Photography as a means of artistic expression in educational institutions can effectively contribute to developing aesthetic sensibility, stoking the creative imagination and stimulating a reflexive appreciation of the visual aspects that surround the student.
This document contains some basic notions of photographic composition, accompanied by a series of good practices to achieve in students the development of photographic technique and imagination. This document, which accompanies another on digital food photographer Hong Kong, aims to raise aspects of photography that are not necessarily technical, but if they are fundamental, before going on the hunt for good snapshots.
The basic notions about the composition of an image are something that must be taken into account who is placed behind a camera. The understanding of certain technical concepts such as volume, rhythm and texture, among others, will allow you to see better photographs and compose images knowingly.
The practice of these concepts will contribute to the student developing his capacity to perceive and critically interpret the images of the environment, refining aesthetic sensitivity and increasing environmental awareness, as factors that contribute to the quality of life.
In photography, organization is the first element of the visual-visual language with which the student must become familiar. The camera, contrary to the human gaze of a scene, reproduces without distinction everything that appears in the frame.
Because of this, beginners are surprised when unexpected things or people appear in their photographs: lines that cut a landscape, or in the foreground a disembodied arm or an electric cable. Frequently this happens because the photographer does not notice these elements during the shot, because he is focused on his point of interest.
The scrutinizing gaze of the eye is something that the photographer must impose on the image through selective focus or changing the point of taking so that the details without interest disappear, become blurred (through the depth of field), hide or remain subordinated to the general composition To achieve this, you have to learn to look like a camera and not as a person who, when looking at a scene, concentrates on what interests you, ignoring the rest.