Mastering composition: the definitive guide for photographers PDF
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RICHARD GARVEY-WILLIAMS MASTERING COMPOSITION THE DEFINITIVE GUIDE FOR PHOTOGRAPHERS Mastering Composition_CH0_Prelims_1-13.indd 3 12/12/2013 16:23 Above: In this image of a Kenyan sunset, the strong, isolated shapes of the tree and setting sun on the left are balanced by the aperture in the clouds and ample negative space toward the right. Mastering Composition_CH0_Prelims_1-13.indd 2 12/12/2013 16:23 RICHARD GARVEY-WILLIAMS MASTERING COMPOSITION THE DEFINITIVE GUIDE FOR PHOTOGRAPHERS Mastering Composition_CH0_Prelims_1-13.indd 1 12/12/2013 16:23 First published 2014 by Ammonite Press an imprint of AE Publications Ltd 166 High Street, Lewes, East Sussex, BN7 1XU, UK Text and photographs © Richard Garvey-Williams, 2014, except images © Mark Shuttleworth, pages 71, 85 (top r), 95, 107, 111, 127, 131 (r), 132, 133, 136, 138, 143, 157 (l); © Edwin Westhoff page 86. Copyright © in the Work AE Publications Ltd, 2014 Print ISBN 978-1-78145-063-5 Amazon ISBN 978-1-78145-132-8 ePub ISBN 978-1-78145-111-3 PDF ISBN 978-1-78145-133-5 All rights reserved. The rights of Richard Garvey-Williams to be identifi ed as the author of this work have been asserted in accordance with the Copyright, Designs, and Patents Act 1988, Sections 77 and 78. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission of the publishers and copyright owner. While every effort has been made to obtain permission from the copyright holders for all material used in this book, the publishers will be pleased to hear from anyone who has not been appropriately acknowledged, and to make the correction in future reprints. The publishers and author can accept no legal responsibility for any consequences arising from the application of information, advice, or instructions given in this publication. British Library Cataloging in Publication Data: A catalog record of this book is available from the British Library. Editor: Chris Gatcum Series Editor: Richard Wiles Designer: Robin Shields Typeface: Helvetica Neue Color reproduction by GMC Reprographics Mastering Composition_CH0_Prelims_1-13.indd 4 29/08/2014 09:58 Contents Preface & Acknowledgments 6 Introduction 8 Chapter 1 Chapter 5 Visual Perception 14 Applying the Theory 114 Related Principles 20 Intent & Mindset 116 Gestalt Theory 22 Using the Principles & Guidelines 124 Associated Phenomena 34 Further Tips & Tools 142 Perception in Practice 36 Tips for Increasing Salience 150 Backgrounds 152 Chapter 2 Using Filters 154 A Final Checklist 156 Principles, Rules & Guidelines 38 Image Processing 158 Visual Weight 46 Picture Formats & Proportions 58 Chapter 6 Frame the Picture 66 Dynamic Tension 70 Photography as Art 160 Chapter 3 Conclusion 169 Elements of Design 72 Glossary 170 The Power of Lines 74 The Impact of Shape 86 Useful Web Sites 172 Scale, Form, Pattern & Texture 92 Perspective & Depth 98 Index 173 Chapter 4 The Role of Tone & Color 102 Mastering Composition_CH0_Prelims_1-13.indd 5 12/12/2013 16:23 Preface & Acknowledgments I am fortunate to have a very active and In addition to having a mind that seeks out order, progressive photography club in my local simplicity, and harmony, I am also burdened by town. We frequently have critique sessions one that is meticulous in its quest for precision. and guests come in to judge and comment on So, I hope that this will also make for a clear and competition entries. Although there appears to ordered discussion of what is potentially a rather be a general acknowledgment of the importance “airy” subject. of “composing” the photograph, the evaluation The supporting photographs are almost entirely and cognition that underpins this is often skirted of my own making, and I hope you enjoy them. I over. I get the impression that people know it’s also hope that you will fi nd fault with many, as I critically important, but don’t know quite where would like to think that you are applying a ruthlessly to turn to for guidance. Flicking through the critical eye to them as part of your development as a pages of most popular photography magazines photographer. Understandably they are not all chosen you might be left thinking that there’s only one purely on merit, but often simply for the fact that they compositional rule of importance: “The Rule of support or illustrate a point. I have tried to include Thirds.” Indeed, it appears that some will judge a range of genres and to this end have included the merit of a photograph based almost solely on some by my good friend Mark Shuttleworth, to this. Rarely do you hear discussion about “visual whom I would like to say a big thank you. Also, I am weight,” “balance,” “negative space,” “depth,” very grateful to Edwin Westhoff, photographer and and so on. teacher of photography and former lecturer at the University of Utrecht, for his clarifi cations regarding This, together with various comments I have his own “Diagonal Method” and for his informative heard and feedback I have received regarding correspondence and suggestions in general. the compositional quality of my own images over Finally, I would also like to express my thanks to my recent years, has prompted me to write this book. wife, Lisa, for her encouragement while I redefi ned I am fortunate (or perhaps not!) to have a mind myself as a photographer, and for her patience when that seeks out order, simplicity, and harmony and I lose myself “in the zone” with my camera. I believe this is refl ected to some degree in my photographs. I frequently take care to consciously compose my photographs rather than relying purely on instinct. This is not always a good thing, but it helped instigate this inquiry into the principles of composition and design. Through this book, I hope to share the fruits of this investigation. Right: Removing color from high-contrast images can help draw attention to the shapes and contours. 6 MASTERING COMPOSITION Mastering Composition_CH0_Prelims_1-13.indd 6 12/12/2013 16:23 PREFACE & ACKNOWLEGMENTS 7 Mastering Composition_CH0_Prelims_1-13.indd 7 12/12/2013 16:24 Introduction Due to the scope of the subject in question, I feel ourselves, but also to impact or infl uence others. compelled to start on a somewhat philosophical Through our photographs we aim to say something WHAT MAKES A GREAT PHOTO? footing. We need to ask some questions fi rstly about the subject. Often, but certainly not always, it I would suggest four elements that are about what we, as photographers, are trying to is an attempt to express and capture the beauty of a signifi cant components: do. The measure of the success of a photograph scene or subject, or to convey our emotional reaction needs to incorporate consideration of the to an aspect of our surroundings. If we simply “point 1 A subject with impact: something that captures photographer’s intent. and shoot” with our cameras, the problem is that we the viewer’s mind for one reason or another. are asking the camera to do the impossible—to convey It might be through its beauty, its ugliness, its Photography is employed for a whole host of reasons. the thought, refl ection, or vision that made us lift the uniqueness, or its interest. It may be simply representational or depictive, as camera in the fi rst place. Composition enables us to 2 A dynamic composition that supports the in the case of a fi eld botanist wanting to illustrate better express this with clarity. emphasis on the quality being expressed or the and study the detail of a new species of orchid. An stories that surround the subject matter. If the Evaluating Images extreme example is a passport photograph, where intention is to produce a “pleasing” image, its even a smile is not permitted. In terms of our personal reaction to a photograph, composition will also need to exhibit good visual psychological factors invariably come into the design and balance. A Form of Expression reckoning—we see with our eyes, but perceive 3 Effective use of lighting. This is to support the At the other extreme it may be used simply as a with our brains. This is done selectively and largely messages being conveyed and again to evoke form of expression, with the photographer giving the automatically, with the visual information being pleasure in the viewer through the quality of the process over to the right side of his/her brain. Here filtered according to our makeup, experiences, light and balance of it throughout the image. the photographs may not even be shared with others, and conditioning. Therefore, the experience of 4 Although it can be argued that this is with the process of producing the image being a seeing a scene or of viewing a photograph is encompassed in the above, the fourth element form of “expressive therapy” for the individual. highly individual. is perhaps the most crucial: the image’s ability For most of us, however, we enjoy our This is the subjective aspect of photography, to invoke an emotional response in the viewer. photography as something that is a little more than which clearly defines it as an art form. From this Through this it might convey emotion, mood, or representational. It is not only a way of conveying standpoint, there is no best or correct way to perhaps a sense of place, location, or space. something about the subject matter, but also about photograph a particular subject, as no judgment can ourselves to other people. The “ego” is perhaps be put on what is largely self-expression. However, calling out to be noticed as much through our even in this subjective realm we can discern certain photography as through our other pursuits in life. As patterns that most of us share relating to how we David Ward, one of Britain’s best-known landscape perceive and interpret images. This leads to the photographers, said, “Ultimately, isn’t it better to be claim that there is also some degree of objectivity noticed for the way we see than for what we see?” in the process of evaluating a photograph. As we shall see, an important fi rst step in taking Most of us can agree that certain photos are control of our picture making is this acknowledgment good, but why are they good? Through asking this that most of us are taking a photograph partly for we can learn a lot about the common ground we 8 MASTERING COMPOSITION Mastering Composition_CH0_Prelims_1-13.indd 8 12/12/2013 16:24 Above: A typical illustrative nature image that aims to reveal clearly the morphology of an animal: the entire damsel fl y is depicted sharply in profi le against a neutral background. INTRODUCTION 9 Mastering Composition_CH0_Prelims_1-13.indd 9 12/12/2013 16:24
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