How to Photograph Flowers -- Part II
Article and Photography by Ron Bigelow
www.ronbigelow.com
Now that the technical aspects of flower photography have been mastered, it is time to delve into the artistic side.
Pristine with Character
Suppose that a chef wanted to create a great meal for a special guest. How successful would he be if he started out with poor ingredients? If his vegetables were not fresh and the bread was moldy, it would be pretty much impossible to create an enticing gourmet meal. For a great meal, it is imperative that the chef start with the proper components.It is no different with flower photography. In order to create great flower images, one must start with the proper components. In this case, the proper components are the flowers. However, not just any flower will do. The flowers must meet two criteria. The first criterion is that the flowers must be in pristine condition. This means that the flowers must be physically perfect. Flowers that are not perfectly fresh, have marks, or have been partially eaten by bugs should not be used.
Figure 1: Flower not in Pristine Condition
Figure 2: Close-up of Dried Up Portion of Flower
Having a pristine flower is a start, but it is not enough, by
itself, to guarantee a great flower image. Thus, the second criterion is
that the flower must have character. Now, character is a bit hard to
define. Perhaps, the best way to describe character is that it is
something that grabs one’s attention.
Figures 3 and 4 demonstrate this concept. Figure 3 shows a
flower. Now, the flower might be nice to look at, but it is kind of
ordinary. There is nothing about this flower that particularly grabs
one’s attention.
Figure 3: Flower with no Character
Figure 4: Flower with Character
Center of Interest
Figure 5: Center of Interest
This image also demonstrates a couple of important points about the COI. First, the COI is the object around which the rest of the image revolves. What this means is that the purpose of the rest of the image is to support and enhance the COI. This is clearly seen in Figure 5. The yellow color of the flower strongly contrasts with the green color of the insect which helps the insect to stand out. In addition, the center of the flower provides a simple pattern that contrasts with the lines of the insect which further makes the insect prominent in the image. Clearly, the rest of the image serves to bring attention to the insect and make if the most important part of the image.
The second point is that the viewer’s attention is constantly drawn back to the COI. As one views Figure 5, one will usually first notice the insect. After viewing the insect, the viewer’s eye will tend to examine the rest of the flower. However, the viewer’s eye will repeatedly return to the insect. This shows that the COI not only grabs the viewer’s attention, it also serves as a comfortable resting place for the viewer’s attention. This is a very important point because, without a strong COI, the viewer’s attention randomly roams around the image looking for something of interest; finding nothing, the viewer quickly looses interest in the image.
Figure 6: Subtle Center of Interest
At first, one might think that there is no COI in this image. However, after viewing the image for a little while, it becomes obvious that the viewer’s attention keeps coming back to the graceful curve of the pedal that works its way to the top of the image. Furthermore, the rest of the image supports this curve. The portion of the image directly behind the curved pedal provides a dark blue contrast to the light tone of the curved pedal. The bright yellow on the lower pedal serves as a leading line that leads the eye into the curved pedal. It becomes obvious that the curved pedal is the COI of this image. Consequently, while the COI of this image may be more subtle, the image still has a good COI.
Composition
Composition consists of how the objects in an image are arranged with respect to each other. Now, there are many components of composition. A comprehensive coverage of the components of composition is beyond the scope of this article series. However, two basic aspects of composition will be covered:- Rule of thirds
- Golden triangle
Figure 7: Rule of Thirds
Figure 8: Golden Triangle
Application of the rule of thirds or golden triangle helps make an image more dynamic and balanced. In fact, research has shown that people’s eyes tend to gravitate to the areas of an image located at the intersections of the dividing lines of the rule of thirds and golden triangle. In contrast, placing the COI at the dead center of the image can make the image have a very static feel. Placing the image at other locations can often make the image appear unbalanced.
That said, these rules are not absolutes. There are times when the rules should be broken. However, when the rules are broken, it should be because breaking the rules strengthens the image.
SGD
Each person has her own style when shooting flowers. I have developed a style that I call SGD: simple, graceful, and dynamic. These are essentially the goals for which I strive when setting up a flower shot. These goals are defined as follows:- Simple: To create a simple composition that directs the attention to the COI and eliminates all distracting detail that does not support the COI.
- Graceful: To use compositional elements that emphasize the grace or elegance of the flower.
- Dynamic: To use compositional elements that strongly attract and hold the attention of the viewer.
Simple
Simple Definition: To create a simple composition that directs the attention to the COI and eliminates all distracting detail that does not support the COI.The simple goal is addressed with five techniques:
- Subtraction
- Move in close
- Selective focus
- Blurred background
- Contrasting background
Similarly, when applied to flower photography, the art of subtraction involves removing everything that does not support the COI. Why is this so important? Any element of a flower image that does not support the COI will distract the viewer’s attention from the COI to weaker elements of the image or may even lead the viewer’s eye out of the image entirely. This results in a weak image and is obviously undesirable.
Figure 9: Distracting Detail
Figure 10: Simple
Move in Close: Moving in close helps
to make the COI larger and more dominant, and it also removes
unnecessary detail along the edges of the image.
Figure 11 shows this concept applied to a rose. The COI of this
image is the center of the rose. By moving in close, the center of the
rose is much bigger and more dominant than would have been the case if
the camera had been farther away. The only details that are left are
the curves of the petals that provide a shape contrast to the diagonal
lines of the center.
Figure 11: Moving in Close
Selective Focus: Selective focus uses a
very narrow depth of field such that the COI is in focus, but
everything else is out of focus. The result is that the viewer’s eye is
naturally directed to the COI.
Figure 12 shows the selective focus concept. A very narrow depth
of field was used so that everything but the tip of the leaf was left
out of focus. This removed any distracting detail and draws the viewer’s
attention directly to the tip of the leaf.
Figure 12: Selective Focus
Blurred Background: This technique is
similar to selective focus. The difference is that only the background
is blurred with this technique. Once the background is blurred, any
background detail is eliminated. Then, the COI naturally stands out.
Figure 13 shows an application of a blurred background. As can
be seen, the entire flower is in focus, but the background is not.
Figure 13: Blurred Background
Contrasting Background: The
contrasting background technique minimizes the background detail and
strengthens the COI by utilizing a background that contrasts with the
flower. The contrast can be of tone, color, or pattern.
Figure 14: Contrasting Background
Graceful
Graceful Definition: To use compositional elements that emphasize the grace or elegance of the flower.The nature of flowers is one of grace and beauty. Much of this comes from the lines and curves of the flowers. So, the intent here is to use the lines and curves of the flowers to help communicate that grace to the viewer of an image.
The graceful goal is addressed with two techniques:
- Leading lines
- Curves
Figure 15: Leading Lines
These leading lines function as mentioned. They lead the viewer’s eye to the COI, and they also exhibit the graceful nature of this flower.
Curves: Curves sole function is to display the graceful nature of flowers. They do not point to the COI like leading lines.
Figure 16 illustrates the use of curves. There are several green
curves receding into the background. These curves display the elegant
shape of the leaves, but they do not lead to any specific point in the
image.
Figure 16: Curves
Dynamic
Dynamic Definition: To use compositional elements that strongly attract and hold the attention of the viewer.The dynamic goal is addressed with three techniques:
- Saturated colors
- Contrasting colors
- Contrasting lines
Figure 17: Saturated Colors
Of course, the question of how to capture saturated colors now becomes very important. There are two primary answers to this question. First, the right flower must be found. Second, the flower must be shot in the correct light.
This flower was shot during a break in a rainstorm. As covered in the section on light in Part I of this series, overcast skies enhance color saturation .Thus, the heavily overcast sky enhanced the colors of this flower and made the image possible. Had this flower been shot in bright sunlight, the image would not have been very successful.
Contrasting Colors: Our attention is
strongly drawn to color contrast. Furthermore, this is not just a
psychological phenomenon. It is actually build into our
sensory/perceptual systems. In other words, from a nervous system point
of view, we are hard wired to respond to color contrast. As
photographers, we can use this to our advantage by seeking out subjects
of high color contrast and photographing them in such a way as to
emphasize the color contrast.
Figure 18 depends on color contrast for much of its impact. When
setting up this shot, a search was performed to find a flower that
would allow the camera to be situated such that the background was the
solid, luminous green of the spring vegetation. This provided the
necessary color contrast that makes the flower stand out from its
background.
Had a different position been chosen such that the background of the image was the brown rock wall from which this flower grew, the image would have lost most of its impact.
Figure 18: Color Contrast
Had a different position been chosen such that the background of the image was the brown rock wall from which this flower grew, the image would have lost most of its impact.
Contrasting Lines: Contrasting lines can also add a dynamic touch to a flower image.
Figure 19 illustrates the use of contrasting lines. Actually,
this image uses both contrasting colors and contrasting lines. This
serves to make the COI, the flower stalk, stand out from the
background.
Figure 19: Contrasting Lines
Wrapping Up the SGD Approach
Now, in demonstrating this approach, one image was shown for each technique, and an explanation of how the technique improved the image was presented. However, when out in the field, multiple techniques can be used with a single shot.
Figure 20: Multiple Techniques
Simple: Subtraction was used with this image to eliminate all distracting detail. Moving in close and using a contrasting background were also used.
Graceful: The stem of the flower serves as a powerful leading line that leads to the COI. In addition, the petals serve as curves that display the graceful nature of the flower.
Dynamic: In addition to contrasting colors, saturated colors were used.
In short, this image used most of the techniques presented in this article. In general, the more techniques that are used with an image, the more likely that the image will be successful.
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