Lesson Info
12. Choosing the Right Frame Format
Lessons
Class Introduction - Three Steps To Creative Photography
03:48 2Firing The Creative Mind - Part 1: The Camera Points Both Ways
03:10 3Firing The Creative Mind - Part 2: Letting Go Of Judgement
06:53 4Firing The Creative Mind - Part 3: Detaching From Outcomes
04:12 5Practicing Mindfulness In Photography
02:43 6Finding The Visual Narrative
02:39 7Behind-the-scenes: Naples
07:52 8Seeing Beneath The Surface Of Things
02:30Finding Inspiration
03:19 10Slowing Down
03:57 11Three Reasons To Shoot RAW
02:29 12Choosing the Right Frame Format
03:52 13Don’t Be Limited By The Shape Of Your Camera
05:07 14WYSIWYG
04:15 15Choosing Lenses
05:02 16Perspective
02:44 17Considering Foreground And Background
03:10 18Two Out Of Three Ain’t Bad But Three Into Two Is Better
03:43 19Separate And Isolate
02:32 20The Art Of Creative Exposure
06:38 21Focus On The Story
04:20 22The Passage Of Time
03:00 23Creating A Visual Sense Of Mood
04:24 24Color vs. Black & White
03:09 25The Decisive Moment
03:00 26Using Color As A Cohesive Tools
01:51 27Photography Is A Two-Part Process
06:55 28Case Study: Recreating The Art of Sumi-e
07:04 29Case Study: Making Something Out of Nothing
04:32 30Case Study: Moody Blues
03:29 31Image Reviews
03:02 32Image Review: The “Thinking Man”
01:55 33Image Review: The Golf Course
02:32 34Image Review: Dreamstate
02:38 35Image Review: Gone Fishing
02:24 36Image Review: Promenade
01:47 37Image Review: Sky and Reflections
01:57 38Image Review: Grass and Field
02:20 39Final Word: Show Me What The World Looks Like To You
04:44Lesson Info
Choosing the Right Frame Format
most cameras today, a shape like this, which means they're most comfortable in the hand when held like this. This also makes sense because on the whole, visually we observe the world horizontally from left to right like this. And so by far the large majority of photographs are framed like this. I learned about the importance of consciously considering frame format when I first started trying to sell my work to magazines, researching potential clients in my local newsagent. It struck me that every single magazine cover is vertical. So if I ever wanted to get an image on the cover of a magazine, which of course I did. Then I had to start shooting in the right orientation. One of the first things I look at when I'm composing an image is the shape of the main subject, and I generally match the frame format to the shape. Let's take trees as an example, a single tree trunk is a vertical rectangle, which matches a vertical frame orientation. A clump of trees, on the other hand, more closely m...
atches a horizontal rectangle than so better fits horizontal framing. Now this is a very simplistic view, but it's a great starting point. I also consider the direction of perceived travel and how my framing will influence how a viewer's eye moves between points in the frame in the horizontal format and images read left to right in the vertical format from bottom to top. So I would say, an animal moving across the cameras line of sight. The perception of motion is emphasised when horizontal framing is applied. However, if the animal is heading straight towards the camera, forward motion is emphasised with vertical framing. Design elements like lines might also influence my choice. An obvious example is a horizon, which is a horizontal line and so generally speaking suits horizontal format. On the other hand, the ship's mast is a vertical line and so best fits a vertical frame. Diagonal lines are more interesting, and the most appropriate frame format will depend on their angle. Gentle diagonals tend to suit a horizontal frame. Sharp rising diagonals, however, better match of vertical frame now. Often, what's dictating my decision is what format enables me to start and end diagonals in the corners. Now, these are all simplified guidelines that can be expanded upon to create more complex and more dynamic compositions and to show you what I mean. Let's go back to the trees. Imagine I want to tell a sinister story. Let's say I want to create the emotions of tension, foreboding and trepidation, a chilling journey into a dark, unknown future like a hobbit and seven Dwarfs entering Mirkwood in a Tolkien novel. For this story, even though the subject is vertical in shape, I have opted for a horizontal format. Cutting through the trunk slow down to emphasis, depth and close space, which helps create a visual sense of disquiet and claustrophobia, as if the trees are closing in on you. Remember, you were choosing moments in time and putting a frame around them. That frame, then, is an important part of the story and shouldn't be dictated by the design of the camera. The camera is your servant is up to you to tell it what to do. Imagine you're on assignment, shooting the cover of your favorite magazine, study the magazine and the sorts of cover shots they go for. Notice how much space they use for the title and where the taglines are positioned down the side. Now take your camera out and shoot an image in the vertical format in the style of the magazine. You never know. You may even end up selling it to the publisher.
Ratings and Reviews
Glenda
I loved this course - in particular the latter part of it in which he demonstrated how post processing lets you really tell the story of the image. Another fabulous course. Thanks Chris & thanks Creative Live.
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 photographic composition and visual storytelling) both courses are Complementing to each other and highly recommended.
Charles Ewing
Fantastic course. Great photographer, teacher and storyteller!