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We're going to
take a look at how

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point of view and composition
are very clearly connected.

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But, before we show
the connections,

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we have to sort of
define, visually define,

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what I mean by point
of view, for example.

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So, take a look at
these four images.

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Now, it doesn't look
it, but these images

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are of the identical
sample, just

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simply taken with four
different points of view.

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There, it's true that I also
changed the background on them,

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but, generally, what I
did was I moved the sample

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around or the camera, and we
get four really completely

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different-looking visual ideas
of what this stuff was about.

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Which one is right,
I'm not sure there

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is a right in any of this.

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That's one of the fun things
about this kind of work:

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There are no hard, fast
rules that we have to follow.

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But I wanted, to give
you, this example

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to show you that just by
simply changing the angle or-of

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your camera, or moving
your material around,

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you see different things.

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Again, we're learning
to see in this course.

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So, in this situation, I
wanted to show the fabrication

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of this particular
pyramid, sort of telling

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a story in a particular image.

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But for now, just
take a real good look

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at this pyramid that was
made with this wafer that

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was imprinted with a pattern.

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And, I felt that this
was not quite right

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because there was a
little ambiguity in where

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the pyramid's point is.

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It's a little too close
to the curve of the wafer.

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So by simply raising the
camera ever so slightly,

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we get a nice and clean
line without ... well,

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let's continue calling it
ambiguity for the time being.

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Here is an example where, for
this particular device (it's

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a micro rotor) I shot
it from above because I

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was using a stereo microscope.

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I had just gotten this
brand new piece of equipment

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that I had to use of course
because it's brand new!

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And, from that point of
view, very unfortunately,

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you see all kinds of
dust and yuck, which

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I could not get rid
of because I don't

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have control over the light.

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So, I simply changed back
to my camera and my 105 lens

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with a different
point of view which

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gave me a much cleaner image.

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Many times, we get stuck
on a particular approach

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to looking at things, let's
say, directly from above

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and it doesn't necessarily
give the best image.

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Here's an example where,
this is a PDMS that's been

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etched with a grading on it.

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And I took it with
this particular view.

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And just by simply
changing the PDMS

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to a slightly
different position,

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we get a different
point of view.

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Let's go back and
forth on this and see.

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It's kind of fun
to do this anyway,

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but you'll notice
that you really see.

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This one has a better approach
to looking at the refraction

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but, at the same
time, you notice

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when we-I did that, the shadow
is changing in its position.

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Again, this is encouraging
you to understand

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that when you change your
point of view, of course

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you're also changing
your composition,

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and they are very
much intertwined,

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which we'll see more later on.

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In this situation,
I had a petri dish,

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with various gels that
had different colors.

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(Let's just leave it with
that at the time being) This

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was my primary,
initial point of view,

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and I thought it
was kind of boring.

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And so the point of view was
a little tighter in that I

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chose to get the camera closer.

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And I also included
different kinds

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of gels: In this
situation, larger ones.

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Uh, it is a different
point of view

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in terms of your selection
of what it is that you

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are going to be showing.

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So these are not
very deep changes,

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but enough to make very,
very different images.

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As for example, this one which
is a glass wafer that's been

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etched so that they're
creating channels

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on the wafer from
this point of view.

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And here is another
point of view

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where I'm not showing
the whole thing.

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And maybe we don't have to show
the whole thing all the time.

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Maybe we can show
the work by something

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that is, in my opinion, a more
interesting in composition

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in a different point of view.

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HERE, A SMALL CHANGE: Take
a look at both of these

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and I hope you see
that in the first one,

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it was a bit of a sloppy
point of view in the sense

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that I'm showing labels.

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That really is not
something of value.

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And so by simply moving the
camera slightly and then

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focusing a little closer,
it's a cleaner point of view.

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Again, this is also
about composition,

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but, they are very
much connected.

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Here is this researcher's
point of view

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where he decided to show the
flexibility of this material

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and include hands, which
is a very good idea when

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you want to show scale.

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For me, I've decided to
be a little more playful

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and just playing more
around the flexibility

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and showing the shadows of it.

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And we did get a cover of
a journal, which is nice.

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A whole different point of view,
same material, both are good.

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You know there's not, again,
not one is better than the other

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necessarily.

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I decided to dig out from the
depths of my slide collection

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when I was an
architectural photographer

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to show you a difference
that does somewhat inform us,

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in this course.

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Here's a beautiful
space in California

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designed by Isamu Noguchi.

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This is the first
image that I made.

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And here is the second
image that I made.

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And let's go back and forth
a little on this as well.

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And you see in
this second image,

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I decided to have
the camera point

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slightly upward and
changing the point of view

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so that we see a slant of sky.

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I think this is a better image.

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I think it's more interesting.

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But I also think that
it allows the viewer

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to sort of participate
more in the image.

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That is to kind of
go along, upward

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and be part of paying
attention to what

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is going on with the sky.

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I think showing the edges and
the connection between the edge

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of something beyond is an
interesting view of how to show

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things as I did here ' back
to our world ' when I needed

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to show bubbles, uh,
for a book that we did.

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I decided to keep the
edge of the plate showing

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and show the background.

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It is a point of view that
I felt sort of worked.

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And here is another point of
view with the same material.

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Which is better?

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I'd be interested to
hear your opinions.

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Here is a device with
the researcher's point

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of view of it.

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And this is my point of
view where I ' first of all,

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I did get it in focus [LAUGHS]
but since we're talking about

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point of view, I'll stay with
that, at that, I'll try to.

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And all I did was I put it on a
white background (which, we'll

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get to backgrounds
later as well),

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and I just slanted the device
and the camera's point of view,

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and I think it's a much
more successful picture.

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And finally, in
this situation, when

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you do have a device that
is almost, pretty much

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symmetrical, if you're going to
take a photograph, from above,

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you just better make sure that
you make the image symmetrical

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as well.

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Take a look at this
first one again.

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And, you know
there's nothing worse

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than an almost okay image.

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If it were really
really off symmetry,

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that would work better than
just a tad off symmetry.

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So, my suggestion
is to, if you do

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decide to make a
symmetrical-like image, to just

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make sure it is a
symmetrical point of view.