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ACTIVE FRAMES PHOTOGRAPHIC COMPOSITION + ELEMENT OF DESIGN
THE EYE SHOULD LEARN TO LISTEN BEFORE IT LOOKS. - ROBERT FRANK
CONSULTING THE RULES OF COMPOSITION BEFORE TAKING A PHOTOGRAPH IS LIKE CONSULTING THE LAWS OF GRAVITY BEFORE GOING FOR A WALK.
- EDWARD WESTON
I JUST WALK AROUND, OBSERVING THE SUBJECT FROM VARIOUS ANGLES UNTIL THE PICTURE ELEMENTS ARRANGE THEMSELVES INTO A COMPOSITION
THAT PLEASES MY EYE. - ANDRE KERTESZ
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ACTIVE FRAMES PHOTOGRAPHIC COMPOSITION + ELEMENT OF DESIGN
THE EYE SHOULD LEARN TO LISTEN BEFORE IT LOOKS. - ROBERT FRANK
CONSULTING THE RULES OF COMPOSITION BEFORE TAKING A PHOTOGRAPH IS LIKE CONSULTING THE LAWS OF GRAVITY BEFORE GOING FOR A WALK.
- EDWARD WESTON
I JUST WALK AROUND, OBSERVING THE SUBJECT FROM VARIOUS ANGLES UNTIL THE PICTURE ELEMENTS ARRANGE THEMSELVES INTO A COMPOSITION
THAT PLEASES MY EYE. - ANDRE KERTESZ
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COMPOSITIONAL GUIDLINES• These are guidelines, not rules. Understanding them will help you
create more purposeful compositions. – Center or Point of Interest / Subject Placement – Framing 3-D world into a 2D Photograph – Avoid mergers – Balance
• Symmetrical-even • Assymetrical-a heavier presence vs a lighter/foreground vs background
– Keep it simple • Empty frame • Shallow depth of field
– Use a frame within a frame – Rule of thirds – Use strong lines – Shapes / Light & Shadows / Texture – Frame tension – Vantage point
• Birds eye • Worms eye
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Center or Point of Interest
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Center or Point of Interest
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“Putting four edges around a collection of information or facts transforms it. A photograph is not what was photographed, it’s something else…a new world is created”
Gary Winogrand
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ELLIOT ERWITT
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LEE FRIEDLANDER
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COMPOSITIONAL GUIDLINES• These are guidelines, not rules. Understanding them will help you create
more purposeful compositions. – Center or Point of Interest / Subject Placement – Framing 3-D world into a 2D Photograph – Avoid mergers – Balance
• Symmetrical-even • Assymetrical-a heavier presence vs a lighter/foreground vs background
– Keep it simple • Empty frame • Shallow depth of field
– Use a frame within a frame – Rule of thirds – Use strong lines – Shapes / Light & Shadows / Texture – Frame tension – Vantage point
• Birds eye • Worms eye
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AVOID MERGERS
• Photographs collapse 3d space into 2d space • Photographs create compositional
relationships we might not recognize while in the act of photographing
• Mergers-awkward combinations of lines/shapes/subjects as a result of collapsing 3d space to a 2d image
• Strategies to avoid mergers: – Photographer moves – Subject moves – Background moves
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Examples of Mergers
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MERGERS
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Playing with Mergers
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Elliot Erwitt
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Playing with Mergers
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Playing with Mergers
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"Probably one of the worst things that happened to photography is that cameras have viewfinders." - John Baldessari
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Mergers: things to watch for• Background objects can merge with the
primary foreground subject. (For example, a power pole can "grow" out of your uncle's head.)
• Strong colors or similar colors of objects behind or near the main subject can merge with the subject. A white hat might merge with a light background and all but disappear.
• Remember, mergers are often removed by simply moving the camera or subject
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COMPOSITIONAL GUIDLINES• These are guidelines, not rules. Understanding them will help you create
more purposeful compositions. – Center or Point of Interest / Subject Placement – Framing 3-D world into a 2D Photograph – Avoid mergers – Balance
• Symmetrical-even • Assymetrical-a heavier presence vs a lighter/foreground vs background
– Keep it simple • Empty frame • Shallow depth of field
– Use a frame within a frame – Rule of thirds – Use strong lines – Shapes / Light & Shadows / Texture – Frame tension – Vantage point
• Birds eye • Worms eye
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BALANCE
• Symmetrical balance – Two matching subjects in size or shape – Symmetrical balance distributes visual
elements evenly in an image.
• Asymmetrical balance – A heavier presence balanced against a
lighter presence
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SYMMETRICAL BALANCE
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DIANE ARBUS
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Roy DeCarava
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Asymmetrical Balance
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ANDRE KERTESZ
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Asymmetrical Balance
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COMPOSITIONAL GUIDLINES• These are guidelines, not rules. Understanding them will help you create
more purposeful compositions. – Center or Point of Interest / Subject Placement – Framing 3-D world into a 2D Photograph – Avoid mergers – Balance
• Symmetrical-even • Assymetrical-a heavier presence vs a lighter/foreground vs background
– Keep it simple • Empty frame • Shallow depth of field
– Use a frame within a frame – Rule of thirds – Use strong lines – Shapes / Light & Shadows / Texture – Frame tension – Vantage point
• Birds eye • Worms eye
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Keep it simple: an empty frame
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Keep it simple: an empty frame (in this case ‘empty’ is complicated)
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Keep it simple: an empty frame
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Keep it simple: an empty frame
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Keep it simple: shallow depth of field
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Keep it Simple - Shallow Depth of Field
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Keep it simple: shallow depth of field
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Keep it simple: shallow depth of field
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Elliot Erwitt, NYC 1950
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Elliot Erwitt, Ernst Hass 1955
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Matthew Tischler
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DEEP DEPTH OF FIELD - Walker Evans
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Martin Parr
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Martin Parr
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Martin Parr
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COMPOSITIONAL GUIDLINES• These are guidelines, not rules. Understanding them will help you create
more purposeful compositions. – Center or Point of Interest / Subject Placement – Framing 3-D world into a 2D Photograph – Avoid mergers – Balance
• Symmetrical-even • Assymetrical-a heavier presence vs a lighter/foreground vs background
– Keep it simple • Empty frame • Shallow depth of field
– Use a frame within a frame – Rule of thirds – Use strong lines – Shapes / Light & Shadows / Texture – Frame tension – Vantage point
• Birds eye • Worms eye
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Frame within a frame
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Frame within a frame
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Robert Frank, Butte, Montana
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Robert Frank, New Orleans, 1955
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COMPOSITIONAL GUIDLINES• These are guidelines, not rules. Understanding them will help you create
more purposeful compositions. – Center or Point of Interest / Subject Placement – Framing 3-D world into a 2D Photograph – Avoid mergers – Balance
• Symmetrical-even • Assymetrical-a heavier presence vs a lighter/foreground vs background
– Keep it simple • Empty frame • Shallow depth of field
– Use a frame within a frame – Rule of thirds – Use strong lines – Shapes / Light & Shadows / Texture – Frame tension – Vantage point
• Birds eye • Worms eye
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SUBJECT PLACEMENT
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Rule of Thirds
Use the rule of thirds to help with
Horizon line placement
Strong lines placement
Single subject placement
Main subject/secondary subject placement
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Rule of Thirds
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Rule of Thirds
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Rule of Thirds
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Rule of Thirds
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Rule of Thirds
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Rule of Thirds
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Rule of Thirds
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Rule of Thirds
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Rule of Thirds
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The Golden Ratio / Fibonocci Spiral
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COMPOSITIONAL GUIDLINES• These are guidelines, not rules. Understanding them will help you create
more purposeful compositions. – Center or Point of Interest / Subject Placement – Framing 3-D world into a 2D Photograph – Avoid mergers – Balance
• Symmetrical-even • Assymetrical-a heavier presence vs a lighter/foreground vs background
– Keep it simple • Empty frame • Shallow depth of field
– Use a frame within a frame – Rule of thirds – Use strong lines – Shapes / Light & Shadows / Texture – Frame tension – Vantage point
• Birds eye • Worms eye
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Use Strong Lines
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“This recognition, in real life, of a rhythm of surfaces, lines, and values is for me the essence of photography; composition should be a constant of preoccupation, being a simultaneous coalition — an organic coordination of visual elements. “ - Henri Cartier-Bresson
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use strong lines
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use strong lines
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use strong lines
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use strong lines
Always be conscious of where lines are entering your frame: from which side? From which corner? Which of these images is most successful?
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Strong Lines / Patterns (repeated)
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Strong Lines / Patterns (repeated)
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Patterns and Repetition
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Use strong lines
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Use strong lines
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COMPOSITIONAL GUIDLINES• These are guidelines, not rules. Understanding them will help you create
more purposeful compositions. – Center or Point of Interest / Subject Placement – Framing 3-D world into a 2D Photograph – Avoid mergers – Balance
• Symmetrical-even • Assymetrical-a heavier presence vs a lighter/foreground vs background
– Keep it simple • Empty frame • Shallow depth of field
– Use a frame within a frame – Rule of thirds – Use strong lines – Shapes / Light & Shadows / Texture – Frame tension – Vantage point
• Birds eye • Worms eye
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LIGHT AND SHADOW
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LIGHT AND SHADOW - Imogen Cunningham
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LIGHT AND SHADOW - Sebastian Salgado
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LIGHT AND SHADOW - Imogen Cunningham
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LIGHT AND SHADOW
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SHAPES
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Texture -- Aaron Siskind
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Texture -- Aaron Siskind
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TEXTURE
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TEXTURE
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COMPOSITIONAL GUIDLINES• These are guidelines, not rules. Understanding them will help you create
more purposeful compositions. – Center or Point of Interest / Subject Placement – Framing 3-D world into a 2D Photograph – Avoid mergers – Balance
• Symmetrical-even • Assymetrical-a heavier presence vs a lighter/foreground vs background
– Keep it simple • Empty frame • Shallow depth of field
– Use a frame within a frame – Rule of thirds – Use strong lines – Shapes / Light & Shadows / Texture – Frame tension – Vantage point
• Birds eye • Worms eye
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Use the edge of the frame
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Use the edge of the frame
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COMPOSITIONAL GUIDLINES• These are guidelines, not rules. Understanding them will help you create
more purposeful compositions. – Center or Point of Interest / Subject Placement – Framing 3-D world into a 2D Photograph – Avoid mergers – Balance
• Symmetrical-even • Assymetrical-a heavier presence vs a lighter/foreground vs background
– Keep it simple • Empty frame • Shallow depth of field
– Use a frame within a frame – Rule of thirds – Use strong lines – Shapes / Light & Shadows / Texture – Frame tension – Vantage point
• Birds eye • Worms eye
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Vantage Point: your angle of view
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Vantage Point: your angle of view
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Vantage Point: Birds Eye
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Vantage point: birds eye
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“In order to accustom people to seeing from new viewpoints it is essential to take photographs of everyday, familiar subjects from completely unexpected vantage points and in completely unexpected positions….one should shoot the subject from several positions, as if encompassing it--not peer through one keyhole” - Rodchenko
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Vantage point: close up/abstraction
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CLOSE UP
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DAIDO MORIYAMA from TIGHTS AND LIPS
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Vantage point: close up/abstraction
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Vantage point: close up/abstraction
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Vantage point: worms eye
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Vantage point: worms eye
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And one last thing…Consider placing a moving subject so they
move into the image
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Strategies: Composition and ShootingHow do I balance these ideas?
• Shooting with a preplanned idea when photographing Things you may be able to plan ahead: — location — Props — time of day — vantage point — artificial lighting — Make a list of things to shoot
• Improvising in a rapid situation — Keeping subject at center of frame — Moving frame around with subject somewhere in picture
• Editing a group of images down to ones that have compositional strength — Shoot in quantity, edit for quality — Constant experimentation to ensure a variety of images, more
chances for success
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Make a list….
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What composition elements are these photographers using?
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Elliot Erwitt
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Elliot Erwitt
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Robert Frank
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William Eggleston
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Candida Höfer
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Roy DeCarava
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Elliot Erwitt
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Andreas
Gursky
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Elliot Erwitt
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Lee Friedlander
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Elliot Erwitt
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