1. Composition
Jim Vennemeyer
Mason City Schools

2. Agenda
• Crash course in artistic composition and photography
• Cameras
• Photo Contest
• Editing photos with programs we have. (Optional)

3. Composition
• Composition is the plan, placement or arrangement of the elements of art in a
work.
• The general goal is to select and place appropriate elements within the work in
order to communicate ideas and feelings with the viewer.
• It is the primary element in photography and an important concern in many
forms of art.
• Technology student will benefit from a better understanding of composition. The
students will learn to select and place appropriate elements within their work in
order to communicate ideas and feelings with the viewer.

4. Teaching Composition to Your Students
• Lead by example by utilizing well designed presentations and visual aids.
• Provide great models, examples of projects, and templates.
• Display art work and photos in your class room.
• Provide guidelines and restrictions for student projects.

5. The Rule of Thirds
The application of the rule of thirds to photographs is considered by many to
make them more aesthetically pleasing and professional-looking
Many photographers recommend treating any "rule" of composition as more of a
guideline, since pleasing photographs can often be made while ignoring one or
more such rules.

6. The Rule of Thirds
• The rule states that an image
can be divided into nine equal
parts by two equally-spaced
horizontal lines and two equally-
spaced vertical lines. The four
points formed by the
intersections of these lines can
be used to align features in the
photograph.
• Proponents of this technique
claim that aligning a photograph
with these points creates more
tension, energy and interest in
the photo than simply centering
the feature would.

7. Rule of Thirds
The objective is to keep the subject(s) and areas
of interest out of the center of the image, by
placing them near one of the lines that would
divide the image into three equal columns and
rows, ideally near the intersection of those lines.

8. Rule of Thirds
The objective is to keep the subject(s) and areas
of interest out of the center of the image, by
placing them near one of the lines that would
divide the image into three equal columns and
rows, ideally near the intersection of those lines.

9. Golden Ratio
• The first calculation of the golden ratio, was described by Euclid in his Elements
(greek: Στοιχεῖα).
• A line segment sectioned into two, to illustrate the golden ratio. The total length
a+b is to the longer segment a as a is to the shorter segment b.

10. Golden Ratio
• Since the fifteen century, shapes proportioned according to the golden ratio
have been considered aesthetically pleasing in Western cultures; the golden
ratio is still frequently used in art and design. The golden ratio has attracted a
large following for its supposed aesthetic, psychological, historical, mystical,
natural, and metaphysical properties, in addition to its mathematical properties.
• The most common other names used for the golden ratio are golden section
(Latin: sectio aurea), golden mean, golden number, and phi (referring to the
Greek letter φ). Other names include medial section, divine proportion, divine
section, golden proportion, golden cut, extreme and mean ratio, and mean of
Phidias.

11. Simplification
Images with a clutter can distract from the main focus of the picture and make it
difficult to identify the subject. By decreasing the extraneous content, the viewer is
more likely to focus on the primary message.
Clutter can also be reduced through the use of lighting, as the brighter areas of
the image tend to draw the eye, as do lines and linear features.

12. Simplification
• Decrease the extraneous
content, the viewer is more
likely to focus on the primary
message.

13. Simplification
• Decrease the extraneous
content, the viewer is more
likely to focus on the primary
message.

14. Simplification
• Decrease the extraneous
content, the viewer is more
likely to focus on the primary
message.

15. Simplification
•Decrease the extraneous
content, the viewer is more likely
to focus on the primary message.

16. Simplification
• Decrease the extraneous
content, the viewer is more
likely to focus on the primary
message.

17. Simplification • Frame your subject.

18. Simplification •Frame your subject.

19. Simplification •Frame your subject.

20. Simplification •Frame your subject.

21. Limiting focus
One approach to achieving simplification within a photograph is to use a wide
aperture when shooting to limit the depth of field. When used properly in the right
setting, this technique can place everything that is not the subject of the
photograph to be out of focus.

22. Limiting focus
Place everything that is not the
subject of the photograph to be
out of focus.

23. Limiting focus
Place everything that is not the
subject of the photograph to be
out of focus.

24. Limiting focus
Place everything that is not the
subject of the photograph to be
out of focus.

25. Symmetry
The "rule of odds" suggests that an odd number of subjects in an image is more
interesting than an even number. Thus if you have more than one subject in your
picture, the suggestion is to choose an arrangement with at least three subjects.
An even number of subjects produces symmetries in the image, which can
appear less natural.
Related to the rule of odds is the observation that triangles are an aesthetically
pleasing implied shape within an image.

26. Symmetry
The "rule of odds" suggests that an
odd number of subjects in an image
is more interesting than an even
number.

27. Symmetry
The "rule of odds" suggests that an
odd number of subjects in an image
is more interesting than an even
number.

28. Symmetry
Related to the rule of odds is the
observation that triangles are an
aesthetically pleasing implied
shape within an image.

29. Viewpoint
• The position of the camera can strongly influence the aesthetics of an image.
Not only does it influence the background as described above, but it also
influences the viewer's interpretation of the subject.
• For example, if a boy is photographed from above, for example from the eye
level of an adult, he is diminished in stature. A photograph taken at the child's
level would treat him as an equal, and one taken from below could result in an
impression of dominance.
• An image can be rendered more dramatic when it fills the frame. People can
have a tendency to perceive things as larger than they actually are, and filling
the frame fulfills this psychological mechanism. This can be used to eliminate
distractions from the background.

30. View Point
The position of the camera can
strongly influence the aesthetics
of an image.

31. View Point
The position of the camera can
strongly influence the aesthetics
of an image.

32. View Point
The position of the camera can
strongly influence the aesthetics
of an image.

33. View Point
The position of the camera can
strongly influence the aesthetics of
an image.

34. View Point
The camera angle influences the
viewer's interpretation of the
subject.

35. View Point
The camera angle influences the
viewer's interpretation of the
subject.

36. Curved Lines
• Curved lines are generally used to create a sense of flow within a photograph.
The eye generally scans these lines with ease and enjoyment as it follows it
throughout the image.
• Compared to straight lines, curves provide a greater dynamic influence in a
photograph. When paired with soft-directional lighting curved lines can give
gradated shadows which usually results in a very harmonious line structure
within the image.
• Perspective is also important with curved lines, generally speaking the higher
the viewpoint the more open the lines tend to be.

37. Lines
S Curves : Curved lines are
generally used to create a sense
of flow within a photograph.

38. Lines
S Curves : Curved lines are
generally used to create a sense
of flow within a photograph.

39. Lines
S Curves : Curved lines are
generally used to create a sense
of flow within a photograph.

40. Straight Lines
• Horizontal, Vertical, and Angled lines all contribute to creating different moods
of a photograph. The angle and the relationship to the size of the frame both
work to determine the influence the line has on the image. They are also
strongly influenced by tone, color, and repetition in relation to the rest of the
photograph.
• Straight, horizontal lines, commonly found in landscape photography, gives the
impression of calm, tranquility, and space. An image filled with strong vertical
lines tends to have the impression of height, and grandeur. Tightly angled
convergent lines give a dynamic, lively, and active effect to the image.
• Viewpoint is very important when dealing with lines in photography, because
every different perspective elicits a different response to the photograph. Too
many lines without a clear subject point suggest chaos in the image and may
conflict with the mood the photographer is trying to evoke.

41. Lines
• Oblique and angular lines give
us the sense of dynamic
balance and a sense of action.

42. Lines
• Oblique and angular lines give
us the sense of dynamic
balance and a sense of action.

43. Lines
• Oblique and angular lines give
us the sense of dynamic
balance and a sense of action.

44. Lines
Both physical lines and
continuous, less obvious lines
exist.

45. Lines
• Both physical lines and
continuous, less obvious lines
exist.

46. Lines
• Every photograph contains lines. Both physical lines and continuous, less
obvious lines exist. The brain often unconsciously reads near continuous lines
between different elements and subjects at varying distances.
• Strong flowing lines can be created without a photographer even realizing it.
Movement is also a source of line, blur can also create a reaction.
• Subject lines which create an illusion, contribute to both mood and by means of
linear perspective give the illusion of depth of field.
• Oblique and angular lines give us the sense of dynamic balance and a sense of
action. Lines can also direct attention towards the main subject of the
photograph, or contribute to the photographs organization by dividing it into
compartments.

47. Further reading
• Downer, Marion (1965). Discovering Design. Lothrop, Lee & Shepard Co.
• Graham, Peter (2004). An Introduction to Painting Still Life. Chartwell Books
Inc. ISBN 0-7858-1750-6.
• Grill, Tom; Scanlon, Mark (1990). Photographic Composition. Watson-Guptill
Publications. ISBN 0-8174-5427-6.
• Peterson, Bryan (1988). Learning to See Creatively. Watson-Guptill
Publications. ISBN 0-8174-4177-8.
• Langford, Michael. (1982). The Master Guide to Photography. New York:
Dorling Kindersley Limited.

48. References
• http://en.wikipedia.org/wiki/Composition_%28visual_arts%29
• http://en.wikipedia.org/wiki/Golden_ratio

49. Digital Cameras
Cameras