What is dynamic composition? Statics and dynamics in fine arts

The more dynamism there is in photographic photographs, the greater the impact they have on the viewer: they contain a lot of movement, life, and drama. Let's see together what needs to be done so that your photographic works, and we'll talk about landscapes, are full of dynamics.

We are always attracted to photographs that capture some special moments in life, in which the author captures our attention, forcing us to hold the viewer’s gaze on his work. Here the “what is it” effect is triggered when we see something new, unusual, original for the first time.

By visiting various well-known photo sites and looking at the works presented there, you can find many similar photographs depicting pictures of nature. Although they will present views of various areas, they will most often be boring and monotonous in their content. The most successful photographs always capture something unique that you would never pass by if you came across it in real life. In other words, the pictures that are literally admired are all full of exactly what we call dynamism.

What is dynamics in a photographic landscape?

So what are the characteristics of landscape photographs that we call dynamic?

For example, we are filming a sea tide or light waves at sea. To convey the dynamism of this natural phenomenon, you can, having previously configured the camera as you need it in terms of lighting conditions and everything else, install it on a tripod and take not one, but a series of pictures at once. And then, in the end, all the waves captured in motion, projected on one frame, will seem to mix with each other, and in the photograph we will get a dynamic and lively image of them. If we turn to Wikipedia, one of the most popular sources of information, then there we can find material that interests us on the issue of dynamics in the depiction of a landscape, but this is just the personal opinion of one of the experts in this field.

Let us allow ourselves to express our own thoughts on this issue.

Displaying the irrepressible and great energy of nature, endlessly changing and transforming - this is what, in our opinion, dynamics in the depiction of a landscape are. Looking at dynamic photographs, it is as if we are observing a 3D effect, since these photographs are unusually deep and capacious in their content. They seem to go beyond the usual flat image and acquire volume. For the first time, the term “Dynamic depiction of landscapes” can be found in Galen Rowell. This wonderful landscape photographer described his works created in the early 70s of the 20th century in exactly this way.

Of course, other masters of landscape photography at that time also took photographs that were interesting from a dynamic point of view, but it was thanks to Rovell that the term “dynamic landscape” came into use and became frequently used. It became a kind of calling card of this master, his distinctive feature. The dynamic landscape is even identified with his work.

Dynamic composition

As in other genres of fine art, the basis of any good photographic work is composition. Regardless of whether it is a dynamic plot or some other one. It is a successful composition that makes us stop our attention on the picture and hold it for a long time.

It is easy to create dynamic landscapes, the plots of which are related to the image of the sea. They perfectly combine all the elements inherent in a dynamic photograph, namely:

• Descending and ascending lines;
• Well-developed perspective;
• Visually attractive foreground objects.
• An interesting and spectacular location of the horizon line, as well as a memorable landscape background.
• Bright color and lighting solution of the photo;
• A harmonious combination of colors that define the basic color scheme and vignetting.
• Visualization of movement.

More often than not, a photographer rarely manages to achieve a combination of all these elements in one work. In real life, the qualities inherent in dynamism occur all the time. In any photograph that depicts a natural landscape, you are sure to find at least one component. And if there are several, it can be considered luck. The success of the author of the work.

Our goal is not to give clear instructions on how to create good photographs. After all, photography is one of the forms of art, and in art, as you know, everything depends on the little things. To notice these little things and, thanks to them, create works of photographic art, you need God's gift, the author's creative approach to creating photographs, and of course - work, work and more work, ensuring the gradual accumulation of valuable practical experience. Therefore, the recommendations we give for creating high-quality dynamic photographs can only help you determine the path along which you yourself should follow to the heights of honing your unique style, technique and skill.

Now I would like to dwell in more detail on each of the elements that contribute to the creation of a dynamic landscape photograph.

Rising and descending lines in a dynamic landscape

The first thing that helps to attract the viewer’s attention to a photograph is the use of converging, ascending and descending lines in the photograph.

Converging lines have long been used by artists in painting and graphics to create a sense of depth in space (called linear perspective) in a two-dimensional image.

Therefore, photography masters often use scenes depicting piers, rivers, and roads. Despite some stereotypes in the depiction of these objects, you need to be able to correctly use the technique of placing these objects in the composition of the photograph when depicting a landscape. So, remember that rising lines help keep the viewer's attention in the photo, drawing special attention to it.

For example, a photograph of a pier includes both descending and ascending lines. Notice how the clear and straight lines of the pier rush into the sky, and at the same time the lines of the clouds rush down. We can observe how all the lines in such a photograph converge on the horizon line, due to which the vanishing point of these lines becomes the object of our close attention. Here we can recommend shooting man-made lines in order to learn how to look for finer lines in nature. Yes, indeed, the pier is the compositional center of the whole picture, as well as the source of the main lines, but you can also observe here a number of other lines formed with the help of water, hills, and clouds. So in the reflection of the water we see dark lines that help direct our gaze to the central part of the photo.

What do photographers get paid for? For his fresh look at reality, for his ability to reveal to us what we ourselves cannot see in real life and, moreover, do not have enough time for it. That is why a photographer must show the world in an extraordinary light. In pursuit of this goal, try to find the necessary angle for shooting. Thus, photographs taken in conditions where you are lying on the ground, in mud or in snow during shooting, usually turn out to be more dynamic. This is especially pronounced when shooting with an ultra-wide-angle lens, thanks to which we notice even the smallest leading lines in the photo. When shooting the same object from eye level, these lines will no longer be visible.

Interesting pictures are obtained when shooting from the top point. Climbing a tree, or standing on a friend's shoulders, can give you an interesting perspective. As a rule, photographs taken in this way using a telephoto lens are especially stunning.

Foreground

It is good to place significant, strong elements of the composition in the foreground of dynamic shots. They will beneficially complement the perception of the entire picture. Take, for example, a photograph that depicts a sunset or sunrise. Usually in nature this moment is very beautiful - pink or even red clouds pierced by the direct rays of the sun. All this turns out quite beautifully in photographs. But, you must admit, the viewer will not be attracted by the image, so to speak, of “sunset in its purest form” - that is, only clouds in the sky. There is something else that needs to be introduced into the composition.

Dynamic photography needs an interesting foreground. This task is important and sometimes quite difficult for a photographer. The foreground element completes the composition. That's why you need to find something that fills the foreground of your photo. If this object is correctly selected and introduced into the plane of the frame, the dynamism of the photo will increase significantly, and you will take another step towards success.

Relationship between foreground and background elements

In cinema there are leading and supporting roles. In the film, the entire plot is based on the relationship between the main characters of the film. But if the main characters were not shaded by the supporting characters, then the images created by them would not be so bright and expressive. So are the elements of composition in a dynamic landscape. Elements of the foreground and background mutually influence each other and interact with each other. For example, if in the background of the landscape there is a sunset in the mountains, then in the foreground either the glare of the sun playing on the flow of a mountain river or the collapse of beautiful stones will look good.

Color spectrum

The color scheme undoubtedly plays an important role in creating a beautiful and compositionally harmonious frame. Any natural colors look natural in natural light. If you want to make colors very bright, then you need to be able to balance them correctly. And in the case when the desired balance of bright colors cannot be achieved, it is better to simply exclude this color from the frame. Some novice photographers often deliberately introduce various bright spots of light or color into the photo. But this creates excessive diversity and does not always look good. That is why the dynamic composition of the frame must have the correct color balance. It is better to avoid a large number of shades.

Vignetting

Vignetting can be called vision blocking. In vignetted photographs, the first thing the viewer pays attention to is the main element in the composition of the frame. Concentration in this case is greatly helped by the dark edges of the photo. If you look at photos like this, you'll notice this visual accent effect. Vignetting can be done in different ways. For example, using a special filter or when processing in graphic editors. Many, even simple programs, allow you to do this. For example, framed by the dark edges of a vignetted frame, a lonely white cloud against a soft blue sky looks good.

Motion transmission

Movement is not always a necessary element of a dynamic landscape. But sometimes it is quite desirable. Movement can be conveyed by blurring any object or element of the composition. Blurring is achieved by using long shutter speeds. If you remove the flow of water in aperture priority mode, the water will appear frozen, frozen in time. For example, if you take a long exposure photograph of some huge boulder that lies in the rapid flow of a shallow mountain river, then this static dark object in the center of the picture will actively focus attention on the non-moving water. And this will give the picture additional dynamics. A wide range of colors will also work well here - water, stone, sky, vegetation on the banks of the river... The texture of the surface of the stone will make it dominant in this composition. You can also apply a little vignetting here.

Black and white dynamic landscape

Can a dynamic landscape be monochrome, black and white? Why not? Of course it can. The classics of photography have many such photographs. Black and white photography perfectly conveys contrast and emphasizes movement and dynamics. But you need to learn to compensate for the lack of color in photography with something. To do this, we will have to work a little more seriously on other expressive means of a dynamic landscape. We have already talked about these means of expression today. And with the help of black and white colors and their shades, you need to learn how to convey the texture and texture of the objects you are shooting. In such photographs, the main element of the composition is of great importance.

Many black and white dynamic landscapes have been created. They are all filled with movement. Just look at various photo sites and you will see them. Look for great photos by Hengki Koentjoro or Mitch Dobrowner, for example. The works of these authors are simply mesmerizing. It's worth learning from them.

Can non-dynamic landscapes be attractive?

Of course they can! You can get the most excellent photographs of nature and landscapes in general, even if you do not follow any of our recommendations today. Dynamics in a photographic landscape is just one of many ways to convey the state of nature and the environment. Static, calm photographs are also very beautiful and harmonious. Since photography is, in principle, limited by its two-dimensionality, the static effect is achieved here by applying completely different rules. In this case, completely different laws apply than in the transmission of dynamics. But statics in the landscape are a topic for a separate conversation, for a separate article.

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Hello, dear readers of my blog. Today, let's talk about statics and dynamics in composition. Last time I talked about symmetry in composition. Knowledge of such rules contributes to the successful construction of composition in painting and other forms of art.

Statics

ST?TIKA, STAT?CHNITY(Latin staticus, from Greek statos - “standing”) - in the visual arts - the quality of peace, balance of visual forces (see design; style; balancing). In most cases, it corresponds to symmetrical compositions with a metrical structure, characteristic of the art of Classicism. Opposite qualities are dynamism, asymmetry, rhythm, characteristic of the Baroque style (compare expression).
Yandex. Dictionaries› New encyclopedic dictionary of fine arts

According to construction schemes and nature of interpretation There are two types of compositional solutions: static and dynamic. Static compositions convey a state of peace and balance.

Compositions built in a rhythmic combination are based on color and line, the ratio of width and distances between them. Such works can be classified as static compositions.

In addition to the static nature of the figure itself, the location of these figures in the composition is of great importance, so the lower the entire composition is located to the edge of the sheet, the more static it looks. The more symmetrical, the more static.
But any static shape can be turned into a dynamic one: a square can be placed in a corner, a parallelepiped can be placed vertically, a pyramid can be tilted, etc. In addition, they can be positioned in such a way that it will seem to the viewer that all this is about to fall. A composition that strives to change the arrangement of its elements is dynamic.

Dynamics

DYNAMICS(from the Greek dynamis - “strength”) is the alternation of any elements in a certain sequence. In dynamic compositions, elements are arranged along diagonal axes or freely located on the picture plane. They more clearly emphasize the sense of movement, a more varied arrangement of objects, and there is a bold violation of symmetry. You can observe a displacement of the contours in relation to the color spots. The color scheme in dynamic works can be pronounced and more emotional.

Dynamic ones include:
a triangle and a parallelogram standing on the short side, an ellipse, a ball, a pyramid, a parallelepiped standing on its narrow side, etc.

Dynamic composition - a composition that creates the impression of movement and internal dynamics.

Static composition (statics within a composition) - creates the impression of immobility.

The image on the left appears static. The picture on the right creates the illusion of movement. Why? Because we know very well from our experience what will happen to a round object if we tilt the surface on which it is located. And we perceive this object as moving even in the picture.

Thus, diagonal lines can be used to convey movement in a composition.

We can also convey movement by leaving free space in front of a moving object so that our imagination can continue this movement.

Movement can be conveyed by sequentially displaying some moments of this movement

Also, to convey movement, a blurred, blurred background and the direction of the lines of the composition in the direction of the movement of the object are used.

Statics in composition achieved by the absence of diagonal lines, free space in front of the object and the presence of vertical lines.

Movement can be slowed down or accelerated:

The movement in the left picture appears to be faster than the one on the right. This is how our brain works. We read and write from left to right. And we perceive movement more easily from left to right.

You can slow down the movement by having vertical lines in the composition.

Rhythm in composition

Rhythm is one of the key moments in art. It can make a composition calm or nervous, aggressive or pacifying. Rhythm is due to repetition. We live in a world of different rhythms. This is the change of seasons, day and night, the movement of stars, the sound of raindrops on the roof, the heartbeat... In nature, the rhythm is usually uniform. In art, you can highlight rhythmic patterns, make accents, change sizes, thereby giving the composition a special mood.

Rhythm in fine art can be created by the repetition of color, objects, spots of light and shadow.

Master class on monotype with photos for children from 7 years old

Fundamentals of visual literacy: statics and dynamics in composition

But any static shape can be turned into a dynamic one: a square can be placed in a corner, a parallelepiped can be placed vertically, a pyramid can be tilted, and so on. In addition, they can be positioned in such a way that it will seem to the viewer that the whole thing is about to fall. Dynamic ones include: a triangle and a parallelogram standing on the short side, an ellipse, a ball, a pyramid, a parallelepiped standing on its narrow edge, and so on. Therefore, a composition that strives to change its elements is dynamic, that is, it is in motion.

Progress of the master class:

Our work today is based on creating various prints of color spots, in other words, this is an unconventional monotype drawing technique. The word "monotype" consists of two Greek words. "Monos" - one, "typos" - imprint. We will try to find an image in a random print, create a dynamic or static composition.
We begin work by applying color spots of any color onto a piece of glossy paper. The paint must be applied thickly to the paper so that good prints are obtained.

Composition (from Latin compositio) means composition, combination of various parts into a single whole in accordance with some idea.

This refers to the thoughtful construction of an image, finding the relationship of its individual parts (components), which ultimately form a single whole - an image complete and complete in linear, light and tonal structure.

In order to better convey the idea, special means of expression are used: lighting, tonality, perspective, as well as visual and various contrasts.

The following compositional rules can be distinguished:

• 1) motion transmission (dynamics);
• 2) rest (statics)

Composition techniques include:

• 1) rhythm transmission;
• 2) symmetry and asymmetry;
• 3) balance the parts of the composition and highlight the plot-compositional center

Statics and dynamics are used to express the degree of stability of a compositional form. Such stability is assessed purely emotionally, by the impression that the form makes on the viewer. This impression can come from both the physical state of the form - stable or dynamic, associated with the movement of the object as a whole or its parts, as well as the compositional (formal) number.

Based on the degree of visual and physical stability, forms can be divided into the following four types.

1) Visually and physically static forms. Based on the impression they make, they are assessed as extremely stable. These include: a square, a rectangle, a parallelepiped placed on a wide base, a cube, a pyramid, etc. A composition made up of such forms is monumental, extremely static in nature.

Main types of static forms:

• - symmetrical shape
• - metric
• - with slight displacement of elements
• - with a combination of equal elements
• - with lightweight top
• - with slight bevel of elements
• - horizontal division
• - equal arrangement of elements
• - with large close elements
• - with a large main element
• - symmetrical arrangement of elements
• - with dedicated center
• 2) Physically static, but visually dynamic forms, assessed by the impression of their certain imbalance. This assessment concerns stationary forms, directed, for example, in one direction, with broken symmetry and other properties specific to dynamic compositions.

The main types of these forms:

• - shape with off-center axes
• - rhythmic character
• - perpendicular arrangement of elements
• - parallel arrangement of elements
• - lightweight bottom
• - curved appearance
• - diagonal division
• - free arrangement of elements
• - elongated elements
• - inclined arrangement of elements
• - asymmetrical arrangement of elements
• - included in open space
• 3) Visually static, but physically partially dynamic forms. They have a stable base in which individual elements “move”. Often in design practice, such “movement” is due to the peculiarities of the functioning of objects, the real movement of individual parts in them. However, their composition as a whole is static. An example from design practice is the shape of a loom with a moving shuttle. In a formal composition, this is visual movement in the static form of individual elements.
• 4) Visually and physically completely dynamic forms. They are typical for many modern moving design objects, especially various vehicles. Often these forms actually move in space. Their structure often changes. In compositional terms, they are characterized by an extremely dynamic, impetuous character. In formal composition, these are the so-called flexible, open, and changing in structure, combinatorial forms.

Composition means include: format, space, compositional center, balance, rhythm, contrast, chiaroscuro, color, decorativeness, dynamics and statics, symmetry and asymmetry, openness and closedness, integrity. Thus, the means of composition are everything that is necessary to create it, including its techniques and rules. They are diverse, otherwise they can be called means of artistic expressiveness of the composition.