COMPOSITION
Successful composition in a photograph depends
on a set of finely tuned responses to an image
captured in a moment of time in a format prede-
termined by the choice of film and equipment. How
well a photographer engages the viewer’s attention
in the image by setting up camera angle, distance,
and placement of objects in a film frame is based on
the photographer’s understanding of the elements
of good design. These elements work together to
create a harmonious and effective composition that
captures both the intent of the photographer’s
vision and the viewer’s imagination.
These elements: placement, line, shape, texture,
pattern, scale, perspective, focus, color, contrast,
and balance follow basic rules. A deep understand-
ing these rules is the basis of good composition and
the intuited speed of a ‘‘photographer’s eye.’’
The Rule of Thirds
This is a traditional rule for placement. The picture
frame is divided into horizontal and vertical thirds
and the subjects and subordinate elements of the
picture are grouped near the intersections of those
horizontal and vertical section lines. In landscapes,
for instance, the horizon line would appear in the
top third or bottom third of the image area. If there
is an additional subject, such as a tree or house, it
would be placed left or right of center, on the
vertical thirds intersection.
Lines
Lines are often invisible connections made by the
eye to different points in the picture. They often
define shapes such as squares or triangles. They can
direct the eye far into the scene and establish dis-
tance and a sense of depth in an otherwise flat, two-
dimensional plane. Lines also establish links
between near and distant areas and help direct the
viewer’s gaze towards an important element in the
photograph. Placing an object or the subject near
the camera, but off to the side of receding lines
adds a strong dynamic to the image. Lines can
underscore movement or stability in a scene. For
instance: diagonal lines add motion or drama, par-
allel or perpendicular lines create a sense of serenity
or classic stability, curved lines indicate grace.
However, lines, such as a road or a fence, that
run parallel to the picture plane can set a different
mood by creating a sense of distance and isolation
from the subject.Shape
The basic outline of an area, sometimes subtle,
defined only by the intersection of lines, (as in
the spaces between tree limbs) or more clearly by
the light falling on an object (such as the limbs of the
trees) is the first element recognized by the viewer.
Shapes are the basic building blocks of an image.
Isolating a shape by moving in close and photo-
graphing it can create a striking, graphic image. Jux-
taposing shapes can create patterns, a sense of scale
or distance, and add texture or even tension to an
image. The repetition of shapes, through similarly
shaped objects or the spaces around them, can rein-
force an image or resonate the underlying photo-
graphic vision.Planes
The surface upon which the subject lies is
referred to as the picture plane. It is the point
of visual contact between the viewer and the
picture. Lines, shape, and contrast define planes.
For instance, receding mountains are defined by
their planes of fading color or contrast. Angled
and intersecting planes, such as in aerial photo-
graphs, with their vast network of patterns and
intersecting lines can provide stunning views.
Planes also define perspective.Perspective
In a two-dimensional picture, perspective can
express the depth and vastness of a three-dimen-
sional scene, by establishing the scale and distance
of the objects in the scene. The pictorial elements
of framing, scale, planes, line, and tonal range
(the degree of contrast between light and dark
areas) can provide a sense of depth to a photo-
graphic image.COMPOSITION