Framing
The frame of the image is formed by the edges of
the film. Framing is a device that forms a frame
within that frame, or using an object or shadow to
create a visual direction for the viewer. Overhan-
ging branches in the foreground of a blank sky can
help to highlight a distant horizon. The contrast
between the near objects and the distant subject can
help to establish distance. Following the gaze of a
person or an animal in the foreground towards a
distant point or the prime subject is another fram-
ing device. Using archways and portals to surround
an object is an effective means of drawing attention
to it. Selective focus, through the choice of lens and
aperture can also frame a subject by sharpening the
focus on the subject in an unfocused environment.
Scale
Similar to framing is the general use of objects in
the foreground as subjects for scale to measure the
background or relative size of the subject and to
create a sense of distance.
Gaze
Faces and, especially, eyes always lead the viewer
through the picture. We will follow the gaze,
whether it is human or animal. The eyes do not
have to be in focus to follow their gaze, but if the
subject is human or animal, focus is critical around
the eye area. Another magnet in a photograph are
words. They draw the viewer’s gaze almost as effec-
tively as faces and eyes. However, they will not
redirect the gaze unless carefully placed within the
image as elements of pattern or texture.
Strong contrast in black and white, and opposite
colors (such as green and red) create tension and
drama in a photograph. When photographing in
color, look to see where bright or opposite colors
are in the image. They will pull the viewer’s eye and
are one of the most powerful forces in a composition.Lighting
The color of the light, its direction, and contrast are
all part of the elements of design. Motion and blur,
sharpness and vantage point are also devices used
in the elements of design.Balance
A completely balanced, harmonious composition
can be very easy to view, but ultimately boring
and just as easy to dismiss. Understanding the ele-
ments of design and using them to insert drama,
asymmetry, tension, point of view, mystery, and
emotional resonance will draw the viewer’s gaze
again and again. If the image has a powerful
impact, try analyzing the elements of design within
its frame.
KayKenney
Seealso:Image Construction: PerspectiveFurther Reading
Eastman Kodak Company, eds.The Joy of Photography.
Rochester, New York: Eastman Kodak Company, 1991.
Eastman Kodak Company, eds.How to Take Good Pic-
tures. Rochester, New York: Eastman Kodak Company,
1995.
Hedgecoe, John.The Book of Photography. New York:
Alfred A. Knopf, 1990.
Hirsch, Robert. Exploring Color Photography. 3rd ed.
Dubuque, Iowa: Brown and Benchmark, 1997.
Langford, Michael.Basic Photography. 7th ed., Boston:
Focal Press, 2000.
London, Barbara, and John Upton.Photography. 7th ed.
Upper Saddle River, New Jersey: Prentice Hall, 1997.CONCEPTUAL PHOTOGRAPHY
Conceptual photography places singular emphasis
on the idea or message conveyed by a photo-
graphic image, rather than on conventional issues
of aesthetics or narrative as they have tradition-
ally been applied to photography. This approach
to the photographic image privileges its status as a
method of documentation, drawing upon its sin-
gular ability to faithfully reproduce elements ofCOMPOSITION