Next steps in learning image composition, and in working with a portrait subject

[jacobmiles]

<p>Hello. I would like to learn more about two core photography subjects:<br>

1) the principals of image composition/structure, meaning how to organize the elements of the scene into a visually compelling image,<br>

2) techniques of working with a portrait subject. <br>

In the latter case, when I want to take an impromptu photo of a friend, they often freeze up because they're being photographed, and I'm not sure what to say or do to relax them and inspire compelling moments. <br>

In the former case, I want to understand and create great art.<br>

At the risk of sounding naive, does anyone recommend any books, courses, or general next steps that will help improve my skills, or anything else to recommend? </p>

[johnw63]

<p>There a quite a few books on composition, but I think they all take a different spin on it. Do you think more examples would be your choice, or one that goes a bit more into the WHY aspects of good composition ?</p>

<p>I like " The photographer's Eye..." by Michael Freeman<br>

http://www.amazon.com/Photographers-Eye-Composition-Design-Digital/dp/0240809343/ref=sr_1_1?s=books&ie=UTF8&qid=1342751095&sr=1-1&keywords=photography+composition<br>

<br />It is one of the deeper books I've read on the subject. The last section gives some of his mental thoughts on selected photos to bring the topics together. </p>

 

[Spearhead]

<p>1) I think composition has to be understood visually at the time of shooting. Unless you're shooting still lifes or catalog shots, "organizing" isn't really possible. You just look and see what is going to look "right."</p>

<p>2) This depends on how you approach people. If they freeze up, they're not comfortable. I talk constantly to people who are not models while I shoot. I ask them questions, get their opinions on things. I never talk about what I'm doing, I get them to talk. Sooner or later, they loosen up. And if they don't...I had one shoot with a woman who didn't speak English and my Spanish wasn't good enough to put her at ease. Eventually, I had her stand behind a screen door and she completely relaxed. Some people won't relax unless you take some initiative to help them. (Photo below.)</p>

<p><img src="http://spirer.com/images/ag3.jpg" alt="" width="500" height="608" /></p>

[jacobmiles]

<p>Thanks very much for the advice, gentlemen. <br>

John, thanks - I'm looking for both inspiring examples and the "why" of good composition. Per your suggestion, I ordered The Photographer's Eye (and The Photographer's Mind) by Michael Freeman. A friend also told me about a transformative photography workshop his friend took in Montreal - I will follow up about that and see if I can attend.<br>

Jeff, thanks for the advice - if I can relax enough myself when working with a person I will keep up a stream of dialogue. I'm sure it's at least partly a matter of my own relaxation at the time. By organizing the shot, I was referring more to moving the camera around to "organize" the elements in the scene, although I'd also like to play with still life arrangements.</p>

 

[dan_south]

<p>Composition is the result of a series of decisions drawn from an endless pool of possibilities.</p>

<p>How much of the person will you include in the frame? Possibilities include a full length portrait, three quarter length, waist up, bust, head shot, partial head shot (cropped), propped portion of the body, e.g. hand only, hands and chest, or hand, chest and part of the face up to and including the mouth.</p>

<p>You can shoot the person from the front, back, side, looking over their shoulder, etc. You can shoot them at eye level, looking up at them, looking down from a high vantage point.</p>

<p>Telephoto lens, macro lens, normal lens, or wide-angle.</p>

<p>Shallow depth of field or deep depth of field.</p>

<p>Are they close to the camera or distant? Are they framed by something? Are the accompanied or alone? Are props involved? Where do they appear in the frame (center, side, top, bottom)?</p>

<p>How is the light hitting them? Is it directional (front, back, side), harsh, soft, natural, artificial, a blend?</p>

<p>What features might you emphasize or de-emphasize (muscles, eyes, tattoos, jewelry, lips, weight issues, bad skin)?</p>

<p>What are they wearing (if anything)? What is their mood?</p>

<p>What are they doing? Who are they with? Is there more than one subject? How are they arranged?</p>

<p>My suggestion is to try a lot of possibilities with a friend in advance of the date of the real shoot.</p>

[James G. Dainis]

Two rules of composition are evident in Jeff's photo.

 

1. Shooting from a low angle gives an imposing, assertive look to a person.

 

2. Diagonals add a dynamic aspect.

[steve_t.1]

As mentioned, Freeman's 3-part "The

Photographer's Eye/Mind/Vision" series is a

wonderful resource. Another I'd add is

David duChemin's "Photographically

Speaking...", a book that really means a lot to

me as I continue to move forward. http://

www.amazon.com/gp/aw/d/0321750446/

ref=mp_s_a_1?qid=1342961870&sr=8-1