Photography, being communicative, means we must learn to compose our meaning using the least number of elements to tell the story in the briefest way. Showing as much as we need, but no more! The basic decision is thus, “What to include, and what to leave out.” Brevity is the economy of means.
Photography brings a visual language that is universal in understanding. We must then understand its vocabulary which consists of shapes, textures, patterns, lines, colours, shade of light to dark and sharp to blurry images. Just as we must learn to arrange words in a coherent order in order to make sense when we write or speak, so too must we put visual elements together in an organized manner if our photographs are to convey their meaning clearly and vividly.
Composition means arrangement: the orderly putting together of parts to make a unified whole; composition through a personal, intuitive act. However, there are basic principles that govern the way visual elements behave and interact when you combine them inside the four borders of a photograph. Once we have sharpened our vision and grasped these basic ideas of principles, then we will have the potential for making our photographs more exciting and effective than ever before.
A photographer lives through their eyes. The basic way of photographic “seeing” is an essential step in being able to communicate photographically. In mastering composition, one must cultivate the ability to see shapes, lines, forms, masses, etc., and not to just recognize objects. Even more importantly than that, we must be able to visualize in our mind’s eye just how the objects will look when they are reproduced on a flat piece of paper. This is brought out only through practice and experience. Through practice, this procedure should become second nature; an unconscious, automatic habit. By knowing the format of a photograph, we can then learn to previsualize the photograph in a positive and effective manner. Remember, seeing involves the mind as well as the eyes.
A painter has total freedom when it comes to putting what they want into their painting. A photographer is restricted to recording what is in front of their lens. The space fenced off by the four edges of the camera’s ground glass is the photographic area. The photographer has an advantage over the painter, though, in being able to freeze a split second of time -- peak action. By using space effectively and not just filling it, the arranging of shapes and tones within the area can help convey the photograph’s meaning and help reinforce it’s emotional effect. But what should be included or excluded? How big should you make things? Where should you place an object in relation to another object, and in relation to the edges of the photograph? These principles will be discussed in full.
By what criteria or standard do we judge a photograph as good or bad? The eye and mind expect certain things in order to enjoy certain things. If the photograph fulfills these expectations then it is basically a success. One of the simple tricks of composition is to keep the eye from running out of the picture before it has been fully satisfied. When watching for this, there are three essential qualifications:
1. Good technical quality (focus, light, exposure, etc.)
2. Interest or impact (storytelling)
3. Good composition (keeps the eye in the photograph)
As mentioned, there are no ironclad rules that we must follow for composition, just principles or guides for ease of expression ie. something that can be understood universally with a historical continuum in influencing the photograph being composed.
The fifty principles of composition presented in this book will greatly benefit both amateur and professional photographers in developing their own photographic art.
Photography: Unlike the Other “Fine” Arts
Painting, sculpture and many other fine arts are performed by dexterity coupled with talent, which is the ability to see and perceive the harmony of parts not necessarily in front of the artist.
Photography cannot be performed without the subject being in front of the lens. Consequently, it is a reproduction type of art. Not belittling the ability to manipulate the machinery and, of course, the talent to see and put together the photograph using composition in an appealing manner. To be an elite photographer, it goes without saying that one must know their equipment completely, performing as if it were second nature. Lighting and recording the magic in such a way that their desired statement is made important. It does necessitate the knowledge of film performance and paper latitude finishes in order to enhance the end product.
Unfortunately, many ‘would-be’ professionals have not advanced beyond the basics of photography using their cameras simply as a mechanical paintbrush or painting by numbers. For example, they place the camera here, use such and such a focal length lens for portraits and nail the light in such a position that it is rarely moved. They perform all portraits with the same type of lighting regardless of the mood desired or age of subject. Sending out their film and never giving it a second thought for the printing aspect, ie. deep or light printing, they leave it up to lab personnel who have no idea as to what mood or end result the photographer had in mind.
The talented photographer has mastered their equipment. In most cases they know exactly how they would like the subject to be presented and finished even before the button is pushed on their camera.
Like the painter, the talented photographer has the ability to pre-visualize exactly what they want, and once the idea is born in their mind, from there on it is anticlimactic. They just need the props, to assemble their equipment accordingly, and then evoke the desired expression that they have conceptualized.
Many unimaginative photographers try to make their photographs by thinking through the camera, not giving their subject any forethought. This will only produce snapshots. The photographer performs these same pictures day after day, only changing the faces and rarely ever changes their composition. If this does occur, it is only because they are copying what they have seen produced by someone else.
Only those photographers who work by talent will perpetually compose photographs that have originality and life. Only then may they be considered a work of art. This, of course, is not inherent in everyone.
May those amongst us with a driving talent persevere their shortcomings and stand true to their calling.
Talent
It is that which cannot be taught
but yet it may be revealed
It is that which is not equal to all men
but appreciated by most
It is that which portrays beauty in its own way
but takes taste to enjoy
It is that which comes from the inner man
yet is seen in its outer parts
It is that which drives men to sacrifice
yet calls for acceptance
It is that which consumes lives
yet calls for more
It is that which is unattainable in perfection
yet it is ever striven for
Why Are You a Photographer?
When my three-year-old son Michael asked me the question, “Daddy, why are you a photographer and not a carpenter?” I could not answer the question fully. What are my motives? Are they pure or selfish?
Am I in it for the money which is obviously a selfish motive? Or