Good Composition in Photography

Post date: Feb 27, 2016 1:54:20 PM

Steve McCurry, a very famous photographer, explains 9 rules of composition in this short video:

https://www.youtube.com/watch?v=7ZVyNjKSr0M

Hints and Tips for Great Composition in Photos

1. Rule of Thirds: Place points of interest on the intersections and important elements along the lines

2. Leading Lines: Use natural lines to lead eyes into the picture

3. Diagonals: Diagonal lines create great movement

pinterest.com

4. Framing: Use natural frames like windows and doors

5. Figure to Ground: Find a contrast between subject and background

6. Fill the Frame: Get close to your subjects

7. Patterns and Repetition: Patterns are aesthetically pleasing, but the best is when the pattern is interrupted

8. Symmetry: Symmetry is pleasing to the eye

ANALYZING COMPOSITION AND FORM

Format

• • What is the overall size, shape and orientation of the artwork (i.e. vertical, horizontal, portrait, landscape or square)? Has this format been influenced by practical considerations (i.e. availability of materials; display constraints; design brief restrictions; screen sizes; common aspect ratios in film or photography such as 4:3 or 2:3; or paper sizes such as A4, A3, A2, A1)?

  • How do images fit within the frame (cropped; truncated; shown in full)? Why is this format appropriate for the subject matter?

  • Are different parts of the artwork physically separate, such as within a diptych or triptych?

  • Where are the boundaries of the artwork (i.e. is the artwork self-contained; compact; penetrating; sprawling)?

  • Is the artwork site-specific or designed to be displayed across multiple locations or environments?

  • Does the artwork have a fixed, permanent format, or was it modified, moved or adjusted over time? What causes such changes (i.e. weather and exposure to the elements – melting, erosion, discoloration, decaying, wind movement, surface abrasion; structural failure – cracking, breaking; damage caused by unpredictable events, such as fire or vandalism; intentional movement, such as rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed afterwards; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project so expansive it takes years to construct)? How does this change affect the artwork? Are there stylistic variances between parts?

  • How does the scale and format of the artwork relate to the environment where it is positioned, used, installed or hung (i.e. harmonious with landscape typography; sensitive to adjacent structures; imposing or dwarfed by surroundings; human scale)? Is the artwork designed to be viewed from one vantage point (i.e. front facing; viewed from below; approached from a main entrance; set at human eye level) or many? Are images taken from the best angle?

Structure / layout

• • Has the artwork been organised using a formal system of arrangement or mathematical proportion (i.e. rule of thirds; golden ratio or spiral; grid format; geometric; dominant triangle; or circular composition) or is the arrangement less predictable (i.e. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? 

  • How does this system of arrangement help with the communication of ideas? Can you draw a diagram to show the basic structure of the artwork?

  • Can you see a clear intention with alignment and positioning of parts within the artwork (i.e. edges aligned; items spaced equally; simple or complex arrangement; overlapping, clustered or concentrated objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? 

  • What effect do these visual devices have (i.e. imply hierarchy; help the viewer understand relationships between parts of artwork; create rhythm)?

  • Does the artwork have a primary axis of symmetry (vertical, diagonal, horizontal)? Can you locate a center of balance? Is the artwork symmetrical, asymmetrical (i.e. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?

  • Can you draw a diagram to illustrate emphasis and dominance to create a focal point (i.e. ‘blocking in’ mass, where the ‘heavier’ dominant forms appear in the composition)? Where are dominant items located within the frame? Are there leading lines towards the focal point?

  • How do your eyes move through the composition? (eye path)