Understanding Composition: The Expanded Guide: Techniques - Softcover

Taylor, David

Softcover

ISBN 10: 178145051X ISBN 13: 9781781450512

Verlag: Guild of Master Craftsman Publications Ltd, 2015

Inhaltsangabe

A concise, jargon-free guide through the basics of composition

In photography, as with other visual arts, composition is the placement or arrangement of elements in an image as distinct from the subject of a work. Although it may sound clichéd, the only rule in photography is that there are no rules: just a number of established guidelines that can be applied to enhance the impact of a scene. These guidelines will help you take more compelling photographs, investing them with a natural balance, drawing the viewer's attention to the important parts of the scene, or leading the eye through the image. Professional photographer David Taylor guides the reader through the basics of composition, why it matters, and how to attune the mind to the art of looking. Beginning with a guide to choosing a camera—and how different types help you think about composition differently—he explains aspect ratios, the focal length of lenses, and the effect of perspective. The main composition concepts—from the Rule of Thirds, the Golden Section, the Rule of Odds, visual weight, and contrast, to actual and implied lines in an image, symmetry, viewpoint, and abstraction—are each analyzed and demonstrated with the aid of the author's own beautiful images. The techniques of exposure, depth of field, shutter speed, and white balance are explained, with practical hints and tips. Finally, post-production techniques such as cropping, selective blurring, panoramic stitching, and use of filters complete this in-depth guide to a fascinating area of photograph. Includes four punch-out quick reference cards at the back of the book.

Über diesen Titel

Über die Autorin bzw. den Autor

David Taylor is an award-winning landscape and travel photographer.

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Understanding Composition

The Expanded Guide

By David Taylor, Chris Gatcum

AE Publications Ltd

Copyright © 2014 AE Publications Ltd
All rights reserved.

ISBN: 978-1-78145-051-2

Contents

Chapter 1 Introduction, 6, 
Chapter 2 Equipment, 20, 
Chapter 3 Composition concepts, 48, 
Chapter 4 Light and color, 94, 
Chapter 5 Practicalities, 134, 
Chapter 6 Postproduction, 166, 
Chapter Glossary, 
Chapter Useful web sites, 
Chapter Index, 

CHAPTER 1

Introduction

Camera technology improves each year. However, despite increasing automation, one thing cameras can't do is compose an aesthetically pleasing image. This is still very much dependent on the photographer holding the camera.

What is composition?

Composition is the act of creating something new from other preexisting materials or elements. Composition can be applied to many different creative endeavors. Music is composed by arranging a series of notes in a pleasing or interesting way (what constitutes a pleasing piece of music is, of course, entirely subjective). Prose is composed by choosing words and ordering them into coherent and (hopefully) lively sentences.

Photographs are also said to be composed. This is often thought of purely in terms of how the various elements in a scene are arranged. For good reason, since this is indeed an important part of composing a photo. However, the success — or otherwise — of a photo is due to many other factors too. These include (but are not limited to) the quality of the light used and even the timing of when the photo was made.

A photo is only as good as its weakest part. A potentially interesting photo can be marred by neglecting one aspect during its making. This book will give you an overview of everything you need to think about before actually pressing the shutter button, and what can be done afterwards in postproduction to improve a photo.

First steps

The composition of an image can be broken down into a number of steps. Mentally running through these steps before pressing the shutter button is a habit that will help save disappointment later.

Step 1: What should be in the image?

An image is an abstraction of reality. We don't see the world in a rectangular frame. Composing an image is an act of imposing order on the world, to fit it within the confines of the image space. The first step is therefore to choose what should fit within the boundaries of the image. Typically this will be the subject of the image, either filling the frame or shown in the context of its environment. The subject of an image can be as real as a person or a building, or as conceptual as a particular mood or abstract idea.

Step 2: What shouldn't be in the image?

Oddly enough, just as important as deciding what should be in an image is the decision about what shouldn't. This means being ruthless. Anything — whether it's a person or an inanimate object — that doesn't add to an image shouldn't be included. Something which appears to be an afterthought or is there purely by accident will detract from the main intent of your image. A pleasing image will work because it is a considered whole, with no elements to jar or distract (though there is nothing to stop you including elements that do jar or distract as long as that's your intention). There are several strategies for excluding elements. The main one is choosing the viewpoint. Often just shifting the camera's position slightly will make a big difference. The simplest way to change a viewpoint is to move the camera left or right. This statue was in the middle of a cluttered and visually distracting urban environment. By selecting a low viewpoint, I was able to cut the clutter and simplify the image.

However, you should always consider making a vertical movement too. Finding a viewpoint above your subject so that you look down on it is a very effective way of simplifying your subject's surroundings. Looking up at your subject will have the same effect — particularly if this allows you to shoot it against a less distracting background, such as the sky. The lens you choose will also have a bearing on how well you are able to exclude distracting elements. Longer focal length lenses are generally easier in this regard. Wide-angle lenses often include too much. Arguably more care must be taken when composing with a wide-angle lens than with a telephoto.

Step 3: Where should my subject be in the image frame?

Where you place the subject in the image determines a number of factors. One of these factors is image balance. Another is the dynamic qualities of the image: does it feel static or energetic? We'll return to these factors in Chapter 3.

Step 4: How will a viewer's gaze wander through the image?

When we look at an image our eyes don't keep still. They're attracted to certain elements such as vibrant colors and areas of contrast. Strongly directional elements such as lines (whether real or implied) help to guide a viewer's gaze through an image. More negatively, elements that dissect an image can interrupt the flow of a viewer's gaze as effectively as a physical barrier.

A viewer's gaze ideally should remain within the image. Elements that direct the gaze out of the image will be distracting and make it feel somehow incomplete. Bright highlights act like visual magnets. This is acceptable if they're part of the subject, but less so if they're in the background and prove distracting.

Step 5: Am I holding my camera in the right orientation?

A vertical image has a different dynamic to a horizontal one. Deciding to shoot horizontally or vertically is an important aesthetic choice. Unfortunately, most cameras tend to sit more easily in the hand when held horizontally than vertically. However, you shouldn't allow this to be a deterrent.

Step 6: Is this the right time to make the picture?

Some images are very time-dependent: your subject may be moving and will only be in the right place for a split second; the sun may be in the wrong position; or there may be any number of other reasons. Therefore you need to think about whether this is the right moment to make an image or whether it would be improved by waiting.

Step 7: Is this the right light for my subject?

There is no such thing as good light, only light that is right for your subject. The light you use determines a number of different factors that could enhance or detract from your subject. The direction of the light will have an effect on where the shadows are in relation to your subject. This will also have an effect on how three-dimensional your subject will look in the image. The softness or hardness of the light affects the density and sharpness of the shadows. Finally, the color of the light has a big impact on the emotional impact of your image. There's more information about the various qualities of light in Chapter 4.

Preparing the mind

Making pleasing photographic compositions isn't an ability that only a select few can master. Anyone can be a creative photographer with patience and dedication.

Slowing down

There's a lot to be said for taking photography at a slow pace, particularly when learning the art of composition. In many ways composition is a lot like working out a puzzle. You need to take the three-dimensional world and fit it into a box, arranged in such a way that it makes perfect sense as a two-dimensional...

Details zur Ausgabe

• Verlag: Guild of Master Craftsman Publications Ltd
• Erscheinungsdatum: 2015
• Sprache: Englisch
• ISBN 10: 178145051X
• ISBN 13: 9781781450512
• Einband: Taschenbuch
• Anzahl der Seiten: 192
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: AC WORKS CONSULTING Srl; 39054729444; acworksltd@outlook.com; ; Via Vilfredo Pareto 125; CESENA (FC); 47521; Italien