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Creating Compelling Compositions

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Creating Compelling Compositions Creating Compelling Compositions Lesson 1 Rule of Thirds The Rule of Thirds is a very basic rule but an important one to know and remember as you develop your “eye” for composition. Remember that it’s a starting point to composing really good images. It was meant to be broken like most all rules. But let’s learn it first and then we can have fun breaking the rules later! It is important to learn the rule so that it will be the foundation of your images and how you see things. As you begin to see and use shapes, lines, textures etc. you will begin to use the Rule of Thirds while utilizing other techniques into your image to create outstanding photographs. Think of composition like designing a new home and the Rule of Thirds as your blueprint. The Rule of Thirds grid resembles a Tic-tac-toe board. It calls for points of interest in the scene to be placed either one third of the way from the top or bottom and one third of the way in from either side. The horizon will either be placed one third of the way down from the top or one third up from the bottom of the frame. Although there are some exceptions, be sure to be careful and NOT place your horizon in the center of the frame (see example below). I often ask myself this question “What is more interesting, the top third of my image or the bottom third”. That often will answer the question of where to place the horizon. Be sure to notice where the lines intersect on the Tic-tac-toe board. If you place important elements or your subject on or near these points you will have a stronger composition. These are sometimes known as “power points”. Anything placed on a “power point” will attract more attention. Studies have shown that when someone views your photograph their eyes will naturally go to one of the intersection points then they will look towards the center of the composition. Using this knowledge of how someone will view your photograph is your advantage. By using the Rule of Thirds your viewer will walk away with a pleasurable experience and you will achieve your goal of telling your story as a photographer. With the recent advances in camera technology, many of the new camera bodies now have a feature called "Live View". You simply press a button on your camera and you can instantly, in real time, see your composition displayed on your LCD as you shoot. You can also set your camera to overlay the Rule of Thirds grid to help line up your subject with ease on some cameras. In the first picture I goofed and put the horizon in the center of the image. Seeing the error of my ways and since the sky is pretty boring, I adjusted my camera on my tripod and by using the Rule of Thirds, I decided that the area below the sky is what I wanted to be the main subject in my composition, so I placed the horizon in the top third of my image along the top horizontal line in my grid. This cute little lion cub in Kenya is getting sleepy. Notice how the cub is on the upper & lower left “power points”. Here is another example of the use of the Rule of Thirds. The windsurfer is placed on the left side in the “power points” with the horizon being in the top third of the frame. The Rule of Thirds works for vertical too. Notice that in this image of Turtle Back Falls in N.C., the waterfall in on the lower right “power point” and my horizon is in the top third of the grid. Can you tell where the horizon is in this photo? It is the top third of the image and the model’s eye is on the top right “power point”. The Rule of Thirds works for all kinds of photography, not just landscape. I spied this Yellow Billed Stork in Tanzania, Africa and by placing him in the lower left portion of the frame, it assured me that he would be placed squarely in an intersecting point. Another thing to note is that he is facing right so here we want our subject to look “into” his space, not out of it. The same technique is equally important since he was walking, so again, we want him to walk into our composition, not out of it. Be sure and give your subject space to look and move in your image. Horizontal vs. Vertical Can’t decide if you should shoot vertical or horizontal? Or maybe you can’t decide if the horizon looks better in the top third or the bottom third? Then shoot it both ways! “Working your subject” is just another way to add more options to your collection of images. You will find that by simply changing the format can and will dramatically change the message and dynamics of your composition. What we sometimes think may make for a great horizontal image may actually look and feel better as a vertical or vice versa since subjects will dictate what format looks best. So if the question is “When is the best time to shoot a vertical composition?” If you answered, “As soon as I am done shooting my horizontal composition!” then you are on the right track! Horizons • Is it best to include the sky or not? Does it lead you eye out of the image? If so, eliminate it! • If you include it, make sure it is straight! Notice the small bit of horizon that was left on the image on the left (in the top third of the Rule of Thirds)? After taking that shot I decided that maybe it would look better without a horizon at all. What do you think? Balance Did you ever have a see-saw as a kid? Think about what would happen if you put an adult on one side and no one on the other side. Of course the side with the adult will dip. The side with the adult is heavier so it is unbalanced. It’s like this with visual objects. An object in a photograph with more visual weight will pull the viewer’s eye. If I put an object in the center of the image it will be balanced but not dynamic and pretty boring. It would be the same way if I put a person in the center of the see saw. It would be balanced but not a lot of fun! Now think of the see-saw with the adult on one side and a small child on the other. It’s now a lot more fun! In our images, if we put an object with greater visual weight - like a human, or objects that are lighter, sharper, warmer or cooler, or more recognizable than other objects in the frame - on the left or right third, it has two thirds of the frame with less visual mass to balance it out. The image is now balanced, and because it’s not centered in the frame it’s balanced in a way that is dynamic. The Flame Azalea on the right side of the frame has the greatest visual weight with the mountain range and azaleas on the left side having less visual weight balance out the image. Notice how the tree is the heaviest element and the mountain on the left side balances the scene. Symmetry There are two kinds of balance. One is symmetrical or static and the other is dynamic. In symmetrical balance, the arrangement of elements is centered; everything is equally away from the middle of the picture. The simplest way to achieve balance is through symmetry, but unless symmetrical compositions are handled carefully, they can be boring, just like our perfectly balanced see-saw. Asymmetrical balance is more difficult but usually more exciting. Balance, like the other parts of a composition, should be carefully thought out to create the desired mood you are seeking for the image. If you wish to create a strange, mysterious, or dynamic feeling, imbalance may be more effective than a perfectly balanced symmetrical image. The entrance to this church is symmetrical and balanced and although it is somewhat interesting, it doesn’t offer a very dynamic feeling. This asymmetrical image of the interior of this old mill has a lot more mystery than if it were perfectly symmetrical. Simplify (KISS) Simplify means the art of focusing the viewer’s attention on the most important aspect in the composition or in other words “Keep it simple stupid”. It means removing anything distracting from the scene. Sometimes it helps to put down the camera and get a “feel” for the place. Study the shapes of your surroundings, the trees, rocks, flowers, water, etc. Look for patterns and textures and lines. Then stop and think about what drew you there in the first place. What appeals to you? Once you’ve discovered that, then pick up your camera and photograph it but don’t stop with one shot. Study your composition. Do you like it? Have you done the border patrol? (see below) If there is something distracting, how can you remove it? Change lenses? Moving to a different position? Finding a different perspective? Try to do your hard work in the field as best you can. Ask yourself “is it necessary?” If an element in the composition doesn’t add to the story you want to tell, it is a distraction, and the photo would be better off without it.
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