Before we wrap up the photo composition mini-course, I want to share with you one more important part of being a photographer.
As you fine-tune your photography composition skills, start thinking about your style. Yes, that’s right style.When other people look at your photographs, you want them to view them and immediately say – “Hey, this is unmistakably your work. I love your style.”
Work especially hard at creating photographs that only you can take – photos that are unique to you.
This is especially important if you intend to sell your photos commercially. Creating your own style will make your hard work more marketable. People will WANT to buy our photos. Additionally, if your style is absolutely wonderful, magazines and the like will want to work with you over and over again. Do keep this in mind. A style is just as important as composition. In fact, the two go hand in hand.
Thank you for joining me in this course. I enjoyed working with you and seeing your progress through the course.
Stop back at any time. I’d like to see how you get on. If you have any questions, please ask, even after your completion of the course. The journey doesn’t end here.
If you have participated in each of the lessons in this course, you now know the rules of composition. You also know it is ok to break the rules if you can do this effectively. Additionally, with each lesson, we have had a good practice which allowed you to put the rules into practice.
You may still be asking yourself what is the secret to creating amazing photos with brilliant composition? The answer is no secret at all. The answer is practice. Practice, practice, practice and more practice.
I can’t stress this enough.
Practice will give you experience. The more photos you take practising everything we have discussed during this course the better photographer you will become. All of the so-called rules will come to you without thinking. I promise. It may seem like you’re not doing anything special, but actually, you are quickly taking stock of things like leading lines, filling your frame, or avoiding the middle though your not consciously thinking about it. All the elements talked about are very important to your photography composition and while it may seem overwhelming at first, grasping these tools means that you control exactly how your audience views your photos.
Take your camera everywhere you go and set aside time each day or each week to take photographs. I often hear this from people – there is nothing interesting to photograph where I live. There is your challenge. Make the uninteresting interesting through your photography. If you can do this, you know you’ve mastered composition, conveying a message and photography.
When you look at a scene with your naked eye, your brain quickly picks out subjects of interest. But the camera doesn’t discriminate – it captures everything in front of it, which can lead to a cluttered, messy picture with no clear focal point.
Remember, don’t let your camera rule you. You rule the camera!
What you need to do is choose your subject, then select a focal length or camera viewpoint that makes it the centre of attention in the frame. You can’t always keep other objects out of the picture, so try to keep them in the background or make them part of the story.
Move in close to cut out other parts of the scene Silhouettes and shapes make strong subjects The balloons radial lines draw you into the frame
Fill The Frame
When you’re shooting a large-scale scene it can be hard to know how big your subject should be in the frame, and how much you should zoom in.
In fact, leaving too much empty space in a scene is the most widespread compositional mistake. It makes your subject smaller than it needs to be and can also leave viewers confused about what they’re supposed to be looking at.
To avoid these problems you should zoom in to fill the frame, or get closer to the subject in question. The first approach flattens the perspective of the shot and makes it easier to control or exclude what’s shown in the background, but physically moving closer can give you a more interesting take on things.
It’s easy to get stuck in a rut and take every picture with the camera held horizontally. In fact, I was taught to shoot this way and only this way. It took time for me think of turning my camera vertically.
Try turning it to get a vertical shot instead, adjusting your position or the zoom setting as you experiment with the new style.
When you are a newbie, or just starting out, it’s tempting to put whatever you’re shooting right in the centre of the frame. However, this produces rather static, boring pictures. One of the ways to counteract this is to use the Rule of Thirds, where you split the image up into thirds, both horizontally and vertically, and try to place your subject on one of these imaginary lines or intersections.
Let me say, however, this is an overrated approach.
Instead, move your subject away from the centre and get a feel for how it can be balanced with everything else in the scene, including any areas of contrasting colour or light.
There are no hard and fast rules about achieving this kind of visual balance, but you’ll quickly learn to rely on your instincts – trust that you’ll know when something just looks right.
A poorly composed photograph will leave your viewers unsure about where to look, and their attention might drift aimlessly around the scene without finding a clear focal point.
Lines exist everywhere, in the form of walls, fences, roads, buildings and telephone wires. They can also be implied, perhaps by the direction in which an off-centre subject is looking.
Horizontal lines lend a static, calm feel to a picture, while vertical ones often suggest permanence and stability. To introduce a feeling of drama, movement or uncertainty, try the dutch tilt technique.
You can need nothing more than a shift in position or focal length to get them –wider angles of view tend to introduce diagonal lines because of the increased perspective; with wide-angle lenses, you’re more likely to tilt the camera up or down to get more of a scene in.
You can also introduce diagonal lines artificially, using the ‘Dutch Tilt’ technique. You simply tilt the camera as you take the shot. This can be very effective, though it doesn’t suit every shot and is best used sparingly
Even though photographs themselves are static, they can still convey a strong sense of movement. When we look at pictures, we see what’s happening and tend to look ahead – this creates a feeling of imbalance or unease if your subject has nowhere to move except out of the frame.
You don’t just get this effect with moving subjects, either. For example, when you look at a portrait you tend to follow someone’s gaze, and they need an area to look into
For both types of shot, then, there should always be a little more space ahead of the subject than behind it.
Don’t just concentrate on your subject – look at what’s happening in the background, too. This ties in with simplifying the scene and filling the frame. You can’t usually exclude the background completely, of course, but you can control it.
You’ll often find that changing your position is enough to replace a cluttered background with one that complements your subject nicely. Or you can use a wide lens aperture and a longer focal length to throw the background out of focus.
It all depends on whether the background is part of the story you’re trying to tell with the photo. In the shot above, the background is something that needs to be suppressed.
Bright primary colours really attract the eye, especially when they’re contrasted with a complementary hue. But there are other ways of creating colour contrasts – by including a bright splash of colour against a monochromatic background, for example.
You don’t need strong colour contrasts to create striking pictures, though.
Scenes consisting almost entirely of a single hue can be very effective. And those with a limited palette of harmonious shades, such as softly lit landscapes, often make great pictures.
The key is to be really selective about how you isolate and frame your subjects to exclude unwanted colours.
We began with an explanation of the definition of photo composition, then we looked at a lot of examples of images with strong photo composition, and we put the elements of photo composition into practice via various exercises. You completed the exercises, right?
By the way, the images we’ve looked at throughout the process were other people’s photographs. I always love viewing other people’s photographs for great ideas and inspiration. Looking at other photographer’s work is a super way to learn.
So, now it’s time to test your knowledge. We will look at a series of photographs. Look at each photograph, then identify the elements of photo composition the photographers used to create their images.
At the beginning of the quiz – the first few photos, you may need to take time to study each photo in order to determine which elements of photo composition were used. By the end of the quiz, you’ll be able to identify the elements straight away.
Good Luck With The Quiz and let me know how you fared. Leave a comment below or send me a message on Twitter. My Twitter home is@MarkPaulda
Just as we sometimes use the written word to create a deliberately jarring effect, we can do the same with photos by breaking standard composition rules.
Most of us recognise, understand and appreciate the “rules” of photography, BUT each one of us is different and we all view the world in our own unique way. Sometimes you might want to deliberately centre your subject, ignore leading lines, or intentionally forget to leave space to move and you might not want to fill your frame. That’s ok. All that means is you’re a rebel like me.
Welcome to the world of breaking the rules of photo composition. When you understand the rules of composition and break them on purpose, things start to get interesting. Your creativity can flourish. It is often best to start off by breaking one rule at a time, however.
Just remember for every rule there is a great picture that proves you can disregard it and still produce a fantastic image.
Despite all the rules, if you take a photo that looks great but doesn’t meet the criteria set out by the photography gods, it’s ok. You still have a fabulous photograph.
That said, in the next post let’s put your knowledge of the rules to the test.
Colour plays a vitally important role in the world in which we live. Colour can sway thinking, change actions, and cause reactions. It can irritate or soothe your eyes, raise your blood pressure or suppress your appetite. When used in the right ways, colour can even save on energy consumption.
As a powerful form of communication, colour is irreplaceable. Red means “stop” and green means “go.” Traffic lights send this universal message. Likewise, the colours used for a product, website, business card, or logo cause powerful reactions. Colour Matters.
What is your favourite colour?
Choose your favourite or any colour then take three photos featuring one dominant hue.
Make your subject stand out by using a colour.
Also, to make this exercise a bit more challenging, interpret these three words in a photograph:
Agitation- state of anxiety or nervous excitement.
Desire- a strong feeling of wanting to have something or wishing for something to happen.
Elation- great happiness and exhilaration.
Take your time and give careful thought to each of your photos, colours and words. Before you take each photo visualise what you want your image to then capture your image.
When you’ve finished the Color Photo Composition Challenge, share your images with me at Twitter. My Twitter home is@MarkPaulda
Colour photography isn’t just about strong colour. Colour photography can be very subtle, almost monochrome. You’re more likely to get pastel colours on a dull cloudy day. This type of light, which is so soft that there are almost no shadows, is ideal for subjects like portraiture, flowers, still life and waterfalls – anything where too much contrast could ruin the photo.
Bright primary colours tend to attract the eye especially when they are contrasted with a complementary hue as you will see in the examples below.
Use One Colour Against a Neutral Background. Placing a strong colour against a neutral background emphasises the colour because there are no competing hues to detract attention from it.
How do you find a neutral background? Anything that’s grey or black will do, and it can also work if the background is in deep shadow.
Let one colour dominate, then the colour becomes the main subject of the photo. The effect is even stronger when the dominant colour is a primary colour (red, yellow or blue).
View each of the following colourful images and notice how your eye is drawn to the scenes. Visualise your next images and think how will you use colour in your next photo?
Bright primary colours tend to attract the eye especially when they are contrasted with a complementary hue as you can see in the following two examples.
The flamingo dipping its head into the water is seriously beautiful. What elements of composition do you see? Yes, for one the colour is wow! The effective use of controlling the background – the green colour reflecting in the water is great AND do you see the curved line starting at the bottom of the image – the flamingo reflecting in the water to the actual flamingo. I can’t say enough good things about this photo. The composition is outstanding.
And this bright yellow window box stands out nicely against the blue wall. But do you notice it is almost directly in the middle of the frame? The composition would be stronger if the window box was situated to the right of the centre, don’t you think?
The soft shades of the autumn leaves are simple but effective, especially with the background. The slight touch of sunlight hitting the leaf in the foreground is also nice. The photographer wins with this composition.
We have a purple colour explosion with this photograph and a sensational one at that. Wouldn’t you love to stumble upon a scene like this? I half expect Peter Rabbit to hop through at any minute. The colour is effective and the bridge begins off-centre and moves the eye into the shrubs. What awaits us there? We don’t know, but we do know this image is an example of good composition.
Lastly, this image of the frames is sort of interesting. It is completely static meaning it’s just frames leaned up against one another. There is no action waiting to happen. What we do have are patterns and our brains seem to like that. What really makes this photo work are the various colours. With each frame being a different colour, the eye moves around the image. In this regard, the photographer succeeds because we as viewers are taking in everything in the photograph. The result is a strong composition.
Take advantage of colour when you can. And remember, when composing a photo try to incorporate more than one element of the composition. The possibilities are endless. Your creativity and imagination should run wild. Good photo composition is not difficult. It is simply using your own eye to make stunning photographs.
Having a good colour in a photo does not always equal increasing the saturation and the contrast. In fact, rarely will that be the case.
How you choose to use colour is all related to your own personal aesthetic. Some people prefer bright, popping colours, some prefer muted colour schemes and some prefer true to life while others prefer black and white. As you take photos, pay attention to the things that seem most often to attract you.
Why do you photograph the way you do? What colours do you find are most prevalent in your work? What is their effect on you psychologically? Does a particular colour make you feel good? Is that the effect you would like them to have on the viewers of your photographs? If so, you’re on the right track.
Bright primary colours really attract the eye, especially when they are contrasted with a complementary hue. But there are other ways of creating colour contrasts. By including a bright splash of colour against a monochromatic background, for example.
You don’t need strong colour contrasts to create striking pictures.