This brush pack is made by LandSpace Architecture. Branches, or mountain slopes, or perhaps a farm building.41 top view tree and shrub brushes (.abr) in one pack Or you look at things that are sticking from the edges into the frame. Often you look at things that are not completely inside the frame. Especially the edges of the frame because that’s the place where the most problems occur. Have you found that spot, look carefully at the surroundings. This is the point of interest, the place where the subject should be positioned in the composition, if possible. You will notice how the eye will follow the light and end up in a certain location within the frame. Where does the light is coming from and where is it going? What parts are illuminated, and what parts aren’t? Look at the location of the light, instead of the location of shadows. Think of an image as being dark with light in it. Don’t look at shadows in a light scenery. If you take this piece of information about light and dark in a landscape photo seriously, there is one thing you must keep in mind when making a composition. Making the contrast stronger than reality is just a way to grab the attention of the viewer and directing it towards the right spot. Put the subject in the landscape into a patch of light, and it will get the much sought-after attention.
Our eyes are always attracted to light, it's the first thing that you will see. After all, this often results in a flat-looking image with no direction of attention.īy adding light in the darkness, you can add direction and thus a point of interest. I try to avoid lifting the shadows too much or bringing the highlight down too much. What I learned from this bit of history is the need for a good balance between light and dark in a photo. Unfortunately, the assertion has mutated into the idea everything in a photo should have that specific ratio. I won’t dare to say that this ratio should be used in any situation, but I believe there is some truth in how valid this assertion is. I wrote an article about the origin of the rule of thirds if you're interested. Before it was called that, a certain Sir Joshua Reynolds stated that a good composition would have a light part and a dark part, where the ratio between light and dark should be 1:3 in the ideal situation.
This starting position reminds me of how the idea of the rule of thirds originated. Perhaps its just imagination, but it helps keeping a great balance between light and dark. I try to look where the light is flowing through the landscape, by using the dark parts as a starting point.
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