The second edition of "interesting" photo lesson is about secrets for composition. What do we mean by composition? In short, it's like the greatest common divisor that convinces everyone. Of course, it's OK to shoot as we like, but we also want others to like what we photograph. So, it's important that your photography is understandable to others. Or, I should say "pleasant" rather than "understandable." Anyway, let me list the secrets as much as possible.

First, keep in mind that you divide the frame into three parts vertically and horizontally. If you place the subject on the crossing points of the vertical and horizontal lines, the picture will look nice in most cases. Why? I won't get into the technical details here, but it's true that most people will feel it's pleasant just like they feel so when the sky is blue. Try this every time you look into the viewfinder. Meanwhile, you'll come across the case when things don't work even though you keep this secret. In the picture on the left top, the old man is a little off the vertical dividing line. I could place him right on the line, but his right hand holding the glass is stretching forward. In such a case, it looks better if you make the line cross the midpoint between his back and the top of his right hand. In the picture on the right top, the tractor is just on the crossing point of the vertical and horizontal dividing lines. Now, what's the difference between the two pictures? I decide where to place subjects according to their size with regards to the frame. It looks better to place the tractor right on the crossing point because it's small in the frame and I want to stress that the tractor is in the working state in the field. On the other hand, it's better to place the old man a little off the dividing line, unless he was standing without stretching his right hand. If you place him right on the dividing line, he will look as if he's waiting for another refill because of his hand.

In addition, it's best to shoot more than one pattern by changing subject's position in the frame. The secret here is to that the picture should let the viewer imagine the subject's motion. This vertical and horizontal trichotomy works for both extra close up and distant view. So, try it as it consequently helps you compose.

The golden ratio is approximately 1:1618. The ration has been said to be most beautiful ratio to divide a line segment. Setting the reason aside, it's the ratio found in the ancient architecture and it's been kept from that time. What ancient people say is right in most cases. So, let's divide the frame as shown in the picture above. If you connect the diagonal lines of the lattices made by the division using curved lines, it will look like a snail. And, if you place the subject on the curved lines, the picture looks better. But, maybe you don't always have time to think about the nitty-gritty stuff like lattices, etc. So, just remember to place the subject around the moon in this picture.

Do you think about what triggers you when you shoot? In most cases, we react to the 6 elements shown in the panels above. If you don't really think about them, keep them in mind when you shoot. Here're the summaries of the six "reacting points."

• "Lines"
  Lines are very important in composition. Straight or curved, lines are running in the frame and it makes a photo "interesting." Now, how can we compose in order to tell others that it's interesting? If you just keep asking the question when you shoot, the picture will already look better. The point is not to resist to the subject and to develop the character. If the curved line is elegant, frame it so that it won't destroy the elegance. Or, if the bridge girder looks running, frame it so that it look running straight out of the frame.
• "Colors"
  This element is a little "offset" from composition, but color is another important element in photography. For example, there're many "blue" colors from dark to light ones. We can control the blueness by exposure, camera's own color reproduction, and post adjustment. However, we can also control it by composition. Certain compositions show the sky better than other compositions and it's good to remember them when framing.
• "Frame within a Frame"
  The Leica format of 3:2 aspect ratio is already nerve-wracking, but we can always create a new frame within the frame. This technique is very orthodox, but used by many people. The point is to maintain the horizontal and vertical lines as much as possible and make it look like a picture frame.
• "Symmetry"
  The sample image isn't perfectly symmetrical, still things are placed almost in the opposite sides to each other and at even intervals. Symmetrical composition lets viewers search for subjects like a quick wit.
• "Depth"
  Photography is two-dimensional recording of real scenes, but because of that, it's fun to compose so that viewers can imagine three dimensional world. The most popular way is the "linear perspective," which places the vanishing point (where all lines comes together) in the frame. You can easily find such motifs in urban areas.
• "Shape"
  If we're interested in how the subject is shaped, we just shoot, don't we? And, it's OK. The picture above is perhaps "hosing" that contains differentials of heavy machines. No one was there and they looked like marching sea cucumbers under the sodium light. They were inside the private property, so I couldn't look them down, but I shot because I was attracted by their shape.
  

There're other elements such as "texture" and "contrast/tones," but I will keep them for the next time. Anyway, what I want to emphasize is that before you shoot, think about a composition that best extracts the "interestingness" that you feel. If it's difficult, shoot straight forward as it shows the "interestingness" to some extent (especially to other photographers). Anyway, I will show more examples of these elements next time.

"Japanese flag composition" isn't always bad, I think. I'd use it if it works better. Rules are nothing more than "the greatest common divisor" and you can always do something unique. If you believe it works, go for it. There's nothing wrong with it as long as you believe it's inevitable.

They're my nieces and nephew. They come into the frame every time I aim my lens to them. In such a case, just shoot straight forward. The second son pauses although he's framing out. The first son can perceive where the center is. The first daughter looks a little undecided while feeling a sense of duty to be in the frame without knowing why. This world of the three children is so unique that it doesn't require photographer's intension. The same goes for food. Just eat the food in season, or just shoot when it's best to shoot.

This is my extremely personal opinion, but I think the world cannot be understood in a uniform manner. If there're ten people, there're ten ways to be right or wrong. Still, there're consensuses in every field, and it's always good to remember. When, for example, you want to take "good" pictures, what do you mean by "good"? You may say, "I want people to like my photos." Then, it's important to learn some "grammar" to share what you think "interesting" with others. There're so many pictures and movies around us, so do imitate them. It's about pre-established harmony, or it's like some Hollywood movies that you know the good defeats the bad eventually and you feel relieved. Yet, even though you imitate, still something unique to you oozes out. For example, I talked about the golden ratio, but I don't have the good example! I only have something close, but the subject is a little off the sweet spot. But, this maybe how I feel pleasant and you'll find your own style as you keep shooting.

Next time, I plan to talk more about composition using shots by our photographers including myself. Of course, I won't tell them about this project. See you then!