One of the most important considerations any photographer makes is determining compositional lines in images they create. In this short article, I will be discussing how various elements can become leading lines and add to the visual flow of your images.
One of the most common mistakes I see when reviewing images submitted by our readers, or when reviewing portfolio images during our workshops, is a rather simple case of crooked horizons or badly aligned lines. Although most photographers are very well aware of this one, for some reason many simply fail to see such problems in their images. Now it is one thing when an image is tilted intentionally to create an interesting composition, and totally different when the photographer is not paying attention to or is unaware of the surroundings and background elements that are part of their photographs. In this article, I will demonstrate examples of crooked horizons and badly aligned lines, how they can be easily fixed in post-processing software like Lightroom, and talk about the importance of lines in composition.
Often when we are creating images, especially landscapes, we can get so focused on the main subject that we forget to think about incorporating a foreground element to help add depth and drama to our scene. There are a number of different approaches we can use. In this short article I’ll be illustrating three simple and effective ways you can incorporate foreground elements into your images. The first is something that I like to call a ‘bottom band’ during my landscape seminars.
Considering the rule of thirds is perhaps the most popular (certainly the best known) way of composing an image, but only a short while ago did it dawn on me that not everyone is familiar with this composition guide. But that’s alright. After all, the first reason why we are here is to learn. What I found slightly worrisome is that we didn’t actually have an article on the rule of thirds. It is about time we rectify the problem.
She posed atop a sand dune with wind-gnarled cypress trees clinging to a rocky precipice in the distance. She was nude of course, and sitting on a bedpan. A dead pelican lay at her kelp-entwined feet. In one hand she held a nautilus, in the other the most sensuous bell pepper that had ever grown. As I adjusted my 8×10’s tilts and shifts she gave me that glance – just 1/60th of a second, but in that moment I knew there would be more tilting and shifting later as her aperture and my shutter speed would dance in perfect rhythm. I stopped the lens down to f/64, then…I woke up.
A while ago, Nasim went to London to spend some time with his family and meet up with some of our dear readers. You might have noticed that, for a couple of weeks, he did not have much time to work on articles, certainly not as much as usual. You might also have noticed my own absence for the last couple of months at least. We did not plan to take vacation at the same time. It just so happened that I, too, have been extremely busy at the time, hence no new Lightroom or composition-related articles coming out. My time away, however, was rather less glamorous than that of my friend’s. And less relaxing, let alone fun or enthusiastically met. In fact, it was somewhat of a nightmare at times, a blur of nights and days turning into long, long weeks of never-ending stacks of books, articles and albums. How I missed my job! Although rationally I understand it is not, in the moments of weakness writing articles seemed like a much simpler endeavour. Certainly much more fun.
‘Attempting’ and ‘style‘ being the salients word here! Nope, not any kind of expert on this subject either but the style and simplicity of fine art photography is greatly appealing to me, and by explaining why we may consider some important aspects of making compelling images.
I believe it was Cartier-Bresson who said that your first 10,000 photographs are your worst. For many hobbyist photographers, myself included, it may be much more than that, as improving our craft means constantly shooting, experimenting, reassessing, and continually culling our very best from our best.
A few months ago, I started the Mastering Composition series of articles. The goal of these articles was not only to give some useful composition tips for beginners, but to also engage our readers with small assignments. The assignment given to you in the first article of the series has already been addressed in the recent discussion. In this short article, we will address the assignment given in the “Open and Closed Composition” piece.
A few months ago, I started working on our “Mastering Composition” series articles. The idea behind them was to cover all the basics of composition in photography (and, consequently, visual arts in general) starting with some extremely simple concepts, and also provide assignments for beginner photographers to make the educational process fun and engaging. With some luck and effort from our side, the project would gain momentum and we’d be able to not only touch more advanced composition rules / theories and discuss specific examples sent in by our readers (eventually), but also organize a few online and offline workshops along the way. Unfortunately, after writing just two articles, I had to put the project on a bit of a hold. Even worse, I did not assess the assignment results for a very long time. This assignment discussion is long overdue and it is about time I fixed my mistake! In this article, I will discuss the task and the answers provided by our readers under the first article of the series.