3 Uncommon Composition Tools Every Photographer Should Know



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By now, we’ve probably all heard about and have put into practice common “rules of photography” like the rule of thirds and leading lines. These are are frequently drilled into the fresh minds of budding photographers as the way it has to be. Now, don’t get me wrong, they are perfectly good tools that will more often than not get you a nice photograph, but they are not the only way to achieve that.

Color Theory

The concept behind color theory is an expansive one and probably deserving of a post of it’s own. Definitely something all photographers should study at some point in their careers. Look things around you, at advertisements, website design, banners,even the way produce is arranged at the grocery store. The one thing all these things have in common is that a good part of their design revolves around the use of color.

Contrast

Notice how the primary colors of this photograph all work well together? (Photo credit: Ethan Bergeron on Flickr)

As a photographer, you too should be looking at the color of not just your subjects, but everything in your composition. Do the colors compliment each other? Do they add or take away from your composition? Do the colors promote the mood that is reflected in the photograph? These simple questions are very often overlooked, but can make a dramatic difference in the quality of your composition.

Figure To Ground

The term “figure to ground” sounds kind of obscure, mostly because it’s often perceived as an unspoken rule of photography. The problem with it being unspoken is that it’s not always obvious, especially for new photographers.

Stripes & Stairs

In this image, the subject has a clear connection with the background, but note how clearly defined the subject is from the background. (Photo credit: Thomas Leuthard on Flickr)

So, what is figure to ground? Simple. Figure to ground is the contrast between the subject and the background. Having a dramatic contrast between the two (imagine a woman in a black dress walking past a white building) will make your photograph very easy to read. People will be able to look at it and quickly determine what the photograph is about. The subject should very clear to pick out from the rest of the image.

This more simple to do when working in a studio environment, but when shooting on location or practicing street photography, it requires a little more work and forethought.

Curves

Essentially, this all comes down to geometry. Certain shapes and lines lend themselves to creative compositions. Some are simple, like a leading line, and others are more intricate, like a spiral. You can think of curves as the more sophisticated version of a basic leading line. When done properly, a curve (much like a leading line) will draw the viewers eye in and lead it, encouraging the viewer to examine the entire photograph.

What sets it apart, however, is the complexity of a curved line versus a straight line. A curved line can add a certain softness to an image that gives it an inviting feel. These characteristics make a curved line, namely S-curves, capable of standing alone as a subject in just about any composition.

All the techniques we covered today are very present in our everyday surroundings. We just have to look for them. As a self-assignment, make it a point to actively seek them out and look for a photographic opportunity to utilize them. This can be done just about anywhere. In your home, when you’re out running errands, even at work. One of the hardest parts of photography is training the eye and mind to look for things like repeating patterns, curves, matching colors, etc…that we would normally just glance over without notice. Just remember, I said it’s hard, not impossible!