Basics of composition. The Basics of Composition in Photography Sense of Composition in Photography

Understanding composition is a thing every photographer should take their time on. Without having to invest in expensive equipment, understanding the elements of good composition will undoubtedly improve your photographic work. Developing photographic vision comes naturally to some, but others need to take the time and effort to hone their visual skills and abilities. Here is a selection of tips and tricks to help you evaluate and compose your work.

If you have time, find a reason to concentrate and practice these skills, and definitely try to keep them in mind the next time you take a shot, it can help you feel the difference between taking a good shot and a great shot.

Step 1 - don't try to be perfect

It is important to understand that there is no such thing as a "perfect" composition. Since it is a subjective art form, you will never get to the point where you get the perfect shot, but it is quite possible to have shots with poor and good composition. There are many elements of photo composition, which I will go into in detail in this article. Each of the sections is just a simple guideline to help you get stronger, more engaging images.

Step 2 - simplicity

One of the main things to pay attention to is the position of the elements in the frame relative to each other. Based on this, you will need to decide what to include in the frame and what to remove from it. It is often tempting to fill the frame with as many interesting objects as possible, but when it comes to composition, it’s better to be selective about what you include in the frame and be mindful of your choices. Some of the brightest photographs have very simple but effective compositions, the gaze follows the image without interference, and the viewer is involved in a clear and effective shot.

Step 3 - the rule of thirds

One of the simplest rules of composition is the rule of thirds, which has become a very common tool for amateur and professional photographers. The method is to split the frame into thirds, vertically and horizontally (so they are actually ninths), and use those lines to effectively divide your image and separate areas of the image. The points where the lines intersect are considered key areas for the main objects in the frame.

This rule, while very simple, works really well when applied correctly. For example, in landscape photography, the horizon might cut across the frame along the bottom horizontal line, and the top of the ridge might cross the top horizontal line. Likewise with portrait shots, eyes can be positioned at the points where the top horizontal line intersects the two vertical lines.

Step 4 - landscape composition

It is extremely important to use composition effectively when working with landscapes. The drama of a great landscape shot is based on composition and structure. Ask yourself what your shot will be about. About water, mountains in the distance, the horizon, sunset or rocks in the foreground? What elements do you want to highlight in the frame? Using the rule of thirds, try to make sure there are different levels in the frame, make sure you have an interesting subject in the foreground to add a sense of depth and scale to the image, and that the main focal point in the frame is clearly prioritizing.

Step 5 - lines

Lines in an image are one of the most effective ways to brighten your frame. Horizontal and vertical lines create a clearly structured image, while curved lines are more relaxed. Consider where each line in the frame starts and where it leads. It is very effective to have a line in the frame leading the eye, for example, from the bottom corner through the image to the opposite corner. Paths, rivers, railroad tracks and roads can serve this purpose if used correctly.

When you work with horizontal and vertical lines in the frame, make sure that the picture looks clear, that the lines are straight. Believe it or not, how many photographs I have seen have been spoiled by a slightly slanted line, such as the horizon. Of course, it is possible to post-process the frame to correct these errors, but it is much better to practice well and correctly align it already during shooting.

Step 6 - Shapes

Once you understand the role that lines play in the composition of an image, you can appreciate the influence of shapes. Try to distance yourself from what you are looking at a specific subject through the viewfinder and refer to the shape of each element in the frame. It is important to understand how the forms interact with each other. Strong shapes like triangles and squares are much easier to frame than softer, rounded shapes, but by assessing how each element is formed, you can make a very powerful impact by presenting the shapes and their interactions as the main theme of the shot.

Step 7 - contrast

When it comes to your main subject, consider it in context and in relation to its surroundings. How do the colors, shapes, textures, and shades of the main focal point match the surrounding space? If there is a strong connection between the two, you can play around that and make the image stand out with composition, combining the subject with its surroundings. If the subject and environment are very different, try to use composition techniques to enhance those differences.

Step 8 - shaping the frame

Effective framing is the foundation of a strong composition. The natural desire is to place the main focus point exactly in the center, but this often looks strange and out of the way. Try positioning it closer to one side or corner to see if you can create context and relationships. It is worth noting, however, that portraits often look most vivid when the subject is centered. So it's worth experimenting, don't make one single framing decision and don't stop there, explore all your possibilities.

Step 9 - negative space

It is important to take into account the negative space in the image. When you are working with small objects, the tendency is to try and place the entire focal point in the frame. In fact, the composition of a macro subject is much brighter if you either fill the frame with the subject close to each other, or use the negative space around it to allow the subject to breathe and fit harmoniously into the surroundings.

Try experimenting with something as simple as a seashell, or see how you can change the composition if you don't just shoot in the usual way, but try to get closer, or, on the contrary, move away.

Step 10 - corner

When working with your subject, consider the angle from which you are shooting. Most often, the easiest way is to shoot the subject from the angle you see it from, but while you are working on the frame, explore different angles and approaches. You may find a more interesting way to express the main theme of the shot.

Step 11 - layers

Just as when working with layers in landscape shots, be sure to include some depth elements in your images. Bringing an interesting subject to the front is the easiest way to do this, but even using a zig-zag object will add a sense of depth and lead your gaze deeper into the image.

Step 12 - symmetry and patterns

Effectively exploiting symmetry and patterns can help create a truly powerful shot, especially when you're working with objects such as architecture. Spend time exploring the subject and recognizing patterns and patterns (paying attention to shapes and lines). Find the midpoint and position the camera exactly perpendicular to the subject. Avoid distracting details that break the symmetry or pattern and try to maximize the desired effect.

Step 13 - cropping

In this age of post-processing, if you suddenly come home and find that you did not compose your shot the way you want it, nothing is lost. Almost all image processing utilities now have a crop tool with which you can crop out excess parts of a photo. You can do this with the aspect ratio fixed (most photos today are 3: 2), or you can freely crop the frame to the shape you want to get, for example, to a square, or create a panoramic landscape frame by clipping the lower and upper levels.

Step 14 - Practice, Practice, Practice

So, we've explored a number of compositional principles that can really help you on your journey of creating stronger, more engaging images. As soon as you get the opportunity, practice using these suggestions. Whatever you shoot - landscapes, portraits, macro - there is always room for experiments to improve your composition, the chance to make your shot, at least a little, but brighter.

Just please remember that there are no quick and easy solutions to great shots. The above techniques can help you, but step over them is also not prohibited. When you decide you've figured out how to effectively put these principles into practice, feel free to start breaking the rules and photographing your subjects in the creative way you feel is best for you.

There are three main components in any successful photography: composition, lighting and, of course, a unique moment that the author manages to snatch out of everyday life. Look at any famous reportage shot - you will find all three components.

Drew Hopper, a seasoned Australian documentary photographer, traveler, nature and cultural connoisseur, believes that compositional structure in a photograph determines the mood and emotionality of a scene. A well-composed shot is always effective, in which an ordinary everyday situation turns into something extraordinary. That is why composition is of paramount importance in conveying the uniqueness of the moment. Drew Hopper offers several of his developments to those who want to improve their own skills. If you use the advice of the wizard, you can significantly improve the results of your work. So, a word to the professional.

The basics

“Let's face it, people won't look at a photograph that doesn't have anything to interest and draw attention to. To understand how to attract the viewer, you need to know how the human brain works. Compositional work generally refers to the placement of elements relative to each other for optimal perception. A high-quality photo immediately "pushes" the viewer's eye to the central point of the image, or to several - in a strictly defined order. There are a number of factors that affect how people perceive a photo. Framing, positioning, perspective, focal length will become tools to help you account for them.

You can physically rearrange objects, change the arrangement of scene elements, or visualize a possible result, anticipating the moment - this approach is suitable for. Reporters must act, and most importantly, think quickly, so that a split second before the desired event, they must be ready to press the shutter button. The ability to catch the "moment" is a skill necessary for working in the street environment.

Remember painting

Photography and fine art have a lot in common. Pictures, like paintings, represent reality, refracted through the imagination and gaze of the creator, who imagines in advance what the result should look like. The difference is that an artist can start with a blank canvas and add or subtract anything. Photographers act in reverse order, starting with a scene filled with elements, and selectively removing unnecessary elements from it. Just like in paintings, a poorly composed frame is often untrue, misleading, worse conveying the meaning of the scene. In any case, an attentive eye, ability to notice details and compositional sensitivity are required.

Visual stress

Of course, the "message" of a snapshot depends on what we have chosen as its power point, but there are basic rules that must always be taken into account. Eliminate parts of the scene - let the viewer try to fill in the blanks on their own. You can crop within another frame to draw attention to the main part of the photo.

In a strong photo, as a rule, there are some semantic milestones that guide the eyes of the viewer, who follows them, naturally moving through the scene. If the frame contains only what is needed, it will be easier for the viewer to follow the author's photo narration.

Relative distance

The term, when it comes to composition, refers to the distance between the key object and the rest of the details, and its effect is similar to adding tension. The basic rule is the same - not to complicate the message. For example, if two people walk in opposite directions, it looks more attractive than crossing them at the same point. Keeping track of the relative distances between the foreground and background is important for good framing. It is necessary that the theme-forming elements do not overlap each other, and that the accents in the background do not draw the eye from the main focus. A good trick is to take a "sighting" shot of the background and then wait until the foreground is appropriate. It can take a long time, but it pays off.

Competent filling of the frame

Well-known photographer Robert Capa once said: "If your photograph is not good enough, then you have not come close enough." However, the author does not have to arm himself with a telephoto lens and scale with all his might. You need to physically move, get closer to the object, immerse yourself in the scene. This approach will help to simultaneously cut off unnecessary details, focus on the main element and its frame. Correct filling of the frame will help convey the photo message to the audience, enhance the dynamics of the frame, and make it dramatic. For example, a close-up portrait is much more intimate and meaningful than a full-length portrait, since in it the model immediately looks into the eyes of the viewer. In street photography, the trick also works.

You need to give the audience a sense of presence in the frame, find the right contrast between the subject and the background so that the image affects it more. If you overdo it and cut off the necessary elements of the scene, you will not be able to fill the frame. You need to constantly move, take a lot of pictures, see what works in them to enhance the effect. Avoid using zoom lenses, don't be lazy, rely better on your feet. A good, fast fix and your own legs are a photographer's best friend.

Try not to crop the frame

Maybe this opinion of Drew Hopper is subjective, but he tries to avoid framing. It is much more interesting to perfect the composition by working directly with the camera. This not only saves time on computer post-processing, but also makes the photographer more observant. Of course, it all depends on the situation, but practicing composition improvement is a rewarding activity anyway.

Rhythmic patterns and repetitions

The ornaments that the lines form in the frame are aesthetic, but it is better if their infinity is interrupted and the drawing is broken. In terms of composition, the technique will enhance the impact of the image on the viewer. When the ornament in the photo is rhythmically repeated, it structures the harmony base of the photo. If we start experimenting with lines, the images in the photographs come to life and become dynamic.

There are two ways to use repeats - patterns can be either underlined or broken. Filling the frame with rhythmic ornaments draws the viewer's attention to the image. This allows you to focus on the main detail, add depth and complexity to the image. Repetition, for example, works well with a brick wall, as Drew Hopper did. When the pattern starts to break, tension builds up in the frame.

This is a great technique for focusing your attention on the main subject of a scene. For example, a straight line that changes direction abruptly brings the viewer's eyes to the center of the composition. The combination of the main subject and the attention-grabbing pattern helps to increase the attention of the audience and makes them look closely at the image.

When we talk about how best to photograph, we mean how to take GOOD photographs. After all, everyone who picks up a camera wants to get GOOD FRAMES. How can this be achieved? Alas, there is no one-size-fits-all recipe. Everyone finds and goes their own way, but this path can be made much shorter if, instead of learning from their own "bitter experience", use the experience and knowledge accumulated by centuries of experience of artists and several generations of photographers.

So, let's get down to the second photography lesson and the first workshop in full format. In the previous issue, due to lack of space, we were not able to fit everything that was intended. Starting from this issue of the journal, we will try to give each workshop in three parts:
Completion of the previous topic, this time "Shooting point and angle".
A short theoretical excursion and the most visual disclosure of the main topic - "Light in photography".
A visual announcement of the main topic of the next issue based on examples of the most common mistakes novice amateur photographers make - "Choosing the Right Exposure".

Shooting point and angle

Speaking about the point of shooting and the angle, we understand that it does not matter who moves - the subject or the photographer. In any case, changing the relative position of the camera and the photographic image allows you to build a frame, the main thing is to choose the right moment to press the button ... Yesterday, today and always, the choice of the shooting point, angle, moment of shooting and framing is a process that ensures the construction of the frame and the creation of the basis of photography ... Why basics? Because there is still light - the most powerful tool that creates an image, and there are many technical aspects that ensure the technical quality of photography.
Having in mind the construction of a frame, they often talk about a linear drawing, about a composition, a plot, an image ... There are a lot of approaches to studying this issue, each of which is good in its own way. We will focus on the practical side of the photography process, paying attention to important psychological points and only touching on the elements of the "bare" theory if necessary. Before we continue, let's ask ourselves: how is good photography different from bad? Why is one image like, admirable, and the other not?

Three levels of photography can be conventionally distinguished. Level one - documentary, when a beginner amateur photographer simply captures the imprint of the reality that he is observing. This is everyday documentary: “Me and my friends; my family; I am against the background of the monument; we are celebrating...; my favorite cat". Here, as a rule, it is not even worth talking about frame construction. The photographer does not yet think about the composition and the plot, the task is to fix it “as a keepsake”. There is no volume in such images, they are flat and two-dimensional. Piece of life 10 × 15, interesting to the author and participants in the recorded events.

On the second level, figuratively, understanding of the frame arises. Understanding that for the viewer all the elements captured in the photograph interact with each other, creating an independent image, and should TOGETHER carry a semantic load. The photographer does not just shoot interesting objects, he creates a composition in which a new beauty appears, dissolved in space and invisible to the ordinary eye. The author is already considering the foreshortening, plan, perspective. There may not yet be a subject in photography that will cause a storm of emotions, but the image becomes interesting at least from the point of view: how is this done? Here, in the flat print, the third dimension appears. And there are fairly simple techniques that help to achieve the volumetric photo.
Third level - plot. When there is not only an interesting image in the frame, but also movement appears, giving rise to vivid emotions for most of the audience. The fourth dimension appears in the plane - the movement of time is guessed. We can feel what happened before the moment of the photo and what will happen after it. Big photography is a small life. At the same time, the photographer, as a rule, no longer thinks about the techniques that he uses. His consciousness is free and focused only on the image. He cares about what, not how.
Naturally, it is impossible to immediately get from the first level to the third. The path to mastery goes through several stages: knowledge, understanding, skill, skill ... The task of our workshop is to help pass the first and second stages. The rest is in your hands.

So, in order to learn how to photograph, you need to learn how to use the means of photography. Given the high intelligence of modern cameras, which save a lot of trouble, first of all, a beginner photographer needs to understand what to put into the frame and what not to put into it: at what angle, from what angle, on what scale? Everything that will be in the frame will make up the composition of the photograph (Composition - from Latin - composition, composition, arrangement, unification of individual elements into a single harmonious whole).
Or it won't. You can get just a set of separate elements, even if they were technically filmed with high quality. The composition, alas, does not exist objectively and independently of a person, it makes sense only within the framework of the worldview, primarily aesthetic. Therefore, it is possible to talk about the principles and means of composition based on the physiological foundations of perception and that part of subjective experience that is common to most people. However, let's get down to business.

Our task is to build something out of nothing. For clarity, simplicity, and most importantly, for the reproducibility of our practical research, we chose a certain number of coins and an oyster flap (an ordinary shell) as a subject for shooting. Arbitrarily put it all on the most ordinary table. The picture, as you can see (photo 1, top view), is not the most attractive one.
Let's try, without moving anything, to find a shooting point and an angle that will give at least some composition in the frame.

SERIES 1. The first thing to do is “aim”, look for the best angle and shooting point. Moving around the still life. Usually such pictures, of course, are not taken, it is enough just to look through the viewfinder to understand that the frame is "not built".

Photo 2 (left - bottom). It turned out, in general, a pretty picture. The shine of the coins, the texture of the shell, the shadow pattern. The plus of the photo is the location of the sink. It "holds" in one of the nodes in accordance with the three-thirds rule *.
Coins take up the other three attention nodes. As a result, the image is perceived as stable and balanced. But further work with this photograph is useless. You cannot build a multi-plane shot here. The shell and coins are located almost at the same level in relation to the viewer. In addition, such a composition is unpleasant. The two objects are in balance. They argue with each other. In this case, the question: "who is stronger?" - remains unanswered. Let's move some more.
Photo 3 (right - bottom). The sink is in the lower right corner. According to the rule of the left hand **, the movement of the gaze goes from the upper left corner to the lower right one and rests against the shell. She kind of slows down her eyes. In addition, the frame becomes unbalanced ***.
The upper left corner is empty and the focus is on the sink. But the shell from this perspective is not so interesting as to attract attention. There is no plot in the picture.
We stopped at the photo in which the sink is located in the upper left corner. Now let's try to enhance the sense of planning, the depth of the picture. It must be remembered: the closer the angle of view is to the perpendicular lowered onto the plane, the fewer plans will be in the photograph. You need to look for a point of view so that the objects are at different distances from each other and from the photographer.

SERIES 2. If before that we revolved around objects clockwise, now the camera will mainly move along the conditional celestial sphere and approaching and moving away in relation to the object.
Photo 1 (depth search 1). Plus - the picture was taken according to the rule of three thirds. The bottom third is a table top, which creates a sense of "air" in the picture. The top two thirds are coins and a shell. Coins, if you look closely, form two arcs, two fronts. There is a certain element of rhythm in this *.
* Rhythm in photography is a harmonious alternation of geometric shapes, spots and lines. Serves to express expression.
The depth has become a little deeper than in the previous images, but still not enough. There is no stability, balance. Let's try to go even lower.

Photo 2 (depth search 2). The sense of perspective has intensified. The gleam of coins and the shadow of a sink appeared on the countertop. Obvious foreground and middle shots, and coins receding into the distance are the distant shots. But now the frame is not filling. Trying to change the scale.

Photo 3 (heap. Close-up 1). Approached, but it seems too strong. The clear dominance of the shell, and the "dump" of coins in the foreground. This picture does not evoke any emotions. But if the task is to show the cumbersomeness of seemingly small objects, then the shooting point, angle, plan - everything is chosen well. However, we did not strive for this effect, so we will try to reduce the shell in the frame and increase the weight of the coins.

Photo 4 (close-up 2). We're getting closer. Despite the fact that there is an obvious observance of the rule of three thirds, the photograph does not look harmonious. Let's try to change the angle a little at the same scale.

Photo 5 (close-up 3). The shell has gone a little to the right and looks like the bow of a ship that cuts through the "coin waves". This is the first thing that comes to mind. This may not be the most difficult association, but the fact that photography makes the imagination work is good enough. We will not search further here. Let's try to find a new angle.

Photo 6 (Larger plan). Remove the clutter from the foreground, move it to the side. Zoomed out a bit to show the shell. Diversity has reappeared: coins from the foreground through the middle go behind the sink. Interesting in texture. Balance appears: the upper left corner and the lower right corner are occupied by the sink and coins. A visual corridor is formed between them, which goes from left to right. With a large number of pluses, there is also a significant minus: the image actually splits into two equal parts. The shell and the coins are arguing among themselves.

Photo 7 (close-up to the left of 2.). We increase the plan a little. Planning due to the "coin arc" is preserved. Let's try to find a new angle.

Photo 8 (new angle 1). It is completely incomprehensible what the sink is doing in the picture. There is a simple rule: everything that is possible must be removed from the frame. If the sink disappears, nothing fundamentally changes. But we are faced with the task of removing both the coins and the shell - so that everything plays.

Photo 9 (new angle 2). Increased the presence of the shell. There are plans: the front one with reflection, the middle one with objects, the back one - "air". The rule of three thirds has been respected. A reflection appeared in the countertop. A kind of "predation" has formed at the shell. She seems to be devouring coins. The dominance of the shell is emphasized by the inclination towards it. Let's increase this effect a little.

Photo 10 (total tandem 1). In principle, this snapshot can be considered a kind of summary. There is a very clear image of the "aggressive shell".

Photo 11 (total of tandem 2). We tried changing the crop. To do this, we raised the lens, the sink, thus, sank down. Two three are busy with subjects. In the foreground is a table top with reflection. The frame does not seem crowded with objects. He "breathes".

SERIES 3. In the previous series of shots, we used the tilt of the camera only slightly. Let's try to play with this possibility. Many people are afraid to rotate the camera. And completely in vain. Sometimes tilting can give interesting results.

Photo 1 (slope 1). Everything dropped out of frame. Coins are almost invisible, it is not clear what kind of texture is on the right. Let's try to bring everything back into the frame and keep the tilt.

Photo 2 (slope 2). Objects are clearly attributed in the frame, but the tilt coincides with the diagonal of the natural gaze (the left-hand rule) and therefore is completely unreadable. Hence, there is no dynamics of movement, there is sliding. If we wanted to achieve the feeling of sliding, we would be fine with this shot.

Photo 3 (slope 3. Hint of movement). We change the slope to the opposite. The movement appeared, but not very distinct.

Photo 4 (creeping total). The slope was slightly increased, and the effect of movement was also enhanced. The shell has turned into a living creature that seeks to crawl away somewhere and at the same time leaves a trail of coins behind it. It cannot be said that this is a masterpiece, but this picture already evokes some associations. There are no lines as such *, but they are guessed. Attention nodes are involved according to the rule of three thirds.

* Any lines in the picture are a good tool for emotional impact on the viewer. Curved lines are soothing; broken lines act as an irritant; vertical lines convey greatness, strength, power; horizontal - calmness and serenity; diagonal - dynamism.
In principle, you can still work with the final images of the second and third series. For example, play with light, with shadows, with the intensity of the surface mirroring. All this will create additional dynamics. Working with light is the next topic of our workshop.
And, before putting an end to this topic, we want to give some advice: “Looking through the viewfinder, imagine what you see with a framed photograph on the wall of your dwelling. If you are satisfied - boldly, but carefully press the "shutter" button, if not - continue to search for an angle.

* Rule of three thirds. Vertically and horizontally, the frame is conventionally divided into three equal parts. Any surfaces are best positioned in a 1: 2 ratio. For example, place the sky at the top one part of the image. In the bottom two - the ground. Or but the reverse. This arrangement allows you to determine what dominates the picture, what is the emphasis. In addition, at the intersection of two vertical and two horizontal lines, which conventionally divide the image into parts, four "nodes" of attention are formed. It is best to place objects in them.
** Left hand rule. Most people look first to the upper left corner of the image, and then their gaze slides to the lower right. If, for example, you need to select a road in a photo, then it is better to start it up from the lower left corner to the upper right. Thus, on the path of natural movement of the gaze from left to right, it will "stumble" over the border of the road and highlight it. Otherwise, the road will simply get lost in the picture.
*** There are two types of balance in a photograph: formal and informal. Formal balance is achieved by absolute symmetry to the left and right of the optical center of the image. A composition balanced in this way emphasizes the dignity, stability and conservatism of the image. You can achieve balance in a different way if you place elements of different sizes, shapes, color intensity at different distances from the optical center. This is an informal balance. It makes the photo more imaginative and emotionally rich.

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Each of us has more than once met photographs that were striking in their beauty and originality: it is impossible to take your eyes off them, they have a rich history of creation and elaborated to the smallest detail. It seems that in order to create such a work of art, you need to get a good camera and start shooting, but in fact, this is not enough at all.

The lion's share of photography success depends on how well the master has worked out the compositional details and features of his work. Sometimes in this moment you can follow the generally accepted rules that are known to every artist, but often professionals in their field deviate from them, using extraordinary techniques, due to which the photograph becomes truly brilliant.

Indeed, composition is the main way to make a photograph beautiful, or vice versa - to ruin everything in it. Not a single, even the most advanced technique, will do the job for you to find a suitable composition of the frame - this business needs to be painstakingly studied, experimented and never stopped looking for angles and options for frame construction. In this article, we will tell you about a number of compositional techniques that will help you make your photo more original and professional.

Rule of thirds

The popular compositional rule "Law of Thirds" involves dividing the frame into six evenly spaced lines, three of which are horizontal and three are vertical. It is this law that tells us that we should not try to place the photographed object exactly in the center - this will confuse the viewer, because he will not understand which half of the picture is the main one. The points that form at the intersection of the lines are the nodes of attention. It is on them that you should place objects and people, focusing attention on them. Also for this purpose, you can use the lines themselves, or rather choose one of them.

Symmetry and asymmetry in the picture

Sometimes centering a composition consisting of small ordered lines can be a special idea - then the “centered” composition, which we talked about above, will be justified. Often such photos contain images of bridges and stairs. Then it is better to move away from the rule of thirds and place the subject with an accent point on the central part - you will emphasize the slender geometry, set a certain rhythm and create a perfectly verified shot.

Asymmetry is a very popular and “working” technique in photography. It can be found in works of various types: urban, natural landscapes, portraits, still lifes. The essence of the method is to correctly place the subject in the node of attention, but at the same time muffle other details of the frame.

Defocus

In order to make it easier for the viewer to place accents within the meaning of the photo, you can use the alternation of focus and defocus of the image. Any subject that requires maximum attention in the frame should be clearly visible, and everything else should be blurry. This can be a portrait, a snapshot of a car racing along the road, a horse in a jump, and much more.

Sometimes composition requires the opposite effect - when the sharpness is behind. Especially expressive are the shots with a blurred silhouette of a person, located against the background of a beautiful street or pond. The photographer invites the viewer to see not only what he sees through the lens, but also the picture through the eyes of the shooting model.

Framed photo

The frame can be not only in the form of a wooden frame of the photograph, but also inside the photograph itself. This artistic technique lends depth and expressiveness. The vaults and arches of beautiful buildings, ancient columns, even windows and doors, as well as natural “helpers”: tree branches, vines, and so on can become a frame.

It should be noted that the elements in the background should be arranged according to the rule of thirds.

Choose an advantageous angle that will capaciously cover the frame and give it the desired symmetry. In the case of landscape photography, the frame greatly lightens the composition, giving it an artistic flair.

Creating lines

How to bring the viewer to the semantic accent of photography? Using lines that clearly indicate the direction in which to move. Any things with a slender geometric shape are suitable for this business: roads, walls of buildings, stairs and bridges.

If you see a lot of horizontal lines in front of you, and they all add up to an interesting composition, make them the basis of the photograph, and in the very top third place one thing - the object that will crown the composition.

Working with triangles and diagonals

The geometry in the construction of the picture sets its dynamics, makes it deeper, and allows you to embody creative artistic ideas. The principle is simple: the photographer captures objects located in the ray method - the composition is split into triangles that cover the entire structure of the photograph. Ideal to combine small and large items: left, right, top and bottom. The main thing is to avoid grouping in the center and give the image non-standard symmetry.

Structure

When shooting buildings, interesting architectural structures, squares, squares, old streets, it is important to reflect the atmosphere of the place, to highlight its peculiarity. One of the techniques that give a photo a special mood and aesthetics is the emphasis on textures, their selection, as well as repeating small elements that will help make the composition more interesting.

These techniques are especially well and successfully applied on unusual road surfaces: a stone path, paving stones on the road, an unusual tile ornament that you want to fix.

Even and odd parity in photography

One of the laws of photography says: there must be an odd number of objects in the frame. This is due to the fact that it is easier for the viewer to perceive a picture with a given compositional emphasis. If you see three people in front of you, attention will automatically focus on the central figure. Following this logic, two objects or a person in the frame confuses the viewer. But if you take a photo with a live story, where two interlocutors are in the center of the frame, then you can deviate from the rule. Try to vividly display the gestures of people, their emotions and facial expressions, elements of articulation - then the picture will be interesting to look at for a long time.

Filling the frame

The basis of the filling technique is a close-up, which is devoid of the background. A human face, an animal's head, or any other object, for example, a building with beautiful architecture - anything that is noteworthy and capable of capturing details can become the center of the composition of the frame. Just a little sky at the top and at the edges, the lower horizontal line is enough - and now the picture is correctly filled. Reception is especially good in portrait photography, where it is important to emphasize the eyes.

Add air to the frame

A beautiful object against the sky, a lonely tree in a vacant lot, a lighthouse surrounded by water, a person in the middle of a landscape - such a minimalistic approach to creating a composition and a lot of free space make the picture “easier”, allowing the viewer to more easily perceive information and interpret it. By creating shots with free space and air, you let your work breathe more.

We focus on the look

When it comes to shooting portraits, the most important thing to know about composition is to keep the eyes in mind. Only in this way, by placing the main accents on them, you will convey all the emotions and thoughts of a person, his history and current state. Don't forget the rule of thirds: place the eye line at the top of the frame. By the way, the technique works not only on humans, but also on animals.

Experimenting with angles

Most human photography involves an angle at the eye level of the model, in a standing position. This technique is standard and is used by many masters - this way you will most correctly and naturally show the proportions of the model's figure. But it is worth remembering that changing the symmetry of the lines and playing with angles can make a photo original and unusual - it is in such cases that it is very often possible to convey the idea behind the project.

So, for example, photographing a dog jumping from a low point, you visually increase the distance between the ground and its paws, creating semantic expressiveness. For landscapes with lots of interesting subjects, don't be afraid to shoot from above. It is very important to change the position of the camera in order to find something of your own, the most suitable.

Working with color

Color also plays a role in the composition. With the help of colors and their competent combination, you will reflect the mood of the frame and all the emotions. It is necessary for a photographer to study coloristics, but at first you can use a special color table, which is used in work by designers, artists and other creative people. The ability to combine shades and create a complete picture is an important skill that will take your craft to the next level.

Motion creation and direction selection

Any movement is perceived by a person from left to right - this is how we are made. When you shoot, keep this detail in mind and use it in your work. For example, a car rushes along the road, and a bicycle along a forest path, a person is running, and his dog is trying to catch up with a flying stick - every movement with dynamics should be directed to the right side.

It is very important not to forget to leave an empty space in front, which will help to better understand the dynamics of the composition, and where the hero of the picture is heading. A well-chosen and built direction of movement can work wonders with the dynamics of photography.

Balance

If in front of you is a city street with a beautiful lamp post, arrange it according to the rule of thirds and include secondary elements in the frame - they should be at a distance: for example, on the other side of the road. This technique will balance the image, structurally balance it. In this case, the lamppost will continue to dominate, but organics will appear in the composition, it will become artistically interesting. Avoid single silhouettes that cut the photo apart.

Contrast in the frame

This is one of the most expressive techniques that gives the picture a unique atmosphere and reflects the two sides of reality. Old and new, black and white, funny and sad, children and old people, dynamics and statics - contrasts are always winning, and have their own philosophical idea.

Use the above compositional techniques in your photography practice, and you will surely find your own - those that will give your work a zest and originality. Do not be afraid to look at the world through the lens from different points, experiment with perspective and proportions, focus and defocus - this is the only way you will make your creativity unique.

Imagine that you have a sheet plane in front of you, absolutely not filled with any image elements. Simply put, a blank slate. How is it perceived by us? Naturally, the plane of the sheet does not carry any information, it is perceived by us as meaningless, empty, not organized. But! One has only to put on it any spot, or line, stroke and this plane begins to come to life. This means that our pictorial elements, any - a spot, a line, a stroke - enter into a spatial connection with it, forming some kind of semantic tie. Simply put, the plane and any element on it begin to interact, conduct a dialogue with each other, and begin to "tell" us about something.

So we get the most primitive composition, which is even difficult to call such, but this is it.

Farther. You and I have one universal tool given to us by nature, this is our eyes, our vision. So, our eye sees and perceives the world around us in proportions and proportions. What does it mean? Our vision is able to feel harmony, and that which is not harmonious. Our eye is able to find the difference between the discrepancy between the sizes of individual parts and the whole, or vice versa, to see a complete correspondence. Eyesight is able to sense color combinations that do not irritate the eyes, or vice versa - they can be completely disharmonious. I will say more, our natural instinct from the very beginning, whether you like it or not, strives for a sense of harmony in everything. And it subconsciously obliges by feeling to compose objects and their parts so that not a single part of the composition turns out to be alien or disproportionate. You just need learn to listen to your feelings and understand how to achieve harmony, that is, to make a good composition. Any.

Move on. Let's take some form, for example, a circle and try to place it in different places on the plane of the sheet. We can see, feel, that in some cases it will occupy a more stable position, in others it will be unstable. Figure on the left: see how our vision works - it would seem that the most stable place for a circle is the coincidence of its center with the geometric center of the sheet plane (by drawing diagonal lines from corner to corner of the sheet, we get the center of the sheet at the intersection of these lines). However, this is not all. Due to an optical illusion (the eye slightly overestimates the upper and underestimates the lower part of the plane), the circle is perceived to be slightly shifted downward. Do you feel how the circle is attracted to the base of the square? The circle is not felt distinctly either in the middle or below, and this results in a misunderstanding of its position, disharmony is felt. How to achieve harmony? In what position should the circle be in order for us to perceive it harmoniously in the plane of the sheet? Naturally, it needs to be shifted up a little. See the picture to the right. Does the circle feel stable? It takes exactly its place in the square. Thus, our simplest composition will be more harmonious, and therefore more correct.
Understanding: the plane and the object form a kind of conditional spatial connection that we can correct.

Our plane initially has a certain conditional structure, even if there is not a single element on it yet. The plane can be divided into axes - horizontal, vertical, diagonal. We get the structure - look at the picture on the left. In the center of the plane (geometric center), all the forces of this hidden structure are in a state of equilibrium, and the central part of the plane is perceived actively, and the non-central parts passively. This is how we feel. This perception of the conditional space, so our vision seeks to find peace. This understanding is rather arbitrary, but true.

The eye seeks to see harmony in what it is observing - it determines the center of our composition, which for it seems more active, everything else is more passive. This is what only the study of one blank plane of the sheet can give us. Moreover, this is what only the study of one square shape, the plane of the sheet, can give us. But the principle is the same. This is about the structure of the plane of the sheet.

But it would be quite insufficient to dismember the plane or to compose a composition of one element on a sheet. It is boring and does not need anyone, neither you nor the viewer. There is always more, more varied and much more interesting.

Now let's try to compose another composition, but with several participants. See the picture on the left. What do we see, what do we feel? And we feel that our composition is not harmonious, because its individual parts are not balanced. The subjects are strongly displaced to the left, leaving empty, unnecessary, unused space in the composition on the right. And the eye always strives to balance everything and achieve harmony. What do we need to do here? Naturally, balance the parts of the composition so that they harmoniously make up one large composition and are part of one whole. We need to make sure that our vision is comfortable.

Look at the picture on the right. Is that how you feel more harmonious? I think yes. What does it mean? In the visual perception of the elements and the plane of the sheet and in the analysis of their connections: the influence of the internal forces of the structure of the plane on the behavior of the figurative elements is felt. What does it mean? Our elements participating in the composition interact with the conditional diagonal, vertical and horizontal axes of the plane. We have achieved a stable visual balance of all components of the composition relative to the geometric center. Even if not a single figure is in the middle here, they balance each other, forming together the center where the vision expects it, therefore, it is more comfortable to look at this drawing than the previous one.

And if you add a few more elements, then in this case they should be somewhat weaker in size or tone (or color) and in a certain place, so as not to visually knock down the geometric center of the composition, otherwise you will have to change the arrangement of the elements in order to achieve harmony again, that is, harmonious perception. This is with regard to the concept- geometric center of composition, which we have now introduced into the study.

You should always strive for a stable visual balance of all components of the composition in its various directions - up and down, right and left, diagonally. And the composition should be harmonious from any position, in any turn - turn your composition upside down, or 90 degrees, it should also be pleasant to look at, without any hint of discomfort. And it is easier to assume that the geometric center of the composition is at the intersection of diagonal lines or a little higher, it is in this place that the eyes, after viewing the composition itself, whatever it may be, eventually stops and finds "rest", calms down in this place, even if there is no object on it. This is a conditional place. And a harmonious composition is considered one when it is no longer required to introduce new elements or remove any of it. All the actors participating in the whole composition are subordinate to one common idea.

Basics of composition - static balance and dynamic balance

The composition should be harmonious and its individual areas should be balanced. We go further and analyze the following concepts:

Static balance and dynamic balance... These are ways to balance the composition, ways to create harmony. The methods are different, as they affect our vision in different ways. Let's say we have two compositions. We look at the figure on the left: what do we have? We have a composition in which a circle and stripes take part. This shows the static balance of a circle and stripes. How is it achieved? Firstly, if you look at the hidden structure of the composition sheet, you can understand that it is built primarily along the horizontal and vertical axes. More than static. Secondly: static elements are used - a circle and stripes, the circle is balanced with stripes and does not fly out of the plane and the conditional geometric visual center is located at the intersection of the diagonals, the composition can also be viewed from all sides, without giving rise to disharmony.
Now we look at the picture on the right. We see a dynamic balance of several semicircles and circles with the highlighting of the dominant in color. How is dynamic balance achieved? If you look at the hidden structure of the sheet, then in addition to the horizontal and vertical axes of building the composition, you can clearly see the use of the diagonal axis. Its presence, use, gives out a red circle, which in this composition is a dominant, dominant spot, an area that the eye pays attention to in the first place. We introduce the concept composition center.

Composition center. Dominant

Compositional center, dominant, how to understand it: in the composition on the left there is a certain compositional center, or dominant, which is the starting point of the composition and which all other elements obey. We can say more: all other elements enhance the significance of the dominant and "play along" with it.

We have a dominant main character and secondary elements. Minor items can also be categorized according to their importance. More significant - accents, and less significant - minor elements. Their significance is determined only by the content of the story, the plot of the composition, and so all the elements of the composition are important and must be subordinate to each other, "twisted" into one whole.

The compositional center depends on:

1. Its size and the size of other elements.

2. Positions on the plane.

3. The shape of the element, which is different from the shape of other elements.

4. The texture of an item that is different from the texture of other items.

5. Colors. By applying a contrasting (opposite color) to the color of secondary elements (a bright color in a neutral environment, and vice versa, or a chromatic color among achromatic ones, or a warm color with a general cold gamut of secondary elements, or a dark color among light ones ...

6. Development. The main element, the dominant, is more elaborate than the secondary ones.

Compositional and geometric centers of composition

Continuing ... This dominant, a conspicuous active element, is not at all located in the center of the leaf, but its weight and activity is supported by many secondary elements located diagonally further, opposite this dominant. If you draw another diagonal, then on both sides of it the "weight" of the composition will be conditionally the same. The composition is balanced both vertically and horizontally and diagonally. Elements that differ in activity from the previous composition are used - they are more actively located and more active in shape. Although they are located elementarily, along a conventional grid and the structure of the composition is simple, but besides this, the composition has a dynamic balance, since it leads the viewer along a certain trajectory.

Note: the composition on the right is by no means created using paints on paper, but I really liked it, and in essence, by and large, it does not change. It's also a composition. Continue ...

You say, where is the geometric center of the composition? The answer is: the geometric center of the composition is where it should be. Initially, it may seem that it is located where the dominant is located. But the dominant is more of an accent, the starting point of the composition, that is, the compositional center. However, we do not forget that there is also a hidden structure of the composition, the geometric center of which is located as in the composition on the left. The viewer turns his first glance to composition center, dominant, but after considering it, and then after reviewing the entire composition, your eye still stopped at geometric center, right? Check it yourself, follow your feelings. He found "peace" there, the most comfortable place. From time to time, he again examines the composition, paying attention to the dominant, but then again calms down in the geometric center. Therefore, such a balance is called dynamic, it introduces movement - visual attention is not scattered evenly throughout the composition, but follows a certain course that the artist created. Your eye will find movement in the compositional center, but will not be able to calm down there. And it is precisely with the successful construction of the composition, namely, the correct use of the geometric center, that it is harmoniously visible from any turn. And the compositional center - from it, the composition begins to conduct a dialogue with the viewer, this is a section of the composition that allows you to control the viewer's attention and direct it in the right direction.

Static composition and dynamic composition

Here we come to the following terms that we need to consider. These terms differ in meaning from static balance and dynamic, meaning: you can balance any composition in different ways. So ... what is static composition? It is a state of composition in which balanced elements as a whole give the impression of its stable immobility.

1. Composition, based on which you can visually clearly observe the use of the hidden structure of the sheet for construction. In a static composition, there is a conditional build order.

2. Subjects for a static composition are selected closer in shape, weight, texture.

3. There is a certain softness in the tonal solution.

4. The color scheme is based on nuances - similar colors.

Dynamic composition, respectively, can be built in the opposite way. It is a state of composition in which elements that are balanced against each other give the impression of being movement and internal dynamics.

I repeat: but, whatever the composition is, you always need to strive for a stable visual balance of all components of the composition in its various directions - up and down, right and left, diagonally.

And the composition should be harmonious from any position, in any turn - turn your composition upside down, or by 90 degrees, with the general masses and color / tonal spots, it should also be pleasantly viewed, without any hint of discomfort.

Composition Basics - Exercises

Additional exercises can be done with gouache, like applique, colored pencils and other materials with which your heart desires to work. You can perform from the exercise that seems most easy or interesting to you, to the most difficult.

1. Balance a few simple-shaped elements on a square plane. Follow the same principle to compose a simple landscape motif.

2. From simple stylized motives of natural forms, make a sketch of a closed composition (not going beyond the picture), enclosed in a sheet format. Closed composition - the action is twisted only in the space that you use, full completeness. The compositions have a circular move.

3. Organize several triangles and circles according to the principle of dynamic composition (asymmetric arrangement of figures on a plane), varying the color, lightness of the figures and the background.

4. Applying the principle of dividing the elements of the composition, balance several shapes of different configurations in a rectangular format. Follow this principle to perform a simple composition on an arbitrary topic.

5. From simple stylized motives of natural forms, applying the principle of articulation of elements, sketch an open composition. An open composition is a composition that can be developed further - in breadth and in height.

6. Divide the plane of the sheet into a conditional structure according to the feeling and compose a composition on its basis: the solution is black and white.

Expressive means of composition

The expressive means of composition in decorative and applied arts include line, point, spot, color, texture ... These means are at the same time elements of the composition. Based on the tasks and goals set and taking into account the possibilities of a certain material, the artist uses the necessary means of expression.

Line is the main shaping element that most accurately conveys the nature of the outlines of any shape. The line serves a double function, being both a means of representation and a means of expression.

There are three types of lines:

Straight lines: vertical, horizontal, oblique
Curves: circles, arcs
Curves with a variable radius of curvature: parabolas, hyperbolas and their segments

The expressiveness of the associative perception of the lines depends on the nature of their outline, tonal and color sound.

Lines transmit:

Vertical - upward aspiration

Inclined - instability, fall

Lines - variable motion

Wavy - even, smooth movement, swing

Spiral - slowed down rotational movement, accelerating towards the center

Round - closed movement

Oval - the aspiration of the form to focus.

Thick lines protrude forward, and thin lines recede into the depth of the plane. Performing sketches of the composition, they create combinations of certain lines, spots that stimulate the manifestation of its plastic and color properties.

The point is widely used as one of the means of expression in many works of decorative and applied art. It helps to reveal the texture of the image, to transfer the conditional space.

The spot is used for the rhythmic organization of non-pictorial ornamental motives. Spots of various configurations, organized in a specific composition, acquire artistic expressiveness and, emotionally affecting the viewer, evoke the appropriate mood in him.

Artists in their works often use as pictorial elements geometric figures: circle, square, triangle. Compositions from them can symbolize the movement of time, the rhythms of human life.

The rhythmic organization of ornamental motifs from non-graphic elements (spots of abstract configuration, silhouettes of geometric figures), combined into compositional structures, becomes a means of artistic expression.

More composition tools

1. Subordination: a person in the first second begins to perceive the composition as a silhouette image against a certain background: the area of ​​the silhouette, the drawing of the contour line, the degree of compactness, tone, color, surface texture, and so on.

2. Symmetry and asymmetry: An effective means of achieving balance in a composition is symmetry - the regular arrangement of form elements relative to a plane, axis or point.

Asymmetry - the harmony of an asymmetric composition is achieved more difficult, it is based on the use of a combination of various patterns of composition construction. However, compositions based on the principles of asymmetry are in no way inferior in aesthetic value to symmetrical ones. When working on its spatial structure, the artist combines symmetry and asymmetry, focusing on the dominant regularity (symmetry or asymmetry), uses asymmetry to highlight the main elements of the composition.

3. Proportions are the quantitative interconnection of the individual parts of the composition with each other and with the whole, subject to a certain law. A composition organized by proportions is perceived much easier and faster than a visually unorganized mass. Proportions are subdivided into modular (arithmetic), when the interrelation of parts and the whole is added by repeating a single given size, and geometric, which are based on equality of relations and are manifested in geometric similarity of form divisions.

4. Nuance and contrast: nuance relationships are minor, weakly expressed differences in size, pattern, texture, color, location in sheet space. As a means of composition, nuance can manifest itself in proportions, rhythm, color and tonal relationships, and plastics.
Contrast: it consists in a pronounced opposition of the elements of the composition. Contrast makes the picture noticeable, makes it stand out from others. There are contrasts: directions of movement, size, conditional mass, shape, color, light, structure or texture. With directional contrast, horizontal versus vertical, tilt from left to right - tilt from right to left. In contrast to size, high versus low, long versus short, wide versus narrow. With the contrast of the mass, the visually heavy element of the composition is located near the lung. With the contrast of shape, "hard", angular shapes are contrasted with "soft", rounded ones. With light contrast, light areas of the surface are contrasted with dark ones.

6. Rhythm is a certain ordering of the same-characteristic elements of a composition, created by repeating elements, alternating them, increasing or decreasing. The simplest pattern on the basis of which a composition is built is the repetition of elements and the intervals between them, called modular rhythm or metric repetition.

The metric series can be simple, consisting of one element of the form, repeated at regular intervals in space (a), or complex.

A complex metric series consists of groups of identical elements (c) or may include individual elements that differ from the main elements of the series in shape, size or color (b).

The combination of several metric rows, combined into one composition, significantly revives the form. In general, the metric order expresses static, relative rest.

A certain direction can be given to the composition, creating a dynamic rhythm, which is based on the laws of geometric proportions by increasing (decreasing) the size of similar elements or by regularly changing the intervals between the same elements of the series (a - e). A more active rhythm is obtained with a simultaneous change in the size of the elements and the intervals between them (e).
With an increase in the degree of rhythm, the compositional dynamics of the form increases in the direction of the condensation of the rhythmic series.

To create a rhythmic series, you can use a regular change in color intensity. In metric repetition conditions, the illusion of rhythm is created as a result of a gradual decrease or increase in the color intensity of an element. When the sizes of the elements change, the color can intensify the rhythm if the increase in its intensity occurs simultaneously with the increase in the size of the elements, or visually balance the rhythm if the intensity of the color decreases with the increase in the size of the elements. The organizing role of rhythm in a composition depends on the relative size of the elements that make up the rhythmic series, and on their number (to create a series, you need to have at least four to five elements).

Warm bright colors are used to bring out the active elements of the composition. Cold colors visually remove them. Color actively affects the human psyche, is able to evoke a variety of feelings and experiences: to please and grieve, invigorate and oppress. Color acts on a person regardless of his will, since up to 90% of information we receive through sight. Experimental studies show that the least eye fatigue occurs when observing the color related to the middle part of the spectrum (yellow-green area). The colors in this area give a more stable color perception, and the extreme parts of the spectrum (violet and red) cause the greatest eye fatigue and irritation of the nervous system.

According to the degree of influence on the human psyche, all colors are divided into active and passive. Active colors (red, yellow, orange) have a stimulating effect, accelerate the vital processes of the body. Passive colors (blue, violet) have the opposite effect: they calm down, cause relaxation, decrease in efficiency. Maximum performance is observed when green is applied.

The natural human need is color harmony = subordination of all colors of the composition to a single compositional idea... All the variety of color harmonies can be divided into nuanced combinations based on convergence (identity of tonality, lightness or saturation), and contrasting combinations based on opposition.

There are seven color harmony options based on similarities:

1. the same saturation at different lightness and color tone;

2. the same lightness with different saturation and color tone;

3. the same color tone at different saturation and lightness;

4. the same lightness and saturation with different color tone;

5. the same color tone and lightness with different saturation;

6. the same color tone and saturation at different lightness;

7. the same color tone, lightness and saturation of all elements of the composition.

With changing tonality, harmony can be achieved by combining two main and intermediate colors (for example, yellow, green and mustard) or by contrasting tonality. Contrasting combinations are made up of complementary colors (for example, red with cool green, blue with orange, purple with yellow ...) or from triads of colors that are equidistant on the color wheel (for example, yellow, magenta, green-blue, red, green and blue-violet). Color harmony is formed not only by combinations of chromatic colors but also saturated chromatic with achromatic (blue and gray, brown and gray, and so on).

Exercises more ...

1. Sketch a natural motif with a line and a spot

2. Perform a thematic composition using graphic means of expression - line, spot, point

3. From objects freely placed in space, compose a balanced composition of a still life, without resorting to perspective abbreviations of objects and spatial plans

8. Explode the plane of a circle inscribed in a square (black-and-white solution), and compose a rappoport composition from the dismembered circles. You can do the same with other geometric shapes.

Artist and composition

Now it’s not about how to compose a composition, but rather about the forces that impel you to create it. These forces are much stronger and more efficient than you would thoroughly and spend many hours studying the technical aspects of its creation, but sparingly invest at least a little of your soul into the process. It is a strong motivation, motivating force. You are an artist, regardless of what knowledge and skills you have and at what stage of development you are. You are an ARTIST, a creative person. Before creating a composition, anyone, you nurture an idea, think, feel emotions, observe its creation still within yourself. Some of us dream of it in a dream, some of us are under the influence of this magical process every day, sometimes it just prevents us from living like all ordinary people, because we create it from the very beginning inside ourselves. Any composition, any creation is a sublimation of those sensations and experiences that accompany the artist and grow in him, in his mind. And then, one day, at one moment, you understand that here it is, the creation, it can now be born into the world and you finally understood what you should do. And the composition is born. Now nothing can stop your creative process. And by and large, the composition is the mood of the artist, thoughts, the very idea that he throws out on the lifeless plane of a sheet or canvas, forcing them to LIVE their own, peculiar life, not like everyone else. And even if the artist is not very good at studying the laws of composing a composition on a sheet, the creative power of creation is many times stronger, everything else is a profitable business. Don't be afraid to express your thoughts and feelings. Daring and simple, mysterious and evil, joyful and fantastic ... no one can tell about your thoughts better, only you.