How to Use the Rule of Thirds in Photo Composition

How to Use the Rule of Thirds in Photo Composition. My wife has never liked horror movies. She developed a coping mechanism by looking at the lower left-hand corner of the movie screen during the scary parts. This is actually a practical application of the Rule of Thirds. Her theory worked for years until Ridley Scott decided to not apply the rule in at least two scenes in "Alien." The key to using the Rule of Thirds in photographic composition is to know when and when not to apply it. The basic principle behind the Rule of Thirds is to break the image into three rows horizontally and three rows vertically while composing the image. The theory is: to make an image interesting visually, it needs to have subject matter in the center square or near the intersections of the center square. This article will try to help you understand the basics of photo composition using the Rule of Thirds

Instructions

1

The rule of thirds has its origins in classic Greek philosophy. They discovered that things appear more pleasing visually when presented in certain ways. Applied to photography, the top horizontal line is called the "eye line" and the lower horizontal line is called the "horizon line." In a portrait photograph the eyes of the subject would be on the eye line and in a landscape the horizon would be on the horizon line. The rule also suggests that picture elements should be at the intersection points of the center square. Of course, there is a whole school of photography that believes that a subject should never be in the dead center square. In my opinion, the whole principle of the rule of thirds should be to get the photographer to ask one key question: "What am I taking a picture of?" Ask this question first and then compose your picture considering the Rule of Thirds. It is a rule, not a law.

2

How does this image look to you? At first blush it seems like a good composition. The exposure is good and the colors are right. However, what is it a picture of? Is it a picture of the sky, the log or the mountain? It just isn't too clear, is it?

3

Now let's apply the Rule of Thirds. Is anything in the center quadrant? Is any subject content around the power intersection points? Is the horizon on the horizon line? The answer is no; this is not a very well-composed picture. There is not dynamic tension and the picture does not tell a story. Just because a picture is well exposed and has subject elements doesn't make it a well-composed image.

4

Points of interest in the photo don't have to actually touch one of these lines to take advantage of the Rule of Thirds. The eye tends to travel to the lightest point in the center and then to the darkest point at one of the intersection points. This movement of the eye is called eye flow and all artists and photographers want to control the way you view the image so that you can see what they see. This image is a well-composed image that controls the movement of your eye through the viewing of the image. You tend to first look at the highlight in the row boat in the lower middle quadrant of the picture and then your eye flows up to the little building in the center of the small harbor. The composition and eye flow make it almost impossible to look at it any other way

5

Which of these pictures is the best composition? They all conform to the rule of thirds, but most people would choose Image Number 3. The reason is that you can see the whole deer and there is eye contact with the camera. The Rule of Thirds is only one element of good photo composition. You also need good exposure, good color balance, sharp focus and good eye flow through the image. The Rule of Thirds is a starting point for good image composition, but it is not the only element of composition.

6

You have nine quadrants in a single image frame so you might as well fill the frame with content. In this image you cannot miss the content. No matter where you look or how your eye is guided you will see the image of a horse and rider slightly blurred by the speed of the action. It is almost impossible to miss the intent or feeling of this image. The center five quadrants are filled with the image you are intended to see. Remember, this is one rule that is made to be broken. Always ask yourself first: "What am I taking a picture of?" before you even look into the viewfinder. Then look in to the viewfinder and mentally divide it into nine quadrants before you expose your image. This simple practice will make you a better photographer.

---

How to Use the Rule of Thirds in Photo Composition. My wife has never liked horror movies. She developed a coping mechanism by looking at the lower left-hand corner of the movie screen during the scary parts. This is actually a practical application of the Rule of Thirds. Her theory worked for years until Ridley Scott decided to not apply the rule in at least two scenes in "Alien." The key to using the Rule of Thirds in photographic composition is to know when and when not to apply it. The basic principle behind the Rule of Thirds is to break the image into three rows horizontally and three rows vertically while composing the image. The theory is: to make an image interesting visually, it needs to have subject matter in the center square or near the intersections of the center square. This article will try to help you understand the basics of photo composition using the Rule of Thirds

Instructions

1

The rule of thirds has its origins in classic Greek philosophy. They discovered that things appear more pleasing visually when presented in certain ways. Applied to photography, the top horizontal line is called the "eye line" and the lower horizontal line is called the "horizon line." In a portrait photograph the eyes of the subject would be on the eye line and in a landscape the horizon would be on the horizon line. The rule also suggests that picture elements should be at the intersection points of the center square. Of course, there is a whole school of photography that believes that a subject should never be in the dead center square. In my opinion, the whole principle of the rule of thirds should be to get the photographer to ask one key question: "What am I taking a picture of?" Ask this question first and then compose your picture considering the Rule of Thirds. It is a rule, not a law.

2

How does this image look to you? At first blush it seems like a good composition. The exposure is good and the colors are right. However, what is it a picture of? Is it a picture of the sky, the log or the mountain? It just isn't too clear, is it?

3

Now let's apply the Rule of Thirds. Is anything in the center quadrant? Is any subject content around the power intersection points? Is the horizon on the horizon line? The answer is no; this is not a very well-composed picture. There is not dynamic tension and the picture does not tell a story. Just because a picture is well exposed and has subject elements doesn't make it a well-composed image.

4

Points of interest in the photo don't have to actually touch one of these lines to take advantage of the Rule of Thirds. The eye tends to travel to the lightest point in the center and then to the darkest point at one of the intersection points. This movement of the eye is called eye flow and all artists and photographers want to control the way you view the image so that you can see what they see. This image is a well-composed image that controls the movement of your eye through the viewing of the image. You tend to first look at the highlight in the row boat in the lower middle quadrant of the picture and then your eye flows up to the little building in the center of the small harbor. The composition and eye flow make it almost impossible to look at it any other way

5

Which of these pictures is the best composition? They all conform to the rule of thirds, but most people would choose Image Number 3. The reason is that you can see the whole deer and there is eye contact with the camera. The Rule of Thirds is only one element of good photo composition. You also need good exposure, good color balance, sharp focus and good eye flow through the image. The Rule of Thirds is a starting point for good image composition, but it is not the only element of composition.

6

You have nine quadrants in a single image frame so you might as well fill the frame with content. In this image you cannot miss the content. No matter where you look or how your eye is guided you will see the image of a horse and rider slightly blurred by the speed of the action. It is almost impossible to miss the intent or feeling of this image. The center five quadrants are filled with the image you are intended to see. Remember, this is one rule that is made to be broken.

Enhance your photography skill,The Top Secret Photography Techniques

. Always ask yourself first: "What am I taking a picture of?" before you even look into the viewfinder. Then look in to the viewfinder and mentally divide it into nine quadrants before you expose your image. This simple practice will make you a better photographer.

---

• 
  

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Definition of Camera Shutter & Release

The shutter-release button on a camera is the final act in taking a photograph with an single-lens reflex camera (SLR) or digital single-lens reflex camera (DSLR). After the aperture, shutter speed, ISO and focusing have all been set, that button is the go or record button of the camera.

Shutter

A camera shutter can be thought of exactly like a window shutter on a house; it is responsible for blocking out or letting in the light. In a DSLR camera, the shutter is a thin sheet that covers the digital sensor that acts as the film of the camera. The photographer is responsible for setting how long the shutter stays up or open with each shot. The greater the shutter speed, the less exposure time; the lower the shutter speed, the greater the exposure, meaning that more light is let in.

Shutter-Release Button

The shutter-release button allows the physical act of taking a photograph. It is the button, usually top right on the camera, that the photographer presses when she is ready to take the shot. When pressed, the shutter is released, that is it is moved out of the way to allow light to enter the camera and produce an image or the photograph on the camera's sensor. The shutter release performs the same function in a film camera, when the button is pressed, the plastic shutter moves out of the way to allow light to enter and expose the film.

Mirror Flip

All SLR and DSLR cameras contain mirrors that allow the photographer to view the framed image in the view finder. Without a mirror, the photographer would have to shoot blindly. The mirror is placed directly in front of the shutter, so it can bounce the image up and out of the viewfinder. As the mirror is in front of the shutter, it must be moved in order for the shutter to open and allow light to enter the camera. When the shutter release button is pressed, the mirror flips upward and out of the way simultaneously with the shutter opening and closing. The mirror flipping along with the shutter opening and closing are what are responsible for the audible click noise that occurs upon pressing the shutter release button. Unfortunately, however, as the mirror must move it unavoidably causes added movement (blur) to the photograph.

Shutter Speed

The shutter speed (SS) is how the photographer goes about setting the amount of time the shutter is open. The SS is expressed in fractions of seconds: 1/30, 1/25, 1/60, 1/250, 1/8,000. The smaller the fraction (the greater the number on the underside of the fraction bar) the faster the SS. A faster SS means the shutter is open for less time, and, therefore, the likelihood of blur is decreased. On film SLR cameras, the SS is set using the top right dial on the camera body. In a DSLR, the SS is usually set through a thumb dial on the back of the camera body.

Obtaining a Fast SS

A faster SS means less blur, but a faster SS also implies less light is being let in, so in low-light situations, sometimes a fast SS cannot be used. In order to obtain the fastest speed your lighting situation allows for, there are three adjustments you must make to your camera. The first is stopping down your aperture to the widest possible (lowest number), the second is bumping up the film speed ISO to as high as you are comfortable with (the only drawback with a high ISO is that it increases graininess) and the third is steadying your camera with a tripod or resting your body and arms against a wall, table, chair or anything that can add extra grounding for the camera in order to reduce blur.

---

The shutter-release button on a camera is the final act in taking a photograph with an single-lens reflex camera (SLR) or digital single-lens reflex camera (DSLR). After the aperture, shutter speed, ISO and focusing have all been set, that button is the go or record button of the camera.

Shutter

A camera shutter can be thought of exactly like a window shutter on a house; it is responsible for blocking out or letting in the light. In a DSLR camera, the shutter is a thin sheet that covers the digital sensor that acts as the film of the camera. The photographer is responsible for setting how long the shutter stays up or open with each shot. The greater the shutter speed, the less exposure time; the lower the shutter speed, the greater the exposure, meaning that more light is let in.

Shutter-Release Button

The shutter-release button allows the physical act of taking a photograph. It is the button, usually top right on the camera, that the photographer presses when she is ready to take the shot. When pressed, the shutter is released, that is it is moved out of the way to allow light to enter the camera and produce an image or the photograph on the camera's sensor. The shutter release performs the same function in a film camera, when the button is pressed, the plastic shutter moves out of the way to allow light to enter and expose the film.

Mirror Flip

All SLR and DSLR cameras contain mirrors that allow the photographer to view the framed image in the view finder. Without a mirror, the photographer would have to shoot blindly. The mirror is placed directly in front of the shutter, so it can bounce the image up and out of the viewfinder. As the mirror is in front of the shutter, it must be moved in order for the shutter to open and allow light to enter the camera. When the shutter release button is pressed, the mirror flips upward and out of the way simultaneously with the shutter opening and closing. The mirror flipping along with the shutter opening and closing are what are responsible for the audible click noise that occurs upon pressing the shutter release button. Unfortunately, however, as the mirror must move it unavoidably causes added movement (blur) to the photograph.

Shutter Speed

The shutter speed (SS) is how the photographer goes about setting the amount of time the shutter is open. The SS is expressed in fractions of seconds: 1/30, 1/25, 1/60, 1/250, 1/8,000. The smaller the fraction (the greater the number on the underside of the fraction bar) the faster the SS. A faster SS means the shutter is open for less time, and, therefore, the likelihood of blur is decreased. On film SLR cameras, the SS is set using the top right dial on the camera body. In a DSLR, the SS is usually set through a thumb dial on the back of the camera body.

Obtaining a Fast SS

A faster SS means less blur, but a faster SS also implies less light is being let in, so in low-light situations, sometimes a fast SS cannot be used. In order to obtain the fastest speed your lighting situation allows for, there are three adjustments you must make to your camera. The first is stopping down your aperture to the widest possible (lowest number), the second is bumping up the film speed ISO to as high as you are comfortable with (the only drawback with a high ISO is that it increases graininess) and the third is steadying your camera with a tripod or resting your body and arms against a wall, table, chair or anything that can add extra grounding for the camera in order to reduce blur.

---

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How to Bling Out My Photos

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The History of Minolta Cameras

The Minolta Co., established in 1928 by Kazuo Tashima, was originally called Nichi-Doku Shashinki Shoten (Japan-Germany Camera Co.). In 1962, the company changed its name to Minolta Camera Co. Ltd., to reflect its rising camera sales. In 1994, the company morphed again, dropping the word "camera" from its name, to become the Minolta Co., Ltd., promoting itself as more than just a camera company. After nearly eight decades as a leader in photography, Minolta merged with Konica in 2003, and withdrew from the camera business and photo-business in 2007.As of 2010, Konica Minolta specializes in business services and office systems including fax machines, scanners and printers.

1937-1962

In 1937, Minolta introduced the first double-lens camera made in Japan called the Minolta Flex. By 1958, Minolta developed its first single-lens reflex (SLR) camera called the Minolta SR-2. In 1962, the Minolta Hi-Matic camera, which was used upside-down with a folding viewfinder mounted to the camera's base, went into space on the Friendship 7, America's first manned spacecraft to orbit the Earth.

1966 to 1973

In 1966, Minolta designed its first through-the-lens (TTL) light metering SLR camera called the Minolta SR-T101. In 1972, Minolta signed a technical agreement with Earnst Leitz Wetzlar, the manufacturer of Leica cameras. In 1973, Minolta features the first camera collaboratively created with Leica, the Minolta CL.

1976-1981

As their partnership evolved, Leica and Minolta introduced the Leica camera series R3, R4 and R5. In 1981, the Minolta CLE is the word's first 35mm rangefinder camera to include TTL (through-the-lens) metering and aperture priority auto-exposure. The Minolta X-700, a manual-focus SLR, was marketed and sold successfully until 1999. Minolta also invented the world's first auto-focus SLR camera in the same calendar year, spurring intense competition from Nikon and Canon, catapulting Minolta to the top of the industry's food-chain.

1988-1992

Minolta delivers a series of "firsts" during the years of 1988 to 1992. In 1988, Minolta unveiled the word's first water and dust-resistant dual focal point compact camera called the Minolta Weathermatic Dual 35. That same year, Minolta delivered another first with its first auto-focus SLR camera featuring an intelligent card system. By 1992, Minolta designed the world's first auto-focus SLR camera with a shutter speed of 1/12,000 seconds.

1995-1996

In 1995, Minolta invented the RD-175 SLR style 1.75 megapixel digital camera. By 1996, Minolta hD introduced an Advanced Photo System (APA) camera series, the Minolta Vectis.

1997-2007

In 1997, Konica Minolta introduced the Dimage v, a digital camera with a removable, rotating lens.

In 1998, Minolta developed the Maxxum 9, targeting professional photographers.

By 2001, the Minolta Dimage 7 was designed, featuring 5 megapixel resolution and a 7x optical zoom.The last cameras manufactured by Konica Minolta were the Dimage X1 and the X6.

In 2007, Konica Minolta Photo Image Inc.'s (the camera business portion of Konica Minolta) digital camera technology assets were transferred to Sony.

---

The Minolta Co., established in 1928 by Kazuo Tashima, was originally called Nichi-Doku Shashinki Shoten (Japan-Germany Camera Co.). In 1962, the company changed its name to Minolta Camera Co. Ltd., to reflect its rising camera sales. In 1994, the company morphed again, dropping the word "camera" from its name, to become the Minolta Co., Ltd., promoting itself as more than just a camera company. After nearly eight decades as a leader in photography, Minolta merged with Konica in 2003, and withdrew from the camera business and photo-business in 2007.As of 2010, Konica Minolta specializes in business services and office systems including fax machines, scanners and printers.

1937-1962

In 1937, Minolta introduced the first double-lens camera made in Japan called the Minolta Flex. By 1958, Minolta developed its first single-lens reflex (SLR) camera called the Minolta SR-2. In 1962, the Minolta Hi-Matic camera, which was used upside-down with a folding viewfinder mounted to the camera's base, went into space on the Friendship 7, America's first manned spacecraft to orbit the Earth.

1966 to 1973

In 1966, Minolta designed its first through-the-lens (TTL) light metering SLR camera called the Minolta SR-T101. In 1972, Minolta signed a technical agreement with Earnst Leitz Wetzlar, the manufacturer of Leica cameras. In 1973, Minolta features the first camera collaboratively created with Leica, the Minolta CL.

1976-1981

As their partnership evolved, Leica and Minolta introduced the Leica camera series R3, R4 and R5. In 1981, the Minolta CLE is the word's first 35mm rangefinder camera to include TTL (through-the-lens) metering and aperture priority auto-exposure. The Minolta X-700, a manual-focus SLR, was marketed and sold successfully until 1999. Minolta also invented the world's first auto-focus SLR camera in the same calendar year, spurring intense competition from Nikon and Canon, catapulting Minolta to the top of the industry's food-chain.

1988-1992

Minolta delivers a series of "firsts" during the years of 1988 to 1992. In 1988, Minolta unveiled the word's first water and dust-resistant dual focal point compact camera called the Minolta Weathermatic Dual 35. That same year, Minolta delivered another first with its first auto-focus SLR camera featuring an intelligent card system. By 1992, Minolta designed the world's first auto-focus SLR camera with a shutter speed of 1/12,000 seconds.

1995-1996

In 1995, Minolta invented the RD-175 SLR style 1.75 megapixel digital camera. By 1996, Minolta hD introduced an Advanced Photo System (APA) camera series, the Minolta Vectis.

1997-2007

In 1997, Konica Minolta introduced the Dimage v, a digital camera with a removable, rotating lens.

In 1998, Minolta developed the Maxxum 9, targeting professional photographers.

By 2001, the Minolta Dimage 7 was designed, featuring 5 megapixel resolution and a 7x optical zoom.The last cameras manufactured by Konica Minolta were the Dimage X1 and the X6.

In 2007, Konica Minolta Photo Image Inc.'s (the camera business portion of Konica Minolta) digital camera technology assets were transferred to Sony.

---

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  the tap: New version of speed trap camera. Hoax?

  the-tap.blogspot.com/2012/11/new-version-of-speed-trap-camera.html3 posts By the tap Published Nov 20, 2012

  Nov 20, 2012 You may want to watch out for these rather sneaky new speed cameras. Two are already in operation on the A52 dual carriageway into Nottingham (Im told ...

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