Digital Photographer - UK (2020-01)

Presenting familiar subjects in novel ways is

reason enough to adopt some of the following

advanced framing techniques. Many of these

composition strategies enable a photographer

to make the most of any subject.

“I think the best way to be creative with

composition is exploring, trying new things,

different perspectives, angles. The most

important thing is to observe all the elements:

subject, light, colours, location – to play with

combining them in different ways,” explains

Mercedes Castillo Sánchez. “Sometimes you

will realise that certain things don’t work for

you, but that experience helps your growth

towards being a better photographer.”

The next challenge is learning to recognise

when some techniques are not appropriate. It

is not uncommon for photographers to want

to emulate others they admire, but this can

result in a tendency to apply techniques even

if they do not work in the current setting.

“We are all tempted to copy the works that

impress us. This is not a bad thing, but I would

suggest always searching for something

personal to add to the composition. This will

make your shot unique,” offers Bogdan Maris.

“When I shoot a place photographed by many

people before, I look to include elements that

give originality and dynamism to the scene.”

Ultimately advanced composition is not

necessarily technically challenging – rather

it tests our ability to recognise when things

do and do not work. The perfect composition

is difficult to define, but Mercedes Castillo

Sánchez describes it as when all of the scene

elements are connected in a meaningful way.

Bogdan Maris, meanwhile, knows he has the

ideal shot when he has managed to keep only

the essential scene elements. DP

3

4

CONTROL CONTEXT

The distance between

the biker and frame edge

controls the feeling of

context outside the image

DIRECTION OF MOVEMENT

The motion of the biker away

from the lighthouse opposes

the direction of the path

5

LEAD THE WAY

A strong leading line

guides the viewer

through the frame

to the subject

©^

Peter

Fenech

© Bogdan Maris

©^

Peter

Fenech

LELEA

AsAsA sttrtroro

e the imagmagee

DDI IRERECTCTIONOF MOVEMENT

MASTER COMPOSITION

Presenting familiar subjects in novel ways is
reason enough to adopt some of the following
advanced framing techniques. Many of these
composition strategies enable a photographer
to make the most of any subject.
“I think the best way to be creative with
composition is exploring, trying new things,
different perspectives, angles. The most
important thing is to observe all the elements:
subject, light, colours, location – to play with
combining them in different ways,” explains
Mercedes Castillo Sánchez. “Sometimes you
will realise that certain things don’t work for

you, but that experience helps your growth

towards being a better photographer.”

The next challenge is learning to recognise

when some techniques are not appropriate. It

is not uncommon for photographers to want

to emulate others they admire, but this can

result in a tendency to apply techniques even

if they do not work in the current setting.

“We are all tempted to copy the works that

impress us. This is not a bad thing, but I would

suggest always searching for something

personal to add to the composition. This will

make your shot unique,” offers Bogdan Maris.

“When I shoota placephotographedbymany

people before,I looktoincludeelementsthat

give originalityanddynamismtothescene.”

Ultimatelyadvancedcompositionisnot

necessarilytechnicallychallenging– rather

it tests ourabilitytorecognisewhenthings

do and donotwork.Theperfectcomposition

is difficulttodefine,butMercedesCastillo

Sánchez describesit aswhenallofthescene

elements areconnectedina meaningfulway.

Bogdan Maris,meanwhile,knowshehasthe

ideal shotwhenhehasmanagedtokeeponly

the essentialsceneelements.DP

3

4

CONTROLCONTEXT

Thedistancebetween

thebikerandframeedge

controlsthefeelingof

contextoutsidetheimage

Themotionofthebikeraway

fromthelighthouseopposes

the direction of the path

5

ADTHEWAY

ngleadingline

guidestheviewer

throughtheframe

tothesubject

©

Peter

Fenech

© Bogdan Maris

©

Peter

Fenech

LELEA

AAA s o

etheimagmagee

RE IONOFMOVEMENT

MASTER COMPOSITION