smaller in the frame, moving slightly to the left or right changes the negative space, maybe eliminating a distracting object or highlight. Or it might create separation between overlapping objects and changing position doesn't mean changing location completely. Most often is the tiniest movements, a subtle shift of the side. It's like crouch a step backwards, or forwards that have the greatest impact. No

Class Description

WARNING: THIS COURSE CONTAINS ARTISTIC NUDITY

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Compose a shot consistently and effectively
  • Create artistic, powerful images quickly
  • Gain confidence in building narrative
  • Identify what stories you’re drawn to photograph
  • Brainstorm and develop concepts for creative shots
  • Trust your instincts when approaching a subject

ABOUT CHRIS' CLASS:

CreativeLive is partnering with Chris Weston to offer you his Complete Photography Master Course. This is the second class in the series.

Today, everybody has a camera, but that doesn’t mean everyone’s a photographer. Chris Weston will show you how to do all the other stuff – how to “see” an image, tap into your creativity, and compose a photograph that makes the subject look as good in print as it does in real life.

This class isn’t about cameras, it’s about you – the photographer. It will break free your creative mind, get you thinking about narrative rather than object, and show you how to apply simple artistic skills that turn that next click into a powerful photograph.

Learn how to approach photography like a pro and start creating great pictures straight away. With in-the-field lessons, case studies and powerful tips and techniques, you’ll quickly unleash your creativity and gain confidence in expressing yourself through your camera.

WHO THIS CLASS IS FOR:

  • Beginner photographers
  • First time DSLR or mirrorless camera users
  • Any photographer who wants to hone their artistic skills

ABOUT YOUR INSTRUCTOR:

Named one of the world's most influential wildlife photographers, Chris Weston takes a contemporary approach to photography. After launching his career in 2001, the Fujifilm ambassador's images have graced the pages of top publications like BBC, The Times, Outdoor Photography, Practical Photography, and Digital Photography. As a photography educator, Chris has written over 20 photography books, along with leading photo tours and online workshops.

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.