İnsan Fotoğrafı Çekmek İçin Bu Kİtabı Okuyun
Henry Carrollİnsan Fotoğrafı Çekmek İçin Bu Kİtabı Okuyun Gönderileri
İnsan Fotoğrafı Çekmek İçin Bu Kİtabı Okuyun kitaplarını, İnsan Fotoğrafı Çekmek İçin Bu Kİtabı Okuyun sözleri ve alıntılarını, İnsan Fotoğrafı Çekmek İçin Bu Kİtabı Okuyun yazarlarını, İnsan Fotoğrafı Çekmek İçin Bu Kİtabı Okuyun yorumları ve incelemelerini 1000Kitap'ta bulabilirsiniz.
Bakış
Oysa fotoğrafçının kişiye belirli bir şekilde poz verdirdiği fotograflar çok farklıdır. Fotoğrafı çekilen kişiler, fotoğrafın çekilmesi sürecine ortak olur. Onları oldukları gibi değil, fotograflarını çektirdikleri an daki gibi görürüz.
Sayfa 43Kitabı okudu
İnsanların fotoğraflarını çekmeyin.
İnsanlar hakkında fotoğraf çekin..
Sayfa 6 - Remzi kitabeviKitabı okudu
Many photographers create their own landscapes.
Bkz: Bodyscape: Tongue from the series ‘Orogenesis’ Joan Fontcuberta 2003, üşendim.
In Ryan’s pictures, daylight streams through the windows and abstracts carpeted corners, piles of papers and office furniture. She takes the idea of photographing a ‘non-place’ to the extreme and opens our eyes to the unexpected beauty that surrounds us every day. And there’s no better tool to do that than your trusty camera phone.
'Invest in your eyes, not just your equipment.'
Everyone’s eyes have an agenda.
No one perceives the same place in the same way. When you look at your own country, how are your eyes filtering what you see?
çok katalog cümleler ama olsun.
It’s the tourists themselves who make landmarks worth visiting.
Rather than making a landmark the subject of your picture, use it as a backdrop and focus your attention on everything else that’s going on. That’s where you’ll find your pictures. And behind the humour you’ll unearth deeper questions. Why do we travel? What do we expect to find? When did we lose our connection to history and nature?
Photo therapy
If there’s one kind of place that no one can resist photographing, it’s sublime scenes of wilderness. I guarantee that even the most hardened of street photographers have a secret stash of home-grown landscape porn hidden away somewhere.
For many of us, the sheer scale of the landscape is unlike anything we usually experience. And then there’s the fact that wilderness areas present a kind of antidote to our busy lives. But there’s more to it than that. Photography allows us to comprehend our encounters with the sublime. It satisfies our irresistible urge to contain or make sense of something greater than ourselves.
Sayfa 101 - yine cozuttum.
At night the city is transformed into a stage.
In cities after dark, street lamps, illuminated doorways and car headlights act like stage lighting. Generally, the quality of light is hard and directional, which creates bright highlights and dark shadows. Add some evening mist and rain-soaked streets and you’ve got yourself a million-dollar film set.
If you’re interested in architecture, use a tripod and a low ISO. If you’re on the lookout for people, travel light and increase your ISO so you can handhold your camera. Flash? Forget it. Let the ambient light do all the work.
şehir perisi.
Overexposing carries with it a sense of revelation.
Mesmerizing it may be, but we all know what’s going on. The late afternoon sun is streaming through the trees, creating a stark contrast between the highlights and the shadows.
Sayfa 47 - See the light.
It’s raining and the umbrellas are out in this playful composition. Against the
strong black-and-white lines of a street crossing in Tokyo, three flashes of
colour – red, green and blue – enter the frame. Their placement is so random,
but linger on the image a little longer and you realize that the usual rules somehow don’t apply and everything is exactly where it should be.
Subjects don’t have to fill the frame to pack a punch.
By allowing your subject to sit within a wider composition you communicate context. This makes the viewer aware of the landscape the subject exists within. Just keep in mind that if your subject is small within the composition, you need to make sure it still remains the focal point.
Sayfa 26
Framing is mostly used as a technique to isolate a subject within a wider composition. But if you look at Hetherington’s photograph, you’ll see that there is no singular subject. The beauty comes from the composition as a whole and the oscillation between the foreground and background. Two opposing states, one symbolizing death and the other life.
Sayfa 16