Table Of ContentRICHARD GARVEY-WILLIAMS
MASTERING COMPOSITION
THE DEFINITIVE GUIDE FOR PHOTOGRAPHERS
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Above: In this image of a Kenyan sunset, the strong,
isolated shapes of the tree and setting sun on the left
are balanced by the aperture in the clouds and ample
negative space toward the right.
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RICHARD GARVEY-WILLIAMS
MASTERING COMPOSITION
THE DEFINITIVE GUIDE FOR PHOTOGRAPHERS
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First published 2014 by
Ammonite Press
an imprint of AE Publications Ltd
166 High Street, Lewes, East Sussex, BN7 1XU, UK
Text and photographs © Richard Garvey-Williams, 2014, except images
© Mark Shuttleworth, pages 71, 85 (top r), 95, 107, 111, 127, 131 (r), 132,
133, 136, 138, 143, 157 (l); © Edwin Westhoff page 86.
Copyright © in the Work AE Publications Ltd, 2014
Print ISBN 978-1-78145-063-5
Amazon ISBN 978-1-78145-132-8
ePub ISBN 978-1-78145-111-3
PDF ISBN 978-1-78145-133-5
All rights reserved.
The rights of Richard Garvey-Williams to be identifi ed as the author of this
work have been asserted in accordance with the Copyright, Designs, and
Patents Act 1988, Sections 77 and 78.
No part of this publication may be reproduced, stored in a retrieval system,
or transmitted in any form or by any means without the prior permission of
the publishers and copyright owner.
While every effort has been made to obtain permission from the copyright
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hear from anyone who has not been appropriately acknowledged, and to
make the correction in future reprints.
The publishers and author can accept no legal responsibility for any
consequences arising from the application of information, advice, or
instructions given in this publication.
British Library Cataloging in Publication Data: A catalog record of this
book is available from the British Library.
Editor: Chris Gatcum
Series Editor: Richard Wiles
Designer: Robin Shields
Typeface: Helvetica Neue
Color reproduction by GMC Reprographics
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Contents
Preface & Acknowledgments 6
Introduction 8
Chapter 1 Chapter 5
Visual Perception 14 Applying the Theory 114
Related Principles 20 Intent & Mindset 116
Gestalt Theory 22 Using the Principles & Guidelines 124
Associated Phenomena 34 Further Tips & Tools 142
Perception in Practice 36 Tips for Increasing Salience 150
Backgrounds 152
Chapter 2
Using Filters 154
A Final Checklist 156
Principles, Rules & Guidelines 38 Image Processing 158
Visual Weight 46
Picture Formats & Proportions 58
Chapter 6
Frame the Picture 66
Dynamic Tension 70
Photography as Art 160
Chapter 3 Conclusion 169
Elements of Design 72 Glossary 170
The Power of Lines 74
The Impact of Shape 86 Useful Web Sites 172
Scale, Form, Pattern & Texture 92
Perspective & Depth 98 Index 173
Chapter 4
The Role of Tone & Color 102
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Preface &
Acknowledgments
I am fortunate to have a very active and In addition to having a mind that seeks out order,
progressive photography club in my local simplicity, and harmony, I am also burdened by
town. We frequently have critique sessions one that is meticulous in its quest for precision.
and guests come in to judge and comment on So, I hope that this will also make for a clear and
competition entries. Although there appears to ordered discussion of what is potentially a rather
be a general acknowledgment of the importance “airy” subject.
of “composing” the photograph, the evaluation The supporting photographs are almost entirely
and cognition that underpins this is often skirted of my own making, and I hope you enjoy them. I
over. I get the impression that people know it’s also hope that you will fi nd fault with many, as I
critically important, but don’t know quite where would like to think that you are applying a ruthlessly
to turn to for guidance. Flicking through the critical eye to them as part of your development as a
pages of most popular photography magazines photographer. Understandably they are not all chosen
you might be left thinking that there’s only one purely on merit, but often simply for the fact that they
compositional rule of importance: “The Rule of support or illustrate a point. I have tried to include
Thirds.” Indeed, it appears that some will judge a range of genres and to this end have included
the merit of a photograph based almost solely on some by my good friend Mark Shuttleworth, to
this. Rarely do you hear discussion about “visual whom I would like to say a big thank you. Also, I am
weight,” “balance,” “negative space,” “depth,” very grateful to Edwin Westhoff, photographer and
and so on. teacher of photography and former lecturer at the
University of Utrecht, for his clarifi cations regarding
This, together with various comments I have his own “Diagonal Method” and for his informative
heard and feedback I have received regarding correspondence and suggestions in general.
the compositional quality of my own images over Finally, I would also like to express my thanks to my
recent years, has prompted me to write this book. wife, Lisa, for her encouragement while I redefi ned
I am fortunate (or perhaps not!) to have a mind myself as a photographer, and for her patience when
that seeks out order, simplicity, and harmony and I lose myself “in the zone” with my camera.
I believe this is refl ected to some degree in my
photographs. I frequently take care to consciously
compose my photographs rather than relying purely
on instinct. This is not always a good thing, but it
helped instigate this inquiry into the principles of
composition and design. Through this book, I hope
to share the fruits of this investigation.
Right: Removing color from high-contrast images can
help draw attention to the shapes and contours.
6 MASTERING COMPOSITION
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PREFACE & ACKNOWLEGMENTS 7
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Introduction
Due to the scope of the subject in question, I feel ourselves, but also to impact or infl uence others.
compelled to start on a somewhat philosophical Through our photographs we aim to say something WHAT MAKES A GREAT PHOTO?
footing. We need to ask some questions fi rstly about the subject. Often, but certainly not always, it I would suggest four elements that are
about what we, as photographers, are trying to is an attempt to express and capture the beauty of a signifi cant components:
do. The measure of the success of a photograph scene or subject, or to convey our emotional reaction
needs to incorporate consideration of the to an aspect of our surroundings. If we simply “point 1 A subject with impact: something that captures
photographer’s intent. and shoot” with our cameras, the problem is that we the viewer’s mind for one reason or another.
are asking the camera to do the impossible—to convey It might be through its beauty, its ugliness, its
Photography is employed for a whole host of reasons. the thought, refl ection, or vision that made us lift the uniqueness, or its interest.
It may be simply representational or depictive, as camera in the fi rst place. Composition enables us to 2 A dynamic composition that supports the
in the case of a fi eld botanist wanting to illustrate better express this with clarity. emphasis on the quality being expressed or the
and study the detail of a new species of orchid. An stories that surround the subject matter. If the
Evaluating Images
extreme example is a passport photograph, where intention is to produce a “pleasing” image, its
even a smile is not permitted. In terms of our personal reaction to a photograph, composition will also need to exhibit good visual
psychological factors invariably come into the design and balance.
A Form of Expression
reckoning—we see with our eyes, but perceive 3 Effective use of lighting. This is to support the
At the other extreme it may be used simply as a with our brains. This is done selectively and largely messages being conveyed and again to evoke
form of expression, with the photographer giving the automatically, with the visual information being pleasure in the viewer through the quality of the
process over to the right side of his/her brain. Here filtered according to our makeup, experiences, light and balance of it throughout the image.
the photographs may not even be shared with others, and conditioning. Therefore, the experience of 4 Although it can be argued that this is
with the process of producing the image being a seeing a scene or of viewing a photograph is encompassed in the above, the fourth element
form of “expressive therapy” for the individual. highly individual. is perhaps the most crucial: the image’s ability
For most of us, however, we enjoy our This is the subjective aspect of photography, to invoke an emotional response in the viewer.
photography as something that is a little more than which clearly defines it as an art form. From this Through this it might convey emotion, mood, or
representational. It is not only a way of conveying standpoint, there is no best or correct way to perhaps a sense of place, location, or space.
something about the subject matter, but also about photograph a particular subject, as no judgment can
ourselves to other people. The “ego” is perhaps be put on what is largely self-expression. However,
calling out to be noticed as much through our even in this subjective realm we can discern certain
photography as through our other pursuits in life. As patterns that most of us share relating to how we
David Ward, one of Britain’s best-known landscape perceive and interpret images. This leads to the
photographers, said, “Ultimately, isn’t it better to be claim that there is also some degree of objectivity
noticed for the way we see than for what we see?” in the process of evaluating a photograph.
As we shall see, an important fi rst step in taking Most of us can agree that certain photos are
control of our picture making is this acknowledgment good, but why are they good? Through asking this
that most of us are taking a photograph partly for we can learn a lot about the common ground we
8 MASTERING COMPOSITION
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Above: A typical illustrative nature image that aims to
reveal clearly the morphology of an animal: the entire
damsel fl y is depicted sharply in profi le against a neutral
background.
INTRODUCTION 9
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