1. WHAT MAKES A GOOD PHOTOGRAPH? Composition

2. The selection, placement and arrangement of subjects within the picture area Means “putting together” Organization of the elements of art (line, shape, form, color, etc) according to the principles of design (balance, contrast, etc) an image is said to be pleasing if the elements are arranged in a balanced compositional way

3. In every photograph you make.. You decide where the boundaries of the photo will be (either in camera or in post by cropping) You choose the viewpoint or perspective You move or rearrange people or objects You move yourself and decide where to place the point of interest in the viewfinder

4. Good or Bad Photo? One of the biggest differences between a really good photo and a mediocre one is the composition What one person finds pleasing, someone else will not – composition is often a matter of personal taste A photograph that communicates its message (says what you want it to say, says it clearly and interests its viewer) is an effective composition How you arrange a scene in your camera will determine the effectiveness of your image and contribute to how well the message is conveyed

5. Major Principles of Composition Simplicity Single theme/subject Tension/movement Multiple elements

6. Simplicity Eliminating distracting and unimportant material Simplifying the visual elements satisfies viewer’s need to identify the main subject (point of interest) Simplicity is a matter of organizing your subject in a clear, concise manner

7. Ways to achieve simplicity: Move closer, include only necessary elements (ex)ex Change lenses – telephoto to zoom closer (ex)ex Use shallow depth of field (ex)ex Change point of view (ex)ex Choose darker background (ex)ex Remove objects if possible (ex)ex Move subject if possible next

8. Move Closer

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12. Change lens to telephoto

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14. Shallow depth of field

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16. Change point of view

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18. Choose darker background

20. Choose darker background (with zoom) back

21. Remove objects

22. and move closer back

23. Tension/Movement Arises from the feeling of movement and interplay among the visual elements – ex: comparison, contrast, positioning, etc Creates a variety of messages depending on how elements are organized or balanced against each other Produces the picture’s tone and makes it interesting  ex: gentle, forcefulgentleforceful next

24. Gentle tone Flat horizontal line leading to a drop of water, non- distracting background

25. Forceful tone Contrasting thick heavy man-made form with the thin fragile lines of nature back

26. Techniques for tension/movement: Create motion with wide angle lens (ex)ex Use diagonal lines (ex)ex Combine thick and thin lines (or other contrasts)(ex)ex Through use of color (ex)ex Frame your subject as disproportionately small (ex)ex next

27. Wide angle

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29. Diagonal lines

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31. Combine thick and thin lines back

32. Through use of color back

33. Frame your subject as disproportionately small back

34. Techniques to help see creatively and compose better photos True seeing is not a function of the camera. How you arrange your subject is the real creative act. Fill the frame (ex)ex Define the horizon (landscapes) (ex)ex Apply rule of thirds (ex)ex Vertical vs horizontal (ex)ex Skew the point of view (ex)ex Frame the subject (ex)ex Silhouette the subject (ex)ex Break the rules (ex)ex

35. Fill the frame

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41. Define the horizon back

42. Define the horizon Horizon at bottom third when if sky is interesting

43. Define the horizon Horizon at top third when sky is not interesting

44. Horizon at top with low point of view back Get down low, close to surface to enhance foreground elements

45. Apply rule of thirds Place point of interest where lines intersect

46. Apply rule of thirds

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48. Vertical vs horizontal

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52. Skew the point of view (tilt camera) back

53. Frame the subject Look “through” a foreground element to the point of interest The foreground element “frames” the main point of interest

54. Frame the subject

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57. Silhouette the subject Low light and back lit subject and camera only sees the shape of the object, no colors

58. Silhouette the subject back

59. Silhouette the subject back

60. Break the rules Once you know the rules of composition, you can break the rules when it supports the message you are trying to convey

61. Break the rules

63. Other techniques: Leading lines (ex)ex Lead the subject  looking space (ex)ex Avoid mergers  tonal mergers – (ex)ex  dimensional mergers – (ex)ex  border mergers – ex: cutting subject off at edge of frameex

64. Leading lines Lines that lead the viewer’s eyes through the photo Diagonal lines and S curves are especially effective

65. Leading lines back

66. Lead the subject Room in front of the subject within the frame of the photo

67. Not leading the subject back

68. Tonal mergers back when important objects in a scene appear to blend together and lose their identity.

69. Dimensional mergers important scene elements run together because the eye sees 3D, camera doesn’t

70. Dimensional mergers back

71. Border mergers when subject matter is cropped too tightly or cut off by the edge of the frame at an inappropriate point

72. Fini!