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Composition is defined as the combining of distinct parts or elements to form a whole. In photography that definition is very important in taking quality pictures. The following rules of composition should be learned and considered but not necessarily used in every photo. Once you have learned these rules you will be more observant of the possible photo opportunities that surround you. But keep in mind that the really famous photographers usually find a creative way to stretch or break the rules of composition.

RULE OF THIRDS

The rule of thirds has been used through the centuries and is probably the most recognized rule. The rule of thirds directs that the frame can be divided into three vertical sections and three horizontal sections. Wherever the separating lines connect is an ideal spot for a subject or point of interest. By positioning your main subject at any of the four intersection points, you are giving your subject more emphasis than if it is right in the middle of the photo. The intersection points can also work if there is more than one main subject in a photo. Most famous photographs and paintings have the rule of thirds applied to them in some way or another.

SIMPLICITY

The simplicity rule directs that you should keep the items in your photo relatively simple. If your main subject is close to the lens, then your background should be very simple in order to avoid distractions. Another good idea is to avoid objects or lines that lead the eye away from your main subject.

CONTRAST

The contrast rule directs that light subjects should be placed against dark backgrounds and vice versa.

FRAMING

The framing rule directs that using natural surroundings mindfully can add more meaning and focus to your subject. The surroundings could be anything such as bushes, windows, trees or even a doorway. When using this rule be sure to focus on the main subject and not on the surroundings that are framing it. It is also a good idea to use a narrow aperture (high f/stop) when using this rule in order to create a high depth-of-field.

TEXTURE

The texture rule can add a great amount of interest to most photos. When people see texture in a photo it can spark their imagination and make the photo more real to life. Texture would be a good idea when taking photos of rocks, walls, surfaces, hands or even leaves. In order to create texture try to compose your photo so the light is coming from the side and therefore casting shadows in key places.

DIAGONALS

The diagonal rule directs that diagonal elements or lines can make a photo more dynamic. Diagonal elements could be fence posts, roads or even tree branches.

LEADING LINES

The leading lines rule can be used to direct the eye deeper into a photo and commonly to the main subject. Leading lines can lure the eye to a subject by leading to it from any side or depth of the photo. Leading lines could be roads, rivers, tree branches or even bridges.

COLOR

The color rule is what adds interest and emotion to your pictures. Different color configurations can inspire and amaze viewers. Colors can also be used to accent certain parts of a photo.

It might not be a bad idea to keep these key terms with you when you practice taking photos. The best way to learn and improve your composition is just to use them often and to experiment.

Richard Schneider is a digital photography enthusiast and founder of http://www.picturecorrect.com/ which offers tips and news about digital photography, digital camera reviews, photoshop tutorials and computer wallpaper.

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I’ve spent a long time thinking about why some people ask, “Is photography art?” I’m also curious about the question, “What f-stop and shutter speed did you use?” as if that knowledge would make a difference. Along the same lines, why are so many people interested in learning “the rules?” And, after many sleepless decades, I think I have the answer.

In the 1960s the only cure for certain types of epilepsy was to cut the mass of nerves, the corpus callosum, that connected the right and left halves of the brain. After these operations, the patients appeared to be perfectly normal. They went to work in the morning and they took out the garbage in the evening. No one observing them could tell that they had undergone this surgical procedure.

But neurologists, like the rest of us, need something to do. So they got a number of these split-brain patients to volunteer to be studied. The results were eerie. Using a tachistoscope, Dr. Roger Sperry (who won the Nobel prize in 1981) would show an image to only one side of the brain. If an image of a spoon, for example, was presented to the left side of the brain and the subject was asked what he saw, he would report that he saw a spoon. However, if the same image was shown to the right side of the brain, the subject would report that he didn’t see anything. But presented with a variety of objects, he would pick out a spoon. From these and other experiments and observations, researchers found that the two halves of the brain function in different ways.

As a general rule, though no one is completely right- or completely left-brained, we tend to be more influenced by either one side or the other. On an everyday level, this means that some of us are good at math and some of us are good at art. And those of us who are good at both are rare.

The left brain is where most of the speech, calculations, and logical thinking parts are found. This half processes information in a linear or logical manner and then draws conclusions. In contrast, the right brain’s style of processing is holistic. It doesn’t see things in a logical or linear manner. It looks at the entire picture. It tries to determine the relationships of all the parts to the whole.

Some examples: When trying to balance a checkbook, a person whose left brain is dominant will want to account for every penny. A right-brained person, on the other hand, will soon give up and accept any reasonable bank figures. Left-brain people like making and following lists. Right-brained individuals will temporarily leave an unfinished project when they get a great idea for another project. They also have messier desks than the left-brained among us. And what does the relationships of all the parts to the whole mean? To the left brain a desk is a desk is a desk. To my wife’s right brain the desk doesn’t feel right in the corner of the room. “Please move it to the left a little. Still not quite right. Move it a foot forward and another foot to the left. Perfect. That feels just right.” Her right brain has spoken. The desk is now in its proper context.

So why did I interrupt a perfectly good essay on photography to write about split-brain findings? It’s because I believe some photographers are right-brained and some are left-brained and we don’t understand each other. The left-brained among us want to know exactly how things work. What was that f-stop? Whereas the right-brained have no interest in rules.

Unfortunately, or fortunately, depending on your viewpoint, the camera allows for both ways of thinking. Fundamentally, a camera is a machine. And that’s how it was seen when Daguerre introduced the process to the world in 1839.
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The early photographer was considered to be nothing more than a machine operator whose tasks were to check light levels, focus the lens, allow the right amount of light to enter the box, and then develop the exposed plate. Today, medical illustrators and catalogue photographers and anyone else whose photographic work consists of showing straightforward, accurate details have to adopt this attitude. And they have to know the rules for obtaining the clearest shot possible. A well-functioning left brain is necessary here.

However, as my mother says, there is always someone coming along to upset the apple cart. And in this case it was people like Henry Peach Robinson, Julia Margaret Cameron, and Alfred Steiglitz, who wanted to be recognized as artists. These were the right-brained photographers. And so began the debate about whether photography is an art.

Now, what do you do if you’re a left-brained person who wants to use a camera as a right-brained person? (As I mentioned, we are all a mix of each, and except for the split-brained patients, the two sides of our brain do communicate.) Don’t despair, there is an answer.

Artists know that their work is good because they feel it is good. I mean “feel” literally. Let me say this again. A certain physical feeling is produced in the painter’s body that gives him the message, “This is good.” Most people have the same type of experience when they listen to music. Certain songs make you feel good. Certain songs produce a physical feeling that you interpret to mean, “I like this one.” Others do not. By paying attention to this feeling, left-brainies can develop more right-braininess.

I now offer a set of steps for doing away with reliance on the rules.

1) Go to a fine arts museum. As you look at the collection (don’t limit yourself to paintings), a few will give you positive feelings. Most won’t. Pay close attention to those that do. Are they simple or complex? Are the colors bright, muted, very dark? Are the figures, if any, close to the viewer or in the distance? Are they well-defined?

2) Test your observations. Look for other works of art that have the same characteristics as those that give you that special feeling. Do you like these also? Try to isolate those elements that give you a positive feeling. Don’t do all of this in one day. In fact, this exercise may take you a few years.

3) Eventually, as you become aware of what is visually important to you, put these elements into your photographs. If you like dark paintings, photograph at dusk; if you are moved by simple lines or curves, seek them out.

4) One day you won’t have to make pictures based on your museum visits. You will find that certain scenes almost call out to be photographed. Then you will know the rules, but they will be the rules that are unique to you.

5) Be patient.

Edward Ginsberg is currently writing a book to help the beginning photographer find true happiness as he embarks on the road to creativity. Ed’s photos can be seen on his website, www.line17.com, where he also offers a free tutorial.

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