MA 2.18 Balance of the composition. MA 2.18 Part II. Composition 4. part 5 Balance of the composition.
The composition may be balanced and unbalanced. The most simple way to make the composition balanced is to place the object in it’s center.
But this is not the good choice. If we move the object to right or left we disturb the balance.
One part of the photo becomes ‘heavier’ and visually outweigh the other. It seems that the shot wants to turn clockwise
In order to straighten out the unbalanced composition we must put some object into the empty part of the photo.
If you will be asked what is heavier - 100 kg of lead or 100 kg of hay, in this case of balance composition the answer will be ‘hay’, because its size is bigger.
In photograph the weight is replaces by size, color or associations with heavy objects.
The figure of the model in composition can be balanced due to various movements. If the model makes a hand movement to one side, then the composition can be balanced by the movement of the leg or head turning to the opposite side. In other words gesture to one side of any part of the body can be balanced by the gesture to the opposite of the hand, leg, head or any body turn.
With respect to models any movement is an act of thought. This psychological effect assume the presence of some free space in the direction of the movement or in the direction of the model’s look. That’s what we call Developing movement principle. We take human photo not as a static object, but as a clot of dynamic energy. Power, which assume movement. In order to have place for this coming out energy, or this moving object we need this place.
In case of photographing models Developing movement principle may be formulated as an indication of the developing action. Images of movements of hands, feet, heads, bodies are taken as if model applies force, though the pose may be static.
The same about gesture. Any movement of a model which shows pronounced emotion concentrates viewer’s attention. This makes gesture the center of the composition and all the rest is just addition. Even lines of power become minor parts in this case.
We can also use this method to visually hide exterior defects.
Besides, the Developing movement can be replaces by the look’s direction.
But looks can different and they need different free space in the photograph. Calm, friendly, half asleep look needs less free space. A furious, fatal, seducing – more. A look with self direction needs no space at all.
MA #2 post 21. Composition 4 part 6 Proportions.
Proportions
It is useful to know some universal proportions of the body. Painters assume that our body is divided into 7.5 and 8 parts correspondingly for men and women (taking into account 4 cm of women’s heel). And one part here is the height of the head. So, if we will look from top we will have 2 ‘heads’ to the nipple’s line, 3 ‘heads’ up to navel, up to groin – 4 ‘heads’, and to the knees – 5.5 ‘heads’. According to this principle the classical proportions of the head are four parts with the unit of the nose length. One part from the top of the head to the line of hair growth, up to the bridge of the nose – two ‘noses’, 3 – to the nose base, four – to the chin.
According to the ‘ancient square’ formula, the height of a human is equal to the width of hands moved apart or four times the length of his hip. A human with his hands raised and a bit putted apart and his legs moved apart can be fitted in a circle with the circle’s centre in his navel. According the Pythagor’s golden rule of the ideal proportion of the body, the distance from the top of the head to the navel refer to the height of the human as 1 to 3. The height of a human changes during the day and becomes shorter in the evening for 2-3 cm.
The model’s hand in ideal is divided into three equal parts: from finger’s end to wrist, from wrist to elbow, from elbow to shoulder.
Some parts of figure also have some proportions in width, but they don’t play much role for our portraits aim.
I noticed that there was 1 year between the last two posts. Yuri, are you finishing this class? I am really loving all of the amazing information. I was really worried that the class had been dropped without including the last chapter. Will you be going over post-processing, etc.?
MA #2 post 22. Composition 4 part 7 Group compositions.
While group shooting we can create our compositions, using bodies, looks, movements. All these triangles, squares, trapeziums made by hands, legs, bodies and looks are very attractive.
It is known, that the viewer can fully apprehend on the shot a group of only 6-7 persons. That is why we must create composition proceeding from this requirement.
If the photograph contains more people, then it looses its artistic value. It becomes a document, having its historic value that you were in this place at that time with those people, nothing more…
Fact is that human being recognize unknown object at a time of not less then 1/4 of second. There is no recognition in shorter time. Viewers, looking simultaneously at several objects or models, apprehend them not simultaneously, but one after another. We can keep in our mind only 6-7 objects at the same time.
In photography the too mixed, florid background dramatically reduces perception of the model in a picture. Meanwhile, relations and interconnections between the objects and models are much more important for the viewer then themselves. That is why the viewer sometimes see not what it is actually, but what’s gonna be as viewer thinks.
As for the psychological aspects, in any talk predominates the person most people are looking at. The same thing is with photographs.
It is known that there is a correlation between the distance during meeting or talk and the height. The higher the man is – then closer he prefers to be his interlocutor. And vice versa with women.
So during photo session (or talk) it is not good to come closer to high women, or undersized man. And vice versa.
Reflecting poses are very interesting.
We must know that distances between the models in life and at the picture look differently that is why we must make them shorter during taking photos, exaggerating poses.
Belonging of the object or a model to something whole is good when it is natural, has signs and indications of relationships with surrounding objects. As mentioned above the human can perceive at the same time not more then 6-7 elements. If more, he (she) subconsciously unite them into groups, using different ways – bordering, colour or semitone contour, relief, texture.
For photographic purposes in most cases its bad.
One of my beloved photos. “Three sisters”. I placed them together but asked to look in different directions.
They we together most of the time. But now… One stay here, another is in Spain. Dasha is in China…
Happy to see you 'back'. There was a long gap between posts and I stopped checking in. Now, I'll subscribe and keep track of what's happening. Thank you for your insights and suggestions.
Comments
Is this any good, regarding your posts ?
I must correct this magenta cast in the last one haven't I ?:D
What else ?
[/CENTER]
MA 2.18 Part II. Composition 4. part 5 Balance of the composition.
The composition may be balanced and unbalanced. The most simple way to make the composition balanced is to place the object in it’s center.
But this is not the good choice. If we move the object to right or left we disturb the balance.
One part of the photo becomes ‘heavier’ and visually outweigh the other. It seems that the shot wants to turn clockwise
In order to straighten out the unbalanced composition we must put some object into the empty part of the photo.
If you will be asked what is heavier - 100 kg of lead or 100 kg of hay, in this case of balance composition the answer will be ‘hay’, because its size is bigger.
In photograph the weight is replaces by size, color or associations with heavy objects.
The figure of the model in composition can be balanced due to various movements. If the model makes a hand movement to one side, then the composition can be balanced by the movement of the leg or head turning to the opposite side. In other words gesture to one side of any part of the body can be balanced by the gesture to the opposite of the hand, leg, head or any body turn.
With respect to models any movement is an act of thought. This psychological effect assume the presence of some free space in the direction of the movement or in the direction of the model’s look. That’s what we call Developing movement principle. We take human photo not as a static object, but as a clot of dynamic energy. Power, which assume movement. In order to have place for this coming out energy, or this moving object we need this place.
In case of photographing models Developing movement principle may be formulated as an indication of the developing action. Images of movements of hands, feet, heads, bodies are taken as if model applies force, though the pose may be static.
The same about gesture. Any movement of a model which shows pronounced emotion concentrates viewer’s attention. This makes gesture the center of the composition and all the rest is just addition. Even lines of power become minor parts in this case.
We can also use this method to visually hide exterior defects.
Besides, the Developing movement can be replaces by the look’s direction.
But looks can different and they need different free space in the photograph. Calm, friendly, half asleep look needs less free space. A furious, fatal, seducing – more. A look with self direction needs no space at all.
(Face position is where the red stars are.)
#1 I can shoot a dark haired woman or man on this background.
#2 Light or darkhaired woman
#3 Child
#4 Dark haired woman or man
#5 Dark haired woman or man on the outer parts, light colered hair or old person with white hair in the middle.
#6 Dark hair, long legged woman from low angle.
#7 Dark haired woman seated
#8 High angle woman or man standing
#9 Dark haired woman or man, middle mark depicts a crouched possition.
#10 Light haired woman, with reflector bouncing light back in her face. I imagined a nice rim light from the back.
Nikon Shooter
It's all about the moment...
Proportions
It is useful to know some universal proportions of the body. Painters assume that our body is divided into 7.5 and 8 parts correspondingly for men and women (taking into account 4 cm of women’s heel). And one part here is the height of the head. So, if we will look from top we will have 2 ‘heads’ to the nipple’s line, 3 ‘heads’ up to navel, up to groin – 4 ‘heads’, and to the knees – 5.5 ‘heads’. According to this principle the classical proportions of the head are four parts with the unit of the nose length. One part from the top of the head to the line of hair growth, up to the bridge of the nose – two ‘noses’, 3 – to the nose base, four – to the chin.
According to the ‘ancient square’ formula, the height of a human is equal to the width of hands moved apart or four times the length of his hip. A human with his hands raised and a bit putted apart and his legs moved apart can be fitted in a circle with the circle’s centre in his navel. According the Pythagor’s golden rule of the ideal proportion of the body, the distance from the top of the head to the navel refer to the height of the human as 1 to 3. The height of a human changes during the day and becomes shorter in the evening for 2-3 cm.
The model’s hand in ideal is divided into three equal parts: from finger’s end to wrist, from wrist to elbow, from elbow to shoulder.
Some parts of figure also have some proportions in width, but they don’t play much role for our portraits aim.
Keep the info coming. It is fantastic.
Lisa
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Nikon D200, D80, SB600, nikon 50mm 1.8, nikon 18-135 3.5-4.6, nikon 70-200
While group shooting we can create our compositions, using bodies, looks, movements. All these triangles, squares, trapeziums made by hands, legs, bodies and looks are very attractive.
It is known, that the viewer can fully apprehend on the shot a group of only 6-7 persons. That is why we must create composition proceeding from this requirement.
If the photograph contains more people, then it looses its artistic value. It becomes a document, having its historic value that you were in this place at that time with those people, nothing more…
Fact is that human being recognize unknown object at a time of not less then 1/4 of second. There is no recognition in shorter time. Viewers, looking simultaneously at several objects or models, apprehend them not simultaneously, but one after another. We can keep in our mind only 6-7 objects at the same time.
In photography the too mixed, florid background dramatically reduces perception of the model in a picture. Meanwhile, relations and interconnections between the objects and models are much more important for the viewer then themselves. That is why the viewer sometimes see not what it is actually, but what’s gonna be as viewer thinks.
As for the psychological aspects, in any talk predominates the person most people are looking at. The same thing is with photographs.
It is known that there is a correlation between the distance during meeting or talk and the height. The higher the man is – then closer he prefers to be his interlocutor. And vice versa with women.
So during photo session (or talk) it is not good to come closer to high women, or undersized man. And vice versa.
Reflecting poses are very interesting.
We must know that distances between the models in life and at the picture look differently that is why we must make them shorter during taking photos, exaggerating poses.
Belonging of the object or a model to something whole is good when it is natural, has signs and indications of relationships with surrounding objects. As mentioned above the human can perceive at the same time not more then 6-7 elements. If more, he (she) subconsciously unite them into groups, using different ways – bordering, colour or semitone contour, relief, texture.
For photographic purposes in most cases its bad.
One of my beloved photos. “Three sisters”. I placed them together but asked to look in different directions.
They we together most of the time. But now… One stay here, another is in Spain. Dasha is in China…
Spasibo, and sorry for my English
Yuri
I LOVE your work and I'd like to see how you do things and, maybe, adjust how I do them.
Canon 600D; Canon 1D Mk2;
24-105 f4L IS; 70-200 f4L IS; 50mm 1.4; 28-75 f2.8; 55-250 IS; 580EX & (2) 430EX Flash,
Model Galleries: http://bilsen.zenfolio.com/
Everything Else: www.pbase.com/bilsen
R/
Bruce
http://www.imagesbyceci.com
http://www.facebook.com/ImagesByCeci
Picadilly, NB, Canada
i love this picture