Tag Archives: Emphasis

Simple ‘Principles’ of photographic composition

Photographic composition happens on two levels.

First you should work to understand the scene at the basic level – the ‘elements’ that catch the eye and draw the viewer in. Then you should think about how to construct the overall composition. A photograph is all about the impact you create in your viewers mind. Composition is about constructing that impact.

The principles of art, design and photography

In Easy introduction to ‘visual elements’ in photographs we examined the elements of a photograph. The visual elements in a scene are the components that enable us to distinguish objects from one-another. They are the patterns we see from which we make sense of the world.

Organising the visual elements into a coherent photograph requires a higher level of composition. This is the layer of design. It is the layer that artists, including photographers, use to create an overall composition. One that lies above the native elements of the scene.

These principles pull together the elements in the scene. There are eleven of the “Principles”. However, some are so intimately mixed that people sometimes combine them. They are all in there however, they are presented. Here they are:

  • Balance: The state of creating visual equilibrium between elements in the picture.
  • Contrast: Conditions within the picture that emphasize differences, conflicts, opposition, between the elements.
  • Emphasis: The establishment of a focal point, or centre of dominance in a picture.
  • Variety: The visual interest that draws a number of different elements together.
  • Unity: The concept behind the picture, the comprehensiveness of the scene, the oneness of the message.
  • Harmony: Overall visual continuity achieving the unity in the theme; the wholeness of the elements; simplicity; uncluttered; conditions that emphasize similarity, peace and flow.
  • Proportion: Controls the size relationships of the different elements or components in the scene.
  • Rhythm: The use of visual elements to induce regular movement, a visual repetition or tempo.
  • Movement: Can be either a combination of elements to depict action/movement; or a dynamic design to draw the eye through the picture.
  • Pattern: The repeating of one type of element to create a picture (or form a major part of one).
  • Repetition: A combination of elements used many times to create a harmonious whole.

More after this…

Examples – a slide show!

It is difficult to take these principles out of context and understand them straight away. Here is a short slide show by Chandler Studio Art. The examples pull the concepts together. However, you should remember the ideas from the post on Easy introduction to ‘visual elements’. Because the ‘Principles’ pull them together. The author revises the elements in the beginning and asks you to remember them again at the end, before summarising the Principles.

Click the bottom arrows to move back or forward on the slides. Use the four arrow symbol (Right end) to expand the slide to full screen size.

 

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.
See also: Profile on Google+.

A composition tip to make you look like a pro…

"Old and new" - one of the many ways to make a contrast

“Old and new” – one of the many ways to make a contrast.

A punchy composition gets attention every time.

The way you make your audience sit up and look at your work is to catch their eye. It is not always easy. However, a strong composition helps. One way you can really make them look is to use sharp contrasts.

What is a contrast?

In photographic composition a contrast is when we see a striking difference between one thing and another. We want to identify something that may have the same origin as things around it. Yet, despite that, it’s strikingly different, or strikingly out of place. We picture it because it is extraordinary that it should be there and at odds with its surroundings or others of the same origin.

Often when we compose a photograph we are looking to maintain a consistent approach to the scene. We want it to look as if all the elements in the frame belong there and fit in. Beauty or aesthetic success depends on the composition being well adjusted and contains the things we expect to be there. In a photograph with a contrast we are trying to do the opposite. We are pulling out the strong differences, opposites; the extraordinary among the ordinary.

How to find contrasts

Contrasts are difficult to spot simply because they hide within the range of our everyday lives. The familiarity we have with them makes them almost mundane. Yet when they are pointed out the power of the contrast comes out. Here are a few things to look for…

  • Category contrasts: Modern buildings in a business park with one very old building (like my picture above)… These are where you show something of the same type, but demonstrate they are very different in the shot.
  • Colour: A picture with strong tonal variations throughout on one colour invaded by just one contrasting colour at some point in the picture. Black on white; red on green.
  • Opposits: right-way-up verses upside-down; many of one opposing one of another; back to front; normal vs. inside-out.
  • Same but different: People – man vs. woman; Cars – old against new; Young vs. old
  • Objects: soft vs. hard; strong vs. weak; round vs. angular; broken vs. complete
Where are all these contrast?

Its true to say that the most striking contrasts are often missed. They are so much a part of our modern life that it’s often only photographers and comedians who see them. Comedians explain them simply – the absurdity makes them funny. Photographers depict them simply and make them stand out.

Because many of the best contrasts hide in plain site there is one really good way to bring them out. Separate them from the surroundings. Isolate the contrast so it can be openly seen. For example, a tiny tree in a forest is normal and not striking. But, a bare windswept and rocky hillside with one huge tree and one tiny one amongst the desolation brings out the contrast.

It is your job as a photographer to look for things that are ordinary, but different. Look for things that are the same, but strikingly displaced from the normal. These contrasts are fun. They make great subjects. They catch the eye and challenge the mind of your viewer.

Use detail to say so much more

"English Summer Garden Party" - you don't need to show everything to convey meaning

“English Summer Garden Party” – you don’t need to show everything to convey meaning.
Sometimes a few details are enough.

The meaning is often already in the mind of the observer.

Your photograph does not need to show everything. The mind is a fertile environment for filling in the rest. What you need to do is convey a sense of what is going on.

What we want to do…

…is capture the scene. We have an overwhelming need to show people what is going on. The new photographer will want to show the scene – everything the eye can see. After all you want people to know what you have seen and experienced when you were there. The meaning of the scene is in the experience of its fullness. Or so we want to think.

The mind is a filter

No one truly sees what you see – even if you do show the whole scene and make a great job of it. Everyone wears special glasses, called a perceptual filter. It creates a unique world for each of us. We all see a world around us coloured by our previous experiences, disappointments, loves, wants, hates, wishes, actions, history – everything. From our inner selves we impart meaning into everything we see.

For the artist and photographer

We can take advantage of this perceptual filter. A good picture will communicate meaning to the viewer. It will tap into that perceptual filter and set free something in the mind of the observer that stimulates them. Your picture will be all the more compelling if you stimulate that inner meaning. The detail of something may do that more effectively than the whole scene. It is often the tiniest things that set us off down memory lane.

Stunning waves – some great insights

Zak Noyle calls himself a water photographer. Actually he is almost a merman. From his pictures and his lifestyle he seems to spend most of his life in the water. Wow! What inspiring images he produces. Stunning shots, amazing insights.

What makes Zak so special is his complete dedication. In the videos below you can see how his whole life is slanted towards getting in the water and producing inspiring images. He is obviously in love with photography. But that love is surpassed by his love of the water. He trains for it and lives it. Dedication itself is inspiring, but when you are dedicated you are also in a position to be inspired; and that comes out in Zaks work.

If there is one lesson in this, it is about dedication. Photographers gain a lot from getting to know a subject. Not only do you see the deeper meaning in something when you explore it from all angles, you also get to understand the dynamics of your subject. You learn how it works and what is important. Like working the scene, dedicating yourself to a subject allows you time to get to know it in different light, different times of the day, different weather. It is about growing into your subject, learning to be at one with it.

I am not suggesting you need to become Zak Noyles in your own right. Instead I am saying that Zak shows us what it is like to get inside a subject. As photographers we can gain a lot of our own insights by having a project that we work on over days, weeks or years. Project photography is not only fun, it allows us to show a little of something that other people don’t know. Then they will look at your images to find that ‘something special’.

The original videos featured in this blog have been taken down. However, Zak has a number of videos available as a continuing testimony to his work and enthusiasm for water. Check out this YouTube link… Zak Noyal surfing Zak Noyal Surfing | External link - opens new tab/page

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training courses ing digital photography.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Fill the Frame – Make it Big and Bold

Make a big impact – as big as you can

Fill the frame

Fill the frame. Make sure that your viewer gets your image big, bold and right up front.

Here is a quick tip for getting the big impact.

If your pictures aren’t good enough, you’re not close enough.
Robert Capa  External link - opens new tab/page

Yes, Make your subject big. Fill the frame. But also be mindful…

“Sometimes the photographer looks for too many elements to fill the frame when in fact the only thing you need is what the image is about”.
Arturo Macias Uceda (photographer)

As an element of composition the frame is the defining limit of the box within which the image is placed. To make a picture stand out you need to get the viewer involved with the subject inside the frame – throughout the frame. One way to do that is to have a larger than life impact.

Filling the frame is not always easy, its not always right either. However, it works well for subjects that have a big presence and especially well for subjects that are larger than life anyway. If your message is strong and you have an engaging image then fill the frame with your subject.

The technique of filling the frame with one subject relies on minimizing other elements. In the picture above the street parade was a mass of complex colours and uncoordinated movements involving lots of people. Drawing back and taking the shot was not an option – I was deep in the crowd. However, this character was right in front of me and carried a big message and a big personality. This is the right sort of situation to fill the frame and exclude everything else – as well as get the message across.

If you do fill the frame make sure your subject can carry its weight. Pictures need balance. Try to make sure there is something in the picture that gives it scale. If you don’t then the viewer will be wondering if the picture is real or distorted. If it has scale then the power of filling the frame will drive the subject up front and draw the eye. And, that is exactly what you want – to make an impact!

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Patterns… break the pattern

Pens... When you have an established pattern, break it.

Pens... When you have an established pattern, break it. The whole point is not to bore your viewer, but to draw them in. Make them think about it, let them see it for what it is, and what it is not.

Break the pattern – capture the eye

Pattern is a funny thing. The human eye is great at picking out patterns. We see them in everything. It is probably one of the elements that makes us human. However, when we see a pattern our eye is quickly satisfied. We lose interest. So, do you want your viewer to lose interest in your pattern?

Photographers love to work pattern shots because they know patterns are eye catching. I look at a lot of images every day; sometimes hundreds. When I see a good pattern shot it draws me into the shot. The geometry, the symmetry, the perspective, the lines… well, all these things, and more are appealing. If the pattern is uniform I almost immediately lose interest. To keep the attention of the viewer you have to give them some reason to keep looking into your pattern. So give them a puzzle. Often, and for good reason, it is best to break the pattern. If the eye sees a pattern the work is done. If there is an incomplete pattern, or an anomaly then the pattern is broken. Why? What happened? What’s wrong? How did that occur? Suddenly the viewers mind is in turmoil. The questions follow and they look around the pattern for confirmation, answers, insights… whatever. The point is they are drawn into the picture. You have made them engage with it and internalize it.

Photographers forget they are working for the viewer. There is no other reason to take a photograph, even if it is a pure record shot. Hopefully, at least one day, someone is going to view it. If you never look at the shot again, and no-one else does either, you have not succeeded in communication in our image language – photography.

Communication is about engaging an audience. Pattern shots are a category of image where you can force your viewer to question what is going on in the shot. At once you can catch the eye, show a subject, appeal to the viewer, engage them and intrigue them. On the other hand you have lost their attention if they glance and move on.

So, when looking at a pattern look deeper than the pattern itself. Look at the variations, the subtle differences. Check the light, examine the graduations. Count the tones, identify the differences. Know that pattern inside out. Look for where it is the same. Look for the obvious ways it can be different. When you know your pattern inside-out, arrange the shot. Optimize the pattern, maximize where it breaks. One single instance of a difference is enough to stop the eye. And that is the aim – stop the eye; create a question. THEN, you will be showing the true meaning of that pattern to the eye of the viewer.

Bokeh – The Pretty Confusion

Burning the midnight oil

• Burning the midnight oil •
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Burning the midnight oil • By Netkonnexion on Flickr External link - opens new tab/page
Bokeh is an essential component of some images.

Blur quality

Bokeh is the wonderful quality of blur you can create by not having part of your image in the depth of field. Blur is an essential compositional feature and something that every photographer should know a little about.

Bokeh is about blur quality

The latest entry into our Photography Glossary is: Bokeh.