View allAll Photos Tagged Principles
Dr Nikolaus von Bomhard (left), CEO, Munich Re talks to Alain Grisay, CEO, FandC Asset Management at the Climate Principles Progress Review event at The WEF Annual Conference in Davos © Thomas Oswald
I had the honour to shoot Aleks, Tina and Hanna while doing some areal acro on a beautiful sandy beach in Thailand's little paradise called Koh Phangan.
I chose this picture for my Principles of Design for rule of thirds because the flower sticks out and it is using the rule of thirds.
I had the honour to shoot Aleks, Tina and Hanna while doing some areal acro on a beautiful sandy beach in Thailand's little paradise called Koh Phangan.
Image from '[Parisian Sights and French Principles, seen through American spectacles. [By J. J. Jarvis.]]', 002777737
Author:
Page: 177
Year: 1853
Place: London
Publisher:
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000177)
Principles of design that are covered - The texture of the curtain is rugged, dark, and shadowy. The blend of BW in this photo makes the linear structure in this photo stand out, as well as the texture and details in this photos stand out. The darkness at the bottom of the photo is unique, as it makes the photo melancholy and dimmed.
Technical considerations - The lighting of the sun coming through the curtains creates texture.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Principles created the Blue Blindfold brand and the 'Don't Close Your Eyes' campaign for the UKHTC to create awareness of the problem of human trafficking. The Blue Blindfold brand identity is now being adopted worldwide to mount a united effort to combat human trafficking. MadeByPi, our digital division, created the website:
Like what we do? Want us to do it for you? Call Chris Woods on 0113 2262222 now or email chris.woods@principlesagency.co.uk
He was also the driver of the excursion and then proceeded to explain the workings of the signal box.
Photo#3
Objective 3: Elements and Principles of Design
The principles of design demonstrated:
Emphasis: The background is blurry and the flower is clear which brings it out. Since the flower in the photo is on the rule of thirds and it’s really big it really pops it out and draws the person to it. The background is neatly lined up without clutter which makes the photo more exciting.
Contrast: In the photo all the different areas have their own colors as in the flower is yellow, and the sky is a bluish white. With the different colors it draws the flower out because it doesn’t blend in with the background. The dark spots, I find make this photo more beautiful because they make the bright colors so defined.
Balance: Even though flower is the main vocal point it doesn’t keep your eyes on it because of all the other colors they make you look over to them and since there is various colors all around the eye will look to all of them. With this photo it is an asymmetric balance.
The elements of design demonstrated:
Line: There are mostly curved lines in this one like on the flowers. If they were purely strait they wouldn’t be nice to look at but since they are nice and curvy which makes it more beautiful. There is vertical line like in the background the trees which is nice that they aren’t all bent over and broken because that would destroy the beauty in the photo. I like the curved clouds up top because it can be boring with just straight lines.
Color: This photo shows more of the start of the end of summer. Where the flower is bright which makes you also to look at all the other pretty colors as in the blue sky it looks very nice. The photo has a very welcoming atmosphere which was what I tried to make this photo to be.
Texture: I think the photo in general is soft but on the flower it’s more fluffy than rough I like how when the light in the background shows a smooth surface. The softness in the picture makes it welcoming which I much prefer than to have many rough spots in my photos.
Shape: I find that the flower creates life in to this photo which makes this photo interesting to look at because without anything living with just some buildings it wouldn’t have the same effect that this photo gives. I also think that the fly just totally adds to the photo because it makes it not loom more dead, as in it shows that wild life are around and it’s just not a dead so all in all they add way more to making this photo interesting for a person to stop and look at it.
Objective 4: Lighting
Type of lighting and why:
I chose the light in the background so it makes the flowers give a little bit of a glow. Also since the clouds are mostly covering the light so the photo isn’t bright but everything is still lit up.
Objective 5: Post productions
Resized the image; I also changed the shadow highlights to cover more of the light from the sun. I increased the saturation; I increased the light and darkened the dark spots just I bit. I used Gaussian blur to make the background more blurry to really focus on the flower. On the front part of the flower I sharpened it to pop it out.
Objective 6: Critique
Analyse your photograph for strengths and areas for improvement (consider elements and principles of design, lighting, exposure, overall feel, etc.)
Strengths:
-I was able to have nothing distracting in the background to make you miss the thing I want the person to look at.
-I made it so the photo looked better but not make the person go and say that this photo is totally fake.
-I was able to make the fly noticeable so it wasn’t just a tiny little spec in the photo that would look like a mistake.
Weaknesses:
-I think I could have eased up on the saturation to make even more realistic.
-I could have cleaned up the clouds a bit more so it doesn’t look all weird.
timing and spacing: Timing is achieved in animation by using varying numbers of frames between the key poses and is used in an animation to get a sense of pacing to both movement and/or the animation as a whole or help to exemplify a characters emotions through the speed of their actions. Spacing is the amount of space between these frames giving a different type of movement to an object in the spread of frames, this can be used to add a sort of “ease in – ease out” effect to a particular movement as opposed to the point a-b effect that could be accomplished if the same frames were spaced out differently. Combined these two methods can give an animated element a sense a sense of realism and personality, giving it mass and/or urgency of movement as well as differentiating between the more artificial forms of motion and more natural acceleration.
anticipation: Anticipation is the practice of giving an animated object a subtle movement or shifts in stance that will foreshadow what is going to happen in a short time space to the audience, for example bending the knees before making a huge leap. Anticipation helps to make actions appear more realistic as a human doesn't often move from pose to pose, instead often readying and preparing their body first in order to get the most beneficial result from their action or simply because it is necessary to get a result at all.
straight ahead/ pose to pose:Straight ahead and pose to pose are two different methods of animation, pose to pose is the practice of creating the key poses of an animation and either drawing the in-between frames in later or in digital animation, allowing the software to calculate the necessary motion and implementing it itself (tweening) this style of animation is generally used in Maya. Straight ahead animation is the style stereotypically used in cell animation and is the practice of creating an animation frame by frame purely going forwards, while this method often supplies more control over an animation it is often much more time consuming.
arcs: Arcs are the most natural form of movement and as a result limbs and thrown objects commonly move in arcs and parabolic trajectories, speed and momentum often affect the course of arcs with slower moving objects having greater curvatures and faster moving objects moving over more straightforward trajectories. When an object deviates from its animation curve it appears unpredictable and inconsistent, therefore it is important – especially during pose to pose animation - that the motion remains fluid.
following through and overlapping action: Following through and overlapping action are a pair of elements in animation that help to add a sense of realism. Follow through actions are a bi-product of motion and apply to a characters more malleable and flowing ornamentation/accessories such as clothing and hair for instance if a character wearing a shirt with baggy sleeves moves his arm from one point to another his sleeve will continue to move for a short while after until its own momentum is spent. Overlapping action is a series of smaller actions that add up to a single flow of movement, for example when someone crosses their arms they generally start by bending their elbows to around 90 degrees (with the dominant hand moving first), followed by moving their shoulders and finally moving their arms in opposing arcs and interlacing their arms.
staging: Staging is the practice of putting a pose in the optimal position to view and extrapolate information from quickly and easily, it brings focus to any important elements and is accomplished through camera placement, the use of strategic lighting and or the placement of characters and objects in a frame. This principle is very important when considering what and how needs to be conveyed to the audience.
slow ins and outs: Slow ins and outs is essentially extrapolating and replicating acceleration and deceleration of motion to create more realistic animations and make them more authentic in the way they move. This technique also relates to spacing as it can be accomplished through strategic frame placement and spacing.
secondary action: Secondary actions are subtle background character animations that help to bring a character to life and support the primary animation without pulling focus from the primary action and distracting the audience. An example maybe something simple such as a moving chest as a character breathes after running for a long distance and they start to feel tired. Secondary action’s focus is to emphasize an action not just add lots of stuff and convolute the animation.
exaggeration: Exaggeration is typically more noticeable in cartoonish animations, and is generally used to make an animation more interesting and likeable. Exaggeration is the act of overly emphasizing and pushing the form and shape of an action, even though it will remain faithful to the original form and pose. While exaggeration is used in more realistic animation it is generally more subtle to make certain movements more noticeable to the audience. When pushed to its extreme on the other hand it is generally used more often for comedic effect. Either way exaggeration generally makes an action or movement more dramatic than its real life counter-part.
Squash and Stretch: Squash and stretch is a central principal to the point of being vital. Squash and stretch is the act of giving an object the appearance and sense of elasticity to help convey the mass and density and can be used on thrown objects to enhance the appearance of motion blur or to replicate the use and movement of muscles in a body. In unrealistic animation this technique can be used for comedic effect, however it can be utilized in realistic animation too, the primary difference between the two applications being that in exaggerated instances the squash and stretch ratio compared to the original size of the object doesn’t need to be related, in realistic animation on the other hand everything must stay in proportion otherwise the illusion will of reality will be punctured.
solid drawing: Solid drawing is the principle of taking three dimensional form into account when creating a character that has volume, weight and is anatomically accurate, this applies to both 2D and 3D animated projects. This principle helps to produce well balanced characters that produce a good lighting balance between lit and shaded when illuminated and more unobjectionable for the viewers.
appeal: Appeal is the animated character equivalent of charisma in real people and actors, the characters allegiance and morals don’t matter, whether the character is sympathetic or not doesn’t matter, it’s all about whether or not the character is compelling and interesting for the audience and whether they are an enjoyable character to watch for the type of role they fill/embody. This principle is generally accomplished via the use of character design such as the use of symmetry and asymmetry, and the poses the characters use.