Contrast
In
photography we want to make clear what our subject is, and not have
the viewer guess or have to resort to a caption or title. One way of doing
this is placing the subject in contrast with the background. The
photo to the right is an example of contrast. Notice here we
used color for contrast. The bright blue stands out from the drab
tan of the background. By keeping the background defocused and
neutral in color, it does not deter from the main subject, yet, it still
provides context to the scene.
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Simplification
In
this photo, we kept the elements simple. The background is a blur of
defocused bubbles. The lack of other objects in the scene focuses
our attention to the anemone in the foreground.
Notice this scene is relatively low in contrast.
The tonality of the anemone and the background are similar. It is
not necessary to apply all of the rules of composition in the same
photograph. Although rules can be used together, they also stand by
themselves.
In this sample, even though there is not much
contrast between the subject and background, the photo works because of
the simplification.
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Pattern
The
human mind is drawn to repetition. As photographers, we can take
advantage of this by utilizing patterns in our photographs, making them
much more interesting. Corals are colonial creatures, and as such
are repetitious by nature. The patterns inherent in these animals
give us a great base from which to start our work. In this example,
the repetition of polyps directs our eyes to the details within each
individual one.
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Leading Lines
Leading lines, or diagonals,
are strong tools in photography used to create
a sense of dynamics to an otherwise static scene. In this example, the
subject (the reef tank) is in the center of the image, yet it does not
appear static. The closer end of the railing, on the right of the
photo, leads our
eyes into the room where we come across the tank. It then continues
past
the tank to the master bedroom. The use of leading lines here takes us
through the hallway as though we were coming from one end and walking
to the master bedroom, and viewing the tank along our trip. It directs our attention
to the subject, and gives us a path on which to continue our journey.
The use of diagonals with our subjects themselves
or with lines in the photograph also adds dynamism to the photograph. Straight horizontal lines appear static like the ground. Similarly, straight
vertical lines will appear as static as sticks stuck in the ground. By sloping
one of these lines, our minds pick up a sense of movement in the photograph.
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Framing
When we print a photo, we often put it in a frame to display on our desk. A good frame will enhance the photo and showcase it. It serves to bring
initial attention to the photo itself. Similarly, we can use natural surroundings
as a frame in our compositions. Notice how this fish is framed by the
cave in this rockwork. This frame is not intrusive and gives a feel for
the fish's environment. Yet, it works like our desk frame,
directing the
eyes toward the subject itself.
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Props
A prop is anything in the photograph not part of the subject itself.
Correct usage of props creates interaction between the subject and its
environment. In this photo, the Anthelia sp. branch is used as a prop, giving
the hermit a sense of calm; it is sitting under the shade of an old Anthelia sp.
tree on a hot summer day. Keep props simple so they do not deter
from the subject itself.
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Depth
As we already discussed, DOF is a powerful tool in
directing attention through the photograph. We can use this to
isolate our subject. There are several ways we can use DOF to this
end and we will go through a couple with the samples below.
Defocused Background
By selectively defocusing the background we can bring the eyes to the
subject in the foreground. As in this subject, the shell in the background
is easily identifiable, and places the hermit in a marine context. For
simple backgrounds, defocus lightly. For complex and busy backgrounds,
we want to defocus heavily so it becomes more of a consistent smear
and does not deter from the subject.
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Defocused Foreground
Here we defocused the foreground subject and focused on the background. This brings our eyes to the brain
coral. However, in this photo,
we want interaction between the hermit and the brain, so we defocus the
hermit's eyes only very slightly so it becomes part of the subject. The large defocusing of the shell itself de-emphasizes it so it does
not deter from the subject.
The low angle of this photo gives it a hermit's eye
view of the world. What we see is small insignificant hermit crawling
up to the huge brain seeking wisdom.
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