You Can Draw in 30 Days: The Fun, Easy Way to Learn to Draw in One Month or Less by Mark Kistler. Read online, or download in secure EPUB format. Drawing is an acquired skill, not a talent—anyone can learn to draw! All you need is a pencil, a piece of paper, and the willingness to tap into your hidden artistic. Learn to draw in 30 days with Emmy award-winning PBS host Mark KistlerDrawing is an acquired skill, not a talent—anyone can learn to draw! All you need is a.
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Read "You Can Draw in 30 Days The Fun, Easy Way to Learn to Draw in One Month or Less" by Mark Kistler available from Rakuten Kobo. Sign up today and. DOWNLOAD You Can Draw in 30 Days: The Fun, Easy Way To Learn To Draw In One in One Month or Less By Mark Kistler [PDF EBOOK EPUB site]. Download You Can Draw in 30 Days: The Fun, Easy Way To Learn To Draw In One Month Or Less: The Fun, Easy Way to Master Drawing, from Figures to.
Or maybe a lens even wider. The longer you stick with one focal length, the more likely you are to master that focal length. You will start to see the world in that focal length, and will be able to frame a scene without even thinking about it. You will become very keen about the edges of your frame, and never need to crop your photos ever again.
You will improve your composition, and make better photographs.
Chapter 4: 15 Street Photography Techniques To get started, here are some practical street photography techniques and tips you can use in the streets: 1. Work the scene One of the common mistakes I see in street photography is that photographers only take 1—2 photos of the scene, and move on because they are either too self-conscious, nervous, or impatient. Try this instead: work the scene. Take multiple photos of the scene. Preferably 15—20 more tends to be better. Sometimes a subtle difference between what is happening in the background, the eye contact of a person, or a hand gesture is what makes the photograph.
Think of the analogy of baseball— the more times you swing your bat, the more likely you are to hit a home run. It almost looks like the subject of your frame is looking directly at the viewer. The stronger the eye contact, the more emotional, and more memorable the photograph generally is. My suggestion: get close to them, and keep clicking, until they notice you and make eye contact with you.
The second they make eye contact, that is when you click. Get low Many photographers shoot from eye-level. The problem is that this is a boring perspective. We are always used to seeing the world from this perspective— try to get a unique perspective by getting low.
By crouching down and shooting your subject from a low angle, you make your subject look bigger than life. Things on the edges of the frame also get exaggerated which look novel. Not only that, but by crouching down and getting low— you seem a lot smaller and less intimidating to your subject. Imagine a knight bowing down before a king. I like to ask to take photographs. What I try to avoid is having someone just look at me and pose for me with a peace-sign. Where you from?
How would you describe your personal style? Direct your subject If you ask for permission from your subject, know that you can also direct them.
I generally ask them to stand against a simple background, and try to get them to do an interesting hand-gesture.
To get a subject to do an interesting hand-gesture, I ask them about their sunglasses, their hair, or even their watches. Can you keep wiping his forehead?
You can either look for an interesting background, billboard, leading lines, and create a juxtaposition with your subject who walks by it or somehow interacts with it. Sometimes you catch a lot of fish.
You Can Draw in 30 Days
You never know—but the skill to have is patience. Rather, they shoot from the side. If you want to make photographs that are a lot more engaging, full of energy, and dynamic— shoot head on. So the way you can do this is walk down a crowded street, stop somewhere in the center, and wait for people to walk head-on towards you. Then after you take the photos, play dumb, and move on. What I suggest is putting your camera to manual focusing, and pre-focus to the background whatever is furthest away, between 3—5meters.
Then try to incorporate more subjects into your frame— the foreground, middle ground, and background. A good photographer to study is Alex Webb, who does this extremely well.
Embrace negative space I am more of a minimalist and prefer having negative space in my photograph. Where to add negative space? My suggestion is to just use it intuitively — if your frame feels too crowded, add more negative space. Furthermore, you can add more negative space to your photograph by capturing dramatic shadows.
Shoot either at sunrise or sunset, or shoot in the bright light with —1 or —2 exposure compensation. A great photographer to study who uses minimalism, negative space, and shadows well is Rinzi Ruiz. Minus exposure compensation This is related to the prior technique. The idea is to put your subject into the bright light, and set the exposure-compensation of your camera anywhere between —1 and —3.
Leading lines Leading lines can be found anywhere— from alleyways, to street poles, to parks, or even drive-ways. An easy way to incorporate leading lines is to first identify the leading lines, and then wait for the right subjects to enter the frame. Subtract from the frame The last tip is remember: what you decide not to include in the frame is more important than what you decide to include in the frame. What is a distraction at the edges of my frame?
What should I decide to keep, and what to ditch? Try a combination of these techniques, or if you want to practice, just focus on 1 of these techniques in a day. The more tools you add to your street photography toolkit— the more prepared you will be for certain shots. Even though we all have different styles and approaches, trying something outside of your comfort zone will help you grow and develop as a photographer and human being.
So be brave friend, go forth, and make beautiful photos! Here are some practical tips I have in shooting candid street photography: 1. For example, if you want to take a photograph of someone, by moving your camera too quickly to your face, you will give yourself away. Assignment: Keep your camera close to your eye A solution: try to have your camera really close to your face. This way, when you want to make a photograph, the distance between moving your camera to your eye will be very short.
If you have a camera neck strap, tighten it very close to your chin. Then you can quickly bring up your camera to take a photograph, without attracting too much attention. If you use a wrist-strap, walk with your camera close to your face. Start reading to your own rules now! Reading in your format The PocketBook Reader reading app allows you to read comfortably, ad-free and absolutely free of charge on Android devices, not only online but also without connecting to the Internet.
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The ability to open a packed book saves your time. Just remember what you learned in this lesson, and let this knowledge of foreshortened squares help your hand draw what your eyes are seeing. Look, really look, at the foreshortened angles, the shading, and the cast shadow.
Look at how the lettering on the box follows the foreshortened angles at the top and bottom of the box. The more you draw, the more you will really begin to see the fascinating details in the real world around you.
T o teach you how to really feel like you are gaining control over that daunting flat piece of paper, I want to explore the challenging fun of hollow boxes and cubes. Go ahead and lightly sketch in the cube. Slant back two parallel lines. Alignment alert! Look how I have drawn this top edge of the box lid in alignment with all of the angled lines slanting slightly up to the left.
Think of a compass. The four most commonly used line directions that I will be referring to throughout this book will be lines drawn in directions north-west, northeast, southwest, and southeast.
Take a look at this compass. Perpendi-cular lines are two lines that intersect at right angles to each other.
For example, this line of type text is perpendicular to the right edge of this book page. As you recall, foreshortening is distorting or squishing an object to create the illusion of depth, to make one edge of the object appear closer to your eye. Notice in this foreshortened compass illustra-tion that the four directions—NW, NE, SW, and SE—all line up with the lines you already used to draw your cube.
Seuss achieved world acclaim for his signature style of drooping, melting, Play-Doh-ish characters, buildings, objects, and environments. However, in his work, Dr.
Seuss still maintained consistent drawing compass angles. Good examples of this are in his book The Lorax. You will dis-cover that his buildings, windows, doors, pathways, vehicles, and characters all follow these four important positions. Draw the other side of the box lid lifting up with two parallel lines.
Using the bottom of the box line in direction NE, draw the top of the lid in direction NE. Sketch in the two near lid flaps slanting down in front of the box. Once again, using the bottom of the box angles to guide your line directions, com-plete the near flaps, aligning them up in direction NE and NW. I will be repeating this idea often: Use the lines you have already drawn as reference angles to draw additional lines.
By always referring to the lines you have already drawn and by continually check-ing your angles against the Drawing Direction Reference Cube, your drawings will look solid, focused, and, most importantly, three-dimensional. I am still delighted after all these years with the visual power that one little line has on the overall three-dimensional illusion of a drawing.
Establish your horizon line and your light source position. To properly draw the cast shadow, use the Drawing Direction Reference Cube as ref-erence. Draw a guide line extending from the bottom of the box line in drawing direction SW. Droop alert! This is the most common point where students tend to droop the cast shadow guide line. Notice how my cast shadow lines up with my guidelines. Be careful not to droop your cast shadow like this. Darken under the two front overlapping flaps as I have done, creating the undershadow effect.
Undershadows are terrific little details that suc-cessful illustrators exploit to pop out objects, refine detail, and sharpen edges. In this specific drawing, undershadows have the power to really pull the overlapping lids toward your eye, while pushing the actual box deeper into the picture. This is the most rewarding step of each lesson. Clean up your sketch by erasing the extra sketch lines, and sharpen the outside edges of the drawing by darkening the outline.
This will thrust the image out away from the background. Finish shading the left side of the box and inside the box, away from your light source. I always encourage you to have fun with these lessons by adding lots of extra details, neat little ideas you creatively conjure up to spice up your drawing.
Notice how even these little details add a lot of visual flavor and fun to the sketch. Lesson 5: How about a treasure box overflowing with pearls, coins, and priceless loot? Beginning with our basic cube, go ahead and draw in the Drawing Direc-tion Reference Cube direction lines for good practice and memory imprint.
Slant the sides in just a bit. Draw two parallel lines slightly opening the top of the treasure chest. Using the lines you have already drawn sound familiar?
Draw the near curving edge of the lid. Using the lines you have already drawn am I sounding repetitive? Notice how I slanted my top edge line a bit more than a direction NW line. This is because eventually all these NW direction lines will converge on a single vanishing point. I will explain this vanishing-point concept in great detail in a later lesson. For now, just follow my steps and slant your top edge line a bit more.
Detail your drawing. Clean up any extra lines. Position your light source and add shading to all the opposite surfaces, darken the undershadows, and draw the cast shadow. Enjoy draw-ing the extra details to this lesson. Student examples Take a look at how these students added some great bonus details to this lesson. T his is a fun and rewarding lesson that was inspired by my fifth-grade art teacher, Bruce McIntyre Mr.
His enthusiasm for teaching kids how to draw had a profound and lasting effect on me. This lesson will gel all of the concepts and laws we have been discussing so far into one very cool three-dimensional drawing.
Did I mention this is a really fun lesson? I bet that you will enjoy it so much that you will be stacking cubes on every scrap of paper that happens to be within your reach. Begin with a strong foreshortened square.
Remember, I urge you to use the guide dots for all the lessons in this entire book. I know you are feeling very confident with your foreshortened squares, boxes, and cubes. However, humor me and use the guide dots each and every time. Trust me, young grasshopper; all will be revealed in time.
Draw two short edges to create the top of the table. Draw the middle line longer, using what extremely important drawing concept? Using the lines you have already drawn as reference, draw the bot-tom of this table top in directions NE and NW.
Draw the sides of the table post as I have done. Notice how each side line is drawn halfway from the far edge to the middle line. Look at my example. This is definitely a case where a pic-ture is better than a bunch of words. Draw the middle line longer to cre-ate the near edge of the table post. Draw the horizon line just above the table, and position the light source above and to the right.
All the drawings we have completed so far have been drawn from an above point of view point of perspective , looking down at the object.
The horizon line tells our eye that the object is below the horizon line, which communicates to our brain that the thickness, shadows, and foreshortening are from this perspective. Perspective is the process of seeing the illusion of depth on our two-dimensional surface. In later lessons I will be teaching you how to draw objects above the horizon line with one-point and two-point perspective.
You Can Draw in 30 Days
For now, just remember that the position of the horizon line is above the object if you draw it in a looking-down point of view. Very important step! Place a guide dot directly below the near corner of the table post. Many students forget to use this guide dot during this exercise—to the detriment of their drawings.
A cool visual effect if you are channeling Andy Warhol, but a disaster if you are aiming for a sharp, focused, properly proportioned, foreshortened three-dimensional stack of tables. Using the lines you have already drawn as reference yes, again! When you draw the back edges of the top of the pedestal, be sure to go behind the corner of the post. These two very short lines need to be lined up with the lines you have already drawn in directions NW and NE.
This is the second most common mistake students will make drawing this lesson. Students have a strong tendency to connect these two short lines directly to the post corners. Fight your instinct to connect corners! Draw these lines behind the post. Complete the pedestal, making sure to draw the near corner lower. As always, use the lines you have already drawn as reference angles for drawing the bottom lines of the pedestal in directions NW and NE.
Using the lines you have already drawn for reference, extend out the cast shadow direction guide line. Add the cast shadow opposite your positioned light source, shade the table and pedestal, and add the dark undershadows of both sides of the post. Notice how that nice dark undershadow really pushes that post deep under the tabletop.
There it is, another BAM moment for our lesson! Find a watch, clock, or cell phone that reads a second hand. I want you to time yourself drawing this single table on a pedestal. Try it two or three times with a timer, and see if you can get your completion time down to two minutes.
I do this timed exercise with all of my stu-dents from elementary school grades all the way up through my university workshops. The purpose of having you draw this image in a specific amount of time is to train your hand to confidently draw these foreshortened shapes and overlapping corners and, most importantly, to embed the drawing compass angles into your hand memory.
The more you practice this single table with a pedestal, the more comfortable and confident your lines will be in all of the upcoming lessons and all of the drawings you will ever create in the future. This is an excellent drawing exercise to dwell on for several days. Lesson 6: Bonus Challenge Now, for the really fun level of this lesson.
Just how far do you want to stretch your drawing skills today? Take a look at my drawing journal page. You can see that I really enjoyed myself with this supertall, curving table tower. Now take a look at a few student examples of this same exercise. Student examples Do you have fifteen more minutes to try one of these monster table towers? Sure, go for it! Be sure to note your start time and your end time on your sketch page.
Not only are they terrific practice exercises to really nail down the specific skills of foreshortening, alignment, under-shadow, shading, placement, size, and proportion; these table towers also are addictively fun to draw. In this lesson I want to build on this pivotal skill of drawing three-dimensional cubes. I want you to be able to have complete control of drawing the cube and the ability to manipulate it into many more advanced shapes.
You will soon discover in later chapters that the ability to manipulate the cube will enable you to draw a house, a tree, a canyon, and even a human face. Using guide dots as you will for all the lessons of this book, right? Lightly draw the sides down, and draw the middle line longer sketch lightly as these are just the beginning shape-forming lines.
Draw the bottom of the cube using the lines you have already drawn as reference.
For the purpose of review, go ahead and extend all of your direction NW and NE lines out as I have done here. Draw the all-important guide dot just below the near corner. This guide dot determines the angle of your foreshort-ened second layer. If your guide dot is placed too low, it will distort the layer and throw the entire building out of alignment. Using the lines you have already drawn for ref-erence, draw the near edges of the second tier in directions NE and NW.
Think of how many times each minute you glance at your rearview mirror while driving. You do this without even thinking, because it is so deeply ingrained in your subconscious.
This is exactly the level of comfort, ease, and habit I want you to form with this constant, vigilant reference to your drawing compass angles. Look at your NE angle at the top foreshortened square of your box. Now, look at all the NE drawing compass direction arrows you drew in step 3. Now, take your pencil and trace over those direction lines lightly to embed the angle of the line into your hand memory. After a few of these rehearsal pencil strokes, quickly move your hand to the left of the cube and draw the direction NE line behind the corner.
Repeat this same technique to draw the NW line on the other side to create the top of the second layer of the building. I do this rehearsal shadow drawing all the time, with every drawing I create. I am constantly referring back to my initial foreshortened square source, shadow drawing the angles again and again before dash-ing off the lines that build my drawings. Complete the second layer of the building. Double-check your bottom lines against drawing compass direction arrows NW and NE.
Begin drawing the doors on the top level with two verti-cal lines on each side. To make sure your lines are actually vertical, straight up and down, look at the edge of your paper. All of your vertical lines should be parallel with the edge of your paper.
You should glance at the vertical edge of your paper every time you are drawing a vertical line, or you run the risk of the objects in your picture severely leaning over to one side or the other. The near edge line of each doorway needs to be drawn a bit larger than the far edge line.
This uses the important concept of size. The near part of the door needs to be drawn larger to create the three-dimensional illusion that it is actually closer to you. This underscores a fundamental principle of drawing: To make an object appear closer to your eye, draw it larger than other objects in the picture. Curve the tops of both doorways on the top floor of the building.
To create the illusion that these doors actually exist as three-dimensional entrances to this building, we need to add thickness to them. If the door is on the right, the thickness is on the right. If the door is on the left, the thickness is on the left.
Memorize this rule, repeat it, and practice it I teach this rule to my university students as often as I do to my ele-mentary school students. This thickness rule will always apply—to any door, window, hole, or entrance to any object you will ever draw. Knowing this rule by heart will get you out of many a drawing quandary in complicated renderings.
If the door is on the right, the thickness should be on which side? Using your drawing compass lines in direction NW, draw the bottom thickness on the right side of the doorway. Complete the door by following the line of the exterior door as it curves up.
Look at the door on the left side. Using the drawing compass direction NE lines you drew earlier as reference, draw the thickness on the left-side door on the left side of the entrance. Erase your guide lines at the bottom of each door. With a well-placed line in drawing directions NW and NE, you can easily create the visual illusion that there is a hallway or a room inside each doorway. Notice how I have drawn these lines just a bit higher than the bottom thickness line of each doorway.
By nudging this line up, I create more space. Now, with some interesting wedges you can develop these into entrance ramps or quick-exit-end-of-workday slide ramps or skateboard ramps for your kids. This is a great example of why drawing in three dimensions is such a magi-cal skill to master.
You are developing the skills to create buildings, cities, forests, or entire worlds on a blank two-dimensional piece of paper. One pencil, one piece of paper, your imagination, and the skills I am teaching you here are all the ingredients you need to create your own world.
Not a bad way to spend thirty minutes of your day, right?
Draw two guide dots on either side of the building. Draw the vertical back edge of the ramp against the wall, and extend the bottom edge of the ramp out in drawing compass direc-tion SW. We used this direction often when drawing our guide lines for cast shadows in our previous lessons. In fact, we will be using this SW direction line again for a cast shadow on this building a little later in this lesson. Be vigilant in maintaining this direc-tion SW line. Triple-check it against your earlier lines in NE because NE and SW lines are identical, just a different stroke direction of your hand.
This is definitely an idea that is much easier to explain with visual examples than with words. Complete the near edge of the ramp. Draw the thickness of the ramp with two lines in direction NW, matching the angles with the lines you drew earlier in direction NW.
Complete the far edge of the ramp by matching the angle of the front edge another good example of parallel lines. Notice how I have drawn the bottom of the face or the ramp a tiny bit larger than the top. You must always keep in mind the effect of size in your drawing. To reiterate, to make objects appear closer, draw them larger.
To make objects appear farther away, draw them smaller. In this case, I want to draw the bottom of the face of the ramp a bit larger to strengthen the visual illu-sion that it is closer to your eye and that the top of the ramp is pushed deeper into the picture, farther from your eye. Erase your guide lines behind the ramp. Using the lines you already drew in direction NE as reference keep glancing at those lines as you are drawing new ones to match up the angles , draw the ramp on the right side.
Beware of the tendency to droop the bottom line. No drooping!
Complete your two-layered foreshortened ramp building by drawing the horizon line above the building, positioning your light source, and shading all the surfaces opposite your light position. Using your reference lines to angle the cast shadow correctly in direction SW is really simple when you are drawing buildings; just extend the bottom lines.
Beautiful job! Lesson 7: Bonus Challenge Here are two very interesting variations of the two-layered ramp building. In variation num-ber one, I experimented with tapering the vertical sides inward. I was pleased with the results. You try it.
However, in your version, draw it nine levels high. Now, draw a nine-section- high version, alternating the tapered sides from inward to outward. How about try-ing a tall version with alternating thin and thick layers, tapering three segments in, three segments out, three in, etc.? There are a thousand possible variations of this interesting exercise. In variation number two, I experimented with alternating the foreshortened layers into a rotating step building with ramps, doors, windows, and some peculiar foreshortened cylin-der attached to the side.
It looks much more complicated than it is. Simply start with a very strong and sharp foreshortened square. Keep in mind that the very first foreshortened square you draw is the template reference point for all the lines you will be drawing for the entire picture. With this strong beginning, enjoy the process of duplicating my variation number two, one line, one step at a time. You have enough knowledge and skill now to draw this one on your own without me having to break it down into steps for you.
By Julie Einerson Julie prin-ciples Einerson has applied several from the lesson to this sketch of her spa. By Marnie Ross Marnie Ross has applied her budding drawing skill to this rendering of her church. This lesson was inspired from my teaching tour through schools in Australia many years ago.
During my school visits, the students introduced me to a wide array of exotic Australian pets. One student let me hold his pet koala, another a pet echidna, a frilled hooded lizard, a duck-billed platypus, and even a baby kangaroo.
Then, of course, I just had to teach the entire class how to draw these wonderful creatures in 3-D by using the Nine Fundamental Laws of Drawing. In this lesson we will draw a caricature of a koala. After the lesson, I encourage you to go online and research three photos of real-world koalas and draw them as well by using the skills we are going to learn now.
Draw scribbles around the third circle. Keep scribbling more circling lines around and around the shape to create a messy-looking ball of dryer lint. Continue to explore this idea of texture as a tool for shading. Very lightly sketch three circles in a row. Continuing to work on the first cir-cle, use more curving dashes to fill in the left side of the circle, creating the illusion of shading with texture.
You can use texture to shade an object. Place your light source in the top right corner of your page, and add a few more rows of spikes to the left side of the shape. Now, time for the start of this lesson—the koala! Begin with a light circle. Lightly sketch in the ears. Lightly slope down the shoulders. This creates the illusion of a light reflection off the shiny nose. You will do this same thing when drawing other animals: Draw the bump at the bottom of the ear. This is a perfect example of how effective visual communication can be.
Or I can draw a few lines on a page and point to it. Now take your finger and lightly trace the helix, concha, and tragus in your own ear. What do you know? Emphasize the undershadow under his chin and in his ear under the top helix line.
Repeat this ear structure on the right ear. Look back at the furry ball you drew at the beginning of this lesson.
Notice how you created the soft feel of fur as com-pared to the sharp feel of the spike ball. Draw the soft, furry texture around the outline of the koala. Lesson 8: Bonus Challenge Now that you have successfully drawn one cute little koala, why stop here?
Go ahead and draw a crowd of them! Enjoy yourself. Use a lot of overlapping and size to push the other koalas deeper into your picture. Creating this push and pull of objects in your drawing means you have successfully achieved the delightful illusion of the third dimension, depth, in your picture.
Now take a look at my sketchbook page for ideas on drawing a koala crowd. Search the Internet for three photos of koalas in nature. Notice how their ears and noses are in real life. Using the important concepts from this lesson—texture, shading, and overlapping—draw another koala with smaller, more realistic ears and nose. Suzanne Kozloski used the important principles from this lesson for her more realistic drawings of koalas.
I often tell my students that musicians warm up by playing scales, athletes warm up by stretching their muscles, and we artists can warm up by drawing several simple basic shapes, a few stacked tables, some overlapping spheres, or a delightful bowl of cereal! Draw two guide dots horizontally across from each other. Connect the dots with a foreshortened circle.
The foreshortened circle is one of those pivotal shapes that can be used as a foun-dation to create thousands of objects. Similar to the importance of a foreshortened square, enabling you to draw boxes, tables, houses, and so on, the foreshortened circle enables you to draw the three-dimensional curved surfaces of cylindrical objects: Practice drawing six foreshortened circles in a row, using guide dots, like I have here.
Draw the body of the bowl. Draw the horizon line. Shade the bowl with blended shading from dark to light, creating a smooth blended surface. Look at how the small bit of blended shading inside the right corner of the bowl has an enormous visual effect in creating the illusion of depth. This small blended shad-ing detail will be very important for you to transfer when you are drawing the rose, the lily, an orchid, or any flower.
This tiny detail of a small overlapping line that defines a fold or a wrinkle will have a huge visual effect in enabling you to make the rose petals appear to be curling around the bud in three dimensions. Draw a vertical flagpole. Draw two guide dots. Draw three-quarters of a foreshortened circle. Draw the vertical thickness of the flag. Curve the near bottom edge of the flag a bit more than the line above it. The bottom of the flag is a bit farther from your eye, so you need to distort it, curve it more than the top edge.
This teeny tiny dash will make or break this draw-ing and holds an enormous amount of visual power. It uses overlapping, placement, and size simultaneously. Okay, that was pretty cool.
Draw the two guide points for the foreshortened circle. Draw three-quarters of a foreshortened circle, but this time curve the top edge of the flag toward you.
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Draw the vertical thickness lines from each edge. Make sure to draw the near edge a bit longer to make it appear closer. Curve the bottom of the near part of the flag. Remember to curve it a bit more than you think you need to.
Remember that dis-tortion is your friend here. Push the back line up, away from the near bottom corner of the flag. You need to curve this back line opposite the line you have just drawn. You are following the curved line above as reference, however, so the same principle of distortion applies: Curve the back line a bit more than the top edge. This exercise will be directly transferred to the rose.This is often how Henri Cartier-Bresson got a lot of his famous shots the bicycle shot comes to mind.
Work the scene One of the common mistakes I see in street photography is that photographers only take 1—2 photos of the scene, and move on because they are either too self-conscious, nervous, or impatient. Discover your "inner artist" as you learn to draw portraits in graphite.
There is a saying that a zoom lens only has two focal lengths— the widest focal length, and the closest focal length. Death Comes to Pemberley. A good photographer to study is Alex Webb, who does this extremely well.
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