The moment has arrived; this is the post where I’ll tell you about my own system of composition.
Like most people, I’ve been using the rule of 3s, golden ratio, leading lines, et cetera. I don’t remember exactly when, but perhaps 15 – 18 years ago, I started thinking a bit differently.
Throughout the years, what I’d started thinking about turned out to be an entire system of composition, which I use consistently. Most of it is a direct consequence of how my perception and c-ing works. It can be taught and learned, but from what I’ve noticed, it might be difficult to learn if your way of seeing the world differs from mine.
The frame
What is the absolutely most important of all, before even thinking about composition, is – the frame.
Reality is infinite. A photograph is not.
This quote is taken from my book on truth and reality, and is very useful when thinking about photography. A photograph ends at the border. Outside said borders, reality continues.
This means we have a limited surface that needs to be somehow organized, to make sense to the person looking at it.
Geometry
Let’s start with geometry. No surprise there – look for geometrical shapes. What might differ from how others do it, I tend to create my geometrical shapes, rather than find them appearing obviously. That is; a branch on a tree might create half a circle, which, framed properly, will give the illusion of a full circle. A shadow might create a triangle, or perhaps a square.
Direction
I don’t necessarily see direction as only leading lines. I tend to view direction as a movement across the surface of a photograph. I usually use my geometrical shapes to create direction; triangles are excellent pointers. There are unlimited ways to use a geometrical shape to act as a direction, and the only thing standing in the way is our imagination.
Regardless if the direction is part of geometry, a personal preference is diagonals. Not sure why I see them so regularily, but I do.
Weight
In this case, I’m not talking about weight as in kilos, pounds or whatever else system one might measure it with. I am talking about visual weight; what happens when there’s more weight at either side on the surface of a photograph, in the top or perhaps the bottom. Weight can also be created by movement – or, should I perhaps say; balance through distribution of weight can create movement. Of for that matter, the other way around.
It’s all about how we distribute whatever we’re photographing, and wherever we put the most or the least weight, and what story it tells to an audience.
Pull
Pull what, you might wonder. The easiest way to explain it is – I look for power, energy and – pull. With power, I’m not talking about electricity. With energy, I am not talking about electricity either – or anything of what one might think of at first thought.
Power and energy can be described as relations between elements within the frame. Which geometrical form is the strongest? Which shape pulls another form in some direction? What creates visual balance or visual discomfort? Are there any two forces pulling at each other, or perhaps even battling over space?
There are many questions to be asked here. I am the one asking them, and providing the on-looker with.. perhaps not THE answer, but at least a question the viewer can work with.
Miscellaneous
These key concepts just described are layers to be applied on top of the surface of any photograph. Do I use more traditional tools for composition? Yes, sometimes. Usually, as a base ground for my own system. But more often, I use the grid we can see in both the camera, in Camera Raw (Adobe Photoshop, which I use), and surely in many other places. I am fortunate to have said grid inside my head, and can apply it onto reality, even before I pick up my camera.
There are, however, a few other things I work with, besides earlier mentioned tools. For example, I sometimes use in/out of focus, which for me usually means layers backwards and inwards in a photograph. I also sometimes work with framing something within the frame – that is; to use for exemple tree bransches to create a frame for something else.
Perception
Everything that I have (tried to) describe is the result of perception. To me, photographs are like berries. I find them, and I pick them. I don’t necessarily have to look for them, they just pop out from reality, telling me they are available should I want to direct my attention and camera towards them for a moment.
Now; I realize that depending on what someone photographs, this system may not be very functional. For me who do not photograph motifs or locations for regocnition, this system works perfectly.
Perception is a very useful tool. It can also be quite a tricky one, because it isn’t really a tool, the way we usually understand it. Perception requires attention and awareness, selfknowledge – and curiousity.
Questions to ask yourself are for exemple; what it is that I tend to be drawn to? Why am I drawn to these things? What catches my eyes? How come these things specifically, draw my attention? What habits do I have when it comes to seeing? How can I develop them further?
Another thing I find interesting to consider is; do I have to photograph everything? Am I a better photographer if I photograph as many things as possible, or would it serve me to focus on something a little more specific?
…
As you can see, my system of composition does not contain any rules, or even any practical advice. I work quite intuitively, I trust my sight, my perception, and I follow it wherever it wants to go.
My main tool is that grid, and knowing what image format I prefer (squares). Even though my camera photographs in full format, I think in squares even as I expose. My mental grid is a square, and knowing that I can put whatever it is that I’m photographing, in the composition I want to be the end result – with some extra room to play with.
Is it possible to somehow learn this way of seeing?
Yes, I suppose so. If it doesn’t come naturally, it will probably take a lot of practising, not to mention – experience. Not only within the photographic field, but also life experience, self-knowledge et cetera, to know exactly what it is that attracts your attention.
It all comes down to perception. Really. Perception, and what one chooses to do with it. Personally, I find this system amazing to work with. If I was ever told to do things differently, I’m not sure I could. This is so integrated with who I am, how [eye c], that it’d feel like a lie to work in another way.
If you choose to return to this blog, you’ll most likely realize that everything is connected to everything else, in my universe. It’ll sometimes seem messy, but in the end, it always turns out all right.
/Malinka
