photographer’s ability to create an image that intrigues & interests the viewer enough so they continue looking, examining, and/or interpreting the image. starts with the photographer’s ability to use visual elements, composition, and image content to communicate with the viewer.

Composition: the act of composing/positioning image information in a specific manner to communicate an idea or personal expression. It can be difficult to tell that composition exists because it “works,” creating visual harmony or tension. All photos have composition, but not all have strong or interesting ones.

Think of an image’s content is its cargo, and composition as its mean of delivery. Painters create composition; photographer’s capture it. A photographer who is able to consistently recognize and capture instances of good composition is known as having “a good eye.”

self-contained designs within the larger composition. Simple shapes infuse a photo with notes of order and sense. We recognize shapes, and often times in photographs, they are abstract.

Geometric: have the clear edges one achieves when using tools to create them. Most geometric shapes are made by humans Examples: circles, rectangles, squares, triangles, etc. 6

Organic: Are shapes with a natural look and a flowing and curving appearance. Organic shapes and forms are typically irregular or asymmetrical. Organic shapes are associated with things from the natural world, like plants and animals. 7

These can create a static, motionless image or a dynamic image suggesting movement. It can also create the illusion of depth and usually converge to show the point where the eye rests.

Texture defines a surface, but in photography, it is illustrated by light and shadow. It has no center of attention. It can fill up all or part of an image. It can also be used as a backdrop for other elements.

Contrast between your subject and its backdrop helps a subject stand apart from its surroundings. Most of the time it is desirable to make sure your subject is always lighter/ brighter than your backdrop.

Repeating a certain size, or shape or color adds strength to the overall image. If you repeat something once or twice it becomes more interesting. If you repeat something many times it becomes a pattern and takes on a life of its own.

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One of the most powerful and ever- present compositional elements a photographer encounters is the horizon line. When deciding where to place the horizon in a photo, remember: Avoid the middle ground.

Taking a close-up picture of an object or another subject matter makes for an abstract photograph. This causes great visual interest and curiosity among viewers.

A visually dynamic result can be obtained by tilting the camera. Many people find it unnatural to hold their camera at an odd angle when composing a shot. GET OVER IT! Avoid taking shots that look as though they are crooked by accident.

The technique of surrounding your main subject (partly or in full) with other compositional elements. Helps direct the viewer’s eye to an image’s center of interest. It helps keep the viewers eye from wandering outside an image’s border.

Varying the amount of space between a photograph’s main subject and the edges of the image gives the viewer’s sense of aesthetics (enjoyment of the photograph). Always try to crop with your viewfinder. This will make for less work later on the computer.

Method of dividing the rectangular shape of the image into thirds horizontally and vertically. It is used to determine balance and composition in the photo. When using the rule of thirds, place subjects at the intersections of the horizontal and vertical lines. The intersection of these lines become the anchors for the balance, composition, and dynamic of the subject placed there.

Slightly above the intersection of two lines form the corners in a photograph. Little movement occurs here, as well as near the bottom edge of the photograph. If the primary subject is placed in either of these areas, the image has a quiet, restful appearance.

An image with equal weight to each side of the frame (fold the image in half and both sides have equal information). It is easy on the brain and does not challenge the viewer’s comprehension.

Placing a subject at only one point creates a dynamic image (image looks off- balance, but is in fact, not). It is a visual wilderness and it challenges the viewer. Usually there is a pull between positive and negative space.

Perspective: establishes the illusion of a three- dimensional quality in photographs. Linear: when lines converge and draw attention to depth in a photo, receding into space. Atmospheric: when the image softens or becomes hazy in the distance due to atmospheric conditions.

The size elements in a photo implies depth also. If something is standing in the foreground and another in the background, the one in front appears larger and closer to the viewer – spatial relationships.

Eye levels: different points of view of which to perceive objects inside a photograph. Normal View: the horizon line is placed half-way down the picture plane; looks like the viewer is looking straight-on at the composition.

Worm’s Eye View: it looks as if the viewer is low to the ground, looking up at what is going on in the picture plane. Bird’s Eye View: it looks as if the viewer is hovering over top of the picture plane. 30

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