http://www.elfwood.com/farp/figure/williamlibodyconstruction.html

basic figure drawings
http://www.elfwood.com/farp/figure/williamlibodyconstruction.html

http://martinity.com/html/pencils.htm

http://martinity.com/html/pencils.htm

lara ferroni

http://www.laraferroni.com/
http://www.spareroomseattle.com/

ABOUT

---

I didn’t really mean to become a photographer. But with the first photo that I took of a batch of homemade raspberry scones, I knew I was a goner. My family quickly learned to ask first before digging in with their forks as I became completely snap-happy around any kind of food. Family vacations were hijacked to make special trips to particularly photogenic markets or restaurants.

Luckily for me, and my family, this passion quickly turned into something a bit more useful… beautiful images of food, travel and life for editorial publications and advertising.

I keep a very small shop. My studio is located in my light-filled house. I mostly do my own food and prop styling. I love to use natural sunlight light. The sense of home and wonder you see in my photos comes from the way I work and the fact that I am a home cook and that I shoot in a home (be it one with a really large selection of tableware).

My clients include Epicurious.com (Conde Nast), Gourmet.com, Sasquatch Books, Wiley, Chronicle Books,Imbibe Magazine, Seattle Magazine, Portland Monthly Magazine, Seattle Metropolitan Magazine, Seattle Metropolitan Bride & Groom, Seattle Bride, Edible San Francisco, Edible Seattle, Where Magazine, Katia’s Chocolates, Rising C Citrus, Wilkes Creative, Brains on Fire, Fresh Flours Bakery, Tom Douglas Restaurants,NWSource.com, Restaurants & Institutions, Herbco International and Seattle Coffee Works. My photos have also appeared in the Wall Street Journal, the New York Times and Sunset Magazine.

You can find my stock photos on Getty Images and StockFood.

I’m also on Twitter:
Still Life With Tweets for chatter about food photography and styling announcements and inspirations.
LFerroni Tweets for everything else.

Have a food photography question? Looking for a photographer? See a site problem?Mail me!

lara ferroni

http://www.laraferroni.com/
http://www.spareroomseattle.com/


ABOUT

---

I didn’t really mean to become a photographer. But with the first photo that I took of a batch of homemade raspberry scones, I knew I was a goner. My family quickly learned to ask first before digging in with their forks as I became completely snap-happy around any kind of food. Family vacations were hijacked to make special trips to particularly photogenic markets or restaurants.

Luckily for me, and my family, this passion quickly turned into something a bit more useful… beautiful images of food, travel and life for editorial publications and advertising.

I keep a very small shop. My studio is located in my light-filled house. I mostly do my own food and prop styling. I love to use natural sunlight light. The sense of home and wonder you see in my photos comes from the way I work and the fact that I am a home cook and that I shoot in a home (be it one with a really large selection of tableware).

My clients include Epicurious.com (Conde Nast), Gourmet.com, Sasquatch Books, Wiley, Chronicle Books,Imbibe Magazine, Seattle Magazine, Portland Monthly Magazine, Seattle Metropolitan Magazine, Seattle Metropolitan Bride & Groom, Seattle Bride, Edible San Francisco, Edible Seattle, Where Magazine, Katia’s Chocolates, Rising C Citrus, Wilkes Creative, Brains on Fire, Fresh Flours Bakery, Tom Douglas Restaurants,NWSource.com, Restaurants & Institutions, Herbco International and Seattle Coffee Works. My photos have also appeared in the Wall Street Journal, the New York Times and Sunset Magazine.

You can find my stock photos on Getty Images and StockFood.

I’m also on Twitter:
Still Life With Tweets for chatter about food photography and styling announcements and inspirations.
LFerroni Tweets for everything else.

Have a food photography question? Looking for a photographer? See a site problem?Mail me!

Food Photography – An Introduction

Interested in learning about Food Photography? Read on for some introductory tips.

Visit any bookshop and head for the cook book section and you’ll be overwhelmed by the array of books filled with scrumptious recipes accompanied by wonderful photography of the meals being written about.

Colorful stacks of vegetables drizzled with rich sauces on a clean white plate with glistening table settings – you know the shots. Sometimes the photography is almost the true focus of the book with the recipes taking a secondary role.

But how do you photograph food and get such great results?

1. Lighting

Treat the food you’re photographing as you would any other still life subject and ensure that it is well lit. Many of the poor examples of food photography that I’ve come across in the research for this article could have been drastically improved with adequate lighting. One of the best places to photograph food is by a window where there is plenty of natural light – perhaps supported with flash bounced off a ceiling or wall to give more balanced lighting that cuts out the shadows. This daylight helps to keep the food looking much more natural.

2. Props

Pay attention not only to the arrangement of the food itself but to the context that you put it in including the plate or bowel and any table settings around it. Don’t clutter the photo with a full table setting but consider one or two extra elements such as a glass, fork, flower or napkin. These elements can often be placed in secondary positions in the foreground or background of your shot.

3. Be Quick

Food doesn’t keep it’s appetizing looks for long so as a photographer you’ll need to be well prepared and able to shoot quickly after it’s been cooked before it melts, collapses, wilts and/or changes color. This means being prepared and knowing what you want to achieve before the food arrives. One strategy that some use is to have the shot completely set up with props before the food is ready and then to substitute a stand-in plate to get your exposure right. Then when the food is ready you just switch the stand-in plate with the real thing and you’re ready to start shooting.

4. Style it

The way food is set out on the plate is as important as the way you photograph it. Pay attention to the balance of food in a shot (color, shapes etc) and leave a way into the shot (using leading lines and the rule of thirds to help guide your viewer’s eye into the dish). One of the best ways to learn is to get some cook books to see how the pros do it.

5. Enhance it

One tip that a photographer gave me last week when I said I was writing this was to have some vegetable oil on hand and to brush it over food to make it glisten in your shots.

6. Get Down Low

A mistake that many beginner food photographers make is taking shots that look down on a plate from directly above. While this can work in some circumstances – in most cases you’ll get a more better shot by shooting from down close to plate level (or slightly above it).

7. Macro

Really focusing in upon just one part of the dish can be an effective way of highlighting the different elements of it.

8. Steam

Having steam rising off your food can give it a ‘just cooked’ feel which some food photographers like. Of course this can be difficult to achieve naturally. I spoke with one food stylist a few years back who told me that they added steam with a number of artificial strategies including microwaving water soaked cotton balls and placing them behind food. This is probably a little advance for most of us – however it was an interesting trick so I thought I’d include it.

I’m certain that DPS readers will have plenty more tips on photographing food – feel free to add your tips in comments below!

PS: for more tricks of the trade when it comes to food styling and food photography – check out this one at Australia’s Choice Magazine. For a blog with some great food photography and styling tips check out Still Life With….

Read more: http://www.digital-photography-school.com/food-photography-an-introduction#ixzz0yfgk2wF3

The Diagonal Method (DM)

The Diagonal Method (DM) is a “method” of composition that I accidentally discovered in May 2006, doing research in relation to the (in photography known) theory of composition called the “Rule of Thirds”. The technical side of Diagonal Method is rather simple: each 90 degree corner of a work of art can be divided into two angles of 45 degrees. This dividing line is actually called the bisection line (a bisection is a line that divides an angle into two equal parts). It appeared that artists were intuitively placing details which they found important, on these lines with a deviation of max. 1 tot 1,5 millimetre.
I called this the Diagonal Method because these lines are also the mathematical diagonals of the two overlapping squares within a rectangle. People seem to look through pictures in the same way as the artist did; they follow the bisection lines or Diagonals. (This is as yet a hypothesis that is currently being tested at several universities.)

The difference between the existing theories of composition (the Rule of Thirds and the Golden Section) is that the Diagonal Method is not concerned with making “good” compositions, but with finding details which are important to the artist in a psychological or emotional way. On this level the DM is completely subjective. It has nothing to do with placing lines or shapes in a certain location within a frame with the intention of getting a “better” composition. So we can use the DM to find out what the interests of the artist were. The positioning of these details is done in an unconscious manner. That’s why the DM is so exact.
Of course it is also possible to crop a photograph afterwards in such a way that details which are important to the photographer, are placed somewhere on these Diagonals.

The Diagonal Method

The 35 mm photographic frame is a rectangle with a ratio of 2:3. Within this rectangle you can draw two squares that overlap each other (see fig. 1). I discovered that artists like Rembrandt, famous photographers, but also amateur photographers, often were placing details like eyes exactly on these Diagonals.

fig. 1

To test this I used a transparency with just one bisection line (see fig. 2).

Because of the exactness of the DM it is necessary to align the corner of this sheet exactly with the four corners of the work of art that you want to test. (It is not possible to see whether a detail lies on a Diagonal, without such a sheet.)
Any position on the four diagonals could have been used to place details by the artist. The dots on the lines in fig. 3 could be such spots.

fig. 2

Details are often lying on the Diagonals with a accuracy of 1 to 1,5 millimetre on a A4 size picture. Precisely this precision was the decisive factor in my research. If the Diagonal Method would have been just as inaccurate as the Rule of Thirds, then I just would have thrown all my findings in the dust bin.
I searched for a theoretical explanantion of the DM in books of art about composition but I did not find anything useful. Rudolf Arnheim mentions the square and “force lines” and “force fields” in his classic “Art and Visual Perception” but it is rather strange that he does not say a word about rectangular art. He only did research on square works of art.

                                          fig. 3                                
Brian Thomas tested 98 famous paintings in his work “Geometry in Pictorial Composition” and found a lot of geometric forms in these works but he did not reach a conclusion concerning a particular method which was used more often than others.
My opinion about this kind of research is that it is unlikely that one would find anything conclusive. If I would not have done visual experiments, I also would have found nothing interesting. I did not start with a theory, but with looking and experimenting. Also it was not my goal or intention to look for geometrical forms in art or to find a new compositional method. (The experiment itself will be explained on this website later on.)

For me the important thing was that the DM actually worked, whereas the Rule of Thirds and the Golden Section seemed rather off. (Nevertheless, one can use the Rule of Thirds to avoid placing small and middle sized subjects in the centre of the frame. But there is no exactness. Also, there are no studies in which the theory of the Rule of Thirds is proven.)
The biggest difference between the DM and the Rule of Thirds is that people do not consciously place anydetails like bricks or lamp posts on certain positions in the frame in the hope that the composition will get better, but unconsciously search for and place emotional and/or pychological important parts and place these (without a conscious intention) on visually strong positions. 

The very first photograph I tested was a portrait made by one of my students (fig. 4), and I was surprised, not to say shocked, that the Diagonal went right through the centre of the pupil of the eye (yellow line).

                                          fig. 4 (the cross point belongs to the Rule of Thirds)

Conclusions -  We can discover hidden points of interest in works of arts.

-  All positions on all four diagonals are possible for placing details.

-  In landscapes and architecture there are often no important details so the DM does simply not apply.

-  The DM is mostly found in portraits and social photography.

-  The DM can be used to crop photographs afterwards.

-  Sometimes lines that are formed by things like arms are on or parallel to the  Diagonals.

-  In advertisements small things like watches or the eye of a model are often lying on the Diagonals.

-  Details which are important to the artist are lying almost always within 1 mm on one or more Diagonals

Photographs and paintings

Photograph by Spencer Platt, World Press 2006 winning photo

                            Four Diagonals are crossing the eyes of the four persons in the car.

On the right is a photograph by Rankin ("Feeling Hungry") with a skinny girl, in fact so skinny that her clothes have to be held together with clamps. It is not impossible that she suffers from anorexia. It is therefore strange that she is about to eat a gigantic slab of chocolate. (You could also say that she has not eaten for a couple of days and that she is now "feeling very hungry". But chocolate would not be the first thing you would eat except when you have no choice.)
The moment of eating is nevertheless important and is emphasized by the Diagonal from the top left corner: the Diagonal is exactly crossing the point between her teeth and the chocolate slab. Notice that the Diagonal is not crossing her left eye: the distance between her eye and the Diagonal is 5 millimetre. Often the Diagonal is crossing right through the pupil of an eye, but not in this photograph because the eye is not the most important part. The exactness of the
Diagonal Method is stunning.
Photograph by Rankin (Courtesy by Rankin Photography)

 Diagonal Method                                                       Rule of Thirds
 
Above: Nicolas Cage in an advertisement for Mont Blanc watches. On the left we see the Diagonal method: the Diagonal from the top left corner is crossing his eye and the Diagonal from the bottom right corner is crossing the centre of his watch. Apparently Nicolas Cage is as important here as the watch.

 Diagonal Method                                       Rule of Thirds

Above: in these photographs, the person is not important, only the camera is important. The Diagonal from the bottom right corner is crossing the centre of the lens of the camera, so attracting attention.



Diagonal Method                                                   Rule of Thirds In the etching on the left by Rembrandt, "The Tax Receiver" (or "Weigher of Gold"), we can see three Diagonals crossing the three most important details:1. One from the top left is crossing the little bag with money),2. One from the top right is crossing the right eye of the main figure,3. One from the bottom right is crossing the forefinger and thumb holding the pen.

 Diagonal, Rule of Thirds and the Golden Section          Diagonal method

Left: the painting " Ginevra Benci" by Leonardo da Vinci, with three methods:

1. The Diagonal Method (blue line that crosses the left eye).
2. The Golden Section (yellow lines).
3. The Rule of Thirds (green dotted lines). On the right (above), the Mona Lisa by Leonardo da Vinci.The Diagonal is crossing the lips. That's what we would expect in the Mona Lisa painting because the smile
is more important than the eyes.

Some conclusions after four years of research: a new way of looking at pictures:
         When working with the Rule of Thirds and the Golden Section we have the habit of thinking that the composition would get better when we place certain objects or lines on particular spots within the frame.
This vision leads to two problems: a. this theory is not proven and 2. many photographs that are considered as very good by the public in general do not follow this theory.
The Diagonal Method cannot be viewed in the same manner because it is not a theory of composition. One important difference is that (when taking the photograph) the DM is used unconsciously (that is why it is so accurate: within one millimetre from the lines). Another difference is that the way artists choose and place details (on the DM lines) is very subjective: it is the result of their whole character and way of living. (Apparently both artists and viewers of works of art are looking at frames and pictures along the bisection lines (the DM lines), that is why the DM works.)

       To view this as a matter of composition only, would mean that we are trying to put the theory of composition on the Diagonal Method. But first of all the DM gives us insight in the interests, character and motives of the artist (see also the article by Fleur Jongepier:  Articles and bibliography).
This is a new vision because only certain subjects are interesting or important. In the old way, any line or detail from any subject could or should be placed on a particular spot, to get a better composition. But with the DM, a better composition is not the goal or purpose. Details on the DM lines become more important but this is not the same as a better composition. So we have to change our view towards the concept ofreading pictures and photographs in a psychological way, and away from the concept of objective and fixed matrixes with lead to good or bad compositions.

         At the same time, having said this, people apparently see, notice, details along the bisection lines sooner than details in other places of a photograph, painting or drawing. This means that when more important details (in general, people would agree that for instance, eyes are more important than bricks in a wall) do not lie on the bisection lines, that work of art would seem "not right", confusing. That is when cropping comes "into the picture". While cropping, one can of course choose which detail must be important and which not. So the subjective aspect remains. I received reactions from different persons who said that after cropping, their photographs looked more "pleasing". (Alls this applies mostly to works that have persons in it and where the framing of the bigger subject is not more important than placing the details, as is said before.)

Edwin Westhoff

Диагональный метод в фотографии, метод диагоналей — это одно из правил композиции (композиция (изобразительное искусство)) в фотографии (фотография), живописи (живопись) и графике (графика). Голландский фотограф Эдвин Вестхофф (Edwin Westhoff) случайно натолкнулся на этот метод, когда он визуально экспериментировал с правило третей целью исследовать, почему правило третей так не точно.

После изучения многочисленных фотографий, картин и гравюр он обнаружил, что детали изображений, на которые обращается большее внимания, лежат по диагонали (диагональ) квадрата (квадрат). Кадр (фотография) — это прямоугольник в соотношении 4:3 или 3:2 , причем смотрящий должен обращать внимание на четыре биссектрисы (биссектриса) углов. Человек воспринимает изображение легче если определенные элементы этого изображения находятся на этих линиях.^[1]

Теория

Детали изображений, на которые обращается большее внимание, согласно ДМ, находятся часто, с точностью до миллиметра, на одной или нескольких диагональных линиях, лежащих под углом 45 градусов . В противоположность другим правилам композиции, таким как « правило третьего» и золотое сечение ДМ не придает большого значения тому, в каких местах линии пересекаются и акцентирует внимание на произвольной позиции, лежащей по диагонали. Пока эти детали лежат на диагональных линиях, они привлекают внимание.^[2] Однако ДМ требует, чтобы эти детали изображения лежали точно по диагонали, с максимальным отклонением в один миллиметр на формате А4. В отличие от других правил композиции ДМ не используется для того, что бы улучшить саму композицию.

Применение

ДМ родился из анализа, как художники инстинктивно группируют детали картин и гравюр, и это также может быть использовано для этой цели. Так Едвин Уэстхофф (Edwin Westhoff) обнаружил, что если начертить линии на изображении под углом в 45 градусов ( угловой градус), то можно увидеть какие детали художник хотел выделить. Художники и фотографы интуитивно помещают важные детали и предметы внутри композиции. С помощью ДМ можно определить какая деталь «делает» фотографию, картину или на что художники хотят обратить особое внимание. Исследования показали например, что важнейшие детали картин и гравюр Рембрандта (Рембрандт) ван-Рейна лежат именно по диагоналям: глаза, руки, предметы домашнего обихода. Кроме того ДМ может быть использован для обрезки работ ^[3] Начиная с 2003 года, есть возможность подрезать свои работы согласно ДМ и в Adobe PhotoshopLightroom, наряду с другими правилами композиции. Начиная с 2009 года есть также сценарии для Adobe Photoshop CS2/3/4, Paint Shop Pro, GIMP и Picture Window Pro. Размещение важных деталей и предметов по диагоналям во время съемки трудно осуществить, но это можно сделать во время обработки фотографии. Например, можно сместить .^[4] один из основных предметов или деталей на диагональ изображения. ДМ применяется только для изображений, в которых надо подчеркнуть или выделить определенные детали, например портрет, где определенные части тела заслуживают большего внимания или рекламное фото, где презентируются товары на рынок. На некоторых фотографиях ландшафтов есть немаловажные детали, такие как люди, отдельно стоящие деревья или здание, которые могут лежать на диагоналях, но обычно на фотографиях ландшафтов и зданий надо видеть общую картину, где часто другие линии определяют построение картины, например горизонт .^[5]

Основание

Известно, что диагонали, также как перпендикуляры, центр тяжести и углы (угол) -это важные составляющие прямоугольника .^[6] , важнее, чем другие его части . Насколько влияют линии, выходящие под прямым углом в фотографиях в соотношении 4:3 и 3:2 , до сих пор еще не было исследовано. Кроме практических исcледований ДМ с помощью различных анализов до сих пор не известны научные исследования, подтверждающие ДМ.