COMPOSITION

Lines

Lines can be powerful elements in an image. They have the power to draw the
eye to key focal points in a shot and to impact the ‘feel’ of an image greatly.

DIAGONAL LINES

Diagonal lines generally work well to draw the eye of an image’s viewer through
the photograph. They create points of interest as they intersect with other lines
and often give images depth by suggesting perspective. They can also add a
sense of action to an image and add a dynamic looks and feel. Consider how you
might use diagonal lines to lead the eye to your photograph’s main subject or
point of interest. Different studies have been done into how people view images
and many of them say that a natural way into an image is by traveling left to
right and so a diagonal line starting at the bottom left and moving to the top
right of an image can be quite useful and natural. Of course you wouldn’t want to
split your image into two with a harsh line from corner to corner – rather look for
for patterns and curves between shapes that might do this naturally. Also rather
than making a line go from the very corner to the opposite corner it’s often good
to make them off centre and go to either side of corners. Keep in mind that
numerous diagonal lines leading in different directions and intersecting with one
another can add a sense of action to your photo but adding too many diagonal
lines might make it chaotic and confusing. As with both horizontal and vertical
lines – diagonal lines that are repeated through out an image can create very
effective patterns that can easily become the subject of a photograph
themselves.

USING HORIZONTAL LINES IN PHOTOGRAPHY

There’s something about a horizontal line in an image that conveys a message of

’stability’ or even ‘rest’. Horizons, fallen trees, oceans, sleeping people – all of
these subjects have something about them that speaks either of permanency
and timelessness or rest. Horizons are the most common horizontal line to be
found in photographs and they often act as a dividing point in a photograph – in
effect an anchor that the rest of the image is formed around. If you want to
accentuate the calming stable impact of a horizon one effective technique to use
is to shoot your images with horizontal framing (with the longest part of your
cameras frame from left to right. Alternatively if you want to reemphasize
horizontal lines shoot with you camera in a vertical framing. Keep in mind that
unbroken horizons can often lead to a photograph feeling somewhat static or dull
and a good strategy is to use other shapes in the landscape you’re photograph
to break things up and give a point of interest (mountains, trees, buildings
etc).Horizons should generally not be placed in the middle of your frame. This
leaves an image feeling unsettled compositionally. A much more effective
technique is to place them in the upper or lower third of your frame. Layers of
horizontal lines can create rhythm or patterns in an image that can become the
focus of an image in and of itself. Lastly work hard to keep your Horizontal lines
horizontal and square with the edges of your images frame. There’s nothing
more frustrating that viewing a picture that is slightly off centre.

Using Vertical Lines in Photography

Vertical lines have the ability to convey a variety of different moods in a

photograph ranging from power and strength (think of skyscrapers) to
growth (think of trees).
As horizontal lines can be accentuated by shooting in horizontal format
vertical lines can be used very effectively by swapping the way you hold
your camera into a vertical framing. This lengthens the vertical subject
further which can emphasize it’s height.
 The other option is to break this rule and frame your vertical subject
horizontally which will give it the sense that your image can’t contain it
(quite effective if the vertical lines are very strong). Once again it’s
important to attempt to keep your vertical lines as much in line with the
sides of your image as possible. This is not always possible if you’re
shooting looking up an image as the subject will taper off towards the top
– but attempt to keep it’s center as straight as possible and you should be
ok. Keep in mind the Rule of Thirds when you have strong vertical lines in
a photograph. Placing a
line directly in the middle
of a shot will effectively
cut your image in half. This
can be used with dramatic
impact but also can leave
your image looking
segmented. Keep an eye
out for vertical lines that
are repeated in patterns in
your images as they can
be used to great impact –
particularly if they are
contrasted with other
shapes and lines going in different directions.

How to Use Converging Lines to Enhance Your Photography

When framing a landscape shot one of the types of environmental

features that many photographers look for and like to incorporate in their
shots is converging lines. We’ve talked previously about how lines have
the potential to add interest to an image – but multiple lines that converge
together (or come close to one
another) can be a great technique to
lead your viewers eye into a shot.
Perhaps the classic example (and
one that’s probably been overdone)
of converging lines are railway
tracks. Position yourself in the
middle of two tracks (after taking a
look at what might be coming from
behind) and you’ll see the two tracks
on either side of you appear to get
closer and closer together as they go
into the distance. Take this shot and
the natural reaction for those looking
at the scene will be for them to
follow the lines off into the distance.
In a sense the two lines act like a
funnel which directs the gaze of
those entering them in a certain
direction. The same effect can be achieved with roads or pathways,
converging fence lines, a set of stairs, power lines or virtually any other
lines that run parallel into the distance or that actually converge at some
point

TIPS REGARDING
CONVERGING LINES

1. Experiment with
Positioning – the classic
railway line shot described
above has many
possibilities. One is to
position the tracks dead
center and symmetrically
in the shot.
Another positioning would
be to step to one side of
the tracks and let them
run diagonally through your frame from a lower corner to the opposite
upper corner. The beauty of this is that you’ll end up with a more dynamic
shot. Symmetrical and vertical placement of the lines can be powerful but
diagonal lines tend to convey movement.
Alternatively stepping away from the start of the lines can give another
perspective – as can holding your camera on an angle to give another
diagonal framing of the lines.

2. Wide Angle Lenses – different lenses can totally change the impact of
a shot with converging lines. I find that a wide angle lens can be
particularly useful – especially when positioning yourself between the two
lines.
This will help to give the perception that the distance between the lines at
the starting point of the image is wider than it is. This exaggeration of the
width of your lines can have a powerful impact upon your shot.

3. Positioning the ‘convergence’ - one thing to consider when you

have converging lines in an image is that they draw the eye into a shot –
towards the point that they converge – this becomes one of the most
important parts of this image – a focal point.
As you’re framing your shot ask yourself – ‘where is the most effective
position to frame this?” Keep in mind rules like the Rule of Thirds that
says that the intersecting points of imaginary lines a third of the way into
an image are key points for positioning points of interest. Also know that
if the point of convergence is outside the frame of the shot that you are
leading the eye out of your shot. This could leave a shot unbalanced and
with tension – alternatively it could enhance the shot and leave your
viewers wondering about the place that they converge.
 4.Adding Interest at the
Point of Convergence –
Sometimes it is worth
enhancing the point of
convergence with
something of interest (for
example waiting until a
train appears in the
distance on the tracks – or
positioning a person at the
top of stairs) – on other
occasions the composition
of the shot is strong enough
without adding an extra
subject.

COMPOSITION AND DESIGN PRINCIPLES:

VISUAL ELEMENTS

We think of the elements as the basic visual material with which to make
art. Is hard to imagine anything visual without the use of one or more of
these elements.
We think of the principles as ways to work with and arrange the
elements.
DESIGN PRINCIPLES

• Emphasis - say "Center of Interest." It is about dominance and influence.

Most artists put it a bit off center and balance it with some minor themes
to maintain our interest. Some artists avoid emphasis on purpose. They
want all parts of the work to be equally interesting.
• Harmony - As in music, complementary layers and/or effects can be
joined to produce a more attractive whole. The composition is complex,
but everything appears to fit with everything else. The whole is better
than the sum of its parts.
• Unity - When nothing distracts from the whole, you have unity. Unity
without variation can be uninteresting - like driving on a clear day through
Western Kansas on the interstate. Unity with diversity generally has more
to offer in both art and in life. Of course some very minimal art can be
very calming and at times even very evocative. Even a simple landscape
can have a powerful effect.
• Opposition - uses contrasting visual concepts. That same Western
Kansas "big sky" landscape becomes very dramatic and expressive when
a storm builds in the southwest. Principles can grow out of any artistic
device that is used to produce an effect on the viewer.

Balance is the consideration of visual weight and importance. It is a way

to compare the right and left side of a composition
 The butterfly below by itself is essentially
symmetrical. Both sides are similar in
visual weight and almost mirrored.
Because symmetrical balance often looks
more stiff and formal, sometimes it is
called formal balance.

Asymmetrical balance is more interesting.

Above both sides are similar in visual weight
but not mirrored. It is more casual, dynamic,
and relaxed feeling so it is often called
informal balance.

Radial balance is not very common in artist's

compositions, but it is like a daisy or
sunflower with everything arranged around a
center. Rose windows of cathedrals use this Of course a butterfly, even though it is
design system. symmetrical, doesn't look stiff and formal
because we think of fluttering butterflies
as metaphors for freedom and
spontaneity. It is a case of subject matter
and symbolism overpowering formal
design effects.

Of course a sunflower can have many

meanings and feelings beyond its "radiant"
feeling. Farmers might hate it as weed cutting This is a simple diagram of radial
into their corn production. On the other hand, balance.
many of us can't help thinking about Vincent
Van Gogh's extraordinarily textured painted
sunflowers. Once we have contemplated
those thickly expressed colors and textures
with their luscious painterly surface, every
sunflower we see becomes an aesthetic
experience filled with spiritual sensations.

• Variety - You create variety when elements are changed. Repeating a

similar shape but changing the size can give variety and unity at the same
time. Keeping the same size, but changing the color can also give variety
and unity at the same time. In visual composition, there are many ways
you can change something while simultaneously keeping it the same.
 • Depth - effects of depth, space, projection toward the viewer add interest.
Linear perspective in the real world makes things look smaller in the
distance. Some artists try to avoid depth by making large things duller and
small things brighter, and so on, to make the objects contradict realism.
Many artists don't believe in realism even though they could do it if they
wanted to. It seems too boring to them. Realism wouldn't be art for some
artists.
• Repetition - Some ways to use Repetition of the Visual Elements are:

o Size Variation can apply to shape, form, etc. Notice how size can
effect how close or far something can appear to be from the
viewer.

Here the same butterfly is shown twice. Which one appears closer? Note
how size relationships create depth or space in a composition. Children in
first grade can already recognize closer and farther based on size even
though they wouldn't typically use this in their pictures unless they were
motivated to do so.

o Repetition can be used on all of the Visual Elements. If things are

repeated without any change they can quickly get boring. However,
repetition with variation can be both interesting and comfortably
familiar. Repetition gives motion.
o Variation can be used with all of the visual elements. See "Variety"
above. You can do this with all the elements. Artists do this all the
time.

COLOR SATURATION

Color saturation, sometimes called "color intensity" or brightness can also

give a feeling of depth and space. Which of these butterflies are farther away?
These butterflies create the illusion of depth even though they are all the same
size.