Understanding Composition
LEARNING COMPOSITION
Photographic Composition Considerations
Bryson Leidich
Bryson Leidich
Composition – Blame it on the Greeks and Italians
Beginning photographers are often criticized for poor composition and want to find a set of rules that will help them “fix” their images. First let me say that rules are meant to be broken, and no sooner will you read this than you will see an astounding photograph that breaks all of the rules. So, who wrote the rules?
The rules or concepts of composition are derived from observations of nature and the success of images that emulate nature in their design. Design in nature has a certain order about it, and our brains are naturally wired to recognize and appreciate those relationships. The Egyptian pyramids are prime examples of mathematical balance. The Greeks analyzed composition and understood the relationship between the height and width of images and the space within them. The Greeks and Italians were good at analyzing nature mathematically and applying their studies to various aspects of life, like architecture, sculpture, and painting. Mathematics was simply the means of communicating the concepts.
If you examine the “rules” you find references to Fibonacci numbers, the Bakker Saddle, and a variety of Golden terms; the Golden Mean, the Golden Section, the Golden, Rectangle, etc. They may be interesting to explore for a few moments on a rainy day, but the intellectual exercise can be boiled down to a simple concept. Most photographers quickly learn about the “rule of thirds” which is an oversimplification of all of the above concepts into the easiest means of dividing any space into areas where the brain will delight in the positioning of primary subject matter. Little matter that it is somewhat inaccurate and often overemphasized. The numbers associated with the Golden Mean imply a ratio of 1: 1.618 (phi), closer to a 60/40 division of space than one of thirds.
If you divide any quadrangle into thirds you establish 4 intersections of the lines and these points are what people mean when they refer to the rule of thirds. If you make other determinations of the division of space with other “rules” you find the points very close to one another, and all closer to center. The Golden Mean and Bakker Saddle methods are virtually identical and very close to 60/40. The Bakker Saddle divides an image with a line from opposite corners, and lines from the other corners that intersect the diagonal at 90 degrees. The intersections form points of composition.
If you make a grid with the Golden Mean numbers and overlay it on paintings of the masters such as the “Last Supper”, you will see how effectively they used the mathematics of composition. The “Last Supper” is especially interesting as it is formal and symmetrical with respect to the overall composition, while incorporating the Golden Mean for the supporting elements of the composition. It is no wonder it is considered to be “perfect” when it comes to composition.
There is also the consideration of formal vs. informal composition; symmetry vs. asymmetry. Symmetry is when a subject sits so that the left and right sides (or top and bottom) of the image mirror or balance each other. When this happens and the center line
Beginning photographers are often criticized for poor composition and want to find a set of rules that will help them “fix” their images. First let me say that rules are meant to be broken, and no sooner will you read this than you will see an astounding photograph that breaks all of the rules. So, who wrote the rules?
The rules or concepts of composition are derived from observations of nature and the success of images that emulate nature in their design. Design in nature has a certain order about it, and our brains are naturally wired to recognize and appreciate those relationships. The Egyptian pyramids are prime examples of mathematical balance. The Greeks analyzed composition and understood the relationship between the height and width of images and the space within them. The Greeks and Italians were good at analyzing nature mathematically and applying their studies to various aspects of life, like architecture, sculpture, and painting. Mathematics was simply the means of communicating the concepts.
If you examine the “rules” you find references to Fibonacci numbers, the Bakker Saddle, and a variety of Golden terms; the Golden Mean, the Golden Section, the Golden, Rectangle, etc. They may be interesting to explore for a few moments on a rainy day, but the intellectual exercise can be boiled down to a simple concept. Most photographers quickly learn about the “rule of thirds” which is an oversimplification of all of the above concepts into the easiest means of dividing any space into areas where the brain will delight in the positioning of primary subject matter. Little matter that it is somewhat inaccurate and often overemphasized. The numbers associated with the Golden Mean imply a ratio of 1: 1.618 (phi), closer to a 60/40 division of space than one of thirds.
If you divide any quadrangle into thirds you establish 4 intersections of the lines and these points are what people mean when they refer to the rule of thirds. If you make other determinations of the division of space with other “rules” you find the points very close to one another, and all closer to center. The Golden Mean and Bakker Saddle methods are virtually identical and very close to 60/40. The Bakker Saddle divides an image with a line from opposite corners, and lines from the other corners that intersect the diagonal at 90 degrees. The intersections form points of composition.
If you make a grid with the Golden Mean numbers and overlay it on paintings of the masters such as the “Last Supper”, you will see how effectively they used the mathematics of composition. The “Last Supper” is especially interesting as it is formal and symmetrical with respect to the overall composition, while incorporating the Golden Mean for the supporting elements of the composition. It is no wonder it is considered to be “perfect” when it comes to composition.
There is also the consideration of formal vs. informal composition; symmetry vs. asymmetry. Symmetry is when a subject sits so that the left and right sides (or top and bottom) of the image mirror or balance each other. When this happens and the center line
is not accurately centered it sets up a tension that cries to be resolved. For this reason, if you have an image that tends to want to be symmetrical and centered, you should take efforts to make sure it is accurately done. The visual pull of a line in an image to be near an asymmetrical point is not nearly as strong as the pull of a line to be dead center if it is close to already being there. In an asymmetrical or informal composition the primary lines are not centered but closer to the off-center points. Most images tend to be asymmetrical.
If you apply Fibonacci numbers and include zero, or use the Bakker Saddle, and divide a square you add the center point of the composition to the other four “sweet spots” for positioning subject matter. Therefore, the center becomes a legitimate compositional point despite the horror some would apply to placing a subject there. The argument is that a centered subject tends to be “static” rather than “dynamic”, ignoring the fact that a static composition may be the intention of the artist. The difficult thing for a beginner to understand is when a subject appears to require a dynamic composition, but is placed in a static position. This is a more legitimate compositional criticism. Imagine a runner, an obvious dynamic subject, placed in the center of the composition. The visual subject and the psychological composition are in conflict.
The primary four points of asymmetrical composition created by any method are close enough together. The points themselves are not the specific locations where a subject must be, they are the areas where the primary visual weight of the composition will appear to be most comfortable. This is why the rule of thirds is the easiest to apply and to learn. A subject usually has a natural balance point and that will find visual rest near a compositional “sweet spot”.
In addition to the intersections themselves being sweet spots, the divisions are places within the composition where primary lines, like horizons and such, tend to want to be. While this is interesting and often true, there are many reasons why this is a rule begging to be broken, and the complexities of the composition of any image can overrule this positioning. If you work too hard to specifically place a particular line in a specific location you can cheat yourself out of interesting and compelling compositional choices.
Your goal as an image maker is to become comfortable with the concept of composition to the point where rules are not an issue, but a natural result of analyzing your images. Cropping images then becomes an instinctive tool which you apply while feeling how the elements balance themselves rather than whether or not you follow the rules. When you work this way you may find some of your images fall outside of the bounds of the rules, but still sit comfortably within the frame.
So, the “rules” are learning tools, but ultimately the decision on placement of elements in an image is up to the artist. Balance in a composition is not simply the application of the rule of thirds to every image. The rule is simply a means of helping you train your eye to see balance. As much as possible the other methods should be incorporated into the learning process, and analysis of your images should be done as consistently as possible.
If you apply Fibonacci numbers and include zero, or use the Bakker Saddle, and divide a square you add the center point of the composition to the other four “sweet spots” for positioning subject matter. Therefore, the center becomes a legitimate compositional point despite the horror some would apply to placing a subject there. The argument is that a centered subject tends to be “static” rather than “dynamic”, ignoring the fact that a static composition may be the intention of the artist. The difficult thing for a beginner to understand is when a subject appears to require a dynamic composition, but is placed in a static position. This is a more legitimate compositional criticism. Imagine a runner, an obvious dynamic subject, placed in the center of the composition. The visual subject and the psychological composition are in conflict.
The primary four points of asymmetrical composition created by any method are close enough together. The points themselves are not the specific locations where a subject must be, they are the areas where the primary visual weight of the composition will appear to be most comfortable. This is why the rule of thirds is the easiest to apply and to learn. A subject usually has a natural balance point and that will find visual rest near a compositional “sweet spot”.
In addition to the intersections themselves being sweet spots, the divisions are places within the composition where primary lines, like horizons and such, tend to want to be. While this is interesting and often true, there are many reasons why this is a rule begging to be broken, and the complexities of the composition of any image can overrule this positioning. If you work too hard to specifically place a particular line in a specific location you can cheat yourself out of interesting and compelling compositional choices.
Your goal as an image maker is to become comfortable with the concept of composition to the point where rules are not an issue, but a natural result of analyzing your images. Cropping images then becomes an instinctive tool which you apply while feeling how the elements balance themselves rather than whether or not you follow the rules. When you work this way you may find some of your images fall outside of the bounds of the rules, but still sit comfortably within the frame.
So, the “rules” are learning tools, but ultimately the decision on placement of elements in an image is up to the artist. Balance in a composition is not simply the application of the rule of thirds to every image. The rule is simply a means of helping you train your eye to see balance. As much as possible the other methods should be incorporated into the learning process, and analysis of your images should be done as consistently as possible.
One of the advantages of the digital processing tools is the opportunity to work with a dynamic cropping tool so you can “play” with composition and instantly see and feel the results of your decisions. The more you refine your vision, the more satisfying even the simplest images can be. In Photoshop's crop tool, once you make a crop you can turn on an overlay which will place either grid lines or rule of thirds lines over the image to assist you in making decisions. This is unfortunately not available in Elements.
SYMMETRY
The cathedral image is naturally symmetrical as the building was designed and built that way. If photographed away from the center line you should go far enough away to create an obviously asymmetrical balance to the composition. Otherwise, you should carefully adjust the natural center line to satisfy the formal balance of the composition. At the same time, horizontal lines should be horizontal as there is no left or right perspective. The symmetry is obvious, and the image satisfies the brain if the elements are properly aligned. Care should be taken in an image with obvious vertical and horizontal lines to remove lens distortions as well as they will be obvious.
The cathedral image is naturally symmetrical as the building was designed and built that way. If photographed away from the center line you should go far enough away to create an obviously asymmetrical balance to the composition. Otherwise, you should carefully adjust the natural center line to satisfy the formal balance of the composition. At the same time, horizontal lines should be horizontal as there is no left or right perspective. The symmetry is obvious, and the image satisfies the brain if the elements are properly aligned. Care should be taken in an image with obvious vertical and horizontal lines to remove lens distortions as well as they will be obvious.
that balance but would do so at the expense of the feeling of space in the extremely tall structure of the building. It is interesting to note how the light from the very high stained glass windows plays against the far walls in a non-symmetrical counterpoint to the structural symmetry of the overall image.
In this image the leading lines of a typical asymmetrical composition lead your eye to a vanishing point. That point, along with the ends of the tree limbs at the bottom sit in a space close to but again not precisely at the thirds points in the composition. The light standard is certainly not in a “proper” location by the rules, but the image works. This is because you need to consider the entire space occupied by the light standard, the bridge abutment and the horizon line as a larger compositional element rather than the individual items themselves. There is a tension to the light standard that is anchored by the overall composition in a complex manner and that is why learning to feel balance is more important than applying rules to composition.
FEELING BALANCE – positive and negative space
A balanced composition therefore often relies on complex interactions between elements in the image rather than on a single element. The horizon line of the winter scene above falls at almost precisely the Golden Mean. It was not measured to be that way, but when analyzed later was discovered to be there. That horizon is a rather small element of the image but acts as an anchor for the more complex interactions in the composition. Several triangular shapes divide the image in ways that have no relation to compositional rules, but serve to balance the image. The negative space between the bridge and the lamppost are a tension point. If the lightness of the snow in the central river area continued to the bottom of the image the sense of a base or support would be missing. The visual weight of the large bridge abutment on the left is the balance point around which the entire image is anchored.
The total visual weight of the space defined by the abutment, the horizon and the lamppost sits at a compositional sweet spot but there is no single element at that spot in the image. This is where negative space becomes an element of its own in composition. This is where learning to feel composition becomes necessary because no set of rules or guidelines in a camera viewfinder or a Photoshop tool will guarantee you that the image you make will work visually. Only your sense of balance and the experience of seeing many images will make that happen.
© 2011 Bryson Leidich
A balanced composition therefore often relies on complex interactions between elements in the image rather than on a single element. The horizon line of the winter scene above falls at almost precisely the Golden Mean. It was not measured to be that way, but when analyzed later was discovered to be there. That horizon is a rather small element of the image but acts as an anchor for the more complex interactions in the composition. Several triangular shapes divide the image in ways that have no relation to compositional rules, but serve to balance the image. The negative space between the bridge and the lamppost are a tension point. If the lightness of the snow in the central river area continued to the bottom of the image the sense of a base or support would be missing. The visual weight of the large bridge abutment on the left is the balance point around which the entire image is anchored.
The total visual weight of the space defined by the abutment, the horizon and the lamppost sits at a compositional sweet spot but there is no single element at that spot in the image. This is where negative space becomes an element of its own in composition. This is where learning to feel composition becomes necessary because no set of rules or guidelines in a camera viewfinder or a Photoshop tool will guarantee you that the image you make will work visually. Only your sense of balance and the experience of seeing many images will make that happen.
© 2011 Bryson Leidich
all images in this article are ©2011 Bryson Leidich – all rights reserved www.brysonleidich.com
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