U3A Photographic Group

BASIC PHOTOGRAPHIC TECHNIQUES: COMPOSITION

This text is taken from a Public Domain text book written for the USA Navy.
Although written some time ago, its contents are excellent. Ive taken the liberty of
amending it here and there.
Today, photography is characterized by a rapid growth in the development of
technology and ideas. Each year, millions of pictures are taken and an astonishing
array of new films, cameras and imaging systems enter the market. One of the great
attractions of the photography field is the ease with which basic skills can be learned.
Unlike some of the older arts that take years of training to produce an acceptable
product, anyone can quickly learn how to take a picture; however, photographic
techniques must be mastered before you can become an accomplished photographer;
therefore, mastery of the basic fundamentals is the foundation upon which you will
build your photographic and professional skills as a photographer. The photographic
techniques presented in this chapter are essential in producing quality photographs,
and you can apply each of these fundamentals, to some extent, each time you take a
picture.
Lesson 1: Photographic Composition, Centre of interest, Subject placement,
Simplicity, Viewpoint and camera angle, Balance.
Lesson 2: Shapes and lines.
Lesson 3: Pattern, Volume, Lighting, Texture, Tone.
Lesson 4: Contrast, Framing, Foreground, Background.
Lesson 5: Perspective.
Lesson 6: Basic lighting techniques: Outdoor and existing light photography.
Lesson 7: Composition and Basic shots or sequences.
Appendix: Subject and Rule of Thirds.
PHOTOGRAPHIC COMPOSITION
Photographic composition is the pleasing arrangement of subject matter elements
within the picture area. Creative photography depends foremost on the
photographer's ability to see as the camera sees because a photograph does not
reproduce a scene quite the way we see it. The camera sees and records only a small
isolated part of the larger scene, reduces it to only two dimensions, frames it, and
freezes it. It does not discriminate as we do. When we look at a scene we selectively
see only the important elements and more or less ignore the rest. A camera, on the
other hand, sees all the details within the field of view. This is the reason some of our
pictures are often disappointing. Backgrounds may be cluttered with objects we do
not remember, our subjects are smaller in the frame or less striking than when
recalled, or the entire scene may lack significance and life.
Good pictures are seldom created by chance. To make the most of any subject, you
must understand the basic principles of composition. The way you arrange the
elements of a scene within a picture, catch the viewers attention, please the eye, or
make a clear statement are all qualities of good composition. By developing
photographic composition skills, you can produce photographs that suggest
movement, life, depth, shape, and form, recreating the impact of the original scene.
How are photographic composition skills developed? You look, you study, you
practice. Every time you take a picture, look all around within the viewfinder.

Consider the way each element will be recorded and how it relates to the overall
composition. You must become thoroughly familiar with the camera and learn how
the operation of each control alters the image. Experiment with the camera and look at
the results carefully to see if they meet your expectations. With experience and
knowledge of your equipment, you begin to "think through your camera" so you are
free to concentrate on composition. Devote serious study to the principles of good
composition. Study books and magazine articles on composition. You should analyze
various media: motion pictures, TV, magazines, books and newspapers, and evaluate
what you see. What is good about this picture or that TV image? What is bad about it?
What principles of good composition could you apply in a different way to make the
picture better.
Good or correct composition is impossible to define precisely. There are no hard-andfast rules to follow that ensure good composition in every photograph. There are only
the principles and elements that provide a means of achieving pleasing composition
when applied properly. Some of these principles and elements are as follows:
Centre of interest
Lighting
Subject placement
Texture
Simplicity
Tone
Viewpoint and camera angle
Contrast
Balance
Framing
Shapes and lines
Foreground
Pattern
Background
Volume
Perspective
As you study these principles of composition, you should soon come to a realization
that some are very similar and overlap one another a great deal.
Because all or most of these principles must be considered and applied each time you
take a picture, it may all seem quite confusing at first. With experience you can
develop a sense of composition, and your consideration and application of the
principles will become almost second nature. This is not to suggest that you can allow
yourself to become complacent or careless in the application of the principles of
composition. Doing so will be immediately obvious because the results you produce
will be snapshots, not professional photographs.
The principles of composition that follow apply equally to both still and motion media
photography.
CENTRE OF INTEREST
Each picture should have only one principal idea, topic, or centre of interest to which
the viewer's eyes are attracted. Subordinate elements within the picture must support
and focus attention on the principal feature so it alone is emphasized.
A picture without a dominant centre of interest or one with more than one dominant
centre of interest is puzzling to a viewer. Subsequently, the viewer becomes confused
and wonders what the picture is all about. When the picture has one, and only one,
dominant "point of interest," the viewer quickly understands the picture.
NOTE:
"Point of interest," as used here, has the same meaning as centre of interest; however,
using the term point of interest prevents giving the impression that the centre of
interest should be located in the centre of the picture.
The specific topic, idea, or object to be portrayed must be set in your mind as you
prepare to take a picture. When there is nothing in the picture to attract attention to a
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particular area or object, the eyes wander throughout the scene. The centre of interest
may be a single object or numerous ones arranged so attention is directed to one
definite area
When the centre of interest is a single object that fills most of the picture area or one
that stands out boldly, such as a white sail against a background of dark water,
attention is attracted immediately to it. As may be expected, not all subjects are as
simple to arrange or as bold and impressive.
A photographer usually has at his or her disposal many factors or elements that can be
used and arranged within the picture area to draw or direct attention to the primary
idea of the picture. Some of these elements are lines, shapes, human figures, tone, and
texture.
Human figures attract attention more strongly than almost any other subject matter
and unless they are the main object of the photograph should probably be kept out of
the picture; for instance, a photograph showing a person standing at some distance in
front of a building may leave the observer wondering whether the person or the
building is the primary subject. When people are included in a scene for comparative
size of objects or just for atmosphere, keep them from looking directly at the camera.
When people look at the camera and therefore at the viewer of the picture, the viewer
tends to return their gaze by looking directly back into their eyes. When they are not
the intended point of interest, we miss the statement and purpose of the picture. When
people are subordinate elements within the picture and they are looking in a direction
other than at the camera, the viewers attention is directed from the people to what
they are looking at, which should be the centre of interest; for example, when people
are grouped around a piece of machinery that is the centre of interest of the picture,
have them look at the machine, rather than the camera.
SUBJECT PLACEMENT
Sometimes good composition is
obtained by placing the centre of
interest in the geometrical centre of the
picture; it is generally not a good idea to
place it there. Too frequently it divides
the picture into equal halves and makes
the picture uninteresting and difficult to
balance. By dividing the picture area
into thirds, both vertically and
horizontally, and locating the centre of
interest at one of the intersections of the
imaginary lines, you can usually create
a feeling of balance to the composition
(fig. 5-5).

In photographic composition there are

two general guides for determining the
best location for the centre of interest.
The first is the principle of thirds. The
other is dynamic symmetry. In the
principle of thirds, the intersection of
lines that divide the picture area into
thirds are marked by Os. These
intersections are good locations for the
centre of interest in most photographs.
Notice we said THE centre of interest.
Remember, have only one centre of
interest to a picture-keep it simple. The
principle of dynamic symmetry is a
similar idea. A good location for the
centre of interest is found by drawing or
imagining a diagonal line from one
corner to an opposite corner. Then, draw
a second line perpendicular to the first
from a third corner (fig. 5-6). The
intersections of the lines are the location
for the centre of interest.
SIMPLICITY
Simplicity is the key to most good pictures. The simpler and more direct a picture is,
the clearer and stronger is the resulting statement. There are several things to be
considered when we discuss simplicity. First, select a subject that lends itself to a
simple arrangement; for example, instead of photographing an entire area that would
confuse the viewer, frame in on some important element within the area. Second,
select different viewpoints or camera angles. Move around the scene or object being
photographed. View the scene through the camera viewfinder. Look at the foreground
and background. Try high and low angles as well as normal eye-level viewpoints.
Evaluate each view and angle. Only after considering all possibilities should you take
the picture. See beyond and in front of your subject. Be sure there is nothing in the
background to distract the viewer's attention from the main point of the picture.
Likewise, check to see there is nothing objectionable in the foreground to block the
entrance of the human eye into the picture.
A last point of simplicity-tell only one story. Ensure there is only enough material in
the picture to convey one single idea. Although each picture is composed of numerous
small parts, and contributing elements, none should attract more of the viewer's
attention than the primary object of the picture. The primary object is the reason the
picture is being made in the first place; therefore, all other elements should merely
support and emphasize the main object. Do not allow the scene to be cluttered with
confusing elements and lines that detract from the primary point of the picture. Select
a viewpoint that eliminates distractions so the principal subject is readily recognized.
When numerous lines or shapes are competing for interest with the subject, it is
difficult to recognize the primary object or determine why the picture was made.

VIEWPOINT AND CAMERA ANGLE

The proper viewpoint or camera angle is an important factor in good composition.
Repositioning your subject within the viewfinder frame and changing the camera
viewpoint or camera angle are two simple ways of controlling composition.
Photographing from a different viewpoint or camera angle can often add drama and
excitement or even bring out an unusual aspect of a subject. Most of the subjects you
photograph are three-dimensional and should be photographed from an angle (to the
right or left of and/or from higher or lower than the subject) that allows the viewer to
see more than one side of the subject. The photographer should study the subject from
different sides and angles. Walk around the subject and look at it from all viewpoints.
See it from elevated and low positions as well as from eye level to find the best
composition. This greatly assists in composing the subject for the best balance and
helps to select a background that compliments, not distracts from the subject.
The terms viewpoint and camera angle are often used in conjunction with one another
and sometimes used interchangeably. They can also have different meanings
depending on how they are applied. Viewpoint" is the camera position in relationship
to the subject. "Camera angle" is the angle in which the camera lens is tilted; for
example, a picture of a crowd, made from ground level with the camera held
horizontal with reference to the ground, may be referred to as a "low viewpoint" (or
camera position); however, when this picture is made, again from ground level, but
with the camera pointed up, it may be referred to as a "low camera angle." Likewise, a
picture made from an elevated or high position, with the camera again held horizontal
with reference to the ground, or even pointed straight down, can be referred to as a
"high viewpoint"; however, if the camera is not held horizontal to the ground or
pointed straight down, but pointed at some angle between horizontal and vertical, the
camera position could be referred to as a "high camera angle."
Eye-Level Shots
With the camera held horizontal, eye-level shots are usually made at a height of about
5 1/2 feet, the height from which the average adult sees, and with the camera
horizontal. With the camera held at eye level but pointed up or down, the camera
position changes and you have either a low or high camera angle, respectively.

Low Viewpoint
and Low
Camera Angle
Low viewpoints
and low camera
angles can add
emphasis and
interest to many
ordinary
photographs. A
low viewpoint
can be used to
distort scale or
add strength to a
picture or to
emphasize
certain elements
within the
picture. A low
camera angle is
achieved when
the camera angle
is located below
the point of
primary interest
and pointed
upward. Low
angles tend to
lend strength
and dominance
to a subject and
dramatize the
subject. Low
angle shots are
used when
dramatic impact
is desired. This
type of shot is
very useful for
separating the
subject from the
background, for
eliminating
unwanted
foreground and
background, and
for creating the
illusion of
greater size and
speed (fig. 5-7).

High Viewpoint
and High
Camera Angle
High viewpoints
and high camera
angles help
orient the
viewer, because
they show
relationships
among all
elements within
the picture area
and produce a
psychological
effect by
minimizing the
apparent
strength or size
of the subject
(fig. 5-8).
BALANCE
Balance in photographic composition is a matter of making pictures look harmonious.
Each element in a picture has a certain amount of value in respect to all the other
elements. Every tone, mass, shape, tree, rock figure, building, line, or shadow
contributes a certain amount of weight that must be arranged correctly in the
composition to give the impression of balance. The subject placement within the
picture area is the factor that must be carefully considered.
Composition is kept in balance by two different methods: symmetrical, or formal,
balance and asymmetrical, or informal, balance.

Symmetrical, or
Formal, Balance
Symmetrical, or
formal, balance in a
photograph is
achieved when
elements on both
sides of the picture
are of equal weight
(fig. 5-9A). The idea
of formal balance can
be related to a
seesaw, When there
are two equally
weighted objects on
the seesaw and they
are equidistant from
the pivot point, or
fulcrum, the board
will be in balance.
Pictures with formal
balance may look
static and unexciting;
however, they do
present an air of
dignity. Formal
balance does not
always mean a
picture has to the
seesaw in
perspective. The
forces or weights are
be symmetrical.
Symmetrical
pictures, in which
both presumed to be
approximately equal;
but, the imaginary
sides are exactly the
same, are produced
only when you pivot
point is set deep into
the picture space.
With this want a
special effect;
therefore, they are
not often variation to
symmetrical balance,
a more interesting
produced. A variation

of symmetrical
balance deals with
photograph is usually
created (fig. 5-9B).
Asymmetrical, or Informal, Balance
Asymmetrical, or informal, balance is usually much more interesting than
symmetrical balance. In asymmetrical balance the imaginary central pivot point is still
presumed to be present; however, instead of mirror images on each side of the picture
area, the subject elements are notably different in size, shape, weight, tone, and
placement. Balance is established by equalizing the element forces in spite of their
differences.
Asymmetrical balance is introduced when the presumed weight of two or more lighter
objects is equalized by a single heavier object placed on the other side of the
imaginary pivot point (fig. 5-10). Asymmetrical balance is more difficult to achieve
than symmetrical balance, because of the problem of establishing relative weight
values for dissimilar elements within the picture area as well as presenting some form
of stability.

Aspects of Balance
There are many other factors to consider in order to make pictures appear balanced.
Some of these are as follows:
An object far from the centre of the picture seems to have more weight than
one near the centre.
Objects in the upper part of a picture seem heavier than objects of the same
size in the lower part of a picture.
Isolation seems to increase the weight of an object.
Intensely interesting objects seem to have more compositional weight.
Regular shapes seem to have more weight than irregular shapes.
Elements on the right side of an asymmetrical picture appear to have more
weight than elements of the same size on the left side of the picture.

The directions in which figures, lines, and shapes appear to be moving within the
picture area are important to balance; for example, a person may be walking in a
direction, or his eyes may be looking in a direction, or the shape of some element
creates a feeling of movement. When the feeling of direction is present within a scene,
it tends to upset the balance if judged on the size of the subject alone.
Understanding the factors required to create pictorial balance is essential for you to
produce good pictures. To gain this understanding, you can continually test your
feelings for balance as you look through your camera viewfinder. Once you gain an
understanding of the principles of pictorial balance, achieving balance in your
photographs becomes an easy process.

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