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How to Apply Compositional Theory to Still Life Photography

21 Nov

The so-called ‘rules of composition’ aren’t so much rules as guiding principles.

Rules of Composition for Still Life Photography-Darina Kopcok-DPS

Why? Because not every compositional tool works for every image. Art is subjective, and what works well for one image may not work so well for another.

That being said, good photography involves not only technical skill but also choosing the right composition.

It’s especially true in still life photography, where composition can really make or break an image. So here are some tips on how you can apply these compositional ‘rules’ to your still life photography.

Rules of Composition for Still Life Photography-Darina Kopcok-Dps

The Golden Ratio

If you’re new to photography, you may have not heard of the ‘Golden Ratio’ (also known as the ‘Divine Proportion,’ the ‘Golden Mean,’ and the ‘Greek Letter ?’).

Don’t worry if you haven’t heard of them. While artists and architects have been using this principle for hundreds (if not thousands) of years, I was well into my stint at photography school before I’d even heard about it.

It’s a mathematical expression that can describe a wide variety of phenomena found in nature. But when it’s used in art, the results are harmonious and aesthetically pleasant compositions.

You can find the Golden Ratio everywhere – from the works of Michelangelo to the great Egyptian pyramids to a nautilus shell. It’s also found in the human face and body, and even in our DNA.

Rule of Thirds Grid

Most photographers are familiar with the ‘Rule of Thirds.’ This compositional guideline divides an image into nine equal sections using two horizontal and two vertical lines, just like a tic-tac-toe board. The important elements in the scene should fall along these lines or at the points where they intersect.

Rule of Thirds

The rule of thirds works well for images such as landscapes but can be limiting for still life photography. The resulting images often feel awkward or unbalanced.

The Phi Grid

The ‘Phi Grid’ uses a similar concept but is much more powerful than the Rule of Thirds. Its center lines are closer together and express the Golden Ratio of 1:1:618.

Phi Grid

The Phi Grid is one expression of the Golden Ratio.

Rules of Composition for Still Life Photography-Darina Kopcok-DPS

This image uses the Phi Grid. Notice how the chestnut in the focal point is placed differently to the others, drawing the eye.

Fibonacci Spiral

Another expression of the Golden Ratio is the Fibonacci Spiral, which exhibits the same numerical pattern that makes up the Golden Ratio.

You can use this numerical pattern to draw a series of squares. If you draw an arc from one corner to the opposite corner in each square starting from the smallest square, you’ll end up with the Fibonacci Spiral.

This is a guiding principle you can use in your still life photography. By setting your subjects along a curve rather than a straight line you create flow and movement, and help guide the viewer’s eye through the image. It works particularly well in overhead shots that have several elements in the frame.

You can flip or turn the spiral so long as your focal point falls in the smallest part of the spiral. Other important elements should be placed along the curve.

Fibonnaci Spiral

Golden Triangle

Using triangles is a powerful way to create tension in a still life image, and retain the attention of the eye within the frame.

Here’s an image that expresses this principle.

Rules of Composition for Still Life Photography-Darina Kopcok-DPS

Notice the diagonal line going from one corner to the opposite, and the lines meeting that diagonal from the other corners? Where the lines meet are your points of interest, which you should use to place your focal point and divide your frame.

While horizontal and vertical lines suggest stability, triangles add a sense of flow and movement.

You can compose your image to imply triangles, rather than being strict about composing them exactly this way.

Other Helpful Principles

Rule of Odds

In still life photography, having an odd number of elements in a frame is more visually interesting than having an even number of elements.

Odd numbers create harmony, balance and a resting point for the eyes, whereas even numbers compete with each other and can divide our attention.

Aim to have three or five elements in your image. You can have more, but the mind has trouble registering higher numbers meaning your photograph will not have the same effect. If you do have more, put them into groups of odd numbers wherever possible.

Odd numbers create tension

Negative Space

Positive space is the area your subjects take up.

Negative space is the empty area where the eye can rest.

Negative space can provide the feeling of movement, and emphasize your subject. Without any space for the eye to rest, a picture can feel chaotic or claustrophobic.

You see negatives space a lot in magazines or product packaging, where it’s used for text placement.

Rules of Composition for Still Life Photography-Darina Kopcok-DPS

Color

You may not think of color as a compositional tool. But it’s actually a very important one. It evokes emotion and creates the mood of the photograph.

Cool and dark colors such as navy blue and black recede, while light and warm colors such as yellow bring objects forward.

Color combinations can be monochromatic, or any of those found on the color wheel.

One of the most powerful combinations is complementary colors (i.e. colors that are directly opposite each other on the color wheel). Blue and yellow is one such combination, which you see a lot in food photography.

Take into account the color of the background or surface you’re shooting on. Colors that are too bright can detract from your subject. Make sure your background matches the mood you’re trying to create and works harmoniously with your chosen elements.

Complementary colors make your images pop

In Conclusion

It can take years for a photographer to learn to shoot intuitively using compositional principles. Visualizing your focal point on a Phi Grid is one thing, but visualizing the Fibonacci Spiral while you’re shooting may be more difficult.

Thankfully, with still life photography, you can tether your camera to your computer or use its Live View function to estimate where your subject and focal point should fall.

Editing software such as Lightroom and Photoshop can help you place the various elements in your frame with overlays of compositional guides. You can shoot wider than you need for the final result and crop in post-processing.

The more you implement these compositional guidelines and work with them in post the more you’ll internalize them, which can only improve your still life photography.

The post How to Apply Compositional Theory to Still Life Photography appeared first on Digital Photography School.

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Applying color theory to landscape photography

27 Jan

This is Albert Biestadt’s painting entitled ‘Among the Sierra Nevada’ from 1868. As you can see he employed the use of what we now call color theory to create a color harmony in his painting.

Color Theory can be an extremely complex subject, especially if you start looking at the mathematics and physics behind the theory itself. On a more aesthetic level it’s an integral part of what can make an image of a landscape pleasing to the eye. Composition, subject and light all play a considerable roll in landscape photography, but color, and more importantly the idea of color theory, helps to weave all of those elements together to form a successful image.

The most commonly utilized types of color harmonies are analogous, monochromatic, complementary, split complementary, triadic and quadratic. These color harmonies are essentially different combinations of groups of colors that work well with with one another, or for lack of a better word, are harmonious in their visual representation.

Painters such as Albert Beirstadt, who is best known for his renditions of the American West during the mid to late 1800s, utilized what we now call color theory extensively in his paintings of breathtaking landscapes. In the above painting entitled ‘Among the Sierra Nevada’ Beirstadt utilized a triadic color harmony to add balance to the scene.

In the modern era of landscape photography, the same principles that Beirstadt utilized in the 1800s, can be applied to the way we compose images today. Consider the example below taken from Ted Gore’s blog post on the subject. As you can see, the color balance that he strikes in this image helps to solidify an already strong composition with excellent leading lines by guiding your eye through the scene through the use of the colors present in the image.

In this graphic, Ted has outlined the use of the Triadic Color Harmony present in this image taken along the Napali coastline on the island of Kauai, HI.

The Triadic Color Harmony present in the above image combines three groups of colors that are equally spaced from each other on the color wheel. The greens, yellows/oranges and blues all work to add balance to the overall scene and to create a very well composed final product that is pleasing to the eye. This is just one example of the several provided by Ted in his blog post.

To find out more on the subject please give his blog post a read as we think that it does an excellent job explaining how color harmonies work and how they can be utilized effectively in modern landscape photography.

If you want to dive even further into the science behind color theory, give Dave Morrow’s blog post a read as well.

Articles: Digital Photography Review (dpreview.com)

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How to Use Figure to Ground Art Theory in Photography

27 Aug

Light figure on a dark ground, Florence, Italy © Adam Marelli

What is figure to ground?

Why can you recognize an amazing photograph but struggle to produce one? Sure there are better cameras, advanced lighting techniques, and endless theories on composition, but very often the root of the problem lies in a simple concept that is often missed. In three words, we can sum up almost every cover of Vogue, National Geographic, and the New York Times – Figure to ground.

What is this term, what does it mean, and where does it come from? Figure to ground is one of the most important, and easily overlooked concepts, in photography. It’s not a rule, it’s not a law – it is a tool, and a very powerful tool at that. Once you learn it, it will become a part of every picture you take, no matter what type of camera you use.

If you were ever curious to see masterful use of figure to ground, try revisiting the photographers you already love like Steve McCurry, Richard Avedon, or Henri Cartier-Bresson. They all use it, some more elegantly than others. Figure to ground acts like an anchor in a photograph, holding the viewer’s eye inside the frame.

Dark figure on a light ground, Florence, Italy © Adam Marelli

It goes by many names

Figure to ground has a multitude of names; subject to background, figure separation, foreground to background, and the list goes on. To simplify, figure to ground is the most descriptive and easiest to say, which is why artists have favored it for centuries.

Light figure on dark ground, Berlin, Germany © Adam Marelli

A starting point

When it comes to describing visual tools in the written language, firm definitions are always a problem. Consider the following definition a starting point, not an immovable scientific definition.

Figure to ground is the visual relationship between objects and the space they occupy. We live in a 3D world, but your photographs are a 2D translation. When the third dimension of depth disappears, you end up with a problem that has plagued artists since they started scrawling on cave walls, how do you create a picture of the 3D world with only two dimensions?

Figure to ground allows your brain to determine shapes, sizes, distance and other optical illusions that exist in photography (it also applies to drawing, painting, and other 2D arts, but for this article the focus is on photography and how you can use it successfully).

Dark figure on a light ground. Berlin, Germany © Adam Marelli

Where did it come from?

The idea of figure to ground comes from drawing and painting. It forms the basic grammar of the visual language. Think about it, how can you see a shape on a piece of paper? It is visible because it is a black line on a white page. Seems obvious right, but what is that phenomenon called? It is called figure to ground. Imagine if we wrote in white ink on white paper – everything would be invisible.

The same thing applies to photographs. In order for your photograph to be legible, we must be able to see the object against the background. Artists have worked with this concept for centuries and developed elegant solutions to figure to ground as a deliberate, but subtle, technique for making pictures.

Light figure on a dark ground, Matera, Italy © Adam Marelli

How to practice it

The first step in practicing figure to ground is to condition your eye by looking at good examples. If you want to be a great photographer, study master painters and how they use figure to ground. You can do this on the internet, in a book, or at a museum. Pick the one that is easiest for you.

TECHNIQUE 1: The Book

Pick up a book on a famous Renaissance artist, like DaVinci, Raphael, or Michelangelo. Setting aside whether you like their work or not, the way to use art to your advantage is to master the tools of successful artists, and apply them with your own unique touch. Lay a piece of tracing paper over the page and be sure to cover the whole picture. Can you still see the subject? If yes, there is good figure to ground. If the subject seems to disappear into the background then no, the figure to ground is weak.

TECHNIQUE 2: The Museum

If you wear glasses, this will be even easier. Go to a museum and find a painting. Following DaVinci’s advice on viewing distance, stand three times the height of the painting away from it (example: if the painting is five feet tall, stand 15 feet away). Now squint at the painting until it is all blurry, or simply remove your glasses. Can you still make out the major shapes in the painting. If yes, there is good figure to ground. If the subject seems to disappear into the background then no, the figure to ground is weak.

Light figure on a dark ground. Kyoto, Japan © Adam Marelli-8

TECHNIQUE 3: The Computer

If you prefer to use technology, here is a technique you can do in Shotoshop. Pull a picture into Photoshop. Select Filter > Box Blur > set the pixels at 15 pts. You will end up with a blurry version of the picture. Can you still make out the major shapes in the painting? If yes, there is good figure to ground. If the subject seems to disappear into the background then no, the figure to ground is weak.

TECHNIQUE 4: Your Photography

Try any of the techniques above with your own photographs. If there is not strong figure to ground in your picture, play closer attention to the backgrounds when you shoot.

Camouflage

What if you never learn figure to ground, what will happen? Will it be impossible for you to ever make a good picture? No, of course not. But when you understand why some pictures work better than others, and what tools to use at the right time, you will enjoy photography much more. It relieves the anxiety of, “Will I get the shot?”. When you have a toolbox full of resources, it becomes easier to create consistently powerful pictures.

If you would like to know what the opposite of figure to ground is, look no further than camouflage. Camouflage is designed to obscure objects in space. It is the direct opposite of figure to ground. If the goal is to blend in, then use camouflage – if the goal is to pop out, use figure to ground. It is your choice.

Dark figure on a light ground. Matera, Italy © Adam Marelli

Tools are not rules

Photography is an artistic expression. It might be your break from everyday life, the pressures of work, or the hidden talent you want to explore. Whatever role photography plays for you, the idea to take away is that photography is not a rule book. BUT – and this is a big BUT, there are tools involved. You can use a tool the way it was intended and achieve amazing things, or you can spend your life using a chisel as a fork and wonder why eating is so painful.

Think of your photography like a toolbox; it might have a hammer, a chisel, a screwdriver and a wrench. You might use more than one tool at a time, and all tools will not be used for every job. Your role as the photographer is to know how to use each tool at the appropriate time to reach the desired effect. Otherwise you might end up hammering screws and painting nails.

Dark figure on a light ground. NYC, USA © Adam Marelli

Developing subtlety

Where do you go from here? Here’s an assignment that will be very helpful:

1. Find 20 examples of figure to ground in paintings
2. Find 20 examples of figure to ground in photography
3. Go take 10 pictures of light figures on a dark ground
4. Go take 10 pictures of dark figures on a light ground

Once you practice this enough it will become like a reflex. Please share your comments and images below.

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The post How to Use Figure to Ground Art Theory in Photography by Adam Marelli appeared first on Digital Photography School.

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7 Tips for Using the Gestalt Theory for Better Composition

08 Jun

Andrew’s newest ebook Mastering Composition is now on special for a limited time only at Snapndeals.

Gestalt theory and composition

Gestalt theory evolved in the 1920’s to explain some of the ways in which people perceive the world around them. The basic idea is that, when faced with a visually chaotic scene, the human mind simplifies it into more recognizable patterns and shapes.

Gestalt theory provides an insight into the pattern recognition process that occurs when people look at photographs. Once you understand the principles of gestalt theory, you can use them to improve the composition of your photos.

These are some of the useful aspects of the gestalt theory.

1. Proximity

A pair or group of objects that are close to each other are more likely to be perceived as belonging together than if they are far apart.

In this portrait, the proximity of the girl and horse suggest a close relationship between them. If closeness is what you want to show, it would be far less effective to position them with their heads further apart.

Gestalt theory and composition

2. Similarity

Objects that are similar in shape, size or colour are seen as belonging together.

In this landscape photo, the three rocks in the middle distance are linked by proximity (the previous point) and by their similarity in texture, colour and shape.

Gestalt theory and composition

3. Closure

The mind completes shapes that don’t exist. This is a principle used in some optical illusions but it also applies to photography. Part of the skill of composition is learning to recognize shapes, and building the design of the image around them. The principle of closure helps you see shapes in the subject.

For example, take a look at the landscape below. The bluebells form a solid block of colour in the lower two-thirds of the photo, with a strong horizontal line along the top. The line is interrupted by the trees passing through it, yet we still perceive it is a continuous straight line. The mind automatically fills in the gaps.

Gestalt theory and composition

4. Simplicity

The mind perceives parallel lines that are close together as a single line.

The landscape photo below contains several lines, all leading towards a vanishing point on the horizon. The lines that are close together, like the cables dangling from the telegraph pole, are simplified by the mind which sees them as a single line.

It’s the same with the fence. This set of short, vertical lines is simplified into a long, diagonal line that follows the side of the road.

Gestalt theory and composition

gestalt-theory-composition-5a

5. Continuation

The mind assumes that lines extend beyond the edges of the frame. In the landscape photo above this principle helps create a sense of depth (along with the use of a wide-angle lens) as the mind believes that the road continues beyond its vanishing point.

6. Segregation

For human figures to be recognizable they must stand out from the background. That way we can identify them easily even if they’re small in the frame. This is a useful principle because you can include small human figures in the landscape to indicate scale. But it is important that they don’t merge into the background, otherwise they are difficult to see.

In this landscape, the man walking away from the camera is a dark figure against a light background (tonal contrast in action), and is easy to see and recognize.

Gestalt theory and composition

7. Emergence

The viewer may not notice something in the photo when he first looks at it, but it becomes apparent after a period of study. This is an important concept because it is a way of making photos more interesting by presenting the viewer with something that is not evident at first, but reveals itself after reviewing the image. It’s a way of rewarding the viewer, and gives photos staying power.

For example, how long did it take you to see the cat in the photo on this page? Or the cow’s head in the opening photo (top of the article) of the singer?

Gestalt theory and composition

Mastering Composition

My new ebook Mastering Composition will help you learn to see and compose photos better. It takes you on a journey beyond the rule of thirds, exploring the principles of composition you need to understand in order to make beautiful images. It’s on special for a limited time only at Snapndeals.

The post 7 Tips for Using the Gestalt Theory for Better Composition by Andrew S. Gibson appeared first on Digital Photography School.

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Subsist Theory live to live(live checkmate 26/03/09)

07 Feb

Become a fan of subsist theory on facebook: www.facebook.com Live to live is our first song, composed by all members of the group: if you like it leave a comment! 🙂
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Double slit theory Quantum Physics Animation

03 Aug

This video really makes the challenge your beliefs about what the context of The Universe means to you.
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Ztring Theory – stereo 3-D

01 Aug

Experimental short film from 2009 in anaglyph stereo 3-D. Put on your 3D glasses now! Visit us at www.chiptoons.net

GoPro 3D Test – 1st Attempt. Use Red/Blue Anaglyph Glasses to watch

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Nikon D60 Pictures (Axis Theory Photos)

24 May

Pictures I Took. My Randomness Stuff. I’m 16 and only have a nikon D60 with a kit lens, and the 55-200. No flash. Even though I Wish I Had One

hey my name is mitchell burns and i love photography, and i thought i would make a video of my faves so far…. i have only been doing photography for 10 months, 6 months with my slr.. so yeah tell me what you think my flickr page is www.flickr.com/photos/mb123
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