In FocusIn Focus

Photo Composition – In Photo Composition – In Control of the ImageControl of the Image

The good photographer and designer The good photographer and designer control what people see when they control what people see when they look at a photo and make them look at a photo and make them linger over the photo to get the linger over the photo to get the whole story. The good photographer whole story. The good photographer picks a subject and positions himself picks a subject and positions himself to use the elements of composition; to use the elements of composition; the designer must also understand the designer must also understand these things to use pictures these things to use pictures effectively.effectively.

Photographers must be creative, Photographers must be creative, self-motivated and confident. self-motivated and confident. Somebody who isn’t afraid to get Somebody who isn’t afraid to get right in the middle of the action to right in the middle of the action to get that shot. Remember it is the get that shot. Remember it is the photographer that takes the picture photographer that takes the picture not the camera. The photographer not the camera. The photographer sets the camera and composes the sets the camera and composes the shot; the camera just records the shot; the camera just records the light.light.

The nature of the The nature of the photographic medium:photographic medium:

Feeling of realityFeeling of reality Time – photos record a specific Time – photos record a specific

nature of timenature of time Two dimensionalityTwo dimensionality Continuous tonality – photographs Continuous tonality – photographs

can reproduce a range of tones from can reproduce a range of tones from darkest to lightestdarkest to lightest

ReproducibilityReproducibility

Composition is the Composition is the thoughtful arrangement thoughtful arrangement of the visual elements of the visual elements

within a work.within a work.

With design, such as for the pages of With design, such as for the pages of the yearbook, there is complete the yearbook, there is complete control over composition. With control over composition. With photographs, the photographer has photographs, the photographer has less control. Limitations need to be less control. Limitations need to be overcome with a process of visual overcome with a process of visual selection by using camera position selection by using camera position (point of view). General design (point of view). General design principles help (but don’t have to principles help (but don’t have to dictate) good composition.dictate) good composition.

CompositionComposition

Vertical shots are more powerful Vertical shots are more powerful than horizontal shots.than horizontal shots.

Photos must have something to say. Photos must have something to say. They must pique the viewer’s They must pique the viewer’s curiosity enough to want to read the curiosity enough to want to read the caption to find out more about it.caption to find out more about it.

CompositionComposition

Photos should tell a story, not be Photos should tell a story, not be posed. Avoid taking pictures of posed. Avoid taking pictures of people staring into the camera.people staring into the camera.

Be ready for anything. Spontaneous Be ready for anything. Spontaneous moments make priceless pictures. moments make priceless pictures.

CompositionComposition

Keep it simple. Tell just one story. Keep it simple. Tell just one story. Pick out the subject you want to Pick out the subject you want to photograph and make sure that it is all photograph and make sure that it is all you show. Don’t leave any doubt about you show. Don’t leave any doubt about what the viewer is supposed to see.what the viewer is supposed to see.

The main subject in the photo should The main subject in the photo should be noticed first; secondary objects be noticed first; secondary objects should strengthen the dominant image.should strengthen the dominant image.

Pick one StoryPick one Story

Too much is happening here…which story are you telling?

Crop pictures that are visually confusing. Keep the subject of your photo clear.

Subject PlacementSubject Placement

The placement in a frame The placement in a frame emphasizes and organizes the emphasizes and organizes the elements in a photograph. Use the elements in a photograph. Use the following to help place the subject:following to help place the subject:

Rule of ThirdsRule of Thirds Horizon placementHorizon placement

Tilted horizonTilted horizon Direction of implied linesDirection of implied lines

Rule of ThirdsRule of Thirds The rule states that an image can be divided The rule states that an image can be divided

into nine equal parts by two equally-spaced into nine equal parts by two equally-spaced horizontal lines and two equally-spaced horizontal lines and two equally-spaced vertical lines. The four points formed by the vertical lines. The four points formed by the intersections of these lines can be used to intersections of these lines can be used to align features in the photograph. align features in the photograph.

Proponents of this technique claim that Proponents of this technique claim that aligning a photograph with these points aligning a photograph with these points creates more tension, energy and interest in creates more tension, energy and interest in the photo than simply centering the feature the photo than simply centering the feature would. would.

Rule of ThirdsRule of Thirds Imagine a tic-tac-toe Imagine a tic-tac-toe

board in your board in your viewfinder. Locate viewfinder. Locate the main subject off the main subject off centre, usually at one centre, usually at one of the places where of the places where the lines meet. Allow the lines meet. Allow for a feeling of implied for a feeling of implied motion by leaving motion by leaving more space in front of more space in front of the picture’s action the picture’s action than behind it.than behind it.

Rule of ThirdsRule of Thirds

Arrange subjects at intersecting points.

Horizon PlacementHorizon Placement

• Placing the horizon line at one of the two horizontal dividing lines may give more visual interest than centering it.

• Placement at the top divider emphasizes the land and the bottom divider emphasizes the sky.

Tilted HorizonTilted Horizon

Be careful with this Be careful with this technique. Make technique. Make sure that the image sure that the image needs a tilt and needs a tilt and then do it then do it purposefully (a purposefully (a small tilt looks like small tilt looks like you didn’t mean to you didn’t mean to do it and thus, your do it and thus, your picture does not picture does not look professional.)look professional.)

Tilted HorizonTilted Horizon

Garry Winogrand, Los Angles, 1969

Direction of Implied Direction of Implied LinesLines

Another guideline for placement is determined by the direction of implied lines due to motion or direction of gaze of the subject. The convention is that motion should lead into rather than out of the frame.

CompositionComposition Stay close and fill the frame. Generally the closer you Stay close and fill the frame. Generally the closer you

get the better the photo. Getting closer eliminates get the better the photo. Getting closer eliminates distracting and unnecessary backgrounds and shows distracting and unnecessary backgrounds and shows the subject more clearly. the subject more clearly.

Look carefully out to the edges of the viewfinder and Look carefully out to the edges of the viewfinder and see that you are not including anything which is see that you are not including anything which is unnecessary or cutting off something which is needed. unnecessary or cutting off something which is needed. Move in close.Move in close.

Legs are usually unimportant in people pictures. Move Legs are usually unimportant in people pictures. Move closer. Get rid of empty spaces. However, don’t cut off closer. Get rid of empty spaces. However, don’t cut off appendages. Watch out for feet or hands at the edge appendages. Watch out for feet or hands at the edge of a frame, or deliberately focus in on the face. Hands of a frame, or deliberately focus in on the face. Hands and faces are the most expressive and interesting parts and faces are the most expressive and interesting parts of the body.of the body.

FramingFraming

Framing is the process of selecting Framing is the process of selecting what is to appear in a photograph.what is to appear in a photograph. Avoid distracting objects or shapes in Avoid distracting objects or shapes in

the backgroundthe background

FramingFraming Avoid foreground objects overlapping Avoid foreground objects overlapping

important subject matterimportant subject matter

Closer….

Even closer.

Move in close to your subject.

Backgrounds affect your photo. Simple Backgrounds affect your photo. Simple backgrounds focus attention on the backgrounds focus attention on the subject and makes it a stronger subject and makes it a stronger statement. Nothing in the background statement. Nothing in the background should lead away from the main subject. should lead away from the main subject. Avoid having background objects growing Avoid having background objects growing out of the subject’s head or body. Move out of the subject’s head or body. Move around to pick the best shooting angle to around to pick the best shooting angle to hide distractions, or make sure hide distractions, or make sure background is out of focus.background is out of focus.

FramingFraming

FramingFraming

Avoid background Avoid background objects that objects that appear to merge appear to merge with the main with the main subjectsubject

FramingFraming

FramingFraming

Moving the camera or the subject to Moving the camera or the subject to a different view point is one solution.a different view point is one solution.

Filling the frame eliminates Filling the frame eliminates background or subject matter that background or subject matter that add little interest. Fill the frame by add little interest. Fill the frame by moving closer to the subject. You moving closer to the subject. You can go very close so that only a can go very close so that only a small section – a detail – of the small section – a detail – of the subject is shown.subject is shown.

Extreme close ups show only a small Extreme close ups show only a small detail of the subject.detail of the subject.

Eikoh Hosoe, Embrace #46, 1970

Format ShapeFormat Shape

Sometimes the subject matter Sometimes the subject matter demands a particular shape. demands a particular shape. Vertical framing is usually more Vertical framing is usually more interesting. interesting.

With cropping it is easy to break out With cropping it is easy to break out of the standard rectangular frame.of the standard rectangular frame.

Frames within frames offer another Frames within frames offer another way to break out of rectangular way to break out of rectangular frames.frames.

Format ShapeFormat Shape

A square is stable and self-contained.

Longer rectangles seem to more readily extend beyond themselves visually.

horizontal framing

vertical framing – vertical shots are

more powerful than horizontal

shots

Some subjects Some subjects determine determine whether you whether you should shoot should shoot vertically or vertically or horizontally.horizontally.

Werner Ischof, Girls from a Village near Patna, India, 1951

FramingFraming

Unique framing by secondary Unique framing by secondary elements in the shot add impact. elements in the shot add impact. Take the photo from a spot which Take the photo from a spot which lets you use other objects or people lets you use other objects or people to make a frame around your to make a frame around your subject. This will make people look subject. This will make people look at your subject longer, but make at your subject longer, but make sure that the frame isn’t so big that sure that the frame isn’t so big that it takes away from the main subject.it takes away from the main subject.

Frames within a frameFrames within a frame

Lee Friedlander

Foreground adds depth. Scenic Foreground adds depth. Scenic shots can be framed with foreground shots can be framed with foreground elements. Foreground elements add elements. Foreground elements add a sense of distance, depth and a sense of distance, depth and dimension.dimension.

Composition: Foreground Composition: Foreground

ForegroundForeground

The parking meters give a linear perspective and add depth to the photo.A. Aubrey Bodine, Parking Meters Baltimore

ForegroundForeground

CompositionComposition

People are drawn to look more People are drawn to look more closely at photos which show closely at photos which show subjects with unusual similarities or subjects with unusual similarities or differences.differences.

Unusual SimilaritiesUnusual Similarities

ContentContent

Get people active. Photograph Get people active. Photograph people while they are busy. Un-people while they are busy. Un-posed, action and reaction shots are posed, action and reaction shots are preferable to posed shots. The preferable to posed shots. The pictures will have a feeling of lively pictures will have a feeling of lively spontaneity. Take action photos spontaneity. Take action photos when the action is coming towards when the action is coming towards you. Look for fresh, creative, you. Look for fresh, creative, innovative approaches to the picture.innovative approaches to the picture.

ContentContent

Mark Walker

Mark Walker

ContentContent

ContentContent

Artistic QualityArtistic Quality Leading lines, framing, and patterns add a Leading lines, framing, and patterns add a

dramatic quality to photos.dramatic quality to photos.

Anything which makes a photo feel more Anything which makes a photo feel more real will cause people to look at it longer, real will cause people to look at it longer, to be absorbed by the contradiction to be absorbed by the contradiction between the flat picture and its seeming between the flat picture and its seeming reality. Look for photos which accentuate reality. Look for photos which accentuate the weave in the fabric of someone’s the weave in the fabric of someone’s clothing or sweat, tears or rain on a clothing or sweat, tears or rain on a person’s face.person’s face.

TextureTexture

The raindrops The raindrops form a visual form a visual texture on the texture on the woman’s face.woman’s face.

Brian Brake, Indian Brian Brake, Indian woman in monsoon rain.woman in monsoon rain.

Artistic QualityArtistic Quality

Repetition created through textures Repetition created through textures and patterns adds interest. and patterns adds interest. Repeating shapes attract a viewer’s Repeating shapes attract a viewer’s eye, but something which then eye, but something which then breaks that pattern really focuses breaks that pattern really focuses attention on the break.attention on the break.

RepetitionRepetition

RepetitionRepetition

Lines are useful to focus viewer’s Lines are useful to focus viewer’s attention on the subject.attention on the subject.

Robert Imholf, Mercedes Benz

LinesLines

Line plays an important role in this photograph. The converging lines of the brick wall draw the eye to the police officer. The vertical lines of the building accentuate his straight posture, and the horizontal line of the paving adds visual interest.

Bill Brandt, Policeman in Bermondsey

Implied LinesImplied Lines

Both real and implied lines can be seen in this image.

Jim Brandenburg, Arctic wolf on Ellesmere Island, Canada

Implied LinesImplied Lines When you take a When you take a

photograph in a photograph in a rectangular frame, rectangular frame, basing the composition basing the composition on a triangle that goes on a triangle that goes from any one corner to from any one corner to the two opposite sides, is the two opposite sides, is always a good way to always a good way to create a strong image. create a strong image.

By placing objects in your By placing objects in your composition along strong composition along strong diagonal lines that create diagonal lines that create a triangle, you'll add a triangle, you'll add strength to your image.strength to your image.

Implied ShapeImplied Shape

Danny Lyon

Artistic QualityArtistic Quality

Point of view is determined by the Point of view is determined by the position of the camera at the time of position of the camera at the time of taking the photo. The natural point of taking the photo. The natural point of view is at eye level (either from sitting view is at eye level (either from sitting or standing). Try changing this by or standing). Try changing this by getting close to the floor or above. getting close to the floor or above. Shoot from a ladder or on the ground, Shoot from a ladder or on the ground, over someone’s shoulder, through over someone’s shoulder, through sunglasses or between the legs of a sunglasses or between the legs of a table.table.

Point of ViewPoint of View

By changing the point of view you can change how the subject is viewed.

Point of ViewPoint of View

The angle can create a dramatic The angle can create a dramatic effect. Showing the world from a effect. Showing the world from a viewpoint not usually seen will cause viewpoint not usually seen will cause people to stop and linger over this people to stop and linger over this new insight.new insight.

Point of ViewPoint of View

Point of ViewPoint of View

Point of ViewPoint of View

Sylvia Plachy, Sumo Wrestlers, New York, 1985

Technical QualityTechnical Quality

Look for good lighting. Good Look for good lighting. Good lighting can make pictures more lighting can make pictures more interesting, colorful, dimensional interesting, colorful, dimensional and flattering to the subject. Strong and flattering to the subject. Strong sunlight is a wonderful source of sunlight is a wonderful source of good lighting, gymnasium good lighting, gymnasium fluorescent lighting will be a fluorescent lighting will be a challenge.challenge.

Technical QualityTechnical Quality

Mark Walker

Technical QualityTechnical Quality

Use your flash to improve poor Use your flash to improve poor lighting, but be aware that it can lighting, but be aware that it can cast shadows on the background if cast shadows on the background if the subject is close to a bank of the subject is close to a bank of lockers, for instance. Indoors it lockers, for instance. Indoors it freezes motion, but only within the freezes motion, but only within the flash range of about 12 feet (4m). flash range of about 12 feet (4m). Outdoors a flash can soften shadows Outdoors a flash can soften shadows and brighten colors.and brighten colors.

Technical QualityTechnical Quality

Hold the camera steady. The most Hold the camera steady. The most basic rule is the most often basic rule is the most often overlooked. Holding the camera overlooked. Holding the camera steady is vital for sharp, clear steady is vital for sharp, clear pictures. Press the shutter button pictures. Press the shutter button with gentle pressure, don’t jab it.with gentle pressure, don’t jab it.

Variety on a Page/SpreadVariety on a Page/Spread

Every page or spread should have a Every page or spread should have a dominant photo which serves as the dominant photo which serves as the centre of visual impact.centre of visual impact.

Use a variety of rectangular shapes Use a variety of rectangular shapes and sizes to prevent visual and sizes to prevent visual monotony.monotony.

Variety on a Page/SpreadVariety on a Page/Spread

Variety on a Page/SpreadVariety on a Page/Spread

Crop photos effectively to get rid of Crop photos effectively to get rid of distracting backgrounds.distracting backgrounds.

The photo should lead the reader’s The photo should lead the reader’s eye into the story or spread; place eye into the story or spread; place photos so that the subject’s eyes are photos so that the subject’s eyes are looking into the story the picture looking into the story the picture goes with.goes with.

Edward CurtisCoastal Salish, Lummi Type

Story goes here.

Nadar (Gaspard Felix TournachonSarah Bernhardt, 1865

Story goes here.

Arnold NewmanPiet Mondrian

Yes, you guessed it……

Lewis W. HineTen-year-old spinner

Where would the story go for this image?

Photos used for publication Photos used for publication should:should:

have excellent contrast and/or color have excellent contrast and/or color tonestones

be in sharp focus (avoid fuzzy or be in sharp focus (avoid fuzzy or blurred shots)blurred shots)

be clean and crisp, not muddy, too light be clean and crisp, not muddy, too light or flator flat

be free of scratches, watermarks, be free of scratches, watermarks, fingerprints and dustfingerprints and dust

have a wide range of toneshave a wide range of tones