Photography as a means of artistic expression in educational institutions can contribute effectively to develop aesthetic sensibility, stimulating the creative imagination and stimulate a reflective appreciation of the visual aspects surrounding the student. This document contains some basic photographic composition, accompanied by a series of best practices to achieve the students' development of the photographic technique and imagination.
The basic notions about the composition of an image are a must have in mind who stands behind a camera. The understanding of certain technical terms such as volume, rhythm and texture, among others, will "see" and compose better pictures knowingly images. The practice of these concepts will help students develop their ability to perceive and interpret critically the images of the surroundings, refined aesthetic sensibility and increasing environmental awareness as factors that contribute to quality of life.
In the photograph, the organization is the first element of the plastic-visual language with which the student should be familiar. The camera, unlike the human eye of a scene reproduced without discrimination everything that appears in the frame. Because of this, beginners are surprised when unexpected things or people appear in his photographs: lines that cut a landscape, or in the foreground an arm without a body or a power line. Often this happens because the photographer does not notice these elements during the siege, by being focused on your point of interest.
The scrutiny of the eye is something that the photographer should impose on the image with selective focus or changing the point of discharge to disappear uninteresting detail, smearing (using the depth of field), to hide or be made subject to overall composition. To achieve this we must learn to look like camera and not as a person looking at a scene that focuses on what interests him, ignoring the rest.
The strength of a formal image often lies in the relationship of the elements that make up the imaginary lines that divide horizontally and vertically into three equal parts. Those with the foreground, middle distance and background clearly discernible particularly effective if these areas are thirds. The intersection of horizontal and vertical two thirds is a good location for the center of interest. The view from here you can pan across the image along lines and curves or touring secondary care centers.
Using photography, students can express their emotions, ideas and feelings, observing your surroundings. The more complicated is what we are observing, the more important to determine a viewpoint and an angle to clarify the picture and illustrate exactly what is intended. Every time you take a picture you have to wonder what is meant and analyze these intentions consciously rather than leaving them to chance or intuition. For example, when you tilt the camera down and to take away from this point disadvantage any fund or eliminated the foreground. Try a different angle. Be creative. Crouch down and see the subject of a new form, take your time to find the best angle. Decide whether there are elements irrelevant distractors, excludable or concealed from another position. Testing various sampling points is easy to see that you can get to the bottom of the essence of the subject. Critical reflection on what you see is a vital part of the exploration process.
On the other hand, it is easy to forget the importance of certain details at the time of context and establish a range of sizes in a photograph, which requires the viewer to concentrate on not to leave out anything important. Thus, the size of the subject will only be obvious if the image is contained something of known size to compare it, as a person.
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