The best way to learn the basics of composition. Composition in photography. Rules for creating an expressive photo

In order not to miss good shot, you need to learn not only to quickly handle the camera, but also to see and imagine the future frame in advance. The photographer must quickly assess the situation and decide which frame composition will be most successful in specific situation. To learn how to quickly compose a shot, you need to master the principles of quickly assessing the situation.

When you're learning, you have to think a lot about composition, work out all the details, but over time it will all happen automatically. These actions will go into the subconscious and you will no longer have to spend so much time and effort on this work. Everything will work out by itself, but in order to achieve such a result, you need to train hard.

Example No. 1

Let's look at the photographer's thinking when photographing flowers and ducks.

1. Beautiful flowers. They should be in the foreground of the photo. If the weather is windy, then shutter priority mode is suitable.
2. If you sit down, there will be ducks in the background. Their color is radically different from the colors of flowers. If you blur the background, interesting spots of color will appear.
3. There is some debris floating in the water. He shouldn't be in the frame.
4. The camera is set up, we crouch, zoom, focus.... and... Here is our frame:

1. Darkish flowers take up half of the photo and are on the right. Yellow spot from the duck it is very bright, but thanks small size it doesn't distract much attention. The frame turned out to be balanced.
2. The frame is composed according to the rules of the golden ratio. The background is not very blurred. The silhouette of a duck is recognizable.

Example No. 2

1. The building looks gloomy with the sun hidden behind the clouds. The walls have an interesting structure. Something can be done about this.
2. Intricate curves of the walls will be used, since they are the ones that attract attention.
3. If you sit down and remove the walls from a low point, they will be against the sky. It shouldn't look bad.

Here's what happened:

1. The curve of the wall on the right and the slope of the wall on the left lead the viewer's eye to the center of the frame.
2. The texture of both walls also leads the viewer's eye to the center. The brick looks great against the sky.
3. Lower left side forms an entry point, which corresponds to the Golden Ratio rule.
4. The right wall, with its bend, is also at the point of the golden ratio.

Example No. 3

1. The sky immediately catches your eye.
2. Glasses create mirror surface. This can be used.
3. Green grass will create a frame and give the photo contrast.
4. All that remains is to approach the building and find the best position for the photo.

And this is what happened:

1. The reflection of the clouds forced me to work with exposure compensation.
2. Vertical stand the building is located in the right third of the frame.
3. There are a lot of clouds in the left third of the photo that attract attention.
4. The reflection adds extra emphasis to the clouds. It looks beautiful.

Each of us has held photographic equipment in our hands at least once in our lives. A film camera, a digital point-and-shoot camera, a SLR camera, or, at worst, cellular telephone with built-in photo system. And each of us has our own vision and understanding of how photographs should be taken. For many, the algorithm “saw (no matter what), pointed the camera (no matter how), focused (something made a peep/fart in the camera) and pressed the trigger (both, cool photo)” is enough. Far fewer people think about other camera controls other than the shutter button and automatic shooting modes, and what all of this is actually intended for. And a very small contingent of those who take photos are constantly not satisfied with the result, then they try to find information, read, find out, analyze, try to shoot, learn to process pictures... and only after many, many attempts and experiments, they begin to enjoy what they have it turns out. And their photographs are strikingly different from the disgrace that they produced on initial stage knowledge of photographic technology.

This article is intended for the second group of those listed, because the first group is “incurably happy” even without our advice, and the third group is great, they have already achieved everything themselves, or they read more professional, competent literature than this blog. However, the second group also needs first aid, advice presented as simply as possible, which will not alienate curious users of photographic equipment, but, on the contrary, will guide them on the right path, and then they will have a wonderful chance to move into the third category of inquisitive photography enthusiasts.

So, the topic of today's post is basics of composition in photography. What is composition? Let's first turn to our frequently read Wikipedia;)

Composition(from Latin compositio - folding, joining, combination) - one of the main categories artistic creativity. Unlike drawing, color, line, volume, space is not one of the components of an artistic form, but an artistic-figurative, content-formal integrity - the most complex and perfect type of structure in which all elements are organically interconnected. Such integrity in architecture, painting, graphics, sculpture, decorative and applied arts and design has an irrational nature, is achieved by the artist intuitively, it is original and unique. In other words, a single, unique combination of elements constitutes the essence of compositional integrity. This specific integrity is based on the following principles: novelty, clarity, integrity, development.

More in simple language we can say that the composition, if it is present in the frame, distinguishes a well-constructed, artistically verified frame from mindless clicking of the shutter and tons of junk that is then thrown into the “Trash.”

However, even though the architect L. B. Alberti said in his treatise “Three Books on Painting” (1435-1436) that Composition is a composition, invention, invention, as an act of free artistic will . But this kind of free creativity is not available to the majority of people involved in photography; they need an algorithm, a sequence of actions at the initial stage, certain rules that allow them to assemble a meaningful picture in a frame. Therefore, today we will consider the basics of composition in the form of a sequential study of the main and most simple rules, which, in fact, any sane person can put into practice.

The basic rule of composition is considered to be Golden ratio(golden proportion, division in extreme and mean ratio, harmonic division). The golden ratio is the ratio of two quantities b and a, a > b, when a/b = (a+b)/a is true. Number, equal to the ratio a/b, usually denoted by the capital Greek letter Φ, in honor of the ancient Greek sculptor and architect Phidias, and less commonly by the Greek letter τ. A simplified model of the golden ratio is Rule of thirds.

Rule #1 . Rule of thirds is a principle of composition based on the simplified rule of the golden ratio. The rule of thirds applies to drawing, photography and design.
When determining visual centers, the frame is usually divided by lines parallel to its sides, in proportions 3:5, 2:3 or 1:2 (consecutive Fibonacci numbers are taken). Last option gives the frame division into three equal parts (thirds) along each side.
Despite the noticeable difference in the position of the centers of attention obtained by the rule of thirds from the golden ratio, technological simplicity and clarity made this composition scheme more popular.
A grid based on the rule of thirds is used in the viewfinders of some cameras to facilitate frame composition.

The rule states that the image should be considered divided into nine equal parts by two equally spaced parallel horizontal and two parallel vertical lines. Important parts of the composition should be located along these lines, or at their intersection - at the so-called power points. Proponents of this principle argue that lining up important parts behind these dots and lines creates an impression of emphasis, more tension, energy, and more interest in the composition than simply placing the subject in the center of the frame.

The correct choice of the point or line on which the main subject is located allows you to increase the expressiveness of the photo. All other things being equal, the following applies: if there is only one object in the picture, it is advisable to place it on the left side of the frame. The recommendation is based on the habit developed by reading of viewing images from left to right (similarly for readers from right to left).

In this photo, the most expressive part of the composition is the snake’s eyes; they are located at the intersection of two lines of thirds, the horizontal top and vertical right.

If there are multiple objects in the photo, the dominant object should be placed at the bottom right point. This technique is especially useful when photographing images with emotional overtones. The recommendation is based on enhancing the perception of the latest information received. The rule of thirds is one of the most basic rules of composition, but there are other rules of composition. Thus, the famous Soviet and Russian photographer Alexander Lapin believed: “the so-called rule of thirds was invented for beginners who simply do not know how to compose a frame.”

Rule #2 . Diagonal method(method of diagonals) is one of the rules of composition in photography, painting and graphics. Dutch photographer Edwin Westhoff stumbled upon this method while he was visually experimenting to explore why the rule of thirds is so imprecise. After studying numerous photographs, paintings and engravings, he discovered that the details of the images that attract the most attention lie on the diagonal of the square.

Frame is a rectangle in a ratio of 4:3 or 3:2. The viewer pays more attention to the details located on the four bisectors passing through the corners of the frame. The details in images that attract the most attention are often located, with millimeter precision, on one or more diagonal lines lying at an angle of 45° and passing through the corners of the frame. In contrast to other rules of composition, such as the rule of thirds and golden ratio, the diagonal method does not give of great importance to where the lines intersect and focuses attention on an arbitrary position lying along the diagonal. As long as these details lie on diagonal lines running through the corners of the frame, they attract attention. However, the diagonal method requires that these image details lie exactly diagonally, with a maximum deviation of 1 mm on A4 size. Unlike other rules of composition, the method is not used to improve the composition itself.

Edwin Westhoff discovered that if you draw lines on an image at a 45° angle, you can see what details the artist wanted to highlight. Research has shown, for example, that the most important details paintings and engravings by Rembrandt van Rijn lie precisely along the diagonals: eyes, hands, household items.

The diagonal method is used only for images in which certain details need to be emphasized or highlighted: for example, a portrait, where certain parts of the body deserve more attention, or an advertising photo of a product. Some photographs of landscapes contain important details, such as people, separately standing trees or a building, which can lie on diagonals, but usually in photographs of landscapes and buildings you need to see the overall picture, where often other lines determine the construction of the picture, for example the horizon.
A few examples of photographs taken in diagonal method: http://www.diagonalmethod.info/

Rule #3 . Symmetry. Symmetrical scenes are ideal for centered compositions. This is a very powerful composition tool. Footage from mirror image- another opportunity to use symmetry.

In nature a large number of visual images obey the law of symmetry. That is why symmetry is easily perceived in composition. IN fine arts symmetry is achieved by arranging objects in such a way that one part of the composition seems to be a mirror image of another. The axis of symmetry passes through the geometric center. A symmetrical composition serves to convey peace, stability, reliability, and sometimes majesty. However, you should not create an image that is absolutely symmetrical. After all, nothing is perfect in nature.

Rule #4 . Defocus. Using depth of field when the main semantic object of the photograph is in sharp focus, and other objects are blurred. This is a great way to add a sense of depth to the frame. Photographs are two-dimensional in nature, and this technique allows you to achieve a three-dimensional effect. A similar effect can be achieved by bleaching the background, but these are software post-processing methods.

Rule #5 . Framing. A frame within a frame (or "frame to frame") is another effective way images of the depth of the composition. It is necessary to pay attention to elements such as windows, arches or overhanging branches. The "frame" doesn't have to surround the entire frame to make it effective. This is another way of depicting depth and perspective, giving the frame a three-dimensional feel.

Rule #6 . Lines. Lines work best as guides: the eye catches the line and follows it, from left to right and from bottom to top. Thus, the line leads the viewer's eye across the frame, focusing attention on the main subject. The guide lines do not have to be straight. Curved lines can be a very attractive compositional feature.

In this shot, the overall lines of the bridge and the imaginary lines of lamplight on both sides of the center of the frame “lead” us to the main subject of the photograph - the Temple. This composition also uses the symmetry method.

Rule No. 7 . Geometry: triangles and diagonals. Triangles and diagonals add "dynamic tension" to the frame. This is one of the most effective compositional techniques - diagonal composition. Its essence is very simple: we place the main objects of the frame along the diagonal of the frame. For example, from the top left corner of the frame to the bottom right. This technique is good because such a composition continuously leads the viewer’s eye through the entire photograph.

Rule #8 . Patterns and textures. Patterns in photography are repeating objects that can be used to compose a shot. There are a lot of patterns around us, especially in the urban landscape. Texture itself doesn't matter. The role played by the light that falls on the texture and creates volume due to shadows.

Rule #9 .Odd Object Rule. The rule is that an image is more visually appealing if there is odd number items. According to this theory, an even number of elements in a scene is distracting because the viewer is not sure which one to focus on. An odd number of elements is considered more natural and easier on the eye. To be fair, there are many cases where this is not the case, but it certainly applies in certain situations.

Rule No. 10 . Frame Filling. Filling the frame with your subject, leaving little or no space around them, can be very effective in certain situations. This technique helps you fully concentrate on the main object, the center of the composition, without any distractions. It also allows the viewer to examine details that would be impossible if you were photographing from a long distance.

Rule No. 11 . Changing the height of the survey point. Perspective is the basis of everything. The camera (and, accordingly, the shooting point) needs to be moved not only horizontally, but also vertically. One of the most common shooting points is to install it at the level of a person’s eyes: in this case, the shape of the object, its volume, perspective pattern and relationship with the background are familiar to the eye.
Such shooting points are called normal in height. In this case, the image is almost not distorted. Most photographs in the world are taken from a "normal" vantage point. But, often the use of upper and lower shooting points helps to realize a creative idea.

Rule No. 12 . More free space in frame, or simple backgrounds. Leaving plenty of empty space (or air) around your subject will result in very attractive images that have a simple, minimalist feel. Like filling the frame, this helps keep the viewer focused on the main subject without distractions. Often photographs are taken using simple backgrounds that do not distract from the main subject. You can also create a simple composition by zooming in on part of your subject and focusing on a specific detail.

Rule No. 13 . Direction and space. You need to leave space in the frame for the imaginary movement of objects moving in the frame. This rule can also be used when photographing people. The rule of direction and space suggests that the subject must be looking into the lens or his gaze must fall on something in the frame. If the subject's imaginary line of sight quickly falls out of the frame, it seems strange, the frame becomes unsaid. Roughly speaking, if a person in the frame is located on the left, then he should look either into the lens or to the right, but not to the left.

In the photo on the left, the ship is sailing from left to right, and space is left in the frame for its imaginary movement, to the right of the ship.

Rule No. 14 . Balance. Balance or poise is very important. The tricky part of compositional balance is that there is no single correct recommendation. You will have to be guided not only by the rules, but also by your innate sense of balance.
The first compositional guideline was the “rule of thirds.” This, of course, means that we often place the main subject of the photograph away from the center of the frame, along one of the vertical grid lines. But sometimes it can lead to imbalance if you leave sort of "voids" in the rest of the frame.
To overcome this, you can take a photo where the subject of minor or lesser importance (or size) is on the other side of the frame. This will balance the composition without taking too much attention away from your main subject.

Rule No. 15 . Complement/contrast. Likeness or contrast is a very powerful tool in photographic composition. This technique means including two or more elements in a frame that either contrast or complement each other. Both approaches can work very well, and play an important role in photography - they help tell a story.

In this photograph, in the background is the entertainment establishment “Moulin Rouge” in Paris, in the foreground are multi-colored ribbons wriggling in the air flow, which complement each other with the building of the famous French cabaret, enhancing the festive atmosphere in the picture.

All photos - photomatika

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Have you noticed that basically if you take a still frame of any good movie, then this frame will be beautiful, like a painting. There are usually a lot of people working on this and very competent operators. The arrangement of objects in a frame is called composition, and its rules are the same in fine art, photography, and video.

I said "rules", but the video is not exact science, all sorts of rules can be broken, although before you break them, you must know them.

Even if you just follow them, you will get a decent picture.

In the article about plans, I talked about what plans exist in the video. Let's continue this topic.

Let's start with a long shot, what's the best way to shoot the field? Where will the horizon line be in the frame? Exactly in the middle? Top or bottom? Usually, beginners take the horizon line right in the middle of the frame, which makes the picture a bit boring.

There is such a rule - the “rule of thirds”, a simplified version of the golden ratio - a technique that was used by Renaissance artists.

Imagine the frame. Divide it into three equal parts horizontally and vertically. By the way, a video camera or camera has a function that includes such a grid to make it easier to navigate; it looks something like this on the viewfinder:

Now about the horizon, it can be placed either closer to 1/3 horizontally, or to 2/3, depending on where the emphasis is placed, on the sky or on the ground.

The picture on the left is a landscape by the Flemish artist David Teniers the Younger. On the right is a still from the film Pride and Prejudice directed by Joe Wright. As we see, artists of the past and present adhered to this rule.

Here the horizon line is close to the top line, which makes the earth expressive.

We've decided a bit on the long-range plan, now let's move on to a larger one. General recommendations how to photograph people. Note that the rule of thirds can be used in every plan, from the most general to the largest.

The frame shows that one third is the ceiling, two thirds are the crowd and the main characters.

When shooting in a medium shot, the face can be placed at one of the upper intersections of the lines of thirds.

When shooting close-up the upper line of the thirds runs in the eye area.

Also, when positioning the character, do not forget about the direction of his gaze and leave a little more space where he looks, so that it doesn’t seem like he’s running into a wall.

The most important thing, and the most difficult thing, is to make sure that every frame looks like beautiful picture. In video it is very difficult because the characters move. So you took him in a medium shot, and he moved and found himself cut off at the knee - not scary, but it’s better to watch it again.

Using the rule of thirds you will make your video even more beautiful and competent. Good luck.

Creating an interesting and eye-catching composition is the key to an attractive illustration.. Paintings with a powerful composition of elements will grab the viewers' attention and hold them until every little detail you worked so hard on is appreciated.
In turn, a compositionally poorly assembled painting can ruin the appearance of even the most beautifully depicted objects, creating the feeling that something is wrong with it. Many will not even understand why, but the picture will be less attractive, and it will be more difficult to understand its meaning. Later in this lesson, I outlined 20 points that, in my opinion, are one of the basic rules of good composition, rules that I always rely on when I take up a brush.

1. Focal point
Every highly compositional painting has a dominant object, or focal point, that is the center of the entire painting. All other elements of the picture should complement or frame this object. The focal point can be anything from a skyscraper in the distance to paper cup standing on the windowsill overlooking the whole city. It is very important that the focal point fits into the picture. There are many ways to highlight a focal point - the “One-Third Rule” or the “Golden Ratio Rule” - but I will not go deeper into this issue, because... for me it’s more important to feel the picture, without any rules.

2. Placement of other objects
All other objects should be in harmony with the focal point and thereby enhance the effect of the entire composition. Carefully placed elements of the painting will contribute, ultimately adding depth, balance and realism. Pay attention to the painting “Nimbus”, which depicts a landscape that directs the viewer’s gaze into the distance; or on small details, such as the car near the moored ship in the painting "Prometheus".

3. Unity of objects
It is very important that all elements of the picture look appropriate, emphasizing that the shapes and structures of objects located in the distance are dictated by external conditions between them and the viewer; or that all objects and structures correctly reflect light and cast shadows. With this approach, the composition will benefit. Let's return to the painting "Prometheus" - notice how the ship casts shadows on the pier and the buildings surrounding it, noticeably adding to the realism of this moment.

4. Framing
In paintings with a complex composition, a technique such as framing can be useful, which will help guide the viewer’s eye through the picture and keep him there. This can be achieved by simply adding smooth lines, or clear silhouettes to guide the eye exactly to the place that needs to be highlighted, most often this is the focal point. Pay attention again to the painting “Prometheus” - because. This can be seen very clearly on it - where I framed the center of the picture with a large pier facing forward.

5. Avoid tangent lines
They can have a negative impact on the whole picture and should certainly be avoided. Tangents are lines coming from individual elements paintings that intersect at the end. For example, power lines that converge right at the corner of a building. Moving these power lines away from the building, placing them a little higher or lower, can avoid the visual perception problem.

6. Color temperature
When you are faced with choosing dominant colors for your painting, always remember that the painting will ultimately evoke either cold or warm feeling, it cannot be both warm and cold at the same time (unless this is an author's technique). Of course, you can use both warm and cool colors in your painting, but one of them should always be dominant, even if not by much (as, for example, in the painting “Dungeon”).

7. White saturation
The contrast gradient is very important tool when creating an interesting composition. Ideally, you should achieve a balance between light, medium and in a dark tone using at least some of them. To achieve a good balance, try using a maximum of one shade, a little of another and just a little of a third, for example, as in my painting “The Room” - I used 60% dark, 25% mid and 15% light. .

8. Depth
Depth and perspective are also very important. Images from a certain angle require a properly organized and realistic depth, using a series of elements that lead the eye deeper into the picture. These elements can be fences, railways, an urban landscape, or even just a line of flowers on a field. The best compositional paintings are drawn as if you are looking at them from the inside.

9. Closing
Unlike tangent lines, this point refers to elements of the picture that meet each other. All elements of the picture should either be located far from each other or be in close proximity. When brought together, the objects create a unified form that draws the viewer's gaze away and causes him to pause while peering into the painting.

10. Light
After giving the object its shape, this is the most important part for me. Before painting a drawing, I pay a lot of attention correct positioning Sveta. I have divided this topic into several logical parts to explain in more detail different features creating light and realistic compositional balance.

11. Let there be light!
Choose a position for the primary (brightest) light source - the sun, a window, or, for example, a street lamp - in which the object will look three-dimensional and will cast an interesting shadow. The primary light can be the main part of the composition and even its focal point; it determines what color everything it falls on will be. Without light we will not see anything: therefore it is very important, and its correct placement is no less important.

12. Shadows
Shadow can be used to highlight the shapes of an object, attach them to a drawing and, when correct use, to add an additional frame to the composition (for example, as in the painting “Prometheus”), where the upper part of the pier casts a shadow on bottom part- promenade). What is important is that the shadow appears better when positioned under the direct rays of a light source.

13. Additional light sources
Important factors in the finished composition are the secondary and tertiary light sources. Secondary sources can be scattered or direct rays of light reflected from the surface on which the primary light fell, or a weak glow from street lamps and car headlights, and even strong light sources close to the primary one. The added secondary light makes it possible to enhance the detail of the picture and the arrangement of the elements of the picture.

14. Atmosphere
Atmospheric depth and occlusion (light absorption) are important components of a single composition in a painting. This can be a spacious area where the transparent air between the viewer and the horizon takes on color and tonal contrast; or it could be small area, where light passes through dusty air, taking on a subtle color (for example, as in The Room). A powerful beam of light can also add a special atmosphere to a painting by reflecting and scattering around it.

15. Surface structure
Thoughtful and correctly constructed structures are also very important for compositional balance. various surfaces. It must be clearly understood that the use of reflective or shiny surfaces can attract the viewer's attention. In the painting “Prometheus” I used a lot of reflective surfaces that will definitely attract the attention of the audience, but also will not distract too much from the main element of the painting – the ship, but will only enhance its effect. Or, conversely, the use of dull and dirty textures can evoke completely different feelings in viewers (for example, as in the painting “The Room”).

16. Direction of view
You can also draw attention to the picture by using elements that direct the viewer's eye to the center or around the frame. This can be achieved different ways. For example, good old fences or roads going into the distance, or, as in the painting “Nimbus”, a huge structure cutting through the sky and leading the eye from the upper left corner to the very center. The trick is that the viewer will lead his gaze along the arch until he comes to the end point - the most important part of the drawing.

17. Holding your gaze
If the viewer pays attention to the picture, the important point here is to hold this gaze longer. Let's go back to the good old technique with a fence leading into the distance from left to right. On the right side you will definitely need to add something, for example, a couple of trees or maybe small house, in order to then smoothly return the viewer’s gaze to the entire composition. Let us turn again to the painting “Nimbus”. Notice how the eye follows the line down and lingers on the city, looking at the rocks on the left and the city itself on the right.

18. Dramatic
Large-scale and epic images are usually either dramatic or very calm. To add drama to the image, you can play with depth, scale, speed of movement of elements or their calmness. In the painting “Nimbus” there is a large arched design appears from behind the viewer, sinks into the clouds and descends to a point in the distance, thereby showing how enormous it is in relation to the comparatively small skyscrapers at the point of its contact with the ground.

19. Balance
Achieving balance in your composition is a matter of practice, especially if your focal point is a large, dramatic feature that takes up most of the frame. Looking again at the painting "Nimbus" - here I balanced the painting by using some shorter buildings, cliffs sloping into the distance on the left, and adding clouds that soften the perception of the painting. Together, these elements create harmony between the huge focal point and the rest of the surroundings.

20. Relative scale
Complex compositions depicting different shapes and dimensions must be correctly constructed so that the viewer sees and understands the scale of the elements of the picture. In the painting "Prometheus" I painted several people - some closer, some further from the ship, to show the enormous size of this ship and the pier. You can create huge scales as far as your imagination and the boundaries of the canvas allow you. WITH small objects in the same way - be it a glass with pencils, or a telephone on the edge of the table - everything should serve to ensure that the viewer understands the size of the table.

10 tips to help you improve the composition of your photos. Whenever you find yourself wondering how to compose a photo, you can use these tips to get good photos.

In simple words, the “odd rule” is to have an odd number of objects in your photographs. As an example, a photograph of only one object or a group of three people. This technique makes photography more attractive and interesting to the human eye.

This photo of four berries is quite bland and boring. It's hard to find the center of focus in this image.

Although the photo is similar to the previous photo, the odd number of strawberries makes it more interesting.

Focus limitation is in a simple way add the focus itself. This may not be necessary in all photos, but it is useful whenever you have objects that you want to hide. The most common use of this technique is aimed at blurring unwanted backgrounds. You can reduce the depth of field of your photos by using a large aperture (eg F1.8), zooming in, and using a camera with high sensitivity (eg F1.8). full frame DSLR).

If the trees in the background were in focus, it would detract from the theme of this photo. Blurred background emphasizes the focus on the couple.

Blurring the background helps draw attention to people.

A good way to set the center of focus is to create as simple an image as possible. Most convenient way to do this is to limit the number of objects in your photo. You can also use the previous tip to blur out unwanted objects.

The simplicity of this photo makes the idea clear. A simple photo grabs attention and makes people look at it longer.

Centering the subject creates balance in the photo. Centering looks best on simple photographs with a small number of objects.

You can enhance the emphasis on a subject by keeping the space around the subject clear.

A boring object becomes interesting if simplicity and centering are maintained.

This is one of the most effective and popular methods of photograph composition. You can improve your photos using this technique. The Rule of Thirds adds interest to a photo by aligning your subject to one of the four points of an imaginary 3x3 rectangle created from your image.

A simple image became more interesting after applying the rule of thirds.

When taking portraits, you can use the rule of thirds to add focus to the eyes. Simply position the eye or the area between the eyes using the rule of thirds to create a good portrait.

Leading space is the space in front of the object. This element is usually used in conjunction with the rule of thirds to create more interesting photo. By leaving a piece of space in front of the object, the viewer will see the continuation of the action.

The snowboarder is positioned according to the rule of thirds with some leading space in front of him.

Leaving some leading space in front of the runner makes the photo look more active. It also draws more attention into the sunset.

Leaving a piece of space behind the runner causes the end of the run effect to appear.

S Curve is an imaginary stripe in a photograph in the shape of the letter S. This type of stripe makes photographs look more interesting by forcing the eye to follow a specific path.

An example of a highway with an S curve. This photo of a simple landscape is made more interesting by using an S curve.

A similar photograph of a highway, but without the S curve, is less dynamic.

The earliest examples of the S curve are used in Greek and Roman sculpture.

Most photographs have a middle and background, and very little space is given to the foreground. You can enhance your landscape photos by including some foreground objects. This is an essential technique for creating a sense of scale and making the viewer feel like he or she is in the photograph.

The rocks in this landscape add scale and a sense of depth to the photograph.

Addition more The foreground of the photo adds a sense of reality.

When you think you are close enough to the object, you will try to get even closer. Fill most of the frame with your subject and you'll get a completely different composition. Often more attractive.

Being close to the subject and filling the frame with the wolf's head gives more emphasis to the wolf and creates more drama. Both photographs show the same wolf, but the stories it tells are completely different.

Here's a creative way to add a foreground to your photos! Use the elements around you to create an image framed by objects. This technique is a great way to add interest to a photo and create an image that stands apart from the rest.

This photograph uses silhouette to create a frame around the Taj Mahal.

The frame should not stand out or have a specific shape. It can be as natural as the two trees in this photo.