Tip of the Day – Think Twice About Composition, Part 2

"There is no better time to crop a bad composition than just before you press the shutter release.” —Bryan Peterson, from the book, Learning to See Creatively: Design, Color & Composition in Photography

In May 2015, I began a discussion of composition in photographs. It’s been eight years. I hope no one held their breath waiting for Part 2. One could decompose in the time it took me to gin up the next installment.

The Wonderful (and too on-point) Pearls Before Swine by Stephen Pastis (15 May 2020)

As I noted then, there is much to consider with composition because aspects like leading lines, the ‘rule of thirds’, diagonals, curves and symmetry are all important. One can easily find explanations and tutorials on the Interweb. Also, know that none of these ‘rules’ are absolute. I’ve seen too many photographs on gallery walls that break the rules because the photos still appeal (in some way to some people).

Here are a few illustrated tips on some of the considerations regarding what to include (or exclude) from a photograph. I believe where you position yourself or the direction the picture is taken can be critical.

Example 1: Background - When I was in Cheyenne, Wyoming to shoot the capitol, I saw this decorated boot. It might have been part of Cheyenne’s version of the civic art craze that was common awhile back. Chicago artists decorated cows and Baltimore had colorful crabs all over downtown.

                               

Cheyenne Boot - No (22 August 2011)
                          

              Cheyenne Boot – Yes (22 August 2011)                  

I can be hasty sometimes. This actually was a case of, “Ooh. Stop the car. I want a shot of this.” And we’re back on the road a minute later. But half the boot is shaded and the refurbished motel makes for a lousy background. Move a few feet to the right and both problems are solved. Since this was a BIG boot, including a person for scale might have helped as well.

Example 2: Background – On the waterfront in Reykjavik, Iceland is a striking sculpture. The ‘Sun Voyager’ resembles a Viking long ship but is intended to imply seeking the sun and freedom. I would hope you can see that positioning the object with the mountains and sea behind it is preferred over the oil tank farm as a background.

Sun Voyager + Oil Tanks (14 March 2016)

Sun Voyager – Oil Tanks (14 March 2016)

Example 3: Subject Position and Background - Inside the National Gallery of Art in Washington, D.C. is a beautiful central rotunda. Immense black columns surround a fountain topped by a statue of Mercury. The floral displays around the fountain and the round fountain itself gives you a multitude of perspectives to shoot the scene.

National Gallery of Art, Washington, D.C. (5 April 2018)

While the figure atop the fountain is inviting, one should take advantage of the lighter background and not superimpose Mercury against one of the black columns.

Mercury Atop the Rotunda Fountain

National Gallery of Art, Washington, D.C. (8 November 2014)

We’ve been over backgrounds. Clearly, this view is wrong in many ways.

Mercury Atop the Rotunda Fountain

National Gallery of Art, Washington, D.C. (8 November 2014)

I would also suggest a butt-end perspective is not the best way to view the figure.

Mercury Atop the Rotunda Fountain

National Gallery of Art, Washington, D.C. (8 November 2014)

This would be the keeper. The figure is facing in an acceptable direction and is contrasted well against a lighter background.

Thanks for visiting. If there is a Part 3 to this series, I hope it appears before 2031.