A Travellerspoint blog

December 2005

The Rules of Composition

-17 °C

What's the difference between a good photograph and a bad photograph ? Assuming you've gotten the colours right at the printers, you don't have a thumb in the way, and you have proper focus and exposure, photographers are always talking about what are known as the "rules of composition" when discussing the technical merits of a photograph. Depending on who you talk to, there are great differences in opinion about how many actual "rules" there are. I was taught that there are 14. And for no other reason than that, that is what I'm going to teach you.

1) Center of interest
Every photograph has one of these. What's the image about? Is it a picture of your wife? Is it a picture of the Great Pyramids of Giza? It should be very obvious with a single glance to every viewer what the photograph is "about". While it's called the "center" of interest, it isn't necessarily true that the subject of interest is in the center, or takes up a large part of the image, it is nevertheless very obvious that that is what the photograph is about.

This is the first rule of good composition, because it is the most important. Decide before hand what it is that you are taking a picture of. Everything else you do is then focus around
bringing that center of interest out.

The center of interest is obviously the violin player. Not the wall, not the violin, etc.

2) Fill the frame
This rule is here for mostly practical reasons. Film costs money. Even digital images will cost money to store and print. Once you decide what your center of interest is, fill the view finder with it. Get as much detail as you can. However there is a point at which it becomes too much. You want to fill the frame but you also want to leave some background and foreground to give a sense of context to your subject. I personally use around 80% as a guideline for how much to fill. That's not a hard and fast rule and I break it all the time myself. It's really up to your good taste and the effect you want to create.

There's a whole building and square behind and around this statue. But I chose to only photograph the statue and filled my frame with it.

3) Lines
Lines are extremely important in visual arts. Lines give us shapes and contours. Lines are what lead the viewer's eyes from one part of the photograph to another.

The zig-zag lines and twirl at the bottom of the stairs gives a modern twist to this.

4) Flow
After just finishing lines, we should talk about flow. Flow is how the viewer's eye is lead from one part of the photograph to another. One way to give flow to a photograph is to use lines. They can be horizontal, vertical, diagonal, converging or diverging lines. Sometimes the flow created by lines is sharp and distinct (such as the sides of a building converging up into the sky), or they may be less obvious (such as a line of irregularly spaced stones that mark out a farmer's field). Nevertheless, the viewer's eye should be able to spot the same elements from one part of the image to another. Flow creates the illusion of motion (or lack of motion if so desired). Diagonal, converging or diverging lines are considered to be "dynamic" while horizontal and vertical lines are considered to be "static". A careful balance of dynamic and static elements will give an overall sense of motion to your photographs.

The motion blur and leading lines gives the viewer a sense that everyone is headed into a distant point.

5) Direction
Direction is similar to flow. It also creates the illusion of motion. If something in the photograph appears to be "moving" then it most likely has a direction in which it is moving. One example of what I mean is the little stick man that you find in many traffic lights. One stick man seems to be standing up straight, legs together, arms next to the body. Most people will agree that he doesn't appear, visually, to be moving. This is obviously the "do not walk" signal. His counterpart has bent arms and bent & spread legs. He appears to be moving. This is obviously the "safe to walk" signal. The "safe to walk" signal has a direction in which he is moving as indicated by the bent arms and legs. The "do not walk" signal seems static and has no direction of motion. Direction in photographs can be created in a number of ways. A lone figure in the middle of a convergent path appears to have direction despite the fact that his arms and legs may not be moving. That's because we feel as if we were to see him a split second later, we just know, he'll have his legs moving down the path. Similarly, a partially captured car just entering the frame from the left will lead us to think that in the next split second it will be at the right of the frame.

The line of figures gives the viewer a sense that everyone was walking towards me. Which infact, they were.

6) Repetition
Repetition of some subject (a bunch of hot air ballons, a flock of flamingos) gives a sense of togetherness to parts of the image. For instance, a group of hot air balloons may all be heading off in one direction. That group may create interesting patterns in the sky and add direction to the image. It can also have important psychological factors such as giving a sense of togetherness and friendship.

The repetition of the trees gives a sense of solidity. This photograph actually works because there's essentially two different levels of contrasting brightness.

7) Colours
There are warm colours and cold colours:

warm - red, orange, yellow
cold - blue, green, purple

There's a whole psychology thing with colours. Red's are "firey". Blue's are "tranquil". I won't go into it too much since I know there've been entire books written on the subject. So it should be fairly obvious why this is an important element of composition.

With colours, pay attention to contrast as well. Contrast is defined as the difference in the level of brightness between the brightest and darkest parts of your image. However, contrast is also created by placing warm and cold colours next to each other.

The bright yellow center is surrounded by a field of cooler green.

8) Groups of 3's
I've been told there's something psychologically appealing about groups of 3's. One is lonely, two is too well balanced and static, four and above is too much of a crowd. But 3 is just perfect !!
You know, as in Goldielocks and the 3 bears, 3 Stooges, 3 Musketeers, 3 colours on a flag, books come in trilogies, etc. Some how we humans just like 3's. Don't ask me why, I'm not a psychologist.

Back to photography. If you are going to photograph a group of something, either go big and photograph a bunch of them, or look for groupings of 3's as your center of interest. It works, trust me !

What a gorgeous group of ladies !

9) Rule of 3rds
This has been around for a long time. If you go into a museum and look at any really good painting. Then imagine a 3x3 grid on top of the picture, you'll notice that important elements such as eyes, windows, tops of mountains, horizon lines, etc. all line up with either one of the grid lines or at one of the intersections of the grid lines. It's claimed that by having your center of interest at one of these points or lines, you get a much more interesting image.

Note: some cameras allow you to super-impose such a grid pattern on the view finder to aide in composition. Check your manual.

Notice the position of the chandalier. Notice the position of the box. They're exactly on the "power points" according to the rule of thirds.

10) Negative Space
Basically large white or black space in the background (usually off to one side, but I've seen it done in other ways as well). Psychologically, we humans want to fill that space with our imagination (kind of like a cartoon thought balloon). It's a great trick because you can't go wrong. Whatever fills the negative space is interesting to the viewer because he/she came up with it herself !!

The butterfly is nicely highlighted by the white sand.

11) Foreground/Background
What's in the foreground and background is obviously important. This includes elements from the other rules, such as bright colours, or converging lines. But sometimes you can have too much in the foreground or background which will distract your viewer from your center of interest.

My little ducky travel companion forms my foreground, while the location is obviously placed by the background.

12) Framing
Look for things such as doorways, bridges, signs and other things to frame your subject under. It gives a sense of perspective and intimacy to the image. Ever notice they always have the bride walk through the big door into the church ? Ever notice how long hair can be used to frame the features of a face ?

Framing need not be created by solid frames. I positioned the camera so that the trees framed my subject.

13) Clutter
Clutter is having a lot of "stuff" in either the foreground or background. All those different shapes and shadows can distract (or in some cases if done well add to) from the center of interest. Cluttered images seem chaotic and disorganized. This is not necessarily a bad thing and may be used to convey a sense of dynamicism.

d_Arc_0102bw aged.jpg
The band and equipment forms a very cluttered group.

14) S-Curves
A lot of people love S curves. It's very sensuous and sexy. It's the shape of a woman's profile. It's also a meandering river, or slithering serpent. It's very dynamic, but not a fast, hasty kind of motion, but a slower more sensuous movement. It's also harder to find in nature, so is considered more interesting.

The dancer's body forms a natural and energetic S-Curve.

So there you are, the 14 "rules of composition". How you use them is going to be up to you and your good taste.

Posted by Q' 23:51 Tagged photography Comments (1)

Photography's Best Kept Secret !

-17 °C

What I'm going to tell you is the best kept secret EVER in photography. And I mean EVER !! With a captial E and.....well never mind you get the idea.

But really it's so simple that it really shouldn't be a "best kept secret". The "secret" is simply this; if you want to learn how to take a better photograph, go to an art gallery and LOOK!! A good painting, a sculpture, a drawing, or any piece of visual art is a good painting, sculpture, drawing, etc. for some good reasons. What you have to do is understand those good reasons and reproduce them in photographs. So the next time you're in the Louvre, or the Prado, or the MET really take some time and analyze what you're seeing. What makes the painting work? What colours contrast with which? Which shapes and elements stand out? What does the lighting and texture make you feel? And so on. Then once you've understood how these great works of art achieve their mastery, use this same "bag of tricks" in your own photography. Not only will you enjoy the museum art more, you'll be surprised how quickly your photographic technique improves. That's all there is to it. Wasn't that simple ?
Here's one example to illustrate. I took it on a sunny day walking along on the Charles' Bridge in Prague when I was feeling a bit cheeky. ;-)


Notice the diagonal posture which hints at motion and power. Notice the dark, foreboding figure in front of the bright blue sky. I would've liked to have a bit more light on the figure's face, but alas Mother Nature didn't co-operate. Now take a look at this famous work by Michelangelo Buonarroti, which "hangs" rather prominently in the Vatican museum. Notice the commonalities ?!?

Creation of the Sun and Moon

Posted by Q' 22:07 Tagged photography Comments (3)

Feeling guilty about photographing people?

Charm your way into the heart and mind of your subject...

The stoat charms its prey by performing a strange ritual outside a rabbit warren. With its gyration, writhing and twirls, it attracts a fascinated audience of rabbits who become bewitched by the show. While dancing,the stoat gets closer to its unwitting prey and then, without warning it ends its show and dispatches a member of the audience with a bite to the neck. What a deliberate and deadly ploy!

Now, what has the stoat got to do with photography, you may ask? Well, be like a stoat... bring out the acting skills in you... charm your subject, get closer, take your shots and move on... a deadly ploy, ugh? But wait...

A lot of travellers often feel guilty about photographing people(strange faces?) in a strange land... they take the picture and run. Why? I see people notice me and I drop the camera,hang out a while, make friendly gestures and get closer. Then I take some more pictures. The secret is you have to pull down the camera and keep eye contact. You have to become a person (yes, not a photographer!) behind the shutter box...digital or otherwise...

TIME IS probably the greatest gift you can give a photographic subject and the one thing you usually have the least of. Just as you wouldn't want someone to shove a camera in your face, your subject won't like it either.

So start to work slowly...Spend time...use friendly gestures (they are universal - you don't want to be caught in a chicken and duck situation, right?) to introduce yourself...comment on how they look, and reassure them that they will look just fine for the pictures you will be taking in a few minutes. Then sit down with the camera on your lap and just chat. It can take only five minutes or an hour, but it's your job to make them feel comfortable. Remember, you have invaded their space, and it's your job to help them help you..

As they become more comfortable with you, start to play with the camera while talking to them. . If they are unfamiliar with your camera, show them how it works. Let them take a picture (if you are using a digital, show them the image they have taken...oh - the digital, in this respect is a classic ice-breaker!). Have fun with it. Laughter is the best relaxant!

After a while people become used to the clicking and forget about it, opening up even more possibilities...

You can even coax them into telling a thing or two about their work, family life, etc which may produce the facial images you want. As they reminisce, their faces and bodies will emulate the emotions linked to the stories. An old farmer may stand up and dance around like a kid when he talks about the rice harvest festival. Or he may blush a little remembering the young woman who shared his life in the beginning. Look for those moments and listen. There will be tell tale signs..your subject is now the actor!(is he the stoat and you the rabbit now?)

The longer you spend with your subject, the more familiar you become and the more new things you see and learn about the subject.

And finally, don't treat things as if they are old-hat, dull and boring. Try looking at things from a new point of view just as you do with your writing. Who said you have to stand over a child to take his picture? Get down to his level. Who said all pictures must be made from the standing position? Lie down on the ground and aim your camera up. Climb a tree and aim down. Try new angles and positions to keep your work exciting and different...Produce photos with energy...aren't you the aspiring photojournalist?

The eye sees reality. The lens sees beyond reality to capture the truth!

Good Luck!

Posted by danalasta 19:41 Tagged photography Comments (1)

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