GUIDELINES FOR PHOTOGRAPHIC COMPOSITION

@fSeS Better Pictures

 INTRODUCTION

This approach to photography is based on the premise that

every photograph has an intention--an idea to communicate.
Composition is the process of identifying this intention and
organizing information within the camera viewfinder in relation
to it. Ideal1y, the result is a visual statement of clarity and
strength. The key to effective composition lies in six
interrel ated considerations : SUBJECI-ELEI4ENTS-FRAME-SPACE-VIEW-
POINT-LIGHT. Whereas each consideration comes into play with
every photograph, the particular situation at hand and the
photographerrs intention will dictate their emphasis and order
of application. This is meant to be a working guide, not a
rigid formula; with experience each photographer will be able to
tailor the process to his,/her own interests and needs.
Before we examine the basic procedure in detail, it is
important to dispel two common notions that often inhibit a
beginning photographer's progress. The first is that a large
amount of photographic equipment is necessary for successful
pictures, when in fact it may not even be desirable. A
reasonably well made 35nm camera with a normal lens is
sufficient. By limiting yourself to one lens you will get to
know thoroughly its possibilities, and there is no doubt that
you can work more freely unencumbered by a bag fuII of lenses
and the constant decisions they force upon you. with
contemporary cameras it is easy to get carried away with the
technology. Remember that although the camera is a necessary
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tool, it is the photographer who makes the picture. Many of the

worldrs greatest photographic images continue to be made with
very simple equipment. A second problem involves setting too
high expectations. Every potential photograph presents a host
of complex problems--usualIy too complex to be solved with a
single click of the shutter--so a goal of more than one or two
really good pictures per ro11 of film is unrealistic at first.
When the situation permits take several pictures, exploring and
clarifying as you proceed. The following six-point process will
encourage you to work slow1y I carefully, and above all
consciously.

THE SIX CONSIDERATIONS

1) Identifying the Subject

As stated earl ier we assume every photograph is made for a
reason. This reason is the SUBJECT of the photograph. It is
the idea behind the picture; it is what the picture is intended
to communicate. It is the essence of your attraction to the
eventr whether that event is a baseball game, a landscape, a
portrait or a stilt life. Before composing a photograph, you
must identify your subject to some degree. Begin by asking
yourself why you want to make the picture. What about the event
most interests you? What overall feeling do you wish to
present? This preliminary identification provides direction for
your initial approach to the composition. As you proceed with
the composition continue to ask these questions. Update the
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subject definition and become more precise as you go along. Try
to avoid identifying the subject as one of the major components
of the picture; 'Unc1e Fredn or uthis landscapen for example.
Instead find out what it is about these components which
interests you. This could be the expression in Uncle Fredrs
eyes or the feeling of tranquility the tandscape evokes.
2) Se]ect the Important Visual Elements
Now that the subject is to some degree defined, select the
important visuaL elements. An ELEMENT is any visually
identifiable component of a picture. Elements range from
objects (such as trees, people, or buildings) to expanses of sky
or nemptyn space, to shadows, highlights, and other effects of
light. Every phenomenon recorded by the camera at the moment of
exposure, regardless of how seemingly inconsequential, is an
element of the picture. A picture is the sum totar of all its
elements. It must be remembered that the photograph exists out
of context and that the viewer of any picture does not have the
photographer s advantage of nhaving been there. " your
I

photograph must therefore, communicate its intention clearly and

with strength. For this to happen you must select only those
elements that are relevant to the subject. scan the event and
try to isolate those elements that impress you the most. Do not
try to cram too much information into one picture. simprify the
picture as much as possible. rf you nisolate and simplifyn your
intention will be clearer and the image more intense.
3) Util iz e the Enti re I'rame
The viewfinder is the space in which the picture is
composed. It is crucial to be aware of and use the entire
frame. Most beginning photographers consciously use only about
the central third of the frame. This can result in important
elements becoming lost in too large a space (appearing too
small) or overwhelmed by quantities of nonessential or
overlooked elements. Always run your eye around the boundaries
of the frame. This assures an awareness of the total space in
which you are working. It will also alert you to easily
overlook elements entering from the top, bottom, and sides. Pay
special attention to the bottom of the frame, as in many
pictures it is the foundation upon which the picture rests. Do
not arbitrarily cut off lower elements which need to be
ngrounded. " For example a fu11 length portrait should not be

cut off at the ankles. An architectural photograph which

includes most of the 1olrer story should, in most cases, include
the base of the building and probably some ground below that.
Now take a Frame Inventory. It{ake yourself aware of every
eLement occupying the frame. Everything you see must be
relevant to your purpose in making the picture. Eliminate
nonessential elements by repositioning the camera or subdue
unavoidable but unwanted elements by limiting depth of fie1d.
4) Create a Dynamic Space
For your picture to have 1ife, elements must relate actively
to each other and the frame as a whole. The most common
problems in this regard are unconscious centering of major
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elements and equal division of sky and ground. The camerar s

focusing aid, because of its function and central location, is
usually responsible for these errors. Focus the camera and then
move it slightly left and right up and downr noting the various
changes. You will find that many elements suggest direction-
ality--either actual (a runner moving from left to right) or
implied (a person l-ooking off to one side). Make use of this
directionality by giving it space to state itself. The runner,
for example, if placed to the far left of the frame will have
space into which he can run. The picture will suggest the
distance yet to be run. If placed with the empty space behind
him the picture will suggest the distance already run. In
either case the entire frame is utilized and the'emptyn space
works as an active element. By placing him in the centerr the
photograph wil} be rather static with the equal strEce in front
and behind going mostly to waste. Likewise the person looking
off to one side may require space to look into. A tree that
seems to reach upward will possibly benefit from an increase in
space above it. By allowing directionality to project, the
space becomes dynamic and the image is activated.
5) Select the Best Viewpoint
Viewpoint pertains to the height of the camera; eye-Ieve1,
above eye-Ievel, or below eye-Ieve1. Viewpoint affects
perspective and scale and must be carefully considered. An
eye-Ievel viewpoint renders space as vre usually see it so it, is
often a natural inclination to photograph from a standing
position. Many pictures, however, can benefit from variations
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of this nnormaln point of view. Use a low viewpoint when you

wish to enphasize the foreground. Near elements will be
isolated against the sky or a receding background giving then
apparently greater stature and importance. Low viewpoints also
exaggerate perspective, causing the bottom of a near element to
appear much larger in relation to the top. Low viewpoints can
be interesting in themselves as they show us ordinary situations
in unaccustomed ways. Photographing young children fron low
viewpoints, for example, can reveal a strange world of gigantic
tables and chairs and oversized adults. A high viewpoint, on
the other hand, will flatten space and ernphasize the graphic
qualities of an event. High viewpoints can be used to isolate
elements against the ground with ninirnal interference from
backgrounds. Very high viewpoints, from windows or rooftops,
offer many possibilities for interesting work.
Whenever possible try several viewpoints. Try kneeling or
even lying positions. Stand on any available support to raise
yourself above eye-Ieve1. These variations can add life to your
pictures and alert you to new aspects of an event.
6) Light
Lighting can make the difference between a vibrant
photograph and one that, however well-composedT seems flat and
life1ess. In many photographs light as an element is as
important as any other. Light can itself be the subject of a
photograph. It is a vast and beautiful subject the conplexities
of which are beyond the scope of this essay. We will deal only
with two major points: Direction and Quality.
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Direction is the angle at which light strikes an element.

Direction is responsible for revealing texture and volume. An
object has texture when its surface is composed of "peaks and
varleys. n For texture to be strongly visible, light must strike
the eLement from the side, hightighting the peaks and throwing
the valleys into shadow. The same element, when 1it from the
front or from directty overhead, will exhibit less texture and
often appears almost smooth. when texture is important, choose
or wait for side-lighting. When possible, move around the
element to find the best Iit surfaces. On sunny days, early
morning or late afternoon when the sun is close to the horizon
are the best times. Shadows, which can add interest, are also
longer at these times. Volume is a sense of roundness and
depth. A heightened sense of volume occurs when one side of an
element is brightty illuminated while the opposite side is dark,
the transition being a gradual one. Again side-lighting works
best with most shapes.
Ouality refers to the nature of the light. The quality of
the light sets the mood of the picture. Direct light proceeds
from its source to the event. A sunny day or an undiffused
artificiar light are sources of direct 1ight. Because of the
sharp highlights and welr-defined shadows, the mood of direct
light photographs is energetic, even aggressive. Diffused light
found on overcast days or in the shader will produce softer,
quieter pictures. shadows are less dark and wirl show more
detail. When possible choose or wait for Iighting which
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coincides with the impression of texture, volume, and overall

mood demanded by the subject.
To better understand lighting, select a stationary object--a
tree or a building, for example--which you can observe at
various times of day and in various weather conditions. Notice
the changes in texture, volume, and mood as the sun moves or the
weather changes. Examine the shadows. How long or sharp are
they? Do they point to anything interesting? Or are they
nonexistent or very soft? What is revealed on cloudy days that
may be obscured on sunny days?
Take a round object first to a sunny window and then one
with a curtain that diffuses the light or one facing north.
Examine the object with one eye closed and the other squinted
down a bit as this shows contrast closer to the way the film
will record it. Notice the differences in apparent volume. Try
the same experiment with a textured object.
Do not overlook the special light characteristic of rainy
days. It has the soft quality of diffused light, yet many wet
objects will acquire brilliant hightights.
Perhaps the most difficult light to manage is that produced
by a flash unit mounted directly on the camera. Its harsh
quality and frontal direction fi]1 in shadows, thereby
flattening the event. It is often better to choose a fast film
and avoid flash entirely. When flash must be used, try to
nbouncen it off a waI1 or the ceiling if they are near enough.

Or purchase a long cord and mount the flash or have someone hold
it off to one side.
 APPTICATION

To become farniliar with the six considerations apply them

first to your existing pictures. Select a photograph and slow1y
and objectively run the program.
1) SUBJECI: Why did you make the picture? What was its
intention? How well is your idea communicated? How
does what you see now compare with what you thought
you saw in the viewfinder at the time of exposure?
2) ELEMENTS: How did you choose the elements you did?
Are the more prominent elements, including nempty
space' relevant to the subject? Do important elements
compete with less important ones for attention? Could
the picture have been simplified?
3) FRAME: Run your eye around the edges of the picture.
How aware were you of the boundaries? Are things
creeping in from the top, bottom or sides which could
have been elininated if noticed? What does Lhe bottom
look like? How does it nslicen lovrer elements? Take
your frame inventory. List all of the elements.
Could some have been eliminated? Are there missing
elements, ones which were so taken for granted that
they were not included?
4) SPACE: How is the space divided? If inportant
elements are centered have they been so placed
consciously? Was this the best placenent? Look for
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actual or implied direction. Does the framing make

use of or emphasize direction? Is there wasted strnce?
Missing space?
5) VIEWPOINT: Determine the viewpoint. How would the
picture have looked with a higher or lower viewpoint?
Would a shift in viewpoint have better isolated or
emphasized important elements? How would a viewpoint
shift have altered perspective? WouId a viewpoint
change have enlivened the picture?
6) LIGHI: What is the tighting like? Diffused or
direct? From what direction does it come? How is
form revealed? Texture? How would the same event
have appeared at a different time of day? In
different weather? How does the lighting affect the
mood of the picture? rs the lighting consistent with
the mood you wished to create?
Practice this routine with many pictures until the
procedural questions are firmly fixed in your mind. Then
attempt to use the process while photographing. Until it
becomes second nature, you may wish to apply a piece of tape to
the back of your camera with the reminder: SUBJECT-ELEMENTS-
possible work sIow1y7
ERAI.IE-SPACE-VIEWPOINT-LIGHT. When
thinking out each point. Try many variations. In active
situations when you must work quickly, be mobile. Try many
viewpoints and camera positions. Once a subject has been

encountered, it is not uncommon to expose two or more rol1s of

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film in the effort to exhaust the possibilities. Always carry

more film than you think vou will need.
Finallyr run through the program again with your results in
hand. If you are working with prints, lay them out on a table
in subject groups. For slides, a light box or slide sorter will
be helpfuI. Arrange the pictures in the order that you took
them so your approach will be evident. One or two images may
stand out from the others as being stronger. Examine then
carefully to determine why this is so. Now run the six point
program with each picture. You stand a lot to learn from your
Iess successful pictures, for they show you which points were
overlooked or not fulIy considered. Make special note of
recurrent errors. Keep your better pictures separate and
occasionally re-examine them to see which ones stand the test of
time and why.
When fully mastered, this procedure will give you not only
better composed pictures but more time to concentrate on the
quality of your ideas, which is, of cours€r the ultimate measure
of any photographer. What may initially seem a slow and
cumbersome process will with experience become automatic. Try
to rid yourself of any preconceptions you may have about what a
good photograph 'shouldn look like. The potential for good
photography is everywhere. A successful photograph depends less
on some inherently nphotogenicn quality of the person, scener ox
object in front of the camera than it does on the photographerrs
vray of seeing. A look at the history of creative photography
will show a great many images of photographers I family and
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friends, common objects, or nearby buildings and
household
spaces. A suitable subject is anything that appeals to you for
whatever reasons. Draw inspiration from yourindividual way of
seeing things, especially your immediate environment, as well as
from other photographers. Study quality photographic books in
libraries and bookstores. Attend photography exhibitions at
museums, universities, and commercial galleries. Above all
continually make photographs and analyze the results.