Presentation visuals presented to the Jefferson County Photography Club. It's intended to cover principles of composition not normally considered or discussed (at least in our club).
4. Color
Hue: Position on the color wheel.
More distance = more contrast.
Value: Relative lightness or darkness
Saturation and Intensity: Purity of a hue
16. Shape
We often ascribe personality, meaning, or
emotion to different shapes.
Contrasts of shape engage both our ability to
notice form and our cognitive associations with
those configurations.
20. Value
The eye is attracted to contrast, so a small area
of high contrast will balance a larger area of low
contrast.
21. Shape
A small complicated shape can balance a large
simple shape. Also, a large uncluttered area can
balance a small busy area containing many
shapes.
42. Lines
Lines lead the viewer into and around the
scene. Leading lines direct the viewer towards
a focal point in the image. Lines can also be
symbolic, depending on their orientation and
direction.
43. Vertical Lines
Tall and balanced, solid, and firm. They
symbolize strength, power, and stability.
53. Common Fate
Elements that move in the same direction are
perceived to be more related than elements
that move in different directions or are
stationary.
57. ...and some books(that I used)
• Composition Photo Workshop - Bruce Fier
• Universal Principles of Design - William Lidwell,
Kritina Holden, Jill Butler
• The Information Design Handbook - Jenn + Ken
Visocky O’Grady
Editor's Notes
ISO: 100 f/4.5 1/80
ISO: 100 f/4 1/1000
Contrast in Color Value HDR ISO: 100 f/4
ISO: 200 f/5 1/100
ISO: 200 f/4.0 1/20
Contrast in Texture HDR ISO: 100 f/4
Examples: Circles are more “ fun ” than squares because they remind us of things that bounce. Curvilinear, organic shapes are more natural, sensual, and creative than geometric shapes.
ISO: 100 f/4.5 1/160
A whole discussion can be spent on balance alone. The ways to achieve this are numerous: value, color, shape, texture, position, eye direction, physical weight, asymmetry, radial, formal, variety, depth, repetition (size variation, repetition, variety)
We can minimize busy areas by placing them in shadow or enhance them by lighting them well. Large simple areas can be enhanced by even bright lighting or by breaking them up with shadows, thereby making them more complex.
Balance by Shape and Value HDR ISO: 100 f/4
ISO: 200 f/5.6 1/640
ISO: 100 f/4 1/500
Absence of balance can create tension ISO: 100, f/13, 1/25
We live in a 3-dimensional world, yet photography is a 2-dimensional medium. A sense of depth can allow the viewer to feel like they ’ re viewing the scene and not just a flat representation of your scene.
Absence of balance can create tension ISO: 100, f/13, 1/25
Perspective ISO: 800 f/6.3 1/250
The building that narrows in the distance conveys depth. HDR, ISO 100, f/4
While not a long distance, the depth of field conveys depth. ISO: 200, f/4, 1/320
Depth of field and perspective together. ISO: 100, f/4, 1/250
The table and chair belong together, or at least appear to. ISO: 400, f/5, 1/8
First ask audience: “ What ’ s the story? ” “ The old man and the sign. ” Their proximity suggests that he ’ s waiting for the bus. What would the story be if the sign were 50ft further back? ISO: 100, f/4, 1/500 (Strong winter morning sun - 10:30)
Exercise: put image up for a few seconds and then black. Discuss. What do they remember? The two people are “ related ” in that they are connected in the story. However, the dissonance is what makes this compelling.
ISO: 100 f/4 1/1250
ISO: 100 f/4 1/1000
ISO: 200 f/4.0 1/200
HDR ISO: 200 f/4.0
ISO: 100 f/6.3 1/60
ISO: 200 f/6.3 1/2000
ISO: 200 f/7.1 1/2000 I get the sense that they ’ re repelling each other.