| When someone talks too fast or too loud they tend to | | | | field to show therugged texture of the skin, always be |
| dominate the conversation. In photography, dominance | | | | aware of lines that can distract. |
| is usually a much more positive experience. Dominance | | | | In music there is a dominant beat or rhythm. In drama |
| leaves no room for doubt; itforces your viewer to look | | | | there is a dominant character. In life, there is something |
| at a subject, usually because there is nothing else | | | | dominant that drives you. It could be your mate or your |
| there to see. The good points are; you usually see | | | | children. It could be your work. It doesn't matter what it |
| great detail, and the background does not distract. The | | | | is, it only matters that you have something. This |
| bad points are;you usually see great detail, and the | | | | something gives you security,or gives you confidence. |
| background does not support. In other words, be very | | | | When all things in life are crumbling around you, this is |
| carefulfilling up the screen with a single subject | | | | what you come backto. Like wise it is important to |
| because this will also bring out any flaws the subject | | | | have something; whether it is the subject or the |
| mighthave. | | | | background thatdominates the shot. If someone looks |
| The two most common things that use Dominance on | | | | at your photo and has no idea what the shot was |
| a regular basis are Close-Ups and Portraits. | | | | about, thenyou've lost your viewer. It doesn't mean |
| With Close-Up work using dominance also means you | | | | there can't be other things going on in the shot to |
| loose something else. Depth is the mostcommon. If you | | | | supportyour dominant theme, but if it doesn't support . . |
| shoot an entire field of sunflowers, it gives you one | | | | .by all means get rid of it. By far the easiest wayto |
| feeling; if you shoot one floweronly, that feeling | | | | have a dominant subject is to get rid of everything |
| changes dramatically. The only way to make this work | | | | else. |
| to your advantage is tohave a large "depth of field" | | | | Look through back issues of Time, Life, or National |
| (meaning every detail is sharp from edge to edge.) | | | | Geographic Magazines. Some of the greatest |
| Usually; althoughnot always, when you move in closer | | | | photographs of all time are those that are simple. They |
| to something you are also cutting down on the amount | | | | have a dominate subject, mood, color, ortheme. Even |
| of lightyou have available. If you want a large "depth of | | | | when shooting nature, you don't need to show every |
| field" then you are also going to want to give your | | | | blade of grass. If you think aparticular tree looks really |
| close-ups more light. This can be tricky. In some cases, | | | | cool, then make it the dominant subject. Don't confuse |
| using a flash will simply blow away (way over expose) | | | | the viewer byshowing five or six trees and hoping |
| your subject. If you can bracket your exposures, then | | | | they see what you saw. |
| do it. If you don't have that option, try using a white | | | | Zoom in, get close. Don't give them choices of where |
| poster board and work with reflected light. | | | | to look (unless the subject itself is multiples). |
| Portraits are the opposite side of the coin. In other | | | | Force them to see what you saw. Make them feel |
| words, the odds are that with a portrait, especiallyif it is | | | | what you felt. The first award winning shot I evertook |
| going to be a head and shoulders shot you will not | | | | was of a mushroom. Most people only view |
| want as much depth of field. When shooting women in | | | | mushrooms from above,or under their feet. Iactually |
| particular; most portraits want a depth of field that | | | | dug down in the ground in front of this mushroom, so |
| covers from her eyes to just behind herear. The | | | | that could lie on my stomach, andshoot looking up to it. I |
| reason for this is simple. One small flaw on the side of | | | | could see the fins under the dome that everyone else |
| her nose could draw your attentionaway and ruin the | | | | sees. I could see the insects, and the moisture. I could |
| mood of the shot. The nose is already a strong line | | | | feel a whole world that most people just walk on by. It |
| naturally. Focusing further back decreases the likely | | | | wasbecause I forced them to see, that it caught |
| hood that it will distract. Remember, the eyes are the | | | | people's attention. You can do this too. Force peopleto |
| windows to the soul, that's where you want to focus. | | | | feel emotions when they view your work and they will |
| Although portraits of men tend to have more depth of | | | | never forget you. |