Features of the composition in a square. Rhythm and the rule of diagonals in photography. Compositional center as the basis of composition
Photography is what painting, composition, plastic rhythm, geometry become, placed in a matter of seconds (Henri Cartier-Bresson).
When we think about compositions in photography, the first thing that comes to mind is the rule of thirds...
But there is another important element in the composition - geometry. Geometry in photography refers to simple shapes such as square, triangle, circle, straight and curved lines.
Geometric objects are usually auxiliary; they enhance perception and can combine individual elements of a photograph into a single whole. By choosing one or another geometric shape in a photograph, the author can in advance focus the attention of the future viewer on certain areas of it. It has been established, for example, that the corners of a square turn out to be very active zones, and for a circle or oval it is the center. It is no coincidence that since ancient times there has been a tradition of portraits in an oval. The angles did not distract attention from the main thing - the image of the face. The most common and most versatile geometric tool is lines. Read more about them in our separate section.
In fact, any environmental object can be compared to any geometric figure, but they all awaken different emotions and feelings in the viewer. Simple geometric shapes, such as a circle and a square, are recorded much faster by our eyes and perceived by the brain, and therefore are remembered better than complex and irregular ones. In general, there are three basic figures. This rectangle, triangle and circle. Everything else - oval, square, trapezoid, ellipse, rhombus - are just their variations. They are all different both graphically and (don't be surprised) emotionally.
SQUARE IN COMPOSITION
The square is the most stable, complete form, ready to evoke affirming images. It is associated with concepts such as order, stability, reliability, strength. At the same time, the square is perceived as somewhat mundane and ponderous.
Photo: Robertino Nikolic. “Light plays with geometry or geometry with light?”Winner of the Black & White Spider Awards, 2007.
Photo: Alma (source - 1510.deviantart.com)
RECTANGLE IN COMPOSITION
A rectangle located with its larger side horizontally evokes a feeling of stability, peace, and solidity.
It looks especially harmonious if it is made in the proportions of the “golden ratio”. A rectangle, located with its larger side along the vertical, creates a feeling of lightness and airiness.
TRIANGLE IN COMPOSITION
Triangle is the most common shape found in nature. The triangle is the most dynamic, unstable shape, which is associated with movement, development, and speed. In the “top up” position it evokes images of stability, stability (pyramid). Several triangles - positive dynamic movement. In the “top down” position - shaky balance, balancing. Unlike a rectangle, the sides do not oppose each other, but change the direction of development. This can be used to create specific images. The triangle naturally introduces a sense of spatial depth into the composition.
CIRCLE IN COMPOSITION
In the form of a circle, more than any other, the idea of nature, earth, and the universe is expressed. Circles abound both in nature and in the world of man-made objects. Therefore, such concepts as “good”, “life”, “happiness”, “prosperity” are associated in humans with precisely this form. This shape directs the eye into the frame. The circle is associated with something light, airy and at the same time balanced. But, unlike a square, this equilibrium is closer to the physical concept of “unstable equilibrium.” Circles are the most pleasing shapes to the eye that can be safely used in the frame. They immediately attract the viewer's attention and, thanks to their perfect symmetry, bring harmony to the image. Since the circle has no corners, it contrasts nicely with the rectangular edge of the frame.
Like a triangle, a circle is a very effective geometric figure that can be usefully used in the composition of a shot, albeit with a different meaning. Unlike diagonals, which charge the frame with dynamics and tension, curved lines create harmony. Thus, you can create expressive and informative compositions based on simple geometric shapes.
Geometric objects can be divided into three groups according to their functions: guide lines, space dividers and framing. Space dividers divide the photo into separate zones that carry their own meaning, but work together to create a single composition. An example of the simplest space separator is the horizon line separating the sky from the surface of the sea. Triangles look very good as a space divider, but elements such as diagonals and open lines can also be confidently used.
Framing has the function of attracting the viewer's gaze and focusing it on the main object. Doorways, arches, and windows work well as framing elements. In addition, natural elements, such as tree branches, do an excellent job of this function. It is important that the frame is present on at least two sides of the photo and is done in a calm tone, preferably darker than the main subject, so as not to distract the viewer. The framing element should have an interesting color, shape, texture or other noteworthy characteristics, but it is worth remembering that framing elements should guide, not distract. Triangles or arches work especially well in this regard. The arch can create an interesting dynamic composition.
Try, experiment and don’t forget that in one shot you can use several geometric shapes at once to build a composition.
“It is not wise to break rules before you have learned to follow them.”
T.S. Eliot, interview with Paris Review (Number 21, 1959)
There are a number of "rules of composition" that we can use to enhance our images. The most widely known of these have been formulated over centuries by artists working in a variety of visual media, from architecture to painting to photography. And while we all know the saying “rules are made to be broken,” the benefits of knowing in advance what exactly you are going to break are obvious.
In this article, we'll look at three such compositional rules, with examples to illustrate them, and discuss why they can be considered useful creative tools.
Rule of thirds
The Rule of Thirds is probably the most popular technique known to visual artists. Simply put, the idea is that meaningful compositional elements should be placed along imaginary lines that divide the image into thirds, horizontally and vertically. Elements of particular interest can be placed at the intersection of these lines to create a more expressive and dynamic composition, as demonstrated in the pair of images below.
The composition is perfectly centered on the sand dune.
Here, the crest of the dune and the horizon are positioned along imaginary lines, dividing the image into a 3 x 3 grid.
The rule of thirds was first formalized in literature by the artist John Thomas Smith in 1797. However, examples of art objects in which this rule was applied can be found in artistic traditions from the most ancient times. East Asian art is particularly known for its use of asymmetrical compositions.
So why does using the rule of thirds help create interesting images?
Asymmetry
With any of the techniques discussed in this article, we strive to highlight certain elements of the image and establish a balance between elements.
Framing a composition in thirds often introduces asymmetry into the frame, which helps give the image a sense of drama that may be missing in a perfectly symmetrical picture.
In the image below you can see that the eyes of the model and the horse are positioned along an imaginary grid. The horse's right eye is at the intersection of two lines. The eyes are obviously strong compositional elements. Our eyes are naturally drawn to the eyes of others. Placing important elements like these - be it a body part or a product for sale - along these lines helps draw attention to them.
Notice the placement of the model's and horse's eyes along the grid lines dividing the frame into three parts on either side. When photographing people or animals, eyes are usually a good compositional element to highlight.
Before we continue, I should point out that while there are obvious benefits to using the rule of thirds when initially framing your shot, you can still take advantage of it in post-production by cropping. In fact, the fastest way to train yourself to "see" thirds is to spend some time experimenting with cropping your existing shots and comparing both versions.
Dynamic Balance
In addition to being useful for determining the placement of small details such as a model's eyes, the rule of thirds can also be used with large elements that affect the overall balance of a composition. The landscape image at the beginning of the article is a good example of how the rule of thirds can be used to adjust the position of the horizon line and key geological elements.
Here's another example of using this rule to create balance in a dynamic composition. In this image, the model only occupies the center and right thirds of the image. The leftmost portions represent negative space, providing a sense of movement through the contrast and progression of tonal values in the image.
Take a look at the compositional balance between the model's body and negative space. They completely cover one of the outer columns of the grid, respectively, and divide the middle one. Also mark the position of the model's foot and knee, which are located along one of the lines. Pay attention to the point on its edges where the difference in lighting is visible.
Golden ratio
Try to imagine what the same image would look like if the model were positioned directly in the center of the frame. The composition would lose a lot, not only in its drama, but also in its sense of dynamics.
Another visual concept from ancient times, and still used today, comes from the art of Ancient Greece. She is known as golden ratio(and golden ratio, division in extreme and average ratio). We'll discuss the math behind it a little later, but just like the rule of thirds, it's basically about dividing an image into rectangular segments.
These “golden rectangles” have proportions that, according to the ancient Greeks, were especially harmonious and pleasing to the eye. Placing critical compositional elements either within or at the intersection of these rectangles can help highlight them and create a well-balanced image like the one you see below.
This shot has a nice balance between the main subject and the surroundings. The composition was composed in accordance with the golden ratio rule, which I will explain below.
The calculations behind the golden ratio are less obvious than those used for the rule of thirds, so it is a little less widely known among artists than, say, mathematicians or engineers. But it's worth familiarizing yourself with at least the basics of the concept.
The golden ratio is approximately 1:1.6, or more precisely, 3/8:5/8. In the image below you see two segments, a And b. Line segment a 1.6 times longer than the segment b. And the combined segment, a+ b, also 1.6 times longer than the segment a. So the proportions of the segments a And b represent the golden ratio.
Visual representation of the elements of the golden ratio (thanks to Wikimedia).
golden rectangle(pictured below) - this is the one whose short (a) and long (a+b) sides are in a ratio of 1:1.6 to each other. Any golden rectangle can be further divided by a line that breaks the long side in the same ratio. This is exactly what was done in the illustration below to create a segment b. You can continue this division to get smaller and smaller rectangles, one inside the other.
Golden rectangle (thanks to Wikimedia).
A vertical line located approximately 3/8 of the way from the left edge marks the edges of our first golden rectangle.
A horizontal line placed approximately 3/8 of the way from the top edge creates a second golden rectangle.
So how exactly does it work when it comes to composition? Let's take a closer look at the photograph with which this section begins. Since the 1:1.6 ratio is not so easy to visualize, we can instead think of it as 3/8:5/8, which means we're aiming to divide the frame into 3/8 along one of the sides (a little less than half) . This is exactly what is done in the first image below, a vertical line is drawn from the left edge approximately 3/8 of the length of the longer side.
Having created the first golden rectangle, we can repeat the process and also outline a second, smaller one inside the first one, as you can see in the second frame above. The most dramatically lit part of the model's body is located inside our first rectangle. Most of her face is in the second. This shows that by enclosing compositionally important elements within these rectangles, we can draw attention to them. Just like the rule of thirds, this approach creates an asymmetrical composition that serves to guide the viewer's eye.
You can continue to divide frames into smaller and smaller rectangles by adding vertical and horizontal lines in a sequence that respects the golden ratio of 3/8:5/8. In this image, the smallest rectangle (blue) is located exactly around the part of the model's face closest to the camera.
Diagonals
Artists have long intuitively understood that using diagonal elements is another way to create drama in a one-dimensional composition. Diagonal lines guide the eye through the image and help create a sense of movement. In landscape photography, diagonals are often formed from roads, rivers, walls or other "linear" objects.
There are strong diagonals in this image, formed by the lines of the model's arms and the flowing material used in the shoot. These elements lead the viewer's eye through the image.
When photographing people, silhouettes of the model's arms, legs or back can be used. It is important to understand that compositional diagonals are not limited to just the obvious shapes or edges of an object. The concept of diagonals can be used in the way subjects are positioned in a frame, in much the same way as the rules we discussed above.
How it works? Draw imaginary lines extending from the 45-degree corners of the frame, as shown below, and place significant objects along these lines. In the first image below, notice how the model's eye, her left leg, and the camera lens at her feet are positioned exactly on the diagonals constructed from the corners of the image. The umbrella handle rests on the anchor point where the two diagonals intersect.
Image to illustrate the diagonal method
The same scene, but with a different, non-diagonal, way of framing.
The second image is taken from the same shoot, but without following the diagonal method. The frame looks “tight”; the camera bag is positioned too close to the edge of the photo. There is not enough foreground in the image compared to the amount of vertical space above the model.
Dutch photographer Edwin Westhoff formulated the "method of diagonals" as a compositional rule that encapsulates this idea. He has a very helpful tutorial that explains his approach in more detail.
Application of these rules
When you know how to direct the viewer's attention to individual elements of the image, the question arises as to what exactly you should try to highlight. How do you know which scene elements these rules should apply to?
Think about the focal points in the image. Are you trying to draw the viewer's attention to a particular feature of the landscape? The model's eye? Product? Compositional elements should not be limited to such obvious things as the stamens of a flower, or a piece of jewelry when talking about advertising a product. Consider using changes in color and texture or negative and positive space in relation to these rules.
As with any technique, mastering it requires constant practice. Start with the rule of thirds (it's the easiest to visualize) and try framing the image through the viewfinder or LCD with it in mind. This is a great way to learn to “see” compositions and begin to internalize technique.
The rules of the golden ratio and diagonals will most likely be easier to practice through cropping in post-production. Few of us (if any) will be able to imagine nested rectangles while shooting, for example. Many popular graphic editors even make it possible to overlay special grids on the frame for framing using these compositional techniques, which greatly facilitates their use.
Of course, these rules are just a sampling of the many techniques at your disposal to achieve a pleasing composition. Others are formulated around the idea of color balance, selective focus, foreground to background ratio, framing, geometry...the list goes on. The rules I've presented are a good starting point for thinking critically about composition.
I highly recommend these rules as useful tools for creating dynamic and interesting images. But, as with any creative activity, they should be taken as suggestions and not as strict dogma.
Yes, they are worth practicing consciously for a while, but don't let them be the only voices you listen to during your creative process. Moreover, it is by understanding the theory behind these rules that you can sometimes create amazing images, intentionally violating their. I will cover this topic in my next article. Stay with us.
Author of the article: Thomas Park-is a fashion photographer, visual artist, and educator based in Seattle, Washington. To view his work, please visit the website .
Models : Nicole Cooper, Lissa Chartrand, Beth K., Amelia T., Curran S. Style and makeup : Taryn Hart, Daniel @ Pure Alchemy, Dawn Tunnell, Michael Hall, Amy Gillespie, Ashley Gray, Julia Ostrowski. Beth would like to thank the Seattle Models Guild. Cloth: on Nicole -Kyra K and vintageAnn Taylor, on Bet -Neodandi, on Amelia -Wai- Ching, on Curren -Cloak, Dagger NYC AndEugenia Kim.
Now let's look at other compositional elements that can be used in photography.
A very powerful tool for improving composition in photography is to use lines. Firstly, they create a mood, and secondly, they “lead” the viewer’s eyes through the photograph to the main subject of the photograph. The photographer seems to take the viewer by the hand and lead him through the area, showing the way.
Lines in a composition can be divided into the following types:
- horizontal;
- vertical;
- diagonal;
- all the rest are broken, curved, arched, “S”-shaped, etc.
HORIZONTAL LINES IN COMPOSITION
Horizontal lines- this is serenity and peace, balance and infinity. In a photo they give the feeling that time has stopped and can be used to contrast with another more dynamic part of the photo. The line of a reservoir, the horizon line, fallen objects, sleeping people - these are all examples of images that speak of permanence and timelessness. To prevent photographs consisting entirely of horizontal lines from being boring, you need to add some object to the frame. A beautiful stone on the seashore that touches the sky, a lonely tree in a field, etc.
VERTICAL LINES IN COMPOSITION
INvertical- convey a mood of power, strength, stability (skyscrapers) as well as growth and life (trees). The correct use of vertical lines can also impart a sense of peace and tranquility. For example, a tree in a fog-shrouded forest, old pillars in the water, or a field, a figure on a secluded beach early in the morning. When vertical lines are repeated, they create rhythm in the photograph and enhance dynamics.
DIAGONAL LINES IN COMPOSITION
Diagonal lines speak of movement and give the photo dynamism. Their strength lies in their ability to hold the viewer’s attention: his gaze, as a rule, moves along the diagonals. Examples of diagonals are numerous: roads, streams, waves, tree branches, etc. You can place multiple objects diagonally. The colors of one object can also be diagonal. Using diagonal lines, place them just above or below the left corner of the photo as our eyes scan the image from left to right. This will also prevent the frame from being visually split into two parts. Always leave “room for a step” in front of a moving object - this will give it even more dynamics.
CURVE LINES IN COMPOSITION
Curved lines- elegant, sensual, dynamic, creating the illusion of liveliness and diversity. They can bring an object closer or further away or create balance. “C”-shaped curved lines or arcs are the most common - because they are the shore of the sea, lake, rounded stone, rock or curved stems of grass. If we talk about architecture, these are arches. Several repeating arches look very impressive.
S-SHAPED CURVE IN COMPOSITION
Such lines are also called lines of beauty. This is an aesthetic concept, a component of artistic composition, a wavy, bending curved line that gives the image a special grace. The human body is the best example, from the arch of the foot to the curve of the neck.
The “S” shaped curve is the mouths of rivers, winding roads, paths.
The frame can combine straight and curved lines. This gives the frame composition balance and stability. The body of this acoustic guitar is a perfect example of the "S" shaped curve. Notice the use of other lines in this photo - the diagonal lines of the guitar strings, and the horizontal lines - the sheet music in the background.
BROKEN LINES IN COMPOSITION
Broken lines They give the pictures an alarming and even aggressive character. This impression when viewing photographs with broken lines occurs due to the fact that the eye often has to “jump” along the lines and change direction.
LEADING LINES IN THE COMPOSITION
A special role in linear constructions in the frame is given to lines, which are usually called “ introducing into the frame" or " leading lines" These are real or imaginary lines that originate at one of the lower corners of the frame and go into its depth, most often to the semantic center of the picture, located at the “golden ratio” point. Photographs built on this principle are easy to “read”; their content reaches the viewer’s consciousness almost instantly, and this is one of the main conditions for a good composition.
Remember that lines themselves are not a panacea when composing a composition. If the photo is not rich in content, but only includes individual elements that coincide with imaginary lines or curves (such as road markings, light trails left by headlights, lanterns, grilles, house arches, bridge arches, embankment parapets, river bends, etc.) - this is not a composition yet. Lines help us outline the path of the viewer's gaze, and accordingly decipher the story contained in the photograph or the story that we want to convey to him. They also serve to convey depth in the photo.
The lines themselves, apart from the surrounding objects and the color-tonal environment, do not mean anything, therefore Frame content is the basis of success!
Publication date: 30.12.2013
In this article we will get acquainted with the basics of composition and framing. A few simple tricks will make our photos more beautiful and clearer. All the shots shown here were shot on a Nokia Lumia 1020 camera phone.
Frame format
The aspect ratio of the frame is called the aspect ratio; in addition, a vertical or horizontal orientation of the frame is distinguished. You can select the format that suits you in the settings, right during shooting, or after, during framing.
Some of the common frame formats are:
1:1 Square or “one to one”
3:2 Classic 35mm film aspect ratio or “three to two”
2:3 Portrait orientation of the same format
4:5 Classic, more solid “four to five” format - glass photo plates, format and some medium format cameras were made in this format
16:9 Young and dynamic widescreen format, known to us from cinema and video, and now found in photography
These are not all existing formats, but the main ones are. By the way, it is often wise to crop works not in a free format, but in one of the ones described above - people are accustomed to these aspect ratios, and series of photographs look much better if the frame sizes do not vary from photo to photo.
Which format should I choose for a specific frame or the entire shoot?
The square is good for calm, complete, harmonious plots. Including for still lifes or portraits of people in the appropriate mood:
But for comparison, here is the original, full frame from which the square was cropped:
Lumia 1020 SETTINGS: ISO 160, F2.2, 1/45 sec
Vertical frames convey well the unstable balance, some intention or possibility of fall, movement, change:
Lumia 1020 SETTINGS: ISO 100, F2.2, 1/110 sec
If you need to shoot a tall building or a tightrope walker balancing on a rope, a vertical frame is the best solution. And here is an example when the dangerous and hysterical personality of the image just asks for a vertical, unstable frame.
The more traditional and vintage 4:5 format is great for classic portraiture, nodding to photography's historical analogue roots. Let me give you an example of footage from a Nokia Lumia 1020 camera phone, stylized for analogue shooting and printing in the Snapseed program:
Horizontal formats are good for landscapes and scenes with a large number of characters. When there is something to show in the background - be it the interior, views of the city or nature.
Lumia 1020 SETTINGS: ISO 800, F2.2, 1/9 sec
They are also great for obvious movement and dynamics in a portrait. Even the 16:9 widescreen format looks justified in this situation.
Don't be afraid to experiment with frame formats and orientation - changing the window can make the world behind it newer and more interesting :-)
Model and background
The relationship between model and background is a complex and very important issue. The very first thing you need to master is separating the model from the background. On the flat surface of the picture, the world is a little different from reality - a noticeable object sticking out from the model’s head or “glued” to the side (a line, a horizon, a bright spot on the background) can spoil the correct sense of space and take away the viewer’s pleasure.
It’s good when the model is noticeably lighter or darker than the background - this is called “tonal separation”
To be brief, pay close attention to the background - it should frame the model, revolve around it, but not conflict with it.
Lumia 1020 SETTINGS: ISO 100, F2.2, 1/2100 sec
During shooting, do not ignore noticeable objects and lines in the background, which will certainly catch the eye of your viewers as a result, but use them to your advantage - creating composition, balance, concentrating attention on the model and her condition.
Point of view
Try unusual angles, camera positions and points of view - they will make your photos more interesting and show the viewer familiar things from a new perspective.
In some places it is incorrect and the examples are strange (some:),
but overall fun stuff.
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A more complete list of compositional techniques. I will be glad to receive comments :)
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1. Composition as composition, connection, composition. Dialogue of compositional elements.
2. Integrity.
3. Diversity.
4. Polycentricity.
5. Saturation.
6. Instantaneity.
7. Expressiveness.
8. Simplicity.
9. Harmony.
10. Unity of composition.
11. SCC (plot-composition center).
12. Studium and Punctum. Punctum as the point of initiation of the semantic center.
13. The problem of big and small. Contrast of magnitudes. Scale deformation.
14. Main and secondary role in the plot.
15. Dynamics of a photographic frame.
16. Enhancing the perspective depth of a photograph's space using linear perspective. Leading lines and linear perspective.
17. Enhancing the depth of space in a photograph using aerial perspective.
18. Enhancing the depth of space in a photograph using color perspective.
19. Parallel lines in the composition. Preventing parallels at the edges of the visual field.
20. Sensual and rational in composition.
21. Three-thirds rule, golden ratio, Fibonacci numbers.
22. A simple figure as the basic skeleton of a composition.
23. EER (natural frame effect). Strengthening the integrity of a composition by using an outline around the perimeter of a photographic image.
24. Geometric and plot active points of the composition.
25. Unexpected combinations.
26. Contrast of shapes and geometric structures.
27. Contrast of silhouettes.
28. Contrast of light and shadow (tonal contrast).
29. Contrast of warm and cold tones.
30. Contrast of complementary (complementary) colors.
31. Color dissonance, contrast of dissonant colors.
32. Contrast of smooth and broken lines.
33. Contrast of three-dimensional and two-dimensional elements, volume and plane.
34. Contrast of near and far.
35. Contrast of moving and stationary parts of the composition.
36. Logical, semantic contrasts.
37. Functional contrast of primary and secondary details of the composition.
38. Contrast of states, positions.
39. Contrast of characters, emotions, psychological contrasts.
40. Plot contrasts that form a cause-and-effect relationship.
41. Contrast of stage and mise-en-scène.
42. Overlapping. Strengthening the integrity of the composition due to the overlapping of objects.
43. Temporal contrast (combining in one photograph the manifestations of what has already happened, what is happening, and what will happen).
44. Contrasts of style.
45. Contrasts of symbols.
46. Reflections and repetitions.
47. Symmetry or obvious asymmetry of the composition.
48. Rhyme and rhythm.
49. Movement in the frame. Wiring as a means of highlighting the main object or SCC.
50. Manipulation of symbols and signs.
51. Printed text within or outside the frame of a photograph that carries a pictorial load.
52. Plot and concept of photography.
53. Photographic image (photograph or series of photographs), implying a temporal narrative, a metaphorical story, a “photostory.”
54. Correlation of SCC and free space. The relationship between object and emptiness. Working with emptiness. Surroundings, framing of the SCC, the main object of the composition.
55. Ideal key, semantic polarity of photography.
56. Apollonian harmony and Dionysian catharsis.
57. Ambiguity and polysemy of the plot. Humor and irony.
58. Still life, close-up, macro - as a means of photographic expressiveness.
59. Charm, glamour, something enchanting.
60. Romance, erotica and sex.
61. Use of celebrities in the plot.
62. Using the effect déjà vu (“already seen”).
63. The principle of odd-even, yin-yang in a holistic, united and harmonious composition.
64. Cumulative and comprehensive application of all laws and rules of composition to find the optimal compositional solution according to the principle of thesis - antithesis - synthesis. Photography as the art of spontaneously capturing a unique, miraculous harmonious moment.
