Composition Camera Quotes

The unary Photograph has every reason to be banal, 'unity' of composition being the first rule of vulgar (and notably, of academic) rhetoric: 'The subject,' says one handbook for amateur photographers, 'must be simple, free of useless accessories; this is called the Search for Unity.

Photojournalism has frequently been lambasted for being the product of circumstance. In fact rarely are any of these images considered in terms of their composition and semantic intent. They are merely news, a happy intersection of event and opportunity. It hardly helps that photographs in general also take only a fraction of a second to acquire. It is incredible how so many people can constantly misread speed to mean ease. This is certainly most common where photography is concerned. However simply because anyone can buy a camera, shutter away, and then with a slightly prejudiced eye justify the product does not validate the achievement. Shooting a target with a rifle is accomplished with similar speed and yet because the results are so objective no one suggests that marksmanship is easy.

I see it all through the lens of my camera—the flurry of movement, the venue staff in black T-shirts, giving orders into their headsets. As I take it all in, my mind weighs the texture, the composition, the possibility of each changing scene, and I struggle to hold back, to keep my finger from pressing too soon. That’s my biggest flaw as a photographer. I’m impatient—trigger-happy. I want the shot now, now, now, click, click, click, and if I could just wait a second more, the moment would really flourish.

Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera.

I knew that, on camera, when you walk into a room in your own home, you must know where the light switch is. You can’t need to look. Or else it’s a lie, which is like giving the audience a pinch of poison. When you tell a story, you have to take liberties. You compress time. You create composite characters. You jump years ahead or flash back. Art is not life. But if your character has a longtime girlfriend and you’re tentative or formal with her, touching her as if she’s someone you just met? Another pinch. The audience might not be consciously aware of these little pinches, but if you keep doling them out, they’re reaching for the remote, or they’re walking out of the theater. They’re sick of the poison. They don’t want any more. They’re done. They might not even realize they’re responding to inauthenticity or sloppiness in storytelling. It’s not the audience’s job to articulate the reasons. It’s their job to feel.

Spontaneity is great when the opportunity is there, but what I'm really saying is you need to trust yourself. Instead of checking and rechecking your camera and the lighting and everything else, just set it up once and trust that you've done it right. Then focus more on capturing the emotion of the photo and less on how technically perfect its composition will be.

He made me depict from memory, in the greatest possible detail, objects I had certainly seen thousands of times without visualizing them properly: a street lamp, a postbox, the tulip design on the stained glass of our own front door. He tried to teach me to find the geometrical coordinations between the slender twigs of a leafless boulevard tree, a system of visual give-and-takes, requiring a precision of linear expression, which I failed to achieve in my youth, but applied gratefully, in my adult instar, not only to the drawing of butterfly genitalia during my seven years at the Harvard Museum of Comparative Zoology, when immersing myself in the bright wellhole of a microscope to record in India ink this or that new structure; but also, perhaps, to certain camera-lucida needs of literary composition.

real object, yet it exists only within the computer. Even though the way we are interacting with the object is still based on a two-dimensional display device (the computer's monitor), the model itself is a mathematical simulation of a true three-dimensional object. This model can be lit, textured, and given the ability to move and change. Once a particular camera view is chosen and the color, lighting, and animation are acceptable, special software will render the scene to produce a sequence of images. While the 3D aspect of visual effects seems to get a great deal of recognition,

By hoarding images, we seek to conquer time. Of course, we do not mistake a photograph in a frame or on a screen for the reality as it was. Nevertheless, as Barthes has written, the photograph makes an assertion, and it makes it in a particular mode - what the Greeks called the Aorist, a form of the past tense that is never actually completed but seems to go on indefinitely. Thus, the picture presents us with the past as a continuum which flows parallel to the present, but flows statically, a frozen river, so we may examine it at any point in the future. It is this imagined future self, looking at the pictures of the past, that is the true product of the camera. Although technology has the capability now to record entire lifetimes, meaning that every moment may be pulled from the foaming sea of oblivion to the dry land of perfect recall, the mythic power of the photograph nevertheless relates to the future, and not to the past. Every recording conceals the secret fantasy of a future self who will observe it; this future self is himself the simulacrum, the persona ficta. He exists beyond time, beyond action, beyond need; his only function is to witness the continuum of the past, as he might observe the steps that brought him to godhood. Through this fantasy, time is transformed from the condition of loss into a commodity that may be acquired and stockpiled; rather than disappear ceaselessly into the past, life accumulates, each moment becoming a unit of a total self that is a culmination of our experiences in a way that we - biological composites who profligately shed our cells, our memories and our possessions - can never be. And this fantasy self or persona ficta is the soul, as conceived by a materialist people; he is the apotheosis of the individual, arrogating reality to himself just as the bank does with its totalizing abstraction.

But he was so very sad about the boy who didn’t see. Now that Dad was gone I was starting to see how mortality was bound up in things like that cold, arc-lit sky. How the world is full of signs and wonders that come, and go, and if you are lucky you might see them. Once, twice. Perhaps never again. The albums on my mother’s shelves are full of family photographs. But also other things. A starling with a crooked beak. A day of hoarfrost and smoke. A cherry tree thick with blossom. Thunderclouds, lightning strikes, comets and eclipses: celestial events terrifying in their blind distances but reassuring you, too, that the world is for ever, though you are only a blink in its course. Henri Cartier-Bresson called the taking of a good photograph a decisive moment. ‘Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera,’ he said. ‘The Moment! Once you miss it, it is gone for ever.

Are you taking a picture of those people kissing?” Ned asked. “Oh—no.” Rory lowered her camera and turned away, walking up the sidewalk quickly so he couldn’t see her face. He caught up with her after a few steps. “That’s a bold move,” he said. “But hey, whatever you’re into.” “It’s not like that.” With her camera in front of her, all the anxiety melted away. It was as if she became invisible when she held it up in front of her face. It didn’t matter what they thought of her, because she wasn’t there anymore. Only her camera remained. Usually, she forgot people were real on the other side. They became part of the composition, part of the fountain and the plaza with the cobbled street and the stone buildings beyond. They

Cat worked tirelessly, absorbed in the subtle changes of light and texture and composition. She darted around Travis like a fire, taking photos of the captain and his ship from various angles. Travis didn’t interfere or require her conversation. He could sense the excitement of creation flooding through her as clearly as he felt it in himself when elusive details of hull design would condense in his mind. Smiling, he watched his lover, enjoying her intense concentration on her work. She handled cameras and lenses with the same total familiarity he handled wind and sail. When her determination to catch the sunlight on the rigging made her forget he was alive, he sat cross-legged on the deck and began splicing rope, not at all upset at being ignored. When Cat realized that Travis wasn’t nearby anymore, she lowered her camera and looked around for him. She found him halfway back on the deck, sitting in a pool of sunlight. His head was bent over some task. Sun glinted over his tawny hair like a miser running fingers through gold. Her heart hesitated, then beat with redoubled strength. She set aside her camera and went to Travis. Without a word she took the rope out of his hands and started pulling off his T-shirt. “What are you doing?” he asked, surprised. “Taking off your shirt.” He blinked, then relaxed beneath Cat’s hands with a pirate’s smile of anticipation. She smiled in return, the serene smile of a sorceress, and threw his T-shirt aside. Then she put rope back into the hands that were reaching for her and picked up her camera once more. “Come back here and finish what you started,” Travis said. “I’m finished. “What about my pants?” “They make a nice contrast with the deck.” “Well, damn.” Disappointed, Travis made a face at the camera, then resumed splicing rope. Cat photographed him as he worked, seated like a god in the center of a golden cataract of light. He watched her with intense, blue-green eyes, measuring her progress around him while she climbed the rigging and the sailing in search of a perfect angle. At one point she miscalculated. He came to his feet in a single motion and snatched her off her perch before she could fall. She laughed and let herself slide down his body, her hands savoring his supple, sun-warmed skin.

And when I say “think,” I want you to think about the subject, the location, the perspective, the lighting, the timing, the weather, the mood, the pose, the clothes, the expression, the composition, and yes, the camera settings. That’s a lot to absorb,

Think about it. If you've got an SLR or a large-format camera in your hand, you inevitably want to take considered shots. You think about the composition, and so on. With a compact camera, you just point and shoot.

Big Hit Entertainment made plans for an official social media presence on platforms used commonly by fandoms—such as Twitter, e Daum cafés, and KakaoStory—and established tailored goals and content styles for each platform. For instance, one of Big Hit’s goals after BTS’s debut was to attain a specific number of new followers on days BTS featured in a music program. This new approach to promoting an up-and-coming idol group played an important role in establishing a unique identity for BTS. Videos on the blog showcased unpolished compositions by the trainees, choreography practice in tiny practice studios, and glimpses into members’ genuine trepidations as they spoke into the camera without any airbrushing.

it is a shame that so many beautiful places have become immensely popular within the past 3-4 years...they are being plastered all over the internet making people want to go and see them, especially photographers...and its a further shame that so many photographers only want to take pictures, with the goal to share to their social media sites and get likes, sponsors, and money...ironically how before that, like just 4 years ago, you seldom saw many images of unknown places, and most people had no clue where these spots where...now these special places are becoming less unique as they get more and more coverage and exposure, becoming less and less mystical to the art-world... it is also a further shame how many of these photographers only care about themselves and getting their picture at any cost, including the cost of damaging their natural surroundings with their ignorance...and my god, the stuff i have seen them do and leave behind in their wake is appalling...and more and more all the reason for why i will not disclose anymore the places where i go now that are unknown treasures which i have been discovering, so these new photo sites do not ever have to become overrun like so many other beautiful places have regrettably become, all due to inconsiderate and selfish people with their selfish cameras and cellphones, and selfish actions, those annoying people out there who are merely like pesky fleas to a very beautiful location, sucking the blood and life out of it slowly... i feel partially to blame, as i used to always give people locations of my photo comps, so many of the places not many knew about and were rarely visited, let alone photographed...there were spots i photographed over 5 years ago, and now many of these sites are overrun with greed and stupidity, getting trashed, tagged, and overrun. i know i am not directly to blame, but i was part of the problem even though i was only trying to help out other courteous photographers, but in the process of doing just that, the door opened to the ugly people looking to use others and use places for their own greedy intentions...i would even give them the gps to within 5 feet of the spot if they asked me...i was always so open and as helpful as i could be...also gave out all my camera settings and told how i went about creating my impressions with my equipment and thoughts about the composition... now look what has happened...i am not to blame, but i do carry much of the responsibility as word got out to these previously secluded locations...so now, i want no part of it anymore. and even-though now i often get called selfish and mean for not disclosing my locations, i must do what i feel is necessary to protect what i love and the places i love.

The plane touches down on very rough ground: its wheelbarrow wheels bounce and one set of wings rises alarmingly while the other dips. Now the Masai and the plane are converging. It's a magnificent shot: the Masai run, run, run, run; because of the optics it is dreamlike. The little plane bounces, shudders, slews and finally makes lasting contact with the ground. At exactly the right moment, as the plane comes to a halt, the Masai warriors, in a highly agitated state, reach the plane, and the camera closes on the pilot, whose face as he removes his leather flying helmet and goggles, appears just above the bobbing red ochre composition of plaited hair and fat-shone bodies. It is Mel Gibson, with a grave expression, which can't quite suppress his unruly Aussieness.

David Hockney, among other historians and advocates of the Hockney–Falco thesis, has speculated that Vermeer used a camera obscura to achieve precise positioning in his compositions, and this view seems to be supported by certain light and perspective effects. The often-discussed sparkling pearly highlights in Vermeer’s paintings have been linked to this possible use of a camera obscura, the primitive lens of which would produce halation. Exaggerated perspective can be seen in Lady at the Virginals with a Gentleman (London, Royal Collection). Vermeer’s interest in optics is also attested in this work by the accurately observed mirror reflection above the lady at the virginals. However, the extent of Vermeer’s dependence upon the camera obscura is disputed by historians. There is no historical evidence. The detailed inventory of the artist’s belongings drawn up after his death does not include a camera obscura or any similar device. Scientific evidence is limited to inference. Philip Steadman has found six Vermeer paintings that are precisely the right size if they were inside a camera obscura where the back wall of his studio was where the images were projected.

Head of a Young Woman This portrait was completed by 1667 and is now housed in the Metropolitan Museum of Art, New York. Because of its almost identical size and its proximity in tone and composition, it is often considered to be either a variant or counterpart to the famous Girl with a Pearl Earring. The subjects of both paintings wear pearl earrings, have scarves draped over their shoulders, and are shown in front of a plain black background. In addition, it is likely that the creation of both works involved the use of a camera obscura.