composition

Photography 101

Composition

Classic Compositional RulesClassic Compositional Rules

There are many ways to compose a There are many ways to compose a subject, and one way isnsubject, and one way isn’’t necessarily t necessarily better than anotherbetter than another

Compositional rules are really only Compositional rules are really only guidelines and once understood, should guidelines and once understood, should be thought of as suggestions, without be thought of as suggestions, without limiting your imaginationlimiting your imagination

Allow yourself to break these rules if it Allow yourself to break these rules if it works for your subjectworks for your subject

There are many ways to compose a There are many ways to compose a subject, and one way isnsubject, and one way isn’’t necessarily t necessarily better than anotherbetter than another

Compositional rules are really only Compositional rules are really only guidelines and once understood, should guidelines and once understood, should be thought of as suggestions, without be thought of as suggestions, without limiting your imaginationlimiting your imagination

Allow yourself to break these rules if it Allow yourself to break these rules if it works for your subjectworks for your subject

Rule of ThirdsRule of Thirds

Taken from painters in the 19th century, Taken from painters in the 19th century, this common compositional formula is this common compositional formula is popular among photographers of all popular among photographers of all disciplinesdisciplines

It is often applied subconsciously by the It is often applied subconsciously by the photographer once they have photographer once they have familiarized themselves with the familiarized themselves with the conceptconcept

Taken from painters in the 19th century, Taken from painters in the 19th century, this common compositional formula is this common compositional formula is popular among photographers of all popular among photographers of all disciplinesdisciplines

It is often applied subconsciously by the It is often applied subconsciously by the photographer once they have photographer once they have familiarized themselves with the familiarized themselves with the conceptconcept


The rule of thirds states that the picture The rule of thirds states that the picture should be should be divided into thirdsdivided into thirds horizontally horizontally and vertically.and vertically.

The center of the pictureThe center of the picture’’s interest s interest should be placed at one of the should be placed at one of the intersections of the vertical and intersections of the vertical and horizontal lineshorizontal lines

The rule of thirds states that the picture The rule of thirds states that the picture should be should be divided into thirdsdivided into thirds horizontally horizontally and vertically.and vertically.

The center of the pictureThe center of the picture’’s interest s interest should be placed at one of the should be placed at one of the intersections of the vertical and intersections of the vertical and horizontal lineshorizontal lines


viewfinder

Filling the picture frameFilling the picture frame

Successful pictures are pictures Successful pictures are pictures simplified to a single idea or theme and simplified to a single idea or theme and are organized without clutterare organized without clutter

Many amateur photographers end up Many amateur photographers end up with too many points of interest and with too many points of interest and cause confusion for the viewercause confusion for the viewer

Successful pictures are pictures Successful pictures are pictures simplified to a single idea or theme and simplified to a single idea or theme and are organized without clutterare organized without clutter

Many amateur photographers end up Many amateur photographers end up with too many points of interest and with too many points of interest and cause confusion for the viewercause confusion for the viewer

What is your photograph about?What is your photograph about?

Before taking the shot, Before taking the shot, stop, think, stop, think, andand decidedecide what it is in the scene you really what it is in the scene you really want to showwant to show

Take a picture of the whole scene, then Take a picture of the whole scene, then go in for some detailsgo in for some details

Before taking the shot, Before taking the shot, stop, think, stop, think, andand decidedecide what it is in the scene you really what it is in the scene you really want to showwant to show

Take a picture of the whole scene, then Take a picture of the whole scene, then go in for some detailsgo in for some details

Filling the picture frameFilling the picture frame

Get close to your subjectGet close to your subject

Eliminates distracting objects and Eliminates distracting objects and simplifies the content of your picturesimplifies the content of your picture

Reduces the confusion of busy Reduces the confusion of busy backgroundsbackgrounds

Focuses attention on the main subjectFocuses attention on the main subjectLets you see expression on facesLets you see expression on faces

Eliminates distracting objects and Eliminates distracting objects and simplifies the content of your picturesimplifies the content of your picture

Reduces the confusion of busy Reduces the confusion of busy backgroundsbackgrounds

Focuses attention on the main subjectFocuses attention on the main subjectLets you see expression on facesLets you see expression on faces

Look through your viewfinder as if your looking at the printLook through your viewfinder as if your looking at the print

Look at Look at allall the space within the the space within the viewfinder, does it work for the subject?viewfinder, does it work for the subject?

If not, try another angle, move around to If not, try another angle, move around to eliminate distracting elementseliminate distracting elements

Looking at the scene this way can help Looking at the scene this way can help to achieve the results you are seekingto achieve the results you are seeking

Look at Look at allall the space within the the space within the viewfinder, does it work for the subject?viewfinder, does it work for the subject?

If not, try another angle, move around to If not, try another angle, move around to eliminate distracting elementseliminate distracting elements

Looking at the scene this way can help Looking at the scene this way can help to achieve the results you are seekingto achieve the results you are seeking

Vertical vs. HorizontalVertical vs. Horizontal

It is common practice for beginners It is common practice for beginners to shoot in the horizontal position to shoot in the horizontal position for the majority of their photographsfor the majority of their photographs

This is because the camera is This is because the camera is naturally held in this position and is naturally held in this position and is designed for comfort when held in designed for comfort when held in this mannerthis manner

It is common practice for beginners It is common practice for beginners to shoot in the horizontal position to shoot in the horizontal position for the majority of their photographsfor the majority of their photographs

This is because the camera is This is because the camera is naturally held in this position and is naturally held in this position and is designed for comfort when held in designed for comfort when held in this mannerthis manner


A good rule of thumb is to A good rule of thumb is to shoot shoot horizontally for horizontal subjectshorizontally for horizontal subjects ( a ( a person laying down, a car, etc…) and to person laying down, a car, etc…) and to shoot vertical for vertical subjectsshoot vertical for vertical subjects (a (a person standing, a tall building, etc…)person standing, a tall building, etc…)

Otherwise you are likely to create empty Otherwise you are likely to create empty space which adds nothing to the picturespace which adds nothing to the picture

A good rule of thumb is to A good rule of thumb is to shoot shoot horizontally for horizontal subjectshorizontally for horizontal subjects ( a ( a person laying down, a car, etc…) and to person laying down, a car, etc…) and to shoot vertical for vertical subjectsshoot vertical for vertical subjects (a (a person standing, a tall building, etc…)person standing, a tall building, etc…)

Otherwise you are likely to create empty Otherwise you are likely to create empty space which adds nothing to the picturespace which adds nothing to the picture


Often, subjects can be well composed Often, subjects can be well composed in either positionin either position

The mood may be affected by which The mood may be affected by which one you choose, so think about what one you choose, so think about what you want to convey to the vieweryou want to convey to the viewer

Try shooting both ways and decide later Try shooting both ways and decide later which worked the best for youwhich worked the best for you

Often, subjects can be well composed Often, subjects can be well composed in either positionin either position

The mood may be affected by which The mood may be affected by which one you choose, so think about what one you choose, so think about what you want to convey to the vieweryou want to convey to the viewer

Try shooting both ways and decide later Try shooting both ways and decide later which worked the best for youwhich worked the best for you

Visual ElementsVisual Elements

LineLineShape / FormShape / FormTextureTexturePatternPatternColorColor

LineLineShape / FormShape / FormTextureTexturePatternPatternColorColor

Visual ElementsVisual Elements

Every photograph contains at least one Every photograph contains at least one of these elements, often times more of these elements, often times more than one, and these elements have than one, and these elements have great symbolic valuegreat symbolic value

It is the use of these elements that It is the use of these elements that creates the mood or feeling in a creates the mood or feeling in a photographphotograph

Hard, soft, friendly, hostile, strong, Hard, soft, friendly, hostile, strong, weak, light, heavy, aggressive, or weak, light, heavy, aggressive, or passivepassive

Every photograph contains at least one Every photograph contains at least one of these elements, often times more of these elements, often times more than one, and these elements have than one, and these elements have great symbolic valuegreat symbolic value

It is the use of these elements that It is the use of these elements that creates the mood or feeling in a creates the mood or feeling in a photographphotograph

Hard, soft, friendly, hostile, strong, Hard, soft, friendly, hostile, strong, weak, light, heavy, aggressive, or weak, light, heavy, aggressive, or passivepassive

Visual ElementsLines


Photographically speaking, lines within Photographically speaking, lines within a photograph do not necessarily need to a photograph do not necessarily need to be actual lines, but can also be implied be actual lines, but can also be implied lineslines

Someone looking into the distance Someone looking into the distance could be a perceived linecould be a perceived line

Lines draw the viewer through the Lines draw the viewer through the photograph and can lead the eye to the photograph and can lead the eye to the subjectsubject

Photographically speaking, lines within Photographically speaking, lines within a photograph do not necessarily need to a photograph do not necessarily need to be actual lines, but can also be implied be actual lines, but can also be implied lineslines

Someone looking into the distance Someone looking into the distance could be a perceived linecould be a perceived line

Lines draw the viewer through the Lines draw the viewer through the photograph and can lead the eye to the photograph and can lead the eye to the subjectsubject



It is better to have the lines lead into the It is better to have the lines lead into the image rather than out of the frame.image rather than out of the frame.

The idea is to keep the viewer looking at The idea is to keep the viewer looking at the photograph, and to hold their the photograph, and to hold their attentionattention

If the lines lead out, so too does there If the lines lead out, so too does there attentionattention

It is better to have the lines lead into the It is better to have the lines lead into the image rather than out of the frame.image rather than out of the frame.

The idea is to keep the viewer looking at The idea is to keep the viewer looking at the photograph, and to hold their the photograph, and to hold their attentionattention

If the lines lead out, so too does there If the lines lead out, so too does there attentionattention



Horizontal lines imply tranquility Horizontal lines imply tranquility and are considered stable (a calm and are considered stable (a calm ocean)ocean)

Vertical lines represent strength Vertical lines represent strength and firmness (stand tall and firm)and firmness (stand tall and firm)

Diagonal lines imply movement, Diagonal lines imply movement, speed or restlessnessspeed or restlessness

Horizontal lines imply tranquility Horizontal lines imply tranquility and are considered stable (a calm and are considered stable (a calm ocean)ocean)

Vertical lines represent strength Vertical lines represent strength and firmness (stand tall and firm)and firmness (stand tall and firm)

Diagonal lines imply movement, Diagonal lines imply movement, speed or restlessnessspeed or restlessness

LinesLines

Visual ElementsShape and formVisual ElementsShape and form

In photographs, shape is always two In photographs, shape is always two dimensional, but the tonal changes dimensional, but the tonal changes across an object can give the illusion of across an object can give the illusion of depth.depth.

Any object standing alone will draw Any object standing alone will draw attention to its shape, however if there attention to its shape, however if there are multiple objects of equal importance are multiple objects of equal importance and they are separated, they can cause and they are separated, they can cause the eye to move back and forththe eye to move back and forth

In photographs, shape is always two In photographs, shape is always two dimensional, but the tonal changes dimensional, but the tonal changes across an object can give the illusion of across an object can give the illusion of depth.depth.

Any object standing alone will draw Any object standing alone will draw attention to its shape, however if there attention to its shape, however if there are multiple objects of equal importance are multiple objects of equal importance and they are separated, they can cause and they are separated, they can cause the eye to move back and forththe eye to move back and forth

Visual ElementsShape and formVisual ElementsShape and form

Multiple objects grouped closely Multiple objects grouped closely together can give the impression of a together can give the impression of a single shape or unitsingle shape or unit

This is one reason why portrait This is one reason why portrait photographers group families close photographers group families close together and even have ones hands on together and even have ones hands on anotheranother’’s shoulder, emphasizing unitys shoulder, emphasizing unity

Multiple objects grouped closely Multiple objects grouped closely together can give the impression of a together can give the impression of a single shape or unitsingle shape or unit

This is one reason why portrait This is one reason why portrait photographers group families close photographers group families close together and even have ones hands on together and even have ones hands on anotheranother’’s shoulder, emphasizing unitys shoulder, emphasizing unity

Shape and formShape and form

Visual ElementsTexture


Texture, the way a surface feels, is a Texture, the way a surface feels, is a powerful way to evoke response from powerful way to evoke response from the viewerthe viewer

We have all used texture since We have all used texture since infanthood to determine the qualities of infanthood to determine the qualities of everything around us and those feelings everything around us and those feelings are still with us todayare still with us today

Texture, the way a surface feels, is a Texture, the way a surface feels, is a powerful way to evoke response from powerful way to evoke response from the viewerthe viewer

We have all used texture since We have all used texture since infanthood to determine the qualities of infanthood to determine the qualities of everything around us and those feelings everything around us and those feelings are still with us todayare still with us today



The way we show texture in our The way we show texture in our photographs is in our use of light, photographs is in our use of light, mainly itmainly it’’s directions direction

Side lighting is the best way to Side lighting is the best way to emphasize texture on an object, emphasize texture on an object, conversely front lighting will give little conversely front lighting will give little shadow areas and therefore less shadow areas and therefore less texture detailtexture detail

The way we show texture in our The way we show texture in our photographs is in our use of light, photographs is in our use of light, mainly itmainly it’’s directions direction

Side lighting is the best way to Side lighting is the best way to emphasize texture on an object, emphasize texture on an object, conversely front lighting will give little conversely front lighting will give little shadow areas and therefore less shadow areas and therefore less texture detailtexture detail



An example of using texture in a An example of using texture in a photograph would be to get down low photograph would be to get down low on a beach, with a wide angle lens and on a beach, with a wide angle lens and fill the foreground with pebbles fill the foreground with pebbles

This would invoke the sense of touch in This would invoke the sense of touch in the viewer, maybe thinking of the feeling the viewer, maybe thinking of the feeling of walking along the beach, or running of walking along the beach, or running their hand through ittheir hand through it

An example of using texture in a An example of using texture in a photograph would be to get down low photograph would be to get down low on a beach, with a wide angle lens and on a beach, with a wide angle lens and fill the foreground with pebbles fill the foreground with pebbles

This would invoke the sense of touch in This would invoke the sense of touch in the viewer, maybe thinking of the feeling the viewer, maybe thinking of the feeling of walking along the beach, or running of walking along the beach, or running their hand through ittheir hand through it



Filling the frame with broken glass would Filling the frame with broken glass would again evoke feelings, but very different again evoke feelings, but very different ones than that of the beachones than that of the beach

So how we use texture can dramatically So how we use texture can dramatically affect the final mood of the image affect the final mood of the image

Filling the frame with broken glass would Filling the frame with broken glass would again evoke feelings, but very different again evoke feelings, but very different ones than that of the beachones than that of the beach

So how we use texture can dramatically So how we use texture can dramatically affect the final mood of the image affect the final mood of the image

TextureTexture

Visual ElementsPatterns


When lines, shapes, forms, or textures When lines, shapes, forms, or textures are repeated over and over in more or are repeated over and over in more or less regular intervals, a pattern is less regular intervals, a pattern is createdcreated

Patterns amplify the symbolic value of Patterns amplify the symbolic value of their componentstheir components

Just as patterns in music (melody) and Just as patterns in music (melody) and poetry (rhythm of verse) hold the poetry (rhythm of verse) hold the viewers attention, we are also attracted viewers attention, we are also attracted to visual patternsto visual patterns

When lines, shapes, forms, or textures When lines, shapes, forms, or textures are repeated over and over in more or are repeated over and over in more or less regular intervals, a pattern is less regular intervals, a pattern is createdcreated

Patterns amplify the symbolic value of Patterns amplify the symbolic value of their componentstheir components

Just as patterns in music (melody) and Just as patterns in music (melody) and poetry (rhythm of verse) hold the poetry (rhythm of verse) hold the viewers attention, we are also attracted viewers attention, we are also attracted to visual patternsto visual patterns



If developing a pattern is your sole If developing a pattern is your sole intent, then you must intent, then you must fill the entire framefill the entire frame with it.with it.

A macro or telephoto lens would work A macro or telephoto lens would work well to cut down on the amount of scene well to cut down on the amount of scene inside the frame, eliminating objects inside the frame, eliminating objects outside of the patternoutside of the pattern

If developing a pattern is your sole If developing a pattern is your sole intent, then you must intent, then you must fill the entire framefill the entire frame with it.with it.

A macro or telephoto lens would work A macro or telephoto lens would work well to cut down on the amount of scene well to cut down on the amount of scene inside the frame, eliminating objects inside the frame, eliminating objects outside of the patternoutside of the pattern

PatternsPatterns

Visual ElementsColor


Pay attention to colorPay attention to color

Are there strong color relationships?Are there strong color relationships?

Colors are considered warm or cold Colors are considered warm or cold because of our association with various because of our association with various elements in our surroundingselements in our surroundings

Pay attention to colorPay attention to color

Are there strong color relationships?Are there strong color relationships?

Colors are considered warm or cold Colors are considered warm or cold because of our association with various because of our association with various elements in our surroundingselements in our surroundings



Red, and orange are considered Red, and orange are considered warm colors whereas blue and warm colors whereas blue and green are considered coolgreen are considered cool

Yellow and violet can vary Yellow and violet can vary depending on the other colors in depending on the other colors in the photographthe photograph

Red, and orange are considered Red, and orange are considered warm colors whereas blue and warm colors whereas blue and green are considered coolgreen are considered cool

Yellow and violet can vary Yellow and violet can vary depending on the other colors in depending on the other colors in the photographthe photograph



Warm colors can evoke Warm colors can evoke excitement, strength and warmth excitement, strength and warmth

Cool colors evoke peace and Cool colors evoke peace and calmnesscalmness

Pastels can invoke the feeling of Pastels can invoke the feeling of innocence and purityinnocence and purity

Warm colors can evoke Warm colors can evoke excitement, strength and warmth excitement, strength and warmth

Cool colors evoke peace and Cool colors evoke peace and calmnesscalmness

Pastels can invoke the feeling of Pastels can invoke the feeling of innocence and purityinnocence and purity



Cool colorsCool colors appear to appear to recederecede into into the distance and the distance and warm colorswarm colors seem seem toto advance advance forward towards the forward towards the viewerviewer

Cool colorsCool colors appear to appear to recederecede into into the distance and the distance and warm colorswarm colors seem seem toto advance advance forward towards the forward towards the viewerviewer

ColorColor

Other Compositional Rules

Composition SummaryComposition Summary

The decisions we make (consciously or The decisions we make (consciously or unconsciously) every time we take a unconsciously) every time we take a photograph will all contribute to the photograph will all contribute to the overall feeling or tone of the imageoverall feeling or tone of the image

Did you Did you taketake a photograph or did you a photograph or did you makemake a photograph? a photograph?

The decisions we make (consciously or The decisions we make (consciously or unconsciously) every time we take a unconsciously) every time we take a photograph will all contribute to the photograph will all contribute to the overall feeling or tone of the imageoverall feeling or tone of the image

Did you Did you taketake a photograph or did you a photograph or did you makemake a photograph? a photograph?

The EndThe EndThe EndThe End

composition

Art & Photos

rule of thirds viewfinder

horizontal lines

horizontal position

rule of thirds states

distracting elements

horizontal subjects

visual elements lines

picture s