A Rules of Composition in .NET

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Appendix A Rules of Composition
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AA.6 By focusing on the owers, the bride is rendered softly out of focus by using a wide aperture. Taken at ISO 400, f/4, 1/200 second with a 29.4mm lens setting.
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Obviously, bokeh can make the out-offocus areas aesthetically pleasing or visually obtrusive, and the interpretation is almost entirely subjective. In general, you want the out-of-focus points of light to be circular in shape and blend or transition nicely with other areas in the background, and the illumination is best if the center is bright and the edges are darker and blurry.
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AA.7 This shot of the groom features pleasing, out-of-focus background elements, indicative of a large aperture. Taken at ISO 800, f/2.8, 1/200 second with a 30.5mm lens setting.
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In general, lenses with normal-aperture diaphragms create polygonal shapes in the background. On the other hand, circular-aperture diaphragms optimize the shape of the blades to create a circular blur pattern because the point source is circular. Canon lenses that feature circular aperture diaphragms use curved blades to create a rounded opening when the lens is stopped down and maintain the circular appearance through all f-stops.
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The Rule of Thirds
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One of the easiest ways to start on the path of better compositions is to move away from centering all of your subjects within the frame all the time. We ve all seen unremarkable horizontal photos where one person s face is dead center in the picture, leaving lots of unused visual real estate on the top and sides. The face appears to oat there in the picture. This can easily be solved by switching to a vertical composition and moving in, or left- or right-comping the subject to bring in more of the background or to imply the subject s movement. I often do this with my travelling companions when I want to make a portrait of them along with some interesting location detail. Perhaps the most well-known principle of photographic composition is the rule of thirds. This tenet is a guideline commonly followed by other visual artists as well. The basic principle behind the rule of thirds is to imagine breaking your image down into thirds (both horizontally and vertically) so that you have nine sections or boxes with two lines vertical and two lines horizontal, each a third of the way across its dimension. The resulting lines and intersections are your sweet spots. The objective is to keep the subject(s) and areas of interest (such as the horizon) out of the center of the image by placing them on or near one of the lines that divide the image into three equal columns and rows, or on or near the intersection of those lines. Two things I ve found to be helpful when utilizing the rule of thirds are worth noting here. The rst is to try to have any implied subject motion moving toward the center of the frame. This adds balance and a direction for the viewer s eye to follow. The opposite approach may weigh the image down in that direction and give the photo an unbalanced feel. The second applies when shooting landscapes with the sky as an element of the scene. If I have an incredible sky, I place the horizon on or near the lower horizontal line. If I have a blah sky but very good light, I move the horizon up to the higher horizontal line and search out some interesting element in the good light for my foreground.
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Appendix A Rules of Composition
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AA.8 Cormorants in Napa, California. The nest and mountain range fall on the vertical and horizontal lines of the Rule of Thirds grid. Taken at ISO 100, f/8, 1/125 second with a 30.5mm lens setting.
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AA.9 Purposely placing this dried leaf in the lower-left corner adds visual interest and allows the ice to share importance with the leaf. Also, the cool tones of the ice contrast and set up a visual tension with the warm tones of the leaf. Taken at ISO 100, f/5.6, 1/250 second with a 28.3mm lens setting.
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