COMPOSITIONAL LINES

The formation of lines in a composition is unavoidable. For example, lines are formed by the

Figure 12-13. - Silhouetted subject.

horizon, a person's limbs, the side of a ship, a fence or a winding road. These lines - vertical, horizontal, diagonal or curved - lend their own element of emphasis to a composition.

Vertical lines formed by elements in composition suggest strength and dignity (a sentry at attention), while horizontal lines suggest tranquility and rest (a ship on the horizon at sunset). The diagonal line suggests action (climbing aircraft) and a variety of lines indicates activity. A feeling of grace and beauty is conveyed to the viewer by the use of curvaceous lines, such as those used in glamour and fashion photography.

BALANCE

A good composition should have balance. In other words, your viewer should not get the uneasy feeling that the elements may come tumbling out of your composition.

A balanced composition gives a feeling of harmony to the whole setting. Elements of balance are placed in opposing sections of a photograph in such a manner that each section appears to have an equal amount of weight

Figure 12-14. - Compositional balance.

or value, and the objects all appear to belong in the scene. Balance can best be achieved by offsetting unequal sizes, shapes, tones or objects in a scene.

A good method of balancing objects of unlike shapes and weight is that they be placed at unequal distances from the imaginary center of support. In other words, a small object placed a greater distance from the center counterbalances a much larger object just as though they were on a pair of scales. A small object of considerable importance and weight can be used to balance effectively a large, but less important object (fig. 12-14).

The mental impression of weight is a factor in determining the relative placement of objects in a scene. Size alone does not determine the weight or value of an object. The tone of the object and placement in the photograph are factors in deter-mining its importance.

FORMS

In analyzing masterpieces to learn the secret of their effectiveness, some experts found that the parts of the photograph are grouped according to some geometrical form. This finding can prove useful in planning the composition of your photograph; however, you are cautioned against applying it too mechanically. If you use these forms without modification, the resulting photographs are likely to be stilted and dull. The real trick is to use them in such a reamer as to hide them partially.

The most important basic forms are as follows: the pyramid (sometimes called the triangle), the circle, the cross, the "L," the radii and the "S." All of these forms may be used in composition of material in a vertical plane or in a photograph involving perspective. Combinations of these forms, such as a circle and a cross, may appear in one photograph.

Pyramid

The pyramid form (fig. 12-15) suggests symmetry, solidity, aspiration or dignity. We see it in religious photographs, in church spires and in portraits with the head as the apex of the triangle.

Circle

The circle lends itself to flower studies, still life, graceful groups or landscapes timed in trees.

Cross

The cross composition is found in a sailboat with its reflection in water forming one line and the horizon forming the other.

"L"

The "L" composition may occur when a tree at one side of the photograph forms an "L" with the horizon line.

Radii

The radii composition has lines leading into a center, or out from it, as spokes lead to the hub of a wheel.

Art Giberson 165.6

Figure 12-15. - Pyramid form.

Art Giberson 165.7

Figure 12-16. - "S" composition.

"S"

The "S" composition, covered earlier as curved lines, is undoubtedly the one photographers use most and the one most popular with viewers (fig. 12-16).