Horizontal Lines, Vertical In Photography Composition
We continue in the round of symmetrical photos by analyzing a further shot of Adams in the photo following the separation element is the trunk in the foreground while the symmetrical elements are the light trunks placed right behind. The backdrop is dark to give maximum emphasis to what’s on the vertical.
Ansel Adams also took the same rule as Ernst Haas applying the rule of bands these are photographs where the landscape is divided into clearly defined bands sewa lcd proyektor semarang. Landscape is no coincidence this type of photography, which ultimately applies perfectly to the rule of thirds, is predominantly used in landscaping photography.
In the two photographs above, this technique is well-known photographs can be divided into multiple bands, each with its own chromatic feature. Chromatic difference that is exasperated in the Adams photo the latter is divisible into five alternate bands. Dark, clear, dark, clear and still dark. Also note the little detail below the silhouette of a horse that can attract the attention of the observer.
The chromatic differences are also present in the Haast bands it counts seven of which the second is irregular and consists of the clouds. The lower band finally rubs on the previous one because of the water that frets. Detail that avoids flat and static photography. In addition, the water puff takes on the motif of the clouds, almost to make the symmetric scene on the horizontal axis.
The bands are not just horizontal Adams himself allows us to evaluate this vertical effect with the following scene
The vertical bands are created with the trees. Note the plan in the foreground it is the prominent element of photography, positioned on the first third. Adams also succeeded in transforming the sapling into the radius of a hypothetical circumference within which the fundamental elements of the scene are placed. The sapling on the right or even the trunk even more right that begins to be visible right from the circumference.
Let us also analyze some compositions based on oblique axes.
In all the photographs above, signed by Ansel Adams, Sebastiao Selgado, Bresson, Libshon and Hine, the basic lines are oblique. The last two photographs are very similar and feature an ascending diagonal. In addition, Salgado placed a tree on the vertical of the first third. Similarly, the contrast is opposite clear in the top of Salgado’s picture, dark in Adams’s.