FAKULTI FILEM, TEATER DAN ANIMASI (FiTA)

UNIVERSITI TEKNOLOGI MARA (UiTM)

   
CODE / COURSE NAME:
FFF114 CINEPHOTO

LECTURER NAME:
TS. DR. MOHD ERMAN BIN MAHARAM

 ASSIGNMENT NAME:
PICTORIAL ELEMENTS OF MY COMPOSITION

STUDENT NAME AND MATRIC NUMBER:

MUHAMMAD SYAFIQ HAIQAL BIN SHAHIZAM
(2022881586)

PROGRAMME/GROUP:
FFF114/CAFF1111A
Introduction

By creating an image of the world in our minds, we are able to make sense of it.
Because our eye/brain system can detect and interpret boundaries, contrasts,
light/shadow/dark, colours, and perspectives, objects in our environment are visible
to us. Our capacity to analyse these patterns therefore aids in our ability to
comprehend the environment we live in. Therefore, it will aid our composition if we
can identify these straightforward visual components.

Photographers should scout out compelling visual components through the lens
in order to create an image. It takes a lot of creative work in photography to get rid of
distractions, or stuff that does not add to the point of an image. We should thus look
for a point of view that isolates the aspects we want to convey in the image in order
to make it effective.

The next task is to "see" the subject in the "best possible light" after isolating the
distractions. Utilizing the boundaries, contrasts, light/shadow/dark, colours, and
perspectives listed above is essentially what it comes down to. What will draw the
eye into our photos is finding effective methods to employ these. Therefore, we
should look for straightforward, striking details that add realism and clarity to the
scenario.

Pictorial Elements

There are six pictorial elements, which are merely various objects that you might see
in a photo and range in complexity from simple to complicated.
i) Line
ii) Shape
iii) Space
iv) Tone
v) Color
vi) Texture
These elements are independent of all other elements in a picture, including the
composition's borders. Each object in your photo demonstrates these qualities to
some extent, sometimes overtly and other times covertly.
1. Lines

A spectator can follow a path created by lines. They can also serve as a border,
such as the separation between the sky and the ground. In contrast to lines in
geometry, lines in photography are not as strictly defined. A line in photography is
anything that connects two areas of your composition or stretches across it. For
instance, a curved road or a rough mountain ridge fall under this category. Even a
cloud's hazy, loosely defined boundary is typically a line.

Additionally, lines play a crucial role in connecting two distinct aspects in your
photograph. They can provide a picture with structure, which is essential to achieving
the deliberate and intentional feeling of an image. The image has a way of seeming
connected when there is a path connecting the foreground to the background. they
link points together, split them, or direct attention to the desired spot. The lines
connect the points together, split them, or direct attention to the desired spot. As a
result, they are among the most significant compositional elements.

2. Shapes

Anything may be a shape, from the shape of a smiling face to the crescent moon.
It is tough to generalise because every type of shape has a unique emotional effect
on a photograph. The only thing to be said about every shape is that they have the
ability to grab our attention. A circle may be tranquil, a heart evocative, a triangle
energetic, and so on.

Shapes might also be the actual object. When you capture a photo of the sun, it
appears spherical. Sometimes shapes are more abstract, such as when a curved
valley and a curved cloud combine to create a photo with a circular composition.
Shapes of all kinds are important. The first grabs viewers' attention, while the second
provides the image its framework.
3. Space

Another technique for giving your pictures depth is to use negative space. An
image must have a foreground, a midground, and a backdrop in order to be effective.
This is a simple technique for calling attention to specific areas of the image, or even
the backdrop. The parts that are out of focus can also be referred to as "space" in
photography. The positive space is occupied by something similar to your subject.
What appears to be a "empty" or "blank" space really contains information. The void
spaces in between "positive" ones are referred to as "negative space."

A shot feels empty when it has negative space but crammed when it has positive
space. In prose, these emotions don't come across as particularly uplifting, but in a
picture, they might have a big impact. We have approached my cityscape
photography with a sense of purpose and urgency since there is a lot of positive
space. We also did the opposite, photographing a tiny subject against a massive
background to highlight how isolated and out of place the subject is.

4. Tone

Tone describes the degree of lighting or darkness in various areas of a

photograph. In contrast to a photo shot at noon, which could have a mix of dark and
light tones, one taken at night will typically have a very dark overall tone. In a
snapshot, take note of how the tone varies from area to area. As a result, the middle
may be quite light toned while the corner is very dark, or vice versa.

Tone can be carefully manipulated to accomplish a multitude of things. For

instance, you can expose details by making tones lighter or you can hide features by
making tones darker. You can also show form through meticulous tonal gradations,
whereas abrupt tonal changes might lead to confusing compositions. Due to its
impact on the final image, tone is one of the main aspects of post-processing that
photographers pay close attention to. Tone is important, and you can modify the
mood, the topics that are stressed versus deemphasized, and the format of the
subject by carefully choosing your tones.
5. Color

Value, hue, and saturation are characteristics of colour. A shot's success or

failure depends on the colours used and how they are organised. Different hues can
convey various ideas, and they do in fact have a significant aesthetic impact on a
photograph.

Bright colours have life, interest, and activity. Yellows and reds are both.
Comforting and calming hues include blue and green. A strong comprehension of
colours and their effects on an image, as well as a strong awareness of colours
around you, are both beneficial on the road to taking creative photos.

6. Texture

Texture has the power to evoke the most intense emotions of any design
element. The difficulty in detecting and capturing texture is largely dependent on one
factor: light. Early sunny morning or early evening side light, as well as overhead
light when the sun is vertical and high in the sky, can all be used to emphasise
texture.

The roughness of building walls, the wood textures of tree trunks, or any other
texture along vertical surfaces is highlighted when the sun is high in the sky because
the overhead light produces little shadows along those surfaces. Although it has a
minor effect, it gives the photos additional depth, interest, and believability.

It is also important to keep in mind that using texture as a background might

result in an exciting and emotive composition. And with the right application of
texture, images can appear practically three dimensionally alive.