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An Introduction to Composition

Digital Media Production 1 Week 5 Lecture
by

Sy Taffel

on 22 March 2015

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Transcript of An Introduction to Composition

Lines
Framing:
Rule of Thirds
Images are imagined as
divided into nine equal sections by two equally-spaced horizontal lines and two equally-spaced vertical lines,
with important compositional elements placed at their intersections.

Framing:
Shot size

COMPOSITION
Perspective
Optics render perspective in different ways. Depth can be greatly exaggerated, or greatly compressed. A 50mm lens is considered normal because of the way it renders perspective.
Viewpoint
The same scene can be made to appear very different by placing the camera in alternative places.

Resisting the temptation to shoot everything at eye-level allows a range of novel ways to explore your subject.


Digital images work in an additive colour space (unlike printing and painting).
Patterns, both natural and man-made, bring a sense of visual rhythm and harmony to photographs that, like a series of repeating notes in a melody, capture the imagination. Patterns appear whenever strong graphic elements—lines, colors, shapes, or forms—repeat themselves.
Pattern
http://forums.dpreview.com/forums/post/28879231
Balance
Images often contain multiple points of interest which we assemble to provide balance.

Balance can be can involve symmetry or dynamic balance. We can use focus, perspective size, contrast and placement to create differing types of balance.
The term comes from the Latin compositionem, meaning "a putting together, connecting, arranging"
Lines can be real or virtual (as in the line that connects two points).

Lines can be stable, dynamic, straight, curved, jagged, or smooth.

Lines can be used to lead a viewer's gaze through an image, or can be used to compose shapes.

Colour
We use complimentary colours and colour contrasts as compositional tools
'To me, photography is the simultaneous recognition, in
a fraction of a second, of the significance of an event as
well as of a precise organisation of forms which give
that event its proper expression.'

Henri Cartier-Bresson (photographer and painter)

We choose what information to portray within an image by deciding upon the type of frame to use

A wide shot and an extreme close up of the same scene will give the viewer very different information.

In moving images we need to think about the relation between frames, as well as the frames themselves
Full transcript