Composition training and resources?

[C. D. Keth]

Perhaps it would help if those of use who are advocating 'just look a lot' could say how we direct that looking to make it a learning process. (If indeed we do :-).

My process for this is simple, maybe too simple after reading the thoughts of others here. When I see something in a museum or gallery that I react to (and this reaction can be like or dislike), I ask myself, "why?" What, specifically, is pleasing about the composition? Where is my eye drawn to? Where is it repelled from?

[Leonard Metcalf]

Learn 'balance'

Increase your visual literacy (study lots of photos & art if it interests you)

Copy, to learn but not to plagourise

Get a mentor / teacher

[Leonard Metcalf]

Oh...

Learn how to steer the eye around the picture... Via tones and lines.. The easiest way to learn this is in bw. Tone trumps colour...

[thefurman]

I'll throw in my 5 cents.

I've spent a whole lot of time trying to find good resources on composition and have come to the realization that I've simply been looking in the wrong place. Now, when people ask me about books or classes, I tell them to stay the hell away from photography books and photography instruction in general (again, we're talking about composition here, not technical stuff) and sign up for a good art-class. Traditional art education is cheap and readily available, and art teachers are really good about cutting through the bullshit (there's not much there in the first place) and getting right to what matters about how you compose your drawing or painting. Practicing with still-life is especially helpful - you have full control of what goes there, and thus full responsibility for the results you get. You can make quick sketches in rapid succession and see what changes about the feel of the image as you alter the composition in small ways. In my experience, this is the best way to learn.

alex

[Andrew O'Neill]

I'm kinda with Brett Weston on this one. You're either born with it or you're not. But I do
think a lot of photographers are borderline and just need to be coaxed a little.

I agree with this. It's just like someone who is tone deaf... they cannot sing well no matter how much training they receive. If you feel you have an eye and you want to fine tune it, then use a cardboard view finder. Cut out a rectangle the same size as your film format. Walk around and look for comps. It will also help you determine which focal length to use and where to place your tripod.

[Alan Gales]

After I graduated from High School I attended a local community college for commercial art but I found that I didn't want to be a commercial artist and went into the sheet metal industry.

When I was at college I took Design 1 and 2 and Art History 1 and 2 from a couple of excellent teachers. Both ended up helping me with my photography.

[Peter Langham]

I think it was Edward Weston who defined composition as "the strongest way of seeing" When I first heard this, it drove me nuts. "Of what value is this to me?" I thought. I now think it is all you need to know. When you find subject / light that interests you, move around it (in it?), up, down, left, right, in, out...etc, carefully observing the shapes and form until you find the composition that works for you. I used to do it with a zone vi viewing filter (til I lost it...ugg). I find using a cropping frame is very helpful.
Oh and then when you are all set (per Michael Kenna in a class many years ago) turn around and look behind you...you may find a better picture there.

This and careful study of whatever art you like (think I'll stay out of that one). Look at what you like and figure out what about the composition makes it work for you? There are great and lousy pictures of any subject matter you can think of. What is the difference?

Practice, practice, practice.

Hope this helps.

Peter

[t0aster]

Step 1) Quit worrying about not being good enough and just grab your camera and start making images.
Step 2) Look and think critically at and about your images. Determine what works and keep doing it, find what doesn't and stop doing it.
Step 3) Go to step 1

[Andrew O'Neill]

Another great exercise is to make a couple of cropping L's and look for compositions within prints that you have made. I make my design students and art students do this all the time.

[Alan Gales]

I think it was Edward Weston who defined composition as "the strongest way of seeing" When I first heard this, it drove me nuts. "Of what value is this to me?" I thought. I now think it is all you need to know. When you find subject / light that interests you, move around it (in it?), up, down, left, right, in, out...etc, carefully observing the shapes and form until you find the composition that works for you. I used to do it with a zone vi viewing filter (til I lost it...ugg). I find using a cropping frame is very helpful.
Oh and then when you are all set (per Michael Kenna in a class many years ago) turn around and look behind you...you may find a better picture there.

This and careful study of whatever art you like (think I'll stay out of that one). Look at what you like and figure out what about the composition makes it work for you? There are great and lousy pictures of any subject matter you can think of. What is the difference?

Practice, practice, practice.

Hope this helps.

Peter

That's a great explanation!