International Photographers Association of Los Angeles 洛杉磯國際攝影家協會

We don't make a photograph just with a camera; we bring to the act of photography all the books we have read, the movies we have seen, the music we have heard, the people we have loved. -Ansel Adams
現在的時間是 週二 11月 19, 2024 7:36 am

所有顯示的時間為 UTC - 8 小時 [ DST ]




發表新文章 回覆主題  [ 5 篇文章 ] 
發表人 內容
 文章主題 : Vertical Composition
文章發表於 : 週日 6月 24, 2007 9:01 pm 
離線
不更
不更
頭像

註冊時間: 週三 5月 02, 2007 1:08 am
文章: 180
I have seen a lot of horizontal cropped photos where the 1/3 rule applies, my questions, does it apply to verticals ? I have yet to draw some guidelines by looking at all the masters photos.

Some observations:

Ray: has a penchant to place the subject slightly off centre to the right.

DannyDong: center positioning, often incorporates strong elments

Mike: bulls eye & lot of space on the top

Hasu: bulls eye & less space on the top

Peter: center position, tight crop

(to be continued)


回頂端
 個人資料  
 
 文章主題 :
文章發表於 : 週一 6月 25, 2007 7:27 am 
離線
中更
中更
頭像

註冊時間: 週四 2月 15, 2007 2:07 pm
文章: 1340
來自: Wash. DC/North. VA
Well, I think the 1/3 rule comes as a roundoff of the Golden Mean Section (0.618) in classic painting, which is slightly closer to the center than 0.667 (2/3) -- artists are math challenged, if you give them a 0.618 rule, they can't remember, you know that. :D

The Golden Mean Section on a blank canvas (or Tabula Rasa, if you prefer a classic term for a classic concept) draws our attention the MOST in the frame, so painters tend to put the point of interest at a GMS spot -- horizontally or vertically.

Bulls eye works when you have a near symmetrical situation, NOT when you have asymmetrical objects at the 1/3 rule spots vying for attention.

Edges and corners are also attention grabbing places. Yet most of the time, we use it the wrong way, leaving a tree limb near the frame, for instance, therefore distracting. If you see MIKE's photos, the edges and sides are clean.

Eyes placed at the corner or near the edge can be very strong, but that's more of a modern approach.

_________________
肖像是个人情感的风光;
风光是天地灵动的肖像...


回頂端
 個人資料  
 
 文章主題 :
文章發表於 : 週一 6月 25, 2007 12:56 pm 
離線
少上造
少上造
頭像

註冊時間: 週三 5月 23, 2007 1:00 pm
文章: 2632
不太懂理论,找了几张实践中用到三三律的.

1)右三分之一
圖檔

2)左三分之一
圖檔

3)上三分之一
圖檔

4)下三(四)分之一
圖檔

:lol: :lol: :lol:


回頂端
 個人資料  
 
 文章主題 :
文章發表於 : 週一 6月 25, 2007 2:20 pm 
離線
中更
中更
頭像

註冊時間: 週四 2月 15, 2007 2:07 pm
文章: 1340
來自: Wash. DC/North. VA
Good examples by Xianren5588. :D

_________________
肖像是个人情感的风光;
风光是天地灵动的肖像...


回頂端
 個人資料  
 
 文章主題 :
文章發表於 : 週二 6月 26, 2007 3:00 am 
離線
不更
不更
頭像

註冊時間: 週三 5月 02, 2007 1:08 am
文章: 180
Ray Wei 寫:
Well, I think the 1/3 rule comes as a roundoff of the Golden Mean Section (0.618) in classic painting, which is slightly closer to the center than 0.667 (2/3) -- artists are math challenged, if you give them a 0.618 rule, they can't remember, you know that. :D

The Golden Mean Section on a blank canvas (or Tabula Rasa, if you prefer a classic term for a classic concept) draws our attention the MOST in the frame, so painters tend to put the point of interest at a GMS spot -- horizontally or vertically.

Bulls eye works when you have a near symmetrical situation, NOT when you have asymmetrical objects at the 1/3 rule spots vying for attention.

Edges and corners are also attention grabbing places. Yet most of the time, we use it the wrong way, leaving a tree limb near the frame, for instance, therefore distracting. If you see MIKE's photos, the edges and sides are clean.

Eyes placed at the corner or near the edge can be very strong, but that's more of a modern approach.


pull out my little pad & start to write frantically

:)


回頂端
 個人資料  
 
顯示文章 :  排序  
發表新文章 回覆主題  [ 5 篇文章 ] 

所有顯示的時間為 UTC - 8 小時 [ DST ]


誰在線上

正在瀏覽這個版面的使用者: 沒有註冊用戶 和 64 位訪客


不能 在這個版面發表主題
不能 在這個版面回覆主題
不能 在這個版面編輯文章
不能 在這個版面刪除文章
不能 在這個版面上傳附加檔案

搜尋:
前往 :  
POWERED_BY
正體中文語系由 竹貓星球 維護製作