Lesson 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.

Class Description

Lessons

1. Class Introduction - Three Steps To Creative Photography

   There are three elements that go into creating a compelling photograph: technique, composition and creativity. Chris explains how an ancient Japanese philosophy of art, built around the notion of hand, eye, heart, helped him develop a fool-proof process for creating beautiful photographs, time and time again.

2. Firing The Creative Mind - Part 1: The Camera Points Both Ways

   The photographs we take reflect not just what we see but what we feel about what we see. In this lesson, Chris explains how to connect with your subject - the first step in turning snapshots in photographic art.

3. Firing The Creative Mind - Part 2: Letting Go Of Judgement

   Almost by definition photography involves making judgements but being judgemental blocks creativity. So, to reveal how to turn negative views into positive outcomes, Chris heads to Britain’s “least-interesting” location and challenges himself to create a compelling photograph.

4. Firing The Creative Mind - Part 3: Detaching From Outcomes

   Sometimes, we get so focussed on what we set out to photograph that we forget about everything else, which leads to missed opportunities. Often, the most successful photographs are the ones never anticipated. Chris reveals the benefits and practices of keeping an open mind.

5. Practicing Mindfulness In Photography

   By deconstructing one of his all-time favorite images, Chris shows how approaching photography with a mindful eye can help you create photographs that show much-photographed subjects in a new and compelling way.

6. Finding The Visual Narrative

   To find the story, you have to get involved. You have to invest time and energy and immerse yourself in your subject. Stepping way outside his photographic comfort zone, Chris heads to Naples, in Italy, to see whether he can capture on camera its people and culture, and reveals the benefits of knowing your subject.

7. Behind-the-scenes: Naples

   In a feature-length lesson, Chris is joined by fellow professional Simon Weir. Together, they take you behind-the-scenes of photographing on assignment, and reveal their vision-to-print approach for capturing compelling images.

8. Seeing Beneath The Surface Of Things

   Getting beneath the surface of things is key to creative photography. Chris compares his passport photograph with a masterful portrait to demonstrate the difference between the semblance of a subject and its essence.

9. Finding Inspiration

   Where does inspiration come from? Chris looks back at the past to discover what inspired his approach to photography, and passes on ideas about how to find inspiration in the world around us.

10. Slowing Down

    Revisiting a personal photographic project, Chris explains the benefits of taking a more thoughtful approach to image making.

11. Three Reasons To Shoot RAW

    Looking at the whole process of photography, from visualisation to print, Chris explains the three key reasons for moving away from JPEG and embracing RAW.

12. Choosing the Right Frame Format

    Cameras are designed to be held a specific way but that way doesn’t always suit the composition. Chris reveals how turning pro’ helped to think more carefully about frame format, and explains how to match subject and composition in the field.

13. Don’t Be Limited By The Shape Of Your Camera

    We rarely give much thought to the shape of the camera sensor and yet it defines the image space. Investigating some of his favorite photographs, Chris shows how thinking “outside the rectangular box” can have a huge impact on the visual quality of photographs

14. WYSIWYG

    With a camera, what you see is what you get. Unlike the human eye, cameras record every minute detail, which can reduce the visual impact of a photograph. In this lesson, Chris reveals how he uses the viewfinder to improve his compositions and ensure every pixel counts.

15. Choosing Lenses

    We all love to buy them but don’t always know how best to use them. Chris heads to the cinema to showcase how different lenses are used to define the visual narrative of a photograph.

16. Perspective

    Chris takes on the challenge of capturing an image he’s long had in mind to show the benefit of looking at the world from a different perspective.

17. Considering Foreground And Background

    Most photographs contain three elements: the subject, and what’s in front of and behind the subject. Chris puts on his walking boots to reveal the importance of considering all three elements, and show how to use foreground and background to strengthen composition.

18. Two Out Of Three Ain’t Bad But Three Into Two Is Better

    Chris considers the limitations of cameras in recording the world we see and reveals compositional techniques that can be used to recreate the three-dimensional world on a flat piece of paper (or digital screen).

19. Separate And Isolate

    Chris compares a set of images to show how separation of subject and “ground” improves composition, and shows the different camera techniques and composition rules you can use to draw attention to your main subject.

20. The Art Of Creative Exposure

    There is no “right” or “wrong” exposure. In this lesson, Chris looks at silhouettes and high-key imaging to demonstrate that exposure is a creative tool, and reveals some of the techniques behind capturing in-camera exposures that match the photographer’s vision.

21. Focus On The Story

    Chris poses the question, what is the point of focus? In answering that question, he reveals the power of focus and de-focus in defining the visual narrative and leading the viewer on a visual journey through the image space.

22. The Passage Of Time

    Most photographers know the technical role of the shutter. In this lesson, Chris looks at how to use the shutter as a creative tool.

23. Creating A Visual Sense Of Mood

    Great photographs reveal more than the physical nature of things, they elicit an emotional response, too. In this lesson, Chris heads out in the middle of winter to show you how to use light and color to add mood to a photograph.

24. Color vs. Black & White

    We see the world in full, beautiful technicolor. So why on Earth would anyone want to compose an image without it? In this thought-provoking lesson, Chris looks towards some of the world’s leading photographers - past and present - and heads to New England to reveal when to shoot color and when to shoot black-and-white.

25. The Decisive Moment

    Henri Cartier-Bresson coined the phrase “The decisive moment”. In this lesson, Chris talks through one of his most successful wildlife images to explain what makes a “decisive moment”.

26. Using Color As A Cohesive Tools

    Photography isn’t always about the single image. There are several reasons you may want to consider building a portfolio of work - from exhibition to competition. Chris reveals how he set out to create a unified set of images for display in his gallery.

27. Photography Is A Two-Part Process

    As Chris moves from out in the field to inside the digital darkroom, he explains the role of computer-based processing in photography, today, and describes the essential processing tools he use for the vast majority of his processing work.

28. Case Study: Recreating The Art of Sumi-e

    In the first of three case studies, and with the help of some Hollywood-style GFX, Chris takes you on a step-by-step explanation of how he used Adobe Lightroom to fine tune the out-of-camera RAW files of his Japanese-style photographs, ready for exhibition in his galle

29. Case Study: Making Something Out of Nothing

    In this second case study, Chris takes the out-of-camera image from his Lincolnshire challenge (Lesson 3) and sets about completing the process of vision to print.

30. Case Study: Moody Blues

    In the final case study, Chris takes an image from his winter waterfall experience (Lesson 23) and, step-by-step, reveals how he used Adobe Lightroom to turn the RAW file into a finished image that perfectly matched his visual intent.

31. Image Reviews

    In a series of image reviews, Chris deconstructs (mostly) TCP students’ images, posing the question, “Does the image tell the story the photographer wanted to tell?” Where it does, he explains how, and where it doesn’t he reveals what could be changed to better match final image and creative intent. The sequence starts with a herd of zebra and frame format.

32. Image Review: The “Thinking Man”

    Chris reveals how to use depth-of-field to improve a portrait of an orang-utan.

33. Image Review: The Golf Course

    Chris shows how to use the vertical format to identify and isolate the main element in a “busy” scene.

34. Image Review: Dreamstate

    Chris uses frame format, color and the presence controls to turn an “okay” portrait into a more compelling composition.

35. Image Review: Gone Fishing

    Chris reveals some useful composition techniques to bring visual energy to a static kingfisher.

36. Image Review: Promenade

    Chris takes a step forward to remove a foreground distraction and open up the visual journey.

37. Image Review: Sky and Reflections

    Chris shows how the placement of the horizon line can completely change the visual narrative.

38. Image Review: Grass and Field

    Chris shows how an image that looks pretty on the surface, misses the visual narrative, and sets about making changes that better match the photographer’s story.

39. Final Word: Show Me What The World Looks Like To You

    In his final word, Chris explains why just because “everyone now owns a camera” doesn’t mean the world is full of photographers, and shows why training yourself as a photographer is the most challenging but most rewarding aspect of The Complete Photographer journey.