Examples of diagonal composition. Basics of composition in photography
Understanding composition is something every photographer should spend time on. Without the need to invest in expensive equipment, understanding the elements of good composition will undoubtedly improve your photographic work. Developing a photographic eye comes naturally to some, but for others it takes time and effort to hone their visual skills and abilities. Here is a selection of tips and tricks to help you evaluate and compose your work.
If you have time, find a reason to concentrate and practice these skills, and definitely try to keep them in mind the next time you take a photo, it can help you feel the difference between taking a good shot and a great shot.
Step 1 - Don't try to be perfect
It is important to understand that there is no such thing as a “perfect” composition. Since this is a subjective art form, you will never reach a point where you get the perfect shot, but it is entirely possible to have shots with poor and good composition. There are many elements of photographic composition, which I will discuss in detail in this article. Each section is just a simple guide to help you achieve stronger, more compelling images.
Step 2 - Simplicity
One of the main things to pay attention to is the placement of elements in the frame relative to each other. Based on this, you will need to decide what you will include in the frame and what you will leave out of it. It's often tempting to fill the frame with as many interesting objects as possible, but when it comes to composition, it's best to be selective about what you include in the frame and be mindful of your choices. Some of the most striking photographs have a very simple but effective composition, the eye follows the image unobstructed and the viewer is drawn into the clear and effective frame.
Step 3 - Rule of Thirds
One of the simplest rules of composition is the rule of thirds, which has become a very common tool for amateur and professional photographers. The technique is to divide the frame into thirds, vertically and horizontally (so they are effectively ninths), and use these lines to effectively divide your image and separate areas of the image. The points where the lines intersect are considered key areas for the main objects in the frame.
This rule, although very simple, works really well when applied correctly. For example, in landscape photographs, the horizon may run across the frame along the bottom horizontal line, and the top of a mountain ridge may cross the top horizontal line. Similarly, with portrait shots, the eyes can be placed at the points where the top horizontal line intersects two vertical lines.
Step 4 - Composition in Landscape
It is extremely important to use composition effectively when working with landscapes. The drama of a great landscape shot comes from composition and structure. Ask yourself what your shot will be about. About water, about mountains in the distance, about the horizon, sunset or rocks in the foreground? What elements do you want to highlight in the frame? Using the rule of thirds, try to make sure there are different levels in the frame, make sure you have an interesting subject in the foreground to add a sense of depth and scale to the image, and that the main focal point in the frame is clearly prioritized.
Step 5 - Lines
Lines in an image are one of the most effective ways to add color to your shot. Horizontal and vertical lines give the image a clear structure, while curved lines have a more relaxed feel. Consider where each line in the frame begins and where it leads. It is very effective to have a line in the frame leading the eye, for example, from the bottom corner through the image to the opposite corner. Paths, rivers, train tracks and roads can serve this purpose if used correctly.
When you work with horizontal and vertical lines in a frame, make sure that the photo looks clear and that the lines are straight. You wouldn't believe how many photographs I've seen that have been ruined by a slightly tilted line, such as the horizon. Of course, it is possible to edit the frame later to correct these errors, but it is much better to practice and align it correctly while shooting.
Step 6 - Shapes
Once you understand the role that lines play in the composition of an image, you can appreciate the impact of shapes. Try to distance yourself from the fact that you are looking through the viewfinder at a specific subject and refer to the shape of each element in the frame. It is important to understand how shapes interact with each other. Strong shapes like triangles and squares are much easier to place in a frame than softer, rounded shapes, but by appreciating how each element is shaped you can make a very powerful impact by presenting the shapes and their interactions as the main theme of the photo.
Step 7 - Contrast
When it comes to your main subject, consider it in context and in relation to its surroundings. How do the colors, shapes, textures and shades of the main focal point match the surrounding space? If there is a strong connection between them, you can play with this and highlight it in the image using composition, combining the subject with its surroundings. If your subject and surroundings are very different, try to use composition techniques to enhance those differences.
Step 8 - Framing
Effective framing is the foundation of a strong composition. The natural desire is to place the main focal point exactly in the center, but this often looks strange and out of touch with its surroundings. Try placing it closer to one side or a corner to see if you can create context and relationships. It's worth noting, however, that portraits often look brightest when the subject is centered. So it's worth experimenting, don't just make one decision about how to frame your shot and stick with it, explore all your options.
Step 9 - Negative Space
It's important to take into account the negative space in an image. When you're working with small subjects, the tendency is to try to fit the entire focal point into the frame. In fact, composition when shooting a macro subject becomes much more vibrant if you either fill the frame with the subject, placing it close together, or use negative space around it to allow the subject to breathe and fit harmoniously into its surroundings.
Try experimenting with something as simple as a seashell, or see how you can change the composition by moving closer or further away from the usual shot.
Step 10 - Angle
When you're working with your subject, consider the angle you're shooting from. Often the easiest way is to shoot the subject at the angle you see it, but as you work on the shot, explore different angles and approaches. You may find a more interesting way to express the main theme of the photo.
Step 11 - Layers
Just like when working with layers in landscape shots, be sure to include some elements of depth in your images. Placing an interesting object in the foreground is the easiest way to do this, but even using a zigzag object will add a sense of depth and draw the eye deeper into the image.
Step 12 - Symmetry and Patterns
Using symmetry and patterns effectively can help create a truly powerful shot, especially when you're working with subjects like architecture. Spend time exploring the subject and recognizing patterns and patterns (paying attention to shapes and lines). Find the midpoint and position the camera exactly perpendicular to the subject. Avoid distracting details that will break the symmetry or pattern, and try to maximize the desired effect.
Step 13 - Cropping
In this age of post-processing, if you come home and discover that you didn't compose your shot the way you wanted, nothing is lost. Almost all image processing utilities now have a crop tool that allows you to crop out unwanted parts of a photo. You can do this with a fixed aspect ratio (most photos today are 3:2), or you can freely crop the frame to the shape you want, such as a square, or create a panoramic landscape shot by cropping the bottom and top levels.
Step 14 - Practice, Practice and Practice
So we've explored a number of compositional principles that can really help you on your journey to creating stronger, more captivating images. As soon as you have the opportunity, practice using these suggestions. Whatever you shoot: landscapes, portraits, macro, there is always room for experimentation to improve your composition, a chance to make your frame at least a little more vibrant.
Just please remember that there are no quick and easy solutions to creating great shots. The above techniques can help you, but you should not overstep them either. Once you think you understand how to effectively put these principles into practice, feel free to start breaking the rules and shooting your subjects in whatever creative way you find best.
Each of us has held photographic equipment in our hands at least once in our lives. A film camera, a digital point-and-shoot camera, a SLR camera, or, at worst, a cell phone with a built-in photo system. And each of us has our own vision and understanding of how photographs should be taken. For many, the algorithm “saw (no matter what), pointed the camera (no matter how), focused (something made a peep/fart in the camera) and pressed the trigger (both, cool photo)” is enough. Far fewer people think about other camera controls other than the shutter button and automatic shooting modes, and what all of this is actually intended for. And a very small contingent of those who take photos are constantly not satisfied with the result, then they try to find information, read, find out, analyze, try to shoot, learn to process pictures... and only after many, many attempts and experiments, they begin to enjoy what they have it turns out. And their photographs are strikingly different from the disgrace that they produced at the initial stage of learning photographic technology.
This article is intended for the second group of those listed, because the first group is “incurably happy” even without our advice, and the third group is great, they have already achieved everything themselves, or they read more professional, competent literature than this blog. However, the second group also needs first aid, advice presented as simply as possible, which will not alienate curious users of photographic equipment, but, on the contrary, will guide them on the right path, and then they will have a wonderful chance to move into the third category of inquisitive photography enthusiasts.
So, the topic of today's post is basics of composition in photography. What is composition? Let's first turn to our frequently read Wikipedia;)
Composition(from Latin compositio - folding, joining, combination) - one of the main categories of artistic creativity. Unlike drawing, color, line, volume, space is not one of the components of an artistic form, but an artistic-figurative, content-formal integrity - the most complex and perfect type of structure in which all elements are organically interconnected. Such integrity in architecture, painting, graphics, sculpture, decorative and applied arts and design has an irrational nature, is achieved by the artist intuitively, it is original and unique. In other words, a single, unique combination of elements constitutes the essence of compositional integrity. This specific integrity is based on the following principles: novelty, clarity, integrity, development.
In simpler terms, we can say that the composition, if it is present in the frame, distinguishes a well-constructed, artistically verified frame from mindless clicking of the shutter and tons of junk that is then thrown into the “Trash.”
However, even though the architect L. B. Alberti said in his treatise “Three Books on Painting” (1435-1436) that Composition is a composition, invention, invention, as an act of free artistic will . But this kind of free creativity is not available to the majority of people involved in photography; they need an algorithm, a sequence of actions at the initial stage, certain rules that allow them to assemble a meaningful picture in a frame. Therefore, today we will look at the basics of composition in the form of a consistent study of the basic and simplest rules that, in fact, any sane person can put into practice.
The basic rule of composition is considered to be Golden ratio(golden proportion, division in extreme and mean ratio, harmonic division). The golden ratio is the ratio of two quantities b and a, a > b, when a/b = (a+b)/a is true. The number equal to the ratio a/b is usually denoted by the capital Greek letter Φ, in honor of the ancient Greek sculptor and architect Phidias, or less commonly by the Greek letter τ. A simplified model of the golden ratio is Rule of thirds.
Rule #1
. Rule of thirds is a principle of composition based on the simplified rule of the golden ratio. The rule of thirds applies to drawing, photography and design.
When determining visual centers, the frame is usually divided by lines parallel to its sides, in proportions 3:5, 2:3 or 1:2 (consecutive Fibonacci numbers are taken). The latter option divides the frame into three equal parts (thirds) along each side.
Despite the noticeable difference in the position of the centers of attention obtained by the rule of thirds from the golden ratio, technological simplicity and clarity made this composition scheme more popular.
A grid based on the rule of thirds is used in the viewfinders of some cameras to facilitate frame composition.
The rule states that the image should be considered divided into nine equal parts by two equally spaced parallel horizontal and two parallel vertical lines. Important parts of the composition should be located along these lines, or at their intersection - at the so-called power points. Proponents of this principle argue that lining up important parts behind these dots and lines creates an impression of emphasis, more tension, energy, and more interest in the composition than simply placing the subject in the center of the frame.
The correct choice of the point or line on which the main subject is located allows you to increase the expressiveness of the photo. All other things being equal, the following applies: if there is only one object in the picture, it is advisable to place it on the left side of the frame. The recommendation is based on the habit developed by reading of viewing images from left to right (similarly for readers from right to left).
In this photo, the most expressive part of the composition is the snake’s eyes; they are located at the intersection of two lines of thirds, the horizontal top and vertical right.
If there are multiple objects in the photo, the dominant object should be placed at the bottom right point. This technique is especially useful when photographing images with emotional overtones. The recommendation is based on enhancing the perception of the latest information received. The rule of thirds is one of the simpler rules of composition, but there are other rules of composition. Thus, the famous Soviet and Russian photographer Alexander Lapin believed: “the so-called rule of thirds was invented for beginners who simply do not know how to compose a frame.”
Rule #2 . Diagonal method(method of diagonals) is one of the rules of composition in photography, painting and graphics. Dutch photographer Edwin Westhoff stumbled upon this method while he was visually experimenting to explore why the rule of thirds is so imprecise. After studying numerous photographs, paintings and engravings, he discovered that the details of the images that attract the most attention lie on the diagonal of the square.
Frame is a rectangle in a ratio of 4:3 or 3:2. The viewer pays more attention to the details located on the four bisectors passing through the corners of the frame. The details in images that attract the most attention are often located, with millimeter precision, on one or more diagonal lines lying at an angle of 45° and passing through the corners of the frame. In contrast to other rules of composition, such as the rule of thirds and the golden ratio, the diagonal method does not place much importance on where the lines intersect and focuses on the arbitrary position that lies along the diagonal. As long as these details lie on diagonal lines running through the corners of the frame, they attract attention. However, the diagonal method requires that these image details lie exactly diagonally, with a maximum deviation of 1 mm on A4 size. Unlike other rules of composition, the method is not used to improve the composition itself.
Edwin Westhoff discovered that if you draw lines on an image at a 45° angle, you can see what details the artist wanted to highlight. Studies have shown, for example, that the most important details of paintings and engravings by Rembrandt van Rijn lie precisely along the diagonals: eyes, hands, household items.
The diagonal method is used only for images in which certain details need to be emphasized or highlighted: for example, a portrait, where certain parts of the body deserve more attention, or an advertising photo of a product. Some landscape photographs have important details, such as people, isolated trees or a building, that may lie on diagonals, but usually in photographs of landscapes and buildings you need to see the overall picture, where often other lines determine the construction of the picture, such as the horizon.
A few examples of photographs taken using the diagonal method: http://www.diagonalmethod.info/
Rule #3 . Symmetry. Symmetrical scenes are ideal for centered compositions. This is a very powerful composition tool. Mirror frames are another opportunity to use symmetry.
In nature, a large number of visual images obey the law of symmetry. That is why symmetry is easily perceived in composition. In fine art, symmetry is achieved by arranging objects in such a way that one part of the composition seems to be a mirror image of another. The axis of symmetry passes through the geometric center. A symmetrical composition serves to convey peace, stability, reliability, and sometimes majesty. However, you should not create an image that is absolutely symmetrical. After all, nothing is perfect in nature.
Rule #4 . Defocus. Using depth of field when the main semantic object of the photograph is in sharp focus, and other objects are blurred. This is a great way to add a sense of depth to the frame. Photographs are two-dimensional in nature, and this technique allows you to achieve a three-dimensional effect. A similar effect can be achieved by bleaching the background, but these are software post-processing methods.
Rule #5 . Framing. Framing within a frame (or frame-within-frame) is another effective way to depict depth in a composition. It is necessary to pay attention to elements such as windows, arches or overhanging branches. The "frame" doesn't have to surround the entire frame to make it effective. This is another way of depicting depth and perspective, giving the frame a three-dimensional feel.
Rule #6 . Lines. Lines work best as guides: the eye catches the line and follows it, from left to right and from bottom to top. Thus, the line leads the viewer's eye across the frame, focusing attention on the main subject. The guide lines do not have to be straight. Curved lines can be a very attractive compositional feature.
In this shot, the overall lines of the bridge and the imaginary lines of lamplight on both sides of the center of the frame “lead” us to the main subject of the photograph - the Temple. This composition also uses the symmetry method.
Rule No. 7 . Geometry: triangles and diagonals. Triangles and diagonals add "dynamic tension" to the frame. This is one of the most effective compositional techniques - diagonal composition. Its essence is very simple: we place the main objects of the frame along the diagonal of the frame. For example, from the top left corner of the frame to the bottom right. This technique is good because such a composition continuously leads the viewer’s eye through the entire photograph.
Rule #8 . Patterns and textures. Patterns in photography are repeating objects that can be used to compose a shot. There are a lot of patterns around us, especially in the urban landscape. Texture itself doesn't matter. The role played by the light that falls on the texture and creates volume due to shadows.
Rule #9 .Odd Object Rule. The rule is that an image is more visually appealing if there are an odd number of objects in the frame. According to this theory, an even number of elements in a scene is distracting because the viewer is not sure which one to focus on. An odd number of elements is considered more natural and easier on the eye. To be fair, there are many cases where this is not the case, but it certainly applies in certain situations.
Rule No. 10 . Frame Filling. Filling the frame with your subject, leaving little or no space around them, can be very effective in certain situations. This technique helps you fully concentrate on the main object, the center of the composition, without any distractions. It also allows the viewer to examine details that would not be possible if you were photographing from a long distance.
Rule No. 11
. Changing the height of the survey point. Perspective is the basis of everything. The camera (and, accordingly, the shooting point) needs to be moved not only horizontally, but also vertically. One of the most common shooting points is to install it at the level of a person’s eyes: in this case, the shape of the object, its volume, perspective pattern and relationship with the background are familiar to the eye.
Such shooting points are called normal in height. In this case, the image is almost not distorted. Most photographs in the world are taken from a "normal" vantage point. But, often the use of upper and lower shooting points helps to realize the creative concept.
Rule No. 12 . More free space in the frame, or simple backgrounds. Leaving plenty of empty space (or air) around your subject will result in very attractive images that have a simple, minimalist feel. Like filling the frame, this helps keep the viewer focused on the main subject without distraction. Often photographs are taken using simple backgrounds that do not distract from the main subject. You can also create a simple composition by zooming in on part of your subject and focusing on a specific detail.
Rule No. 13 . Direction and space. You need to leave space in the frame for the imaginary movement of objects moving in the frame. This rule can also be used when photographing people. The rule of direction and space requires that the subject must look into the lens or have their gaze fall on something in the frame. If the subject's imaginary line of sight quickly falls out of the frame, it seems strange, the frame becomes unsaid. Roughly speaking, if a person in the frame is located on the left, then he should look either into the lens or to the right, but not to the left.
In the photo on the left, the ship is sailing from left to right, and space is left in the frame for its imaginary movement, to the right of the ship.
Rule No. 14
. Balance. Balance or poise is very important. The tricky part of compositional balance is that there is no single correct recommendation. You will have to be guided not only by the rules, but also by your innate sense of balance.
The first compositional guideline was the “rule of thirds.” This, of course, means that we often place the main subject of the photograph away from the center of the frame, along one of the vertical grid lines. But sometimes it can lead to imbalance if you leave sort of "voids" in the rest of the frame.
To overcome this, you can take a photo where the subject of minor or lesser importance (or size) is on the other side of the frame. This will balance the composition without taking too much attention away from your main subject.
Rule No. 15 . Complement/contrast. Likeness or contrast is a very powerful tool in photographic composition. This technique means including two or more elements in a frame that either contrast or complement each other. Both approaches can work very well, and play an important role in photography - they help tell a story.
In this photograph, in the background is the entertainment establishment “Moulin Rouge” in Paris, in the foreground are multi-colored ribbons wriggling in the air flow, which complement each other with the building of the famous French cabaret, enhancing the festive atmosphere in the picture.
All photos - photomatika
If you use this entry an active link to it is required.
In some places it is incorrect and the examples are strange (some:),
but overall fun stuff.
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A more complete list of compositional techniques. I will be glad to receive comments :)
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1. Composition as composition, combination, composition. Dialogue of compositional elements.
2. Integrity.
3. Diversity.
4. Polycentricity.
5. Saturation.
6. Instantaneity.
7. Expressiveness.
8. Simplicity.
9. Harmony.
10. Unity of composition.
11. SCC (plot-composition center).
12. Studium and Punctum. Punctum as the point of initiation of the semantic center.
13. The problem of big and small. Contrast of magnitudes. Scale deformation.
14. Main and secondary role in the plot.
15. Dynamics of a photographic frame.
16. Enhancing the perspective depth of a photograph's space using linear perspective. Leading lines and linear perspective.
17. Enhancing the depth of space in a photograph using aerial perspective.
18. Enhancing the depth of space in a photograph using color perspective.
19. Parallel lines in the composition. Preventing parallels at the edges of the visual field.
20. Sensual and rational in composition.
21. Three-thirds rule, golden ratio, Fibonacci numbers.
22. A simple figure as the basic skeleton of a composition.
23. EER (natural frame effect). Strengthening the integrity of a composition by using an outline around the perimeter of a photographic image.
24. Geometric and plot active points of the composition.
25. Unexpected combinations.
26. Contrast of shapes and geometric structures.
27. Contrast of silhouettes.
28. Contrast of light and shadow (tonal contrast).
29. Contrast of warm and cold tones.
30. Contrast of complementary (complementary) colors.
31. Color dissonance, contrast of dissonant colors.
32. Contrast of smooth and broken lines.
33. Contrast of three-dimensional and two-dimensional elements, volume and plane.
34. Contrast of near and far.
35. Contrast of moving and stationary parts of the composition.
36. Logical, semantic contrasts.
37. Functional contrast of primary and secondary details of the composition.
38. Contrast of states, positions.
39. Contrast of characters, emotions, psychological contrasts.
40. Plot contrasts that form a cause-and-effect relationship.
41. Contrast of stage and mise-en-scène.
42. Overlapping. Strengthening the integrity of the composition due to the overlapping of objects.
43. Temporal contrast (combining in one photograph the manifestations of what has already happened, what is happening, and what will happen).
44. Contrasts of style.
45. Contrasts of symbols.
46. Reflections and repetitions.
47. Symmetry or obvious asymmetry of the composition.
48. Rhyme and rhythm.
49. Movement in the frame. Wiring as a means of highlighting the main object or SCC.
50. Manipulation of symbols and signs.
51. Printed text within or outside the frame of a photograph that carries a pictorial load.
52. Plot and concept of photography.
53. A photographic image (a photograph or a series of photographs), implying a temporal narrative, a metaphorical story, a “photostory.”
54. Correlation of SCC and free space. The relationship between object and emptiness. Working with emptiness. Surroundings, framing of the SCC, the main object of the composition.
55. Ideal key, semantic polarity of photography.
56. Apollonian harmony and Dionysian catharsis.
57. Ambiguity and polysemy of the plot. Humor and irony.
58. Still life, close-up, macro - as a means of photographic expressiveness.
59. Charm, glamor, something enchanting.
60. Romance, erotica and sex.
61. Use of celebrities in the plot.
62. Using the effect déjà vu (“already seen”).
63. The principle of odd-even, yin-yang in a holistic, united and harmonious composition.
64. Cumulative and comprehensive application of all laws and rules of composition to find the optimal compositional solution according to the principle of thesis - antithesis - synthesis. Photography as the art of spontaneously capturing a unique, miraculous harmonious moment.
In every form of art there are concepts, without knowledge of which it is difficult to move forward and develop. In fine art, the main concept is composition. You can't go anywhere without her! Correct composition is one of the secrets of a truly successful painting. In this article we will analyze the main types of composition, get acquainted with the rules of its construction and learn how to create the correct compositions in our drawings. Forward!
The concept of composition in drawing and its types
To learn how to draw, it is important to clearly understand what composition in a drawing is and what it is used with. Composition in drawing and painting- this is the arrangement of objects in your picture. Scientifically speaking, composition is the distribution of objects and figures in space, establishing the relationship between their volumes, light and shadow, and spots of color. If the composition in the picture is correct, then all the elements of the picture will be visually organically connected with each other. In drawing and painting there are two main types of composition: 1. Static composition- this is a composition that conveys in the drawing a feeling of balance, a state of peace. 2. Dynamic composition- conveys movement, violent emotions, and the elements of nature well. The difference between these two types of composition can be clearly seen in the example of the rocket drawing below.
In the left picture the rocket is stationary. This feeling is created through a static composition. The static composition in this drawing occurs due to the intersection of the horizontal axis (horizon line) with the vertical axis (a rocket standing level on the ground) at a right angle. The intersection of vertical and horizontal lines at right angles (perpendicular straight lines) in a drawing always adds static and monumentality. In the right picture there is a feeling that the rocket is flying. We created this feeling for the viewer using a dynamic composition by shifting the angle of inclination. You can easily do the same experiment by drawing, for example, a cup. When you draw a horizontal line of the table and draw a cup exactly perpendicular to the table, you will see a stable state (static composition). Now draw a cup at an angle to the table and you will see that there is a feeling of the moment of falling, dynamics (dynamic composition).
Compositional center as the basis of composition
We have dealt with the main types of composition in drawing and painting and now move on to the next important element - the compositional center. Composition center- this is an object to which, according to the artist’s idea, the viewer’s eye should strive - the central element of the drawing. It is very important for an artist to be able to determine the compositional center and place emphasis on it in his work. There are exceptions. For example, patterns (simple repeating shapes, colors or objects), specific illustrations supported by a specific concept, may not contain a compositional center.
How can an artist learn to highlight the compositional center in his works? We'll talk about this further!
Highlighting the compositional center in the drawing
There are several techniques that will help you quickly learn how to draw and build a composition correctly. These “secrets” will attract the viewer’s attention to the intended compositional center. Here they are:
✔ CONTRAST COMPOSITION CENTER Contrast is the striking difference between light and dark. The trick is to contrast the compositional center with the tonality of the rest of the composition. That is, make sure that the compositional center you have planned is clearly darker, or clearly lighter than the rest of the elements in the picture. If you compare the two pictures below, then regardless of the location of the rocket, the compositional center is clearly visible - this is precisely achieved due to the contrast with the main background. When using this technique, you need to take into account some points: dark fills visually reduce the subject, and light fills, on the contrary, increase it.
✔ GUIDING AXES To draw attention to the compositional center of your painting, use leading lines. The guide lines can be used as a fishing line on which beads are strung, only instead of beads there will be objects conceived in the composition. It is important to build the movement as a system of corridors leading to one goal - the compositional center. In the left figure, guide lines lead from different angles to the compositional center (the astronaut). And in the right, despite the saturation of the composition with details, due to the leading lines and the direction of movement of all elements, the compositional center (the astronaut) also remains highlighted.
✔ DIMENSION AND VARIETY The larger the object, the more attention there is to it. Therefore, to make some object the main one in your picture, make it big. But there are important exceptions here: if all the objects in the picture are large and only one is small, it will intuitively play the role of a “hook”, and the viewer will visually return to it repeatedly. Versatility - allows you to create space and depth in the image. To highlight the compositional center in your work, bring it to the foreground and all other elements to the background. Or do the opposite: designate the compositional center in the background, and unimportant elements in the foreground. The most important thing is that the compositional center be the only element standing in the background or foreground. Here, true helpers are blurs, which help to enhance the difference in plans, as in the picture on the right.
Rules for constructing a composition in a drawing
We already know how to create a feeling of peace or movement in a drawing through static and dynamic composition, as well as how to attract the viewer’s attention to the main object of the composition - the “compositional center” through special techniques and “tricks”. Now it’s time for us to find out what rules are needed to build a harmonious and correct composition in a drawing. In fine art, there are several rules by which a composition is built. In order to learn how to draw, you need to have an idea of these very rules. Therefore, below I will try to talk about them as clearly and briefly as possible.
Rule of the "Golden Ratio"
The “golden ratio” or “golden proportion” is a universal manifestation of structural harmony. In rounded percentage terms, the golden ratio is the division of any value in the ratio of 62% to 38%.
There are two types of “golden ratio”: 1. Spiral golden ratio or logarithmic spiral (left picture). This spiral got its name due to its connection with a sequence of nested rectangles with an aspect ratio equal to φ (this is a fixed value equal to 1.62), which is commonly called golden. It is enough to visually imagine a spiral on a sheet and place objects on it. Or, focusing on this drawing, draw it on a sheet of paper with a thin, barely noticeable pencil line. The spiral golden ratio is very common in nature - for example, a snail shell. 2. Diagonal golden ratio(right picture). The diagonal golden ratio is widely used in composition to distribute objects of different meanings. Draw a diagonal in the rectangle. Next, from the vertex you need to draw a perpendicular to the already drawn diagonal. The result is three triangles of different sizes. Significant objects are located in them. This rule means that for a harmonious composition, the scale of objects must be correlated with the proportions of objects (as in the right figure). The large object is in the large triangle “a”, the medium one is in the middle triangle “b”, the small one is in the small triangle “c”.
Composition is the “language” of communication between the photographer and the viewer. Let's look at the 14 golden rules of composition using examples of photographs by KCF teacher Dmitry Bogachuk.
The composition is responsible for the integrity of the frame and subordinates the elements of the photograph to each other and the artist’s idea.
The compositional solution in the fine arts is subject to the creative task of the author. First of all, the photographer answers the questions “What do I see? Why this photo? How to convey the idea to the viewer? And only then the author decides how to use such basic elements of frame composition as lines, shapes, their place in space, textures, light, color and focal point. Thanks to this, he can control the viewer’s mood, draw his attention to important objects in the image plane, and hide “minor elements.” The language of composition is a set of many rules, but we will only talk about the most important ones.
Master the theory and practice of composition in the photo course “Composition in Photography” by art photographer Dmitry Bogachuk.
1. The rule of the “golden ratio” - the rule of thirds
It was described mathematically by the great Leonardo da Vinci. You could hear about this rule back in school, in math class. Do you remember this drawing?
Golden ratio- this is a division of segment C, in which the entire segment C is related to the larger part of B, as the larger part of B is related to the smaller A. The formula for this expression is: C:B=B:A=1.618. This ratio is 1.618. This number is also called the “golden number”. Luca Pacioli, a contemporary and friend of Leonardo da Vinci, called this ratio “divine proportion.”
The term “golden ratio” was introduced by Martin Ohm in 1835. This ratio of segments can also be transferred to the photographic plane. This grid can often be seen in the viewfinder of cameras.
At the intersection points and lines of this grid it is customary to place important objects or lines photographed image. For example, align the horizon line with the bottom grid line if you want to emphasize the sky. Like in this photo with a lonely pine tree on top of Demerdzhi...
Place the hero of your plot (tree, person, flower, building) on one of four active points grids of thirds. Using the rule of thirds, you can focus on important objects in the frame.
2. FORMAT rule
What will your next shot be - horizontal or vertical? Decide this before you press the button. The frame format will determine the subject. If you are shooting a tall tree or a full-length person, turn the camera vertically. We often see photographs in standard formats, with an aspect ratio of 4:3, such as landscape or landscape format.
But the photo format can be any: square, round, triangular, and even arbitrary, irregular in shape. The format carries information about the boundaries of the image, as well as semantic meaning. Walking among skyscrapers, I want to show the viewer their height. Then I will choose a narrow, vertical, non-standard format. The image format will enhance the perception of the plot.
Or, for example, the square format. A square is a very static shape. Still lifes are often enclosed in a square. Not only do still life subjects have a calming effect, but the square format also enhances the feeling of peace and stability. Always think about which format will suit your story.
3. Rule of balance and symmetry
In a photograph, both spots and meanings should be balanced. If a lot of meaning is concentrated in one small part of the photo, you need to find something else that has meaning and place it in the opposite part of the frame to balance the plot.
Symmetrical plots are built on the rule of balance. Symmetry is always pleasing to the eye. Often the composition of landscape and architecture is based on symmetrical reflections in water.
4. LEADING LINES.
Use natural lines to lead the viewer's eye through the photo to the important subject.
A.L. Yarbus in his book “The Role of Eye Movements in the Process of Vision” showed that the human eye sticks to bright spots, letters, faces, and moves along contrasting lines. Exactly these leading lines, real or imaginary, are the route for the viewer's eyes in the landscape. The lines in the frame will have different sensory loads.
- Horizontal – lines of constancy, peace, serenity.
- Vertical – lines of strength, stability, power.
- Curves - an s-shaped line in a landscape composition will add movement, grace, and liveliness.
- Diagonal – These lines evoke a sense of movement, energy and can emphasize depth in the frame. Ascending and descending diagonals are considered as lines of development and decline, resistance and ease, departure and return.
5. DIAGONALS. Diagonal lines are a great way to convey perspective and movement in a photo.
6. FRAMING.
Use natural frames such as windows and doors to frame the hero of the shot.
7. CONTRAST of object and background.
Any contrast between the subject and the background will enhance the beauty of the photo: textural contrast, color contrast, scale contrast. Find a background that is contrasting in tone for the hero of the photo.
8. LARGE PLAN.
Fill the frame. Get closer to your subject. A close-up is one of the easiest ways to get rid of debris in the frame and let the viewer know who the hero of the frame is.
9. GEOMETRIC figures in the composition of the frame connect objects into a single whole and therefore enhance the impression.
Find an angle where the eye sees three basic shapes in the frame - a square, a triangle, a circle and their derivatives - an oval, an ellipse, a trapezoid, a rhombus.
10. RHYTHMS, patterns, repetitions, textures.
Repeating details bring aesthetic pleasure to our eyes. But ideally, repetitions should be broken up with a contrasting object.
11. PLANS. The depth of the visual field is built by highlighting objects in the foreground and middle background.
12. NEGATIVE SPACE.
Leave free space in front of the object for its mental movement. Remember that movement develops from left to right. From left to right, hunters in cartoons go into the forest, and from right to left, they return home.
13. ANGLE. An unexpected angle will always attract attention! Try to shoot in a new way, not like others.
14. SIMPLICITY is pleasing to the eye.
Simplify the geometry of the photo, remove all unnecessary things if possible. The photographer, like a sculptor cutting marble, must remove from the frame everything that can distract the viewer’s attention from the main object.
Even ancient Chinese artists paid attention to this and began to paint very laconic landscapes with black ink.
9 rules of composition in photographs by Steve McCurry, world-renowned photojournalist for National Geographic
Online magazine video Cooperative of Photography, explores how photographer Steve McCurry uses the rules of composition to capture portraits and genre photography. Here he illustrates the rules of composition using the example of portraits. For example, he states: “Center the dominant eye in the portrait. Place your dominant eye in the center of the photo. This technique gives a special expression to the eyes that are watching you.”
More photos by Dmitry Bogachuk in the article “Le Plat Pays landscape masterpiece”
See the photo course program “Composition in Photography”. We are waiting for you at the KCF studios!
Breaking the rules of composition...
He substantiated in great detail the methods of artistic violation of the rules of composition in his book “The Mythology of Composition in Photography (download in the public domain) Andrei Zeigarnik, photographer and researcher of the impact of a photograph on the viewer.
“On the many rules of shooting and composition: the rule of the golden ratio, the rule of eight, the rule of dynamic symmetry, the rule of balancing the picture, the rule of diagonals, the rule of free space (air) in front of the object, the rule of the desired direction of movement (from left to right), the rule of “come closer” and etc. there are a huge number of examples that refute these rules,” says Dmitry Chernyshev in the book “As a Man Sees” (download).
“Remember! Composition is important, but rules are made to be broken. The most important thing is to have fun and shoot in your own style,” says Steve McCurry.
In the article 10 Myths about the Rule of Thirds: Learning Composition and English at the Same Time, Tavis Glover talks about a graceful violation of the rule of thirds and suggests using root rectangles in constructing the composition of a frame, i.e. more complex support mesh. Annie Leibovitz uses this when creating her harmonious group portraits.
