Composition rules

A lesson every beginner learns about photography, other than it can drain our bank accounts, is that for each desired result, there is a required action to create it. When we want a lighter image, we use exposure adjustments. When we want a sharper image, we adjust shutter speed etc. The technical side of photography is not easy.

A lesson learned in photography is that for composition, the equally important part of photography, exactly the opposite is true in a lot of situations. No rules can be followed or steps taken that can guarantee a well-designed image. Knowledge must come from within and for those who image design is not intuitive, composition guidelines can be indispensable information.

Guidelines are loosely referred to as rules; such as in the title of this information. In reality, they are merely guidelines, proven design principles used by artists and designers to assist in the organisation and creation of images. As visual artists, it is our right to compose our images any way we want and there are no hard and fast rules. The guidelines help, and it's critically important to the diversity of our portfolios that we make the distinction between using them as rules and using them as regulations.

Many composition guidelines exist to help us organise the elements of an image. These are suggestions for predictable results and should be used with care. When guidelines rule our work, our images themselves can become predictable.

There are times when guidelines are helpful, and there are times when they can be modified or ignored. When to ignore the guidelines requires some experience, but the results can be quite dramatic and cause a photograph to shine above the rest.

Many photographers wield the guidelines as a sculptor. Often blending their understanding of composition with personal interpretation, and sometimes technical experimentation, for results that often go beyond the realm of rules. Now, there are no formulas for achieving this ability; it must come from understanding and experience. Here are four examples that have broken major nature and wildlife composition rules. They are still compositionally sound images.
 
Never Centre the Subject: Many skilled photographers would dismiss a centered subject as amateurish. Often, centering a subject provides an average view of a scene and robs the image. Anyone can stare straight at a bird in a lake - what's special? If there are concentric circles around the centred bird, this will make the scene work. This shot was obvious: ignore the guidelines and rules. Focusing on the circles, the silky texture of the water, the bird, all contribute to the success of the image.

Composition shapes and colours

Raddii - this is a connection of lines meeting in the centre and it is also a expansion of lines leaving the centre of an image. Radii are usually found in nature. One example of the man-made Radii is the spokes of a wheel on a car. Eyes have two ways to go - either drawn into the picture area or led out of the picture area or image. Be careful how you use the Radii and try to have the eye led into the image.

A Cross shows an opposing force that will give the picture a feeling of cohesion. Now, the horizontal bar of the Cross will act as a stopper while the vertical pole can act as a leading line in the image. For example, the windows in a large skyscraper will form crosses and will keep your interest in the image. A Cross also has religious meaning and the subtle use of the Cross can give hidden meaning to an image.

The rectangle makes an attractive frame in the image. Use it to accentuate important subject matter. Often it's a frame within a frame in an image. For example, a tree with an overhanging branch at the right side of the picture area will form a rectangle and help frame the main subject in the imabe. You will make the centre of interest stand out and be noticed clearly in the image.

The use of colour can also help in Photo-Composition by drawing attention to the subjects and objects of interest. Note, the eye will always go to the brightest and lightest colours in an image. Watch the play of colours at all times and make sure they are doing what you desire.

Now, the Value of colours are Intensity, Brightness and Luminance Factor values. Colours are said to have Strong or Weak Values in photographic terms. Colours can be Warm or Cold, Advancing or Receding in value. Physics shows that the longer wavelengths from Red to Yellow are usually described as Strong, Warm, Advancing colours. The shorter wavelengths, the Greens and Blues are described as Weak, Cold and Receding.

Now, pastel colors are Quiet and Moody while Bright colors are Strong and Active in value. Certain colours react very strongly with each other to give Strong Contrasts and will become Discords rather than Harmonies in practice.

Now, hue is the scientific counterpart for the more popular word colour used in every day life. Now, red, Yellow, Green and Blue are the Primary hues, while Orange, Blue-Green, and Violet are Secondary hues in science.

Also in physics, complementary colours that go with each other will complement each other and are desirable in any painting or image. Place the Primary and Secondary colors on a Colour Wheel and you will find that Red will be opposite Green; Orange will be opposite Blue etc. Note that these opposites are Complementary Colours and can be used together to create the best Color Harmony in an image. A Red barn in a Green field of grass has harmony in the image. Blue and Orange sky of a sunset has colour harmony as well. Look for Complementary Colours in the visual image you plan to photograph and use them to create better images.

Holiday photography

We all like to bring home pictures to remember from our holidays. Turn so-so snapshots to fabulous photos, by taking a moment to review these tips and advice.

Preparations before you leave home - make sure you're familiar with how your camera works and take the manual - if you haven't read the manual, do so. Your camera may have capabilities you didn't know about, or you may find answers to questions that have been bothering you for some time. Decide if you have enough gear to warrant a camera bag, and try to find one that doesn't scream "Steal me now". Consider a backpack-like style because they're easy to carry around all day, leave your hands free, and appear relatively inconspicuous to the thief.

As you pack for your trip, bring your manual, extra camera batteries or a battery charger, and digital storage cards or film for your camera equipment. Now, if you plan on taking lots of digital photos and you have a laptop, it may be a wise idea to bring it so you can download your images and reuse your cards as needed.

With air travel, pack your camera in a carry-on bag, especially if you're fortunate enough to own sophisticated cameras. Note that even when locked, checked luggage can be broken into, and if your equipment is stolen, most airlines will not reimburse you at all. Do not put your camera in a jacket pocket, too, since it's easy to leave a jacket on the plane or in the airport lounge. As you exit the plane, double-check to make sure you have all your equipment.

Make sure you fully understand your camera's settings. Your camera's automatic settings control the f-stop and shutter speed. A camera's f-stop determines how blurry the background is. Now, the smaller the number (like 5.6), the more the background blurs out. And the larger the number (like 16), the sharper everything in the picture will be. Note that neither one is inherently better than the other; it all depends on what you're photographing and what effect you want to achieve.

The shutter speed refers to how quickly the camera's shutter opens and closes in real time. Now, the higher the shutter speed, the faster it takes the shot. In order to freeze action, you need to shoot at a minimum of 125th. Below a 60th, you need a tripod to keep the image sharp because your hand will move enough to affect the image.

Note that point-and-shoot cameras may not allow you to manually adjust both settings. But understanding your camera's automatic settings can help you control how your photos end up. As an example, portrait settings are designed to keep the main subject sharp and blur the background, while landscape settings keep everything in sharp focus. Try shooting a variety of subjects on each of your camera's settings to see what they do and what you like best.

Note that some cameras have semi-automatic settings which allow you to set either the f-stop or the shutter speed yourself, while the camera sets the other adjustment. Semi-auto settings are often ideal: you still have a good amount of control over how your image looks, but you don't have to worry about meter-reading or quickly changing lighting.