The Art of Seeing Images

Composition

Arrangement of elements
Relationship of elements

Part One

The modern camera is capable of many things

auto focus
auto exposure
select a suitable shutter speed or aperture

multitude of other functions

One thing no camera can do

Compose the image
It has no idea what it is pointing at it has no idea what you are trying to achieve

Good images result from:

Careful attention to some basic elements of composition
Appropriate lighting Interesting subject

No "right" way to take a picture

Three photographers recording same scene may create equally appealing photographs with entirely different composition

"There are no rules for good photographs, there are only good photographs. - Ansel Adams

Important question to ask

"What message do I want to deliver?"
it comes down to your ability to 'see' a picture or potential to create a picture

load of 'rules' and techniques

guidelines, not hard and fast "rules"

Novice can achieve good image capture with these guidelines

Experienced photographers who know the rules often find very creative ways to break them, with excellent results

Pre-Visualize
First, see your optionsthe potential photograph before you Visualize how the scene will look as a print or on a monitor screen Look through the viewfinder to create a frame of referencelike the prints edge Eliminate distracting backgrounds before you release the shutter

Viewpoint

Can change a picture dramatically

moving the camera up or down or

stepping to one side

find an "unusual" point of view

3 basic ways to adjust viewpoint

Physically move objects relative to each other
Only really works with still life photography

Tell people to move relative to each other or other objects

Only works with people who can hear you

3 basic ways to adjust viewpoint

Move
Usually the most effective way to control composition easiest and yet most important
wander about and see if you can improve on your original composition by changing your viewpoint much difference can had by walking a few feet

Viewpoint
Study the scene from various angles or perspectives:
High Low Straight on Above

Which of these perspectives best helps the viewer understand your intentions?

Different Angles

2002 Evan DiLeo

Low Angle

High Angle

Different Angles

Pooch Level

Basic Rules of Image Composition

Point of Interest
Fill the frame Viewpoint Simplicity Balance Framing Editing

Point of Interest
Identify a primary point of interest Compose to emphasize most important element

Fill the frame

tendency to exaggerate viewfinder information
often perceive things bigger than actuality not to notice 'slight' distractions

Fill the frame

Move a bit closer

look round the edge of the frame and behind your subject
eliminate acres of space full of nothing interesting check for intruding stuff

Simplicity
Only the things you want the viewer to see appear in the picture
numerous objects cluttering up the background - message lost cant find an angle or framing to isolate subject
consider using depth of field control to keep the background out of focus

Uncomplicated background
Be especially aware of what is behind your subject Forced Visual Relationships does not compete with your subject

viewfinder to create a frame of referencelike the prints edge

eliminate distracting backgrounds before you release the shutter

Balance
Asymmetric or informal balance
considered more pleasing than symmetric (formal) balance

placing the main subject off-center

balancing "weight" with other objects
smaller or lower impact

more dynamic and interesting composition

Balance-Asymmetrical

Balance-Symmetrical

Juxtaposition
Used to create humor, interest and show size relationships

Best done with a wide-angle lens

Juxtaposition

What is Composition?

Composition is:
A musical score
Something you write for English class Organic substance used in farming Arrangement of visual elements
End Part One

Visual Elements

Part Two

Visual Elements
Typical Visual Elements include:
Lines Shapes

The Spot

Visual Elements
Line: denote movement in one direction
Horizontals Verticals Parallel Verticals/Horizontals Curved or S-shaped lines Diagonals Irregulars

Linear elements
Diagonal lines are dynamic; curved lines are flowing and graceful
such as roads, waterways, a fence and shadows

You can often find the right line by moving around and choosing an appropriate angle
natural lines of the scene lead the viewers' eyes into the picture and toward your main center of interest

Function of Lines
Lines help the viewer to read the image Help viewer to locate key contrasts Add visual interest Guide the viewer in a certain direction

HORIZONTALS

Add stability to photo, imply COOL or RESTFUL

Parallel Vert. / Horz. Lines

Suggest: Symmetry, Order, or Direction

Parallel Vert. / Horz. Lines

Verticals

Can suggest WARMTH or AGGRESSIVENESS Intersection of vertical and horizontal lines create FOCAL POINTS

Verticals

Curved or S-Shaped Lines

Most Natural appearing, evoke natural rhythms, and feelings of slow, easy movement

Curved or S-Shaped Lines

Diagonals

Neither warm or cool Most naturally occur from Lower Left to Upper Right Falling Diagonals move Down and Off picture

Diagonals

Irregular Lines
Varying size, thickness, shape, & texture Provides visual interest

Irregular Lines

SHAPES
Five basic forms or SHAPES in photography
Squares Triangles Circles Oblongs Irregular

Squares & Triangles

Squares

Squares

Circles & Oblongs

Circles & Oblongs

Circles & Oblongs

Contrast
more impact
light subject placed against a dark background and vice versa Contrasting colors

Contrast & The Spot

One spot that commands the viewers attention Focal point of contrasting masses

The Spot

Other Compositional Tools

Lines of Direction
Actual & Psychological Directs movement of eye through image

Shape & Form

Shape is flat, two-dimensional Repeated shapes can form a shape Form refers to volume, its 3-D

DepthLines of Perspective
Parallel lines converge in distance Gives sense of depth to photo

Direction of movement
leave space in front of the subject
it appears to be moving into, rather than out of, the image

Lines of Direction

Shape & Form

Repeated Shape

Repeated Shape

Repeated Shape

Form, Shadow, & Light

Shadows coming towards the viewer implies the third dimension

Depth: Lines of Perspective

Depth: Lines of Perspective

Rule of Thirds
One of the most popular 'rules' in photography and art
principle taught in fine art, graphic design and photography

based on the theory that the eye goes naturally to a point about two-thirds up the page
achieve the informal or asymmetric balance mentioned above

Rule of Thirds
Imaginary lines are drawn dividing the image into thirds both horizontally and vertically
important elements placed where these lines intersect
also arrange areas into bands occupying a third or place things along the imaginary lines

simple to implement

Rule of Thirds
The Greeks developed the concept of the Golden Mean Divide the image into grid of 1/3s Place subject at one of intersecting lines

Rule of Thirds or Golden Mean

Some Examples

Some Examples

Some Examples

Rule of Thirds
Common example is the placement of the horizon line in landscape photography

If the area of interest is land or water

Horizon line will usually be twothirds up from the bottom To suggest closeness, position the horizon high in your picture

If the sky is the area of emphasis

Horizon line may be one-third up from the bottom, leaving the sky to occupy the top two-thirds
To accent spaciousness, keep the horizon low in the picture

Breaking the Rule of Thirds

Once you have got the hang of the Rule of Thirds
you will very quickly want to break it This is fine
'rules' are best used as guidelines

if you can create a better image by bending or ignoring rules then fire away

Breaking the Rule of Thirds

Framing - Foreground objects

Add a sense of depth to the picture
helps establish scale

use the foreground elements to "frame" your subject

Overhanging tree branches, a doorway, or an arch can give a picture the depth something in the foreground that leads you into the picture or gives you a sense of where the viewer is

Framing - Foreground objects

Framing - Foreground objects

Framing - Foreground objects

Framing
Don't forget that you can turn cameras sideways
vertical for tall buildings, waterfalls, or a person

horizontal for groups of people, cars, and dachshunds

Switch it around
Try both horizontal and vertical pictures of the same subject

Framing the Image

In-camera:
Horizontal Vertical

Framing the Image

Out-of-Camera:

Concludes Composition

References:
Photography, 7th Ed., by London, Upton, Kobre, Brill Photography, 2nd Ed., by Bruce Warren Foundations of art & design, 3rd Ed., by Mark Galer