Photography Composition

Photography Composition

Simplicity
Rule of Thirds
Lines
Framing
Avoiding Mergers

Simplicity

Look for ways to give the center of interest in your pictures the most visual attention
Select uncomplicated backgrounds
See how we can improve this photo by looking for visual simplicity.
We chose the cactus as the main subject. by moving in closer and using the plain sky as the background
We're certainly close enough to our subject in both pictures, but the busy background on the left camouflages the seagull.
Just change your point of view slightly and the seagull stands with visual prominence against the blue sky.
Compose your photograph so that your reason for taking the picture is clearly seen.
Arrange other parts of the picture area in such a way as to complement what you choose to be the center of interest.
If picture not good enough, you are not close enough

Remember: we're talking about composition simplicity.
How much of your subject should you include, and should it be framed horizontally as done here?
Or perhaps you'd prefer to frame your subject in the vertical format, as indicated with these frame lines. The choice is yours.
So, you can simplify your pictures and strengthen your center of interest by selecting uncluttered backgrounds, avoiding unrelated subjects, and moving in close
If you want to make your center of interest even more dynamic, place it slightly off center in your frame
Generally, pictures with subjects directly in the center tend to be more static and less interesting than pictures with off-center subject placement.

Rule of Thirds

You can use the rule of thirds as a guide in the off-center placement of your subjects. Here's how it works
Before you snap the picture, imagine your picture area divided into thirds both horizontally and vertically. The intersections of these imaginary lines suggest four options for placing the center of interest for good composition.

We picked the upper-right position for this subject so that we could see the full shadow and most of the tracks that lead to the seagull.
The lighthouse seems well placed in the upper right just because the rest of the scene fits nicely into the format

Rule of Thirds
You should always consider the path of moving subjects and, generally, leave space in front of them into which they can move
If you don't, here's what can happen! This jogger looks like she's going to run right out of the picture.
By placing the subject in the lower-left position, we've used the rule of thirds and given the jogger plenty of room to run within the picture.
Here's another action shot where it's important to leave more space in front of a moving subject than behind it.
You can also apply the rule of thirds guidelines to the placement of the horizon in your photos. Here the center position of the boat and horizon results in a static feeling.
Let's move the horizon to the upper third and the sailboat to the left. Remember, these are the only guidelines. So if you don't like this subject placement, try another.
We've moved the horizon line to the lower third. In general, place the horizon high or low in your scenics, but rarely in the middle

Lines

Imagine this view without the diagonal rays of sunlight and you'll probably agree: diagonal lines are dynamic!
You can use diagonals as leading lines to provide a way into the picture. It's a simple and easy path for the eye to follow to the main subject.
Lines
You can also use repetitive lines to draw viewers' attention to your center of interest
Here's another S curve that forms a diagonal leading line. This picture is also improved with a well-placed center of interest,
You can use other simple geometric shapes to help your picture composition. This triangle adds strong visual unity to this picture

Framing

What we mean is to frame the center of interest with objects in the foreground. This can give a picture the feeling of depth it needs to make it more than just another snapshot
Framing
Whether or not you use a frame for a picture will depend on each new subject. What you choose as a frame for the scene will, of course, vary as well.
The horses and their riders add considerable foreground interest to this scene. The overhanging tree branches complete the frame and add depth to the subject.
When you use people for scale and foreground, make sure they look into the picture area.

Avoiding Mergers

The merger of this tree with the boy's head is so obvious, you probably think no one could avoid seeing it before snapping the shutter
the camera always sees mergers, so look for plain backgrounds before you pose your subject
When we cut people in half or trim their heads or feet, we've committed a border merger. This is often caused by poor alignment of the photographer's eye in the camera viewfinder.
To avoid border mergers, line your eye up squarely behind the viewfinder and adjust the picture format to leave a little space around everyone.
When we cut people in half or trim their heads or feet, we've committed a border merger. This is often caused by poor alignment of the photographer's eye in the camera viewfinder.
To avoid border mergers, line your eye up squarely behind the viewfinder and adjust the picture format to leave a little space around everyone.
Video composition

Television production involves both static composition and dynamic composition
Static composition covers the content of fixed images, such as paintings or still photos.
Dynamic composition goes a step further and takes into consideration the effect of time — moment-to-moment change. This change can be within a single shot (including camera or talent moves), or it can apply to the sequence of scenes created through editing.



Safe Area

Because of over scanning and other types of image loss between the camera and the home receiver, an area around the sides of the TV camera image is cut off before being seen.
To compensate for this, directors must assume that about ten percent of the viewfinder picture may not be visible on home receivers.
This area (framed by the red lines in the photo) is referred to by various names including safe area and essential area.
Some directors confine all written material to an "even safer" area, the safe title area (the area inside the blue frame).

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