USING THE TEXTURE AS AN OBJECT SHOOTING
USING THE TEXTURE AS AN OBJECT SHOOTING
Use texture as a subject
Although it may seem that the use of texture in photography is a fairly simple compositional technique, nevertheless, sometimes there are certain difficulties in its development. Illumination, shadows and colors work differently in landscapes or portraits, rather than in photographs that contain many textures or patterns. But as soon as you begin to find textures in everyday life, they will significantly improve your images (or even become their main subject). Every aspect of the texture becomes an important part of the composition, therefore it is necessary to take into account all the details, from color to pattern and even depth.
Finding the texture in everyday compositions
Before you go looking for the world, take a look at a recent collection of your own photos. Can you notice any specific textures on them? You may have photographed sand on the beach or a peeling wall in an abandoned house. Everything around has its own texture, be it a sheet or someone’s hair – although some, of course, are visually more interesting than others.
Because of this, the search for amusing textures is the most difficult part. Think of the natural texture of rust or flaky paint or oil stain. The more you start to remember the texture, exploring the world around you, the more you will find it. Take, for example, a photograph of an abandoned house wall. Will the wall of YOUR home be just as interesting? The thing is that the picture makes a dynamic composition mold and peeling paint.
If you can’t find an interesting texture for yourself in the surrounding, why not create your own? Going to the task creatively, you can mix food dyes, oil, paint, dirt, sand – everything that you can think of! This way you get complete creative control over the end result. Experiment with several different environments until you find a combination that works.
The combination of oil, water and food coloring can be a good start. By mixing different quantities of these three substances, you can create beautiful abstract images of an object that is constantly changing, such as in the photo below.
When focusing on texture in a composition, it is important to focus on both the light and the shadows inside the texture. Without shadows, it will most likely look flat and uninteresting. The contrast created by the difference in lighted areas and shadows makes the image more voluminous and realistic.
As an example, consider the following image. You can say that the light comes from the photographer and that this is probably natural light, while creating a contrast of light and shade that truly enlivens the image; it seems that you could literally reach out and touch this texture.
Although shadows and contrast are extremely important for texture images, it is also important to make sure that the lighting is not too sharp. Too strong a contrast can make some parts of the image overexposed, and others, on the contrary, underexposed; while some photographers seek to do this, it is important to understand when it makes the image more aesthetically appealing and when not.
Angle and depth of field
Textures do not always need to shoot straight. Stand on a ladder or lie down on the ground; You never know what the texture will look like from a completely different angle!
Looking at an abstract photograph of the geyser above, it may be difficult to pinpoint exactly what you are looking at. As soon as you recognize the object, you will realize that the photo was taken from a bird’s eye view, and the combination of colors and textures creates an incredibly attractive image. The photographer decided to include many different textures, which made the composition more interesting.
Shooting a texture with a smaller depth of field can also be a good solution for creating an abstract image. The photo below focuses solely on the jaggedness of the leaf. Using a shallow depth of field, the photographer made the image much more abstract and interesting than if the object were easily recognizable.