Photography Lesson: Composition

[Diane Margetts]

Besides being technically correct, being well composed spells the difference between an ordinary photo and one with an impact. It is very important to know and understand the common principles of a good composition. We used the word "principles" rather than "rules" because the latter strongly suggests that a violation means failure.

Focusing on the Subject

Subject taken out of distracting background.
Narrow depth of field has blurred out the unnecessary background giving all the attention to the subject.

When taking pictures of pets, try to include another element to help to "tell the story". In this case the bone made the dog look he's enjoying himself.
Crouching down to the dog's level made the image more interesting.

The main cause of photo failure is the inability to focus on a subject. "How can that be?" you ask. "My subject is my dog and that's what I have in my photo."

We have seen plenty of amateur pet photographs showing other things besides the pet itself, all with equal visual weight - furniture, a child's swing, cars, toys, too many things to list. There are basically two ways you can keep the focus on your subject:

One is to eliminate unnecessary details from the picture. But do not make it so bare that it will look "clinically clean". Some elements other than the subject can provide supporting details, helping you tell your story.

Another way is to subdue the elements secondary to your subject through the use of shallow depth of field, selective focusing, contrast, lighting, and composition. For example you can eliminate the details by choosing a narrow depth of field which keeps the subject in its natural environment with a blurred background.

Rule of thirds

Above: Good example of an application of the rule of thirds.
Bottom third is the boat with tourists, with ocean in the middle and the top third is used for the city and the famous landmark (Australia, Sydney Opera House) on the top left.

Rule of thirds working in another picture.

Pictures with centrally placed subjects do not have visual tension or dynamism and are described as static. To avoid static pictures, place the main subject away from the center. To help you decide where to place the subject, away from the important parts of the subject, apply the rule of thirds:

Divide the frame into three horizontal sections and three vertical sections using two horizontal and two vertical lines. According to the rule of thirds, the points of maximum impact are the four lines and the four points where the four lines meet.

Place important subjects along any of the four lines, such as the horizon line. Or position them at any of the four points where the four lines meet, such as a house on a hilltop. For a portrait the eyes are the most important part of our body, photographically speaking.

But do not follow this "rule" slavishly, for there are pictures that call for a centrally placed subject. Also, bear in mind that pushing your subject thoughtlessly to one side may create empty or "negative space" on the other side that does not contribute anything to the picture.

Frames and Leading Lines

The bridge is leading the viewer's eye to the other side across the water. This can also be classified as diagonal composition.

Long desk keeps pushing our attention towards the reading man.

Let the eye flow toward the subject using frames and leading lines. Examples of leading lines are roads, rivers, and fences. They lead the eye right to your subject. Contrary to what may instantly pop into your head, compositional lines need not be straight. They can be curved (called S-curves or C-curves) and preferably cut across the picture at an angle, usually originating from a corner of the picture.

Expectedly, a photographer that uses a leading line and places the subject two-thirds of the way combines two of the most effective compositional techniques in photography. Frames can surround the subject, like doorways, or just border the top or one side, like branches or a statue. Besides drawing the eye to the subject, frames also create depth by providing a foreground.

If you look hard enough, you'll find frames appropriate to your subject almost everywhere: wheels, windows, street signs, gateways, picket fences, statues. Remember that if you include a frame in the picture, you must set your lens for the required depth of field to get the foreground frame and background subject in focus.

Contrast and Similarity

One chair is different than hundreds of others around it.

The feet size contrast between father and baby.

Show the size of unfamiliar subjects by including things of a known size in the frame. How big is that tower or space observatory? A person or car in the picture will show relative size. How small is the baby? Ask the baby's mother, or even a brother or sister, to pose beside the baby.

Even with subjects of known size, using contrast to emphasize subject characteristics is an effective photographic tool. For example:

• a baby's hand wrapped around its daddy's finger (size contrast)
• young face beside a grandparent's face (texture contrast),
• one light dress among dark dresses (tonal contrast),
• a sad expression among happy faces (content contrast),
• a person going or looking one way while everybody else is going or looking the opposite way (action contrast).
  

Geometric Composition: Diagonals, Circle and Rhythm

Other powerful composition techniques worth a mention are compositions based on geometrical objects such as circle, diagonal lines or repetitition. By placing objects in your composition along strong diagonal lines that create a triangle, you'll add strength to your image.

There is so much repetition around us, you'll be amazed! See the rhythm?

Sometimes circle composition is ideal for the subject. This flower is in the centre of the image forming a circle.

Can you spot any diagonals in this composition? Diagonal compositions are very common and we tend to create them without thinking. They are naturally pleasant to look at.

Sometimes even a simple trick - tilting your camera to make the horizon diagonal - makes your photo very dynamic and interesting.

Few tips:

Simplify - The more simple the photo, the more attention is drawn to the subject. Don't overdo it with complicated backgrounds or difficult compositions. If the sky is beautiful, get low and take your subject (not necessarily a person) against the sky. Reflections of buildings in water make interesting pictures. To pep up the pictures, try to have something either bright red or yellow in the foreground. I carry a red or yellow scarf for someone to drape over his shoulders in the foreground if necessary. Take shots of buildings from the corner as it get two sides in the picture and makes for a better composition, rather than straight on. When taking pictures of people, come in close for a tight shot unless the main focus of the photo is the background . So many pictures are taken of people who are fifteen or twenty feet away and their features are a blur. Last check Before taking the picture, check the background behind the subject. Take care that no telephone poles, branches, or electrical wires are growing out of the subject's head. Keep the horizon level, unless your message or the subject content calls for a "dizzy" horizon

[Michele, Biscuit & Mo]

Holy Cow, Diane - if you haven't written a book, you should!

[Debbie Penny]

Thanks Diane, more to keep in mind for my next photo shoot. I appreciate every tip.

[Nancy, Ned, Clancy, and Charlie]

Lots and lots to think about.Thanks.

[Nancie & Gracie Doodle]

Very good information and easy to understand. Thanks for the posting. Now I just need to get out and start photographing. The Doodle Romp was not the place to practice. It was wild and crazy and you just had to catch your photos on the fly!!!!!!

[Jane, Guinness and Murphy]

Great information. Thanks, Diane!

[Linda, Webber and Seda]

Thanks. Very helpful.

[GBK]

This is GREAT Diane! Very easy to understand and it makes sense...... Thank You, Gina