Composition, the act of composing the image in the viewfinder, is a visual process of organizing the individual details of a scene into a balanced and pleasing arrangement. Because what one person finds pleasing, someone else will not, composition is largely a matter of personal taste. There is no right or wrong composition in photography. A composition that conveys a photographer's intended meaning is an effective one. A composition that doesn't, or that confuses the viewer is not.
Some of the following items have been shown previously! They are being shown once more for the benefit of recent newcomers.
Some of the so-called “Rules" of Composition� presented here should be considered as guidelines only. They are based on recreating similarities in the make-up of many different images that many people have found to be aesthetically-pleasing, over centuries past.
Imagine the area you see in your viewfinder being divided roughly into three sections both horizontally and vertically.
The focal point in the area being viewed should lie approximately on ONE of the four imaginary intersection points.
Here the focal point is placed on the top left intersection point. This could be a house, or a tree, etc. in the distance.
When taking a vertical, or portrait format picture, the same rule applies. N.B. Vertical landscapes or still life images can look quite different and sometimes more eye-catching than horizontal versions.
Symmetrical arrangements of objects within a scene seldom work unless, for example, a scene reflected in a lake or river.
Near Spelga Dam reservoir, Mournes. Here a high horizon puts emphasis on the foreground of bog-cotton.
We are now in a much better position, but two focal points in the same image is not a very good idea, so let’s try something different.
By concentrating on the dominant tree, the picture has improved considerably. We also have a more obvious shadow, which adds much impact to the scene.
Here we are photographing the smaller distant tree, but have withdrawn under the branches of the larger tree. This adds a sense of distance to the scene.
Finally, we have decided to include both trees by changing our camera position and coming closer to our subjects. The smaller tree is less of a distracting in this case?
Some miles away on the same day, despite the poor sky, this pastoral scene caught our eye. Once more the Rule of Thirds is used.
Then, by changing our camera position, we have placed the animal on the other side of the picture, again observing the same rule. Note that in each case the animal was looking INTO the scene.
“I think that I shall never see, a poem lovely as a tree� said Joyce Kilmer. Shooting into the light, for a silhouette effect, we have placed the tree centrally in the frame. Some purists might frown on this arrangement.
Here we have placed the tree approximately a third in from the left in one slide and a third in from right in the second.
In this case we moved in closer to the focal point, or simply zoomed in closer with our lens, for possible greater impact.
. . . and here placed the tree more to the left.
For our final image, we have placed the tree back on the right side, lightened the foreground and foliage slightly, and improved on the sky. This would now surely look quite well in a frame on someone’s wall!
Other Elements of COMPOSITION
PATTERN
There are patterns all around us if we only learn to see them. You can also create your own with simple objects found in the home. When patterns are broken with some different colour or object, they are most successful. Unbroken patterns rarely work on their own.
A Dublin docklands scene, with the camera held at an acute angle.
Sand ripples at Portrane, Dublin, with a focal point (broken pottery).
Symmetry
Depending upon the scene - symmetry can be something to go for - or to avoid completely. A symmetrical shot with strong composition and a good point of interest can lead to a striking image - but without the strong point of interest it can be a little predictable. This one is self-made .
Another home-made symmetricl image, from some Dublin street art!
Depth of Field
The depth of field that you select when taking an image will drastically impact the composition of an image. It can isolate a subject from its background and foreground (when using a shallow depth of field) or it can put the same subject in context by revealing it’s surroundings with a larger depth of field.
Once again limited depth of field makes part of the picture more prominent than the rest, even though these animals were very near each other.
Texture
Images are a two dimensional thing yet with the clever use of ‘texture’ they can come alive and become almost three dimensional. Texture particularly comes into play when light hits objects at interesting angles.
Despite the dullness of the day, this old sign in Cheshire is quite eye-catching. Had there been sunshine, from an acute angle, this subject would be even more dramatic.
Likewise, with this subject on Arthurstown Pier, Co. Wexford.
Lines Lines can be powerful elements in an image. They have the power to draw the eye to the focal point in a shot, and to add much impact to an image. Diagonal, Horizontal, Vertical and Converging lines all impact images differently and should be spotted while framing a shot and then utilized to strengthen it. Other examples would be a road, footpath or river leading to something in the distance. This scene is the entrance to a Cork maternity hospital.
Line of weir leading up river to a willow tree.
Red House near Mournes.
Author – P. Stefanazzi.
More lines leading to a focal point. Dublin Botanic Gardens palm-leaf
Framing
Most of us use ‘frames’ to display our images when we hang them on walls for viewing - however ‘framing’ can be used within the composition of a shot to help you highlight your main point of interest in the image and and/or to put it in context to give the image ‘depth’, as in this case.
St. Ita’s Hospital, Portrane, Dublin, enhanced by over-hanging branch. Apart from overhanging trees, arches, doors or windows are also useful
Perspective
The perspective that a shot is taken from is another element that can have a big impact upon an image. Shooting from up high and looking down on a subject or shooting from below looking up on the same subject drastically impact not only the ‘look’ of the image, emphasizing different points of interest, angles, textures, shapes etc - but it also impacts the ’story’ of an image. Here . . . shot into distance, in Dublin.
A stone-wall, shot straight on.
Here the angle of view, and perspective, has been changed, making a more interesting picture.
Cottage from front.
By changing the camera angle (and the perspective), the cottage takes on a more three-dimensional look!
A ‘straight’ look over the counter in a Cheshire Sweet-Shop.
By changing the perspective, I felt I’d get a better shot. It’s up to you now!
Space:
There can be a fine line between filling your frame with your subject (and creating a nice sense of intimacy and connection) and also giving your subject space to breathe. Either technique can be effective - so experiment with moving in close and personal and moving out to capture a subject in its context, like the sheep here; but then this is Black Valley, so one goes for the scenery as well!
Space galore, with bog-cotton, near Spelga Dam reservoir, Mournes.
The feeling of ‘Space’, with the help of a wide-angle lens setting and a patient model, at the western end of the Mourne mountains, at Spelga dam reservoir.
Balance: The positioning of elements in a frame can leave an image feeling balanced or unbalanced. Too many points of interest in one section of your image can leave it feeling too ‘heavy’ or complicated in that section of the shot and other parts feeling ‘empty’.
Colour: The colors in an image and how they are arranged can make or break a shot. Bright colors can add vibrancy, energy and interest; however in the wrong position they can also distract viewers of an image away from focal points. Colors also greatly impact ‘mood’. Blues and Greens can have a calming soothing impact, Reds and Yellows can convey vibrancy and energy etc.
Other aspects of Composition: Eliminating distractions, also Effective Cropping.
Buíochas libh go léir!
DEIRE