One of the most important functions of the design of a photography, apart from creating an aesthetically appealing or interesting picture, is the organization of the way in which the image is seen by the viewer. This organization and therefore the ultimate reaction of the viewer is dependent to a number of factors: picture content, shape and size of frame, distribution of tones and colors and the arrangement of lines, points and shapes.
The necessity of controlling all these aspects of composition exists, of course, in all kinds of image making, but it is a necessity peculiarly associated with studio work. The key to successful still life photography is control, which therefore makes it one of the easiest forms of photography in which to judge composition.
The various factors mentioned above are constantly at play in any one picture. To being with, the frame of the picture acts as a gentle guide to the viewer’s eye to move in a certain direction. This is generally in a slanting line from the top left corner of the image. This movement, however, can be modified in cases where the central image fills the frame and where the most salient individual element appears as a point. Pulling back, for instance, from a close view of a second object, so that it occupies a smaller place in a larger background, can often concentrate more attention on the object. Indeed, one of the most basic aspects of compositional control is the need to focus attention on one part of the image without making it more dominant in size. The other parts of the picture area can then be used more creatively to show other objects.
The lines surrounding a small object – the edges of other objects or the direction of their arrangement – provide one of the most effective ways of directing the eye off-center and towards the object. Careful arrangement of such lines within the overall design can almost ‘point’ the eye to one part or other of the picture.
Two kinds of line, especially – diagonals and curves – seem to have the quality of expressing movement, encouraging the eye to travel along them. Even if the lines of the various objects within the picture are not arranged to lead towards a point of interest, then the lines of perspective can still guide the eye. A low viewpoint and a wide-angle lens will automatically make the eye travel from the foreground to a higher point of the picture, thus exercising another form of control over the viewer’s attention.
Another noteworthy compositional technique is the use of striking graphic devices, which draw attention simply because they are unusual. An object seen close to the frame of the picture, for instance, will draw an immediate though probably unknowing response from the viewer, especially if its tone and color are distinctive.
Sources:
http://photoinf.com/General/NAVY/Photographic_composition_Balance.htm
http://www.brighthub.com/multimedia/photography/articles/956.aspx
http://www.livingroom.org.au/photolog/tips/digital_photography_composition_tips.php
Written by RonaldMarbles
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