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Composition is a vital component of a good photograph. I have always felt a strongly composed image can overcome technical deficiencies much better than a strong technical image with poor composition. As such, I thought I would start a series of articles on various components of composition, using my images as examples. I never studied composition or design, my background was always oriented towards biology and medicine. When I started photographing I had an understanding of the basics, the rule of thirds, that you shouldn’t have something exiting the scene, etc. but really didn’t put a lot of thought into composing my images. I just did what looked right. Composition seems to have come intuitively to me and has helped me overcome the pain of learning the technical aspects of photography on my own. I was recently given a book, The Photographer’s Eye by Michael Freeman that discusses photographic composition and design and thoroughly enjoyed reading it. Much of what I read in the book I already used in my images, but it was nice to see what I used intuitively put into words with the theory behind why the compositional techniques work. The book itself is a heavy duty soft-cover, 192 pages, illustrated with beautiful images. The Photographer’s Eye is divided into 6 broad chapters: 1)The Image Frame; 2) Design Basics; 3) Graphic & Photographic Elements; 4) Composing With Light and Color; 5) Intent; and 6) Process. Each chapter is divided into relevant topics and each topic is discussed concisely in 1-2 pages and is well illustrated with examples using stunning images of Freeman’s. While Freeman is an excellent photographer, he is also an excellent writer, able to explain the complexity of composition with simplicity and ease. His writing styles flows well and is able to maintain the readers’ interest.
Freeman’s first chapter deals with frames. In this section he discusses many aspects of frames and their dynamics and relationship to image quality and perception. He begins by looking at how frame shape and ratios affect our view of the image and the dynamics of how objects act within the framework of an image. He touches on cropping as an art, discusses filling the frame with subject, and how placement of the subject affects the over perception of an image. He also spends time on division of the image within the frame, placement of the horizon, and using frames within frames. The second chapter deals with basic design, starting off by discussing the use of contrast in an image. Gestalt perception, using the theory of Gestalt Psychology, in image composition is discussed as is balance vs. unbalance in an image. Freeman spends some time on the topics of rhythm, dynamic tension, patterns, and textures and then moves onto depth of field and perception. He finishes with by discussing the visual “weight” of subjects, how the eye “looks” at an image, and weak vs. strong content.
Chapter 3 is the largest section, spending time explaining the graphic and photographic elements that go into the design and composition of an image. He starts off with a discussion of a single point of interest vs. several points and how positioning within the frame affects perception. He then spends considerable time of the geometric elements of design, including lines (horiz. vs. diag. vs. vert.), shapes, curves, vectors, and eye-lines (following line of sight). Freeman finishes the third section by discussing how focus, motion, timing, lens optics, and exposures affect the overall image. Chapter 4 moves onto using light and color as part of a composition. In this chapter, Freeman explains the use of light and shadows, colors and color relationships, muted colors, and black & white in image design.
Chapter 5 gets into the more esoteric topic of Intent, where Freeman discusses the how the photographer’s overall goal affects the design and composition. Staring off with conventional vs. challenging content, Freeman moves into the differences between reactive vs. planned and documentary vs. expressive photography. Simple vs. complex and clear vs. ambiguous compositions are then compared. Freeman finishes the chapter with a look at the use of delay (the idea that a main component of an image takes time to identify), style, and fashion in the overall intent of a photographic composition. The final chapter discusses the various processes a photographer uses when creating their image.
All in all, The Photographer’s Eye is a well written, well illustrated discourse to give one exposure to the theories of design and composition. For me, there was nothing so much as ground-breaking in the book, rather it gave form to those elements I intuitively looked for when shooting a photograph. While it is a brief introduction rather than an in-depth text, Freeman’s book will help any photographer better understand why and how the composition and design of their image affects the viewer and his/her perception of the photograph and it’s meaning.