Composing Pictures

Photographic seeing is different from everyday seeing. Everyday seeing will tell you where the doorknob is, that there is a step up (or down) so you don't fall, keep you from running into light poles or warn you when you are in danger. The photographer, like any other artist must see more fully and with more comprehension.

Photographic (artistic) seeing attaches meaning to what is observed. It is the selection and arrangement of subjects in the picture area with the objective of communicating the photographer's intention to the viewer. Photography is a visual form of communication and like any other "language" it has rules. While the rules may be broken and still convey the message, they must be broken as the result of skill and knowledge not ignorance. In that spirit the following are some "guidelines for composition".

Guidelines

Simplicity

I have always liked classical music but I am not a musician. When I was a college student, I took a course in music appreciation. I was surprised to learn that the pieces I loved were often based on as little as a 4 or 5 note pattern. The composer used the pattern over and over in different ways, upside down, backward and forward, passed it from one instrument to another and embellished it with secondary themes. The whole piece seems very complex but is based in the one simple theme that ties everything else together.

We have a tendency to see only the main subject we have selected and ignore it's surroundings. Make a conscious effort to notice the surroundings, especially the background. whenever you can, choose uncomplicated backgrounds. The background doesn't have to be a blank wall but it shouldn't distract attention from the main subject.

One of the easiest ways to simplify is to move in close to eliminate extraneous subjects. Beginners in particular are prone to leaving a lot of vacant space around the subject. If the message can be conveyed with only part of the subject don't be afraid to let it run out of the picture.

Avoid competing or unrelated subjects. While it's true that a picture is worth a thousand words, all those words should be about the same subject.

The Rule of Thirds

Sorry about the use of the word "rule". I didn't name it. To work with this you have to imagine two vertical lines and two horizontal lines dividing the view into thirds in each direction. Placing your subject at one of the places where the imaginary lines cross (approximately, you don't have to be picky about it) will result in a less static feeling. Avoid centering horizons or strong vertical elements

Lines (and Shapes)

Not all lines are obvious or physical. The direction a runner is running is an implied line. The direction a person is looking is an implied line. Leave space in the direction of movement. Diagonal lines are dynamic and lead the eye in the direction of movement. Horizontal lines are more tranquil unless there are other visual elements suggesting movement. "S" curves lead the eye gently. Straight lines are more direct. Vertical lines give a feeling of strength or stability.

Balance -

Think of the picture elements as weights on a scale. Not just physical weight but visual weight (light vs dark, bright colors vs dull, etc.) Try to make the main elements balance visually.

Framing -

Use a door, window, trees or some other element to frame the edges of your picture. It is most useful to create a sense of depth when your main subject is all in the distance. Framing can be effective but use it sparingly and with imagination. It can easily become a cliché.

Avoid mergers -

Believe it or not your eyes only see a 3 degree angle sharply. As a result we normally only pay close attention to what falls in that small circle or things outside that 3 degree circle which move and catch our attention. Most beginners put the part of the subject which is most important to them dead center and don't notice what else is in the viewfinder. The result is trees or flag poles growing out of people's heads, etc. Look carefully at the subject and background. Remember everything in the path of the lens is of equal (un)importance to the camera so it is up to you to decide what belongs and where it should be.

Depth of Field -

Depth of field isn't normally thought of as a compositional element but deliberately throwing an immovable but unwanted element out of focus is a useful option.

I'm sure I put this in one of the other lessons but it is especially true of composition and bears repeating. Good photographs are made by good photographers. The way to become a good photographer is through study and practice. Spend time looking at the work of good photographers especially (but not exclusively) those whose work you admire. Most pictures will use more than one of the above elements of composition. When looking at pictures analyze why the composition works. When taking your own photos think about how the picture will look before you press the shutter release. Roll your eye around the viewfinder and really see what is in every corner. Think about whether each element contributes to what you want to say with your picture. When in doubt take the picture, then take another from another viewpoint or with the subject moved. Always evaluate your finished photos. Try to determine what you could have done to improve them. Practice, practice, practice.

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"Don't miss the magic of the moment by focusing on what is to come." Author unknown