What we can learn from successful images: Just as the conscious mind thrives on the consistency and stability of our world view in spite of the plethora of sensations and the jumpy nature of eye movements, it responds favorably to simplicity in framed images. That does not mean that details should be missing, but rather that there is a center of attention and a minimum of distractions. The eye should be directed into the most important areas by visual clues and should not be confused by areas of equal importance. Similarly, framed images are favored that are balanced and are not boring. This has to do with composition, that is to say the location of features that have been selected for inclusion by the artist and their effect on the overall impact of the work.
Beyond the simple admonitions to keep it simple and avoid distractions, we can list features that have found favor with most observers. These guidelines to composition can save time and, to some extent, substitute for experience for beginning photographers. With digital photography, where each captured image costs practically nothing, it is all too easy to shoot away without planning and later to realize that the compositions lack something important. I believe that lists of guidelines can increase awareness about composition and motivate planning by photographers. They may also forewarn about likely reactions of critics.
With the usual caveat that guidelines are not rules and that there are exceptions to all of them, I list a selection of guidelines that are frequently encountered.
1. Establish a major object or area of interest. It should be easy to answer the question, What is the subject of this photograph? The object of interest can be isolated by means of placement, background, and depth-of-field. In some cases natural lines and contours can be used to direct the eye to the subject. Natural frames within the image can also be helpful.
2. Avoid distractions. Some of the major distractions are competing points of interest such as bright areas especially at the edges, large fuzzy areas in the foreground, busy backgrounds, and lines that run directly to a corner.
3. In general avoid placing objects directly at the center of the frame unless symmetry demands it. Center placement, especially of small objects, makes balance difficult and tends to be boring. As a corollary, avoid placing the horizon exactly in the center of a picture. The subtle difference in composition of Figs. 1 (a) and (b) is sufficient for most observers to find (b) more pleasing.
4. Consider using the rule of thirds. Divide the image into thirds in both the horizontal and vertical directions by means of imaginary lines to make nine blocks. The crossing points of these lines, namely one-third of the way in from both the vertical and horizontal edges, make favorable hot spots for the placement of objects or points of interest in the image. Placement at a crossing point works for the geyser in Fig. 2; however, the symmetry and size of the orchid in Fig. 3 leaves little choice about placement.
5. Give moving objects extra space in front for their anticipated movement. This is obviously desirable in most cases. In the event that the moving object has a tail such as the wake for a boat or the jet trail of an airplane, it may be better to assume that the tail is part of the object.
6. Avoid awkward clipping of objects or features at the edge of images. For example, windows in walls should usually be totally in or out of the frame. Tight cropping to show a face or perhaps a waist length portrait may be fine, but avoid clipping small parts. For example, try not to clip a hand or an ankle and foot.
This list simply attempts to put into words some of the features that contribute to our like or dislike of certain images. Sometimes placement is so obvious to most people that a rule is superfluous. Consider, for example classic portraits created over many decades of faces that show two eyes. The faces are seldom straight on, and the dominant eye tends to be in the exact center of the canvas with remarkable consistency. The location of noses and mouths is much more variable. This observation is interesting but not particularly helpful.
With all this discussion of composition, one should not lose sight of the importance of subject matter. A valid criticism of any work of art is that there is no inherent interest in the subject. This immediately gets us into the most subjective part of art criticism. One photographer may find art in the placement of a cigarette butt on a sidewalk or the location of a weed growing from a crack in concrete while another photographer is bored stiff by the same subjects. The choice of the subject is quite personal. I personally am attracted to images that help me see the world in a new way. That might mean detail and colors in insects and birds, frozen action in sports, or composition and color in landscapes. The reader can insert their choices here as well.
Understanding What Makes a Good Image and Learning How to Use That Knowledge
