By James Booth
What is composition? Quite simply, composition is the art -- and I do mean art -- of arranging the setting of the images you photograph. Any monkey can point a camera and click a shutter, but that doesn't mean the image will be pleasing to the eye, or that anyone will want to look at it. In effect, image composition is the "what you shoot at" part of photography.
I am by no means a master photographer, but like the other articles in my Photography Basics series, I've learned a few things over the years that can help you produce better photos.
"Know what your message is and how you want to convey it before clicking the shutter."
Start at the beginning
Although image composition has some basic, general rules, it can also be quite subjective depending on the message you're trying to convey with your photo. Every image has a message, even snapshots and candid photos. The more simple your message, hopefully the easier the composition will be.
There are four elements that come into play when composing your image: tone, sharpness, scale, and arrangement. By controlling and taking advantage of each, you can make your composition speak to your audience. Let's look at each of these four elements in turn.
Tone
Tone is the brightness and contrast of your image, the interplay of light and shadow. By using light and shadow, you can focus attention on or draw attention away from your subject. You can use image tone to control where the viewer's eyes are directed, and even the mood of the photo. You can find more information on controlling lighting in "A guide to guide numbers" in the May 2004 issue of Connected Photographer Magazine, http://www.connectedphotographer.com/issues/issue200405/00001288001.html, and "Basic portrait lighting" in the July 2004 issue, http://www.connectedphotographer.com/issues/issue200407/00001352001.html.
Sharpness
Like tone, sharpness can be used to direct where in the image you want the viewer's attention to be focused. By having your subject in focus, and the extraneous elements of the image blurred, the viewer will naturally be drawn to the item in focus. Depth of field will play a big part in how you control the sharpness of your image. For more information on depth of field, see "An in-depth guide to depth of field" in the May 2004 issue of Connected Photographer Magazine, http://www.connectedphotographer.com/issues/issue200405/00001284001.html.
Scale
Scale is simply the size relationship between the objects in your image. I'm sure many of you have seen either pictures or video of leaf-cutter ants carrying the leaves they use for food. Knowing the small size of the leaf itself, and how gigantic it appears in relation to the ant carrying it, the viewer is given a true sense of the miniscule size of the ant.
You can also use scale to make a statement about something. For example, let's imagine you've taken a picture of a farmer. On one hand, you can make the farmer very small and surrounded by a huge field of wheat. In this instance, the message is the size of the farm. On the other hand, you could do a close-up on the farmer and the impression would be entirely different.
Arrangement
How you arrange the elements of your image can make all the difference in how it's interpreted. Useless junk will draw attention away from the focus, cluttering the image unnecessarily. Objects that are not essential to the composition should either be physically removed, or eliminated by changing the camera's perspective.
Compositions that contain strong patterns or lines benefit the most by placing the subject at the central focus of the pattern. Placement of the principal subject should follow certain other general rules as well.
In general, you don't want the subject too close to the edge of the frame, but you don't want it perfectly centered either. Not centering the subject is not a hard and fast rule though; it's one that's meant to be broken now and again as circumstances dictate. Remember, this is an art.
In landscapes, the horizon shouldn't be at the exact center of the frame, distribute the sky or ground according to which element you want to accentuate the most. When taking action shots, show your subject as entering the frame, not leaving it, by having more space in front of the subject and less behind it.
For the most part, when it comes to portraiture you want to show more of the space in front of the subject than the space behind the subject, unless there's some element of the background that's integral to the shot.
But don't sacrifice your subject for a tertiary background element. Figure A shows an example where the photographer was so determined to include a background object he lost a portion of his subject. This is definitely a no-no.
FIGURE A
Don't include background objects at the expense of your subject. (click for larger image)
A better compromise would be to adjust the composition so as to include both elements. And how is this done? You can make your center of focus a point equidistant from each object, or change the camera's viewpoint. In Figure B, you can see a nice compromise between the subject, and the rocking horse. To be fair, Figure B would have had an even better composition if the camera moved down a bit, reducing some of the background above the child's head.
FIGURE B
Center your shot between the desired elements. (click for larger image)
Ideally, you want the subject to be the most conspicuous object in the picture, whether by size, contrast, or positioning. If your subject looks flat or unappealing from straight on, try shooting from an angle.
When there are multiple objects in your composition, they should all flow together in a harmonious manner, following an identical theme. All of the items in Figure C are linked by the photographer's perception of luxury.
FIGURE C
Multiple items in a setting should be linked by a single theme. (click for larger image)
What you should ideally avoid is items in the same setting that are diametrically opposed to one another. In other words, don't put objects together that don't belong together, unless the statement you're making is intentionally surreal, like the eyeball and orange in Figure D.
FIGURE D
Unless your goal is to be surreal, avoid pairing up objects that don't belong together. (click for larger image)
Conclusion
So what did we learn? First, that every picture has a message or tells a story, even snapshots and candids. Know what your message is and how you want to convey it before clicking the shutter.
Generally, you don't want your subject perfectly centered. Keep multiple objects linked by an identical theme, and use patterns and light to draw attention to your subject, not away.
Most of all, keep your compositions simple. The less there is in the frame, the less there is to control. It's been said that perfection is achieved when there is nothing left to remove, not when there is nothing more to add.
If you keep these simple tips in mind, and take your time while composing your images, you'll be successful in producing shots not only that you're pleased with, but that are pleasing to others as well. Good luck and good shooting.