Tom Clark - Digital Photography Composition For Dummies

Check out Figure 8–6; the lines created by the elements in the photo direct your eyes to the girl in the background. In Figure 8–7, on the other hand, the subject is in the foreground; this placement is blatant and provides an easy read.

28mm, 1/200 sec, f/B, 100

Figure 8–6:A subject placed in the background.

Sometimes you place a subject in the bottom or top of a frame simply because it makes sense. If you want to emphasize the greatness of the sky or the size of a tree, for example, putting the subject in the bottom of the frame

may be wise. Cropping someone at the bottom of a frame tends to say as much or more about the environment as the subject. Or, if a flag is staked at the top of a tall mountain, you could place it at the top of the frame to show the size of the mountain compared to the flag itself and to represent the great feat of getting the flag there. Placing a subject at the top of a frame also could give it room to fall or roll down, or the arrangement may show that it has been thrown and has reached its peak.

50mm, 1/200 sec, f/2.2, 200

Figure 8–7:A subject placed in the foreground.

You have the same concerns with focus and distortion when you photograph a subject on the top and bottom of a frame as you do when photographing a subject on the outside edges. You need to be familiar with your camera's auto focus controls in order to use it on subjects that are placed outside of the sensors. And remember that if you use a wide-angle lens, any element that nears the edge of the frame will be distorted. Check out the earlier section "Putting the subject off center" for more details.

When you turn your camera sideways, the orientation of the frame goes from horizontal to vertical. Deciding on the orientation is important for choosing and creating the appropriate composition in any given scenario.

Both vertical and horizontal crops have their time and place, but sometimes neither is quite right for the message you want to depict. In these cases, you may want to take a photo with a crooked orientation. For me, a horizon looks best in photographs when it's straight, but if you're going to make it crooked you may as well go all the way with it. Instead of turning your camera the full 90 degrees, try somewhere around 45 degrees — what photographers and cinema-tographers call the Dutch angle. If a clockwise rotation doesn't look so hot, give counterclockwise a shot. Take a look at my example of a Dutch angle in Figure 8–8.

Figure 8–8:Using a Dutch angle for a crooked orientation.

The Dutch angle can add visual interest to an otherwise boring composition. It can add more drama to a subject in motion, throw off a viewer's understanding of the photograph, or increase the depiction of an incline or decline. Try experimenting with this technique while using various camera angles as well. (Remember that the Dutch angle refers to your camera's orientation, but your camera angle refers to your camera's position in relation to the subject.) For instance, using a Dutch angle with a high angle and low angle will provide much different results.

In This Chapter

Working with different types of backgrounds

Knowing when a background is going to cause problems

Eliminating distracting elements in your background

Supporting your subject with background details

A s a kid, I remember having my portrait taken once a year from a pho- ¥ w tographer at my school. It was quite a big deal. Maybe you remember picture day, too? A few weeks after having your picture taken, you could buy different packages. Of course, all the kids wanted the premium setup that included some absurd amount of wallet-size photos to hand out to friends.

If your parents were willing to dish out some extra cash, the photographer would hook you up with the popular bookshelf or laser backdrop. I was always stuck with the plain old blue-blur background, and now that I look back on it, this was probably a good thing. Everyone must reach a certain age when they realize that the laser background isn't only irrelevant to the portrait but it's also distracting. A viewer spends more time examining the neon glow of the straight, high-contrast lines intersecting with your head than they do with you — the subject.

A good composition creates a balance between the subject and background and enhances your message. In portrait photography, you almost never want a background that draws more attention than the subject does. The rare exception is a situation in which the background tells a great deal about the subject. In this chapter, I give you pointers on planning the perfect background for your shot, including a few examples that show backgrounds that gain more attention than your subject.

Keep the lasers in mind when you compose your images, and ask yourself whether the background is appropriate and supportive to your subject and message. In great compositions, the background is just as important as the subject and other elements in the scene.

When I'm planning a photo shoot, the first question I ask myself is, "What would be the most appropriate setting for the subject?" Based on the subject and the purpose of the shoot, I decide right away whether I should shoot on location or in the studio.

Nine times out of ten, I choose to shoot on location. I tend to take mostly environmental portrait and fashion assignments, and shooting on location brings up new challenges with each different environment; striving to get the most out of each one keeps my creative urges alive. When I spend too much time in the studio, I start to feel like I've seen it all before. (By the way, an environmental portrait is one that tells who someone is by incorporating a descriptive background.)

Where you shoot depends on what type of background you're looking for. Ask yourself these questions when considering where to set up:

• Do you want a background that provides an environment for the subject?If so, shooting on location is your best bet. In this case, you need to determine how much information you'll include from the scene.

" Do you want a background that provides negative space (areas of the frame that aren't filled with any elements of interest)?If so, you can

either shoot in the studio or find a location that enables you to position your subject in front of the open sky or a large solid wall that's monochromatic and has little texture.

" How much space do you need and what lens will you use? Ifyou want to shoot with a shallow depth of field (to blur the background) and a long lens, you'll need adequate space between you and the subject. If you're shooting multiple subjects (like a group portrait), choose a location that has enough space to fit them all in. If your studio space is small, it will limit your compositional capabilities.

" If you're going to photograph on location, do you need an area with light pedestrian traffic, and will you need to pull a permit for that location?The city wants to make sure you have insurance if you're going to be working on public property. You have certain liabilities to consider when photographing. If someone gets hurt while on your

set, you may be responsible. When you're being paid to photograph, chances are you should have insurance and a permit to work on public property.

• Are you going to create a clipping path around your subject in order to place them in front of a new background in postproduction with image-editing software?If so, you want to separate the subject from the background as much as possible through the use of contrast and color. This pertains to shooting in the studio or on location. (A clipping path is an outline that isolates a subject from its surroundings so you can move it or place it into a new image. Techniques like these are discussed further in Chapter 18.)