Composition in Photography from A to Z | Vyara Georgieva | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Composition in Photography from A to Z

teacher avatar Vyara Georgieva, Technical Trainer & ESL Teacher

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      What to expect from the course


    • 2.

      Balance basics


    • 3.

      Balance - examples and analysis


    • 4.

      Balance - examples and analysis, advanced


    • 5.

      Diagonals - examples and analysis


    • 6.

      Diagonals - examples and analysis. advanced


    • 7.

      Rule of Thirds basics


    • 8.

      Rule of Thirds - examples and analysis


    • 9.

      Golden Ratio - examples and analysis


    • 10.

      Golden Ratio - examples and analysis, advanced


    • 11.

      Golden Spiral basics


    • 12.

      Golden Spiral - examples and analysis


    • 13.

      Golden Rectangle basics


    • 14.

      Golden Rectangle - examples and analysis


    • 15.

      Golden Rectangle - examples and analysis. advanced


    • 16.

      Composition rules that often match


    • 17.

      Vertical and horizontal lines


    • 18.

      Leading lines basics


    • 19.

      Leading Lines - examples and analysis


    • 20.

      Leading Lines - examples and analysis, advanced


    • 21.

      Leading Composition Objects - examples and analysis


    • 22.

      Leading Composition Objects - examples and analysis, advanced


    • 23.

      Dialogue - examples and analysis


    • 24.

      Dialogue - examples and analysis, advanced


    • 25.

      Central Composition - examples and analysis


    • 26.

      Central Composition - examples and analysis, advanced


    • 27.

      Filling-in the frame


    • 28.



    • 29.

      When good story saves bad composition - examples and analysis


    • 30.

      When good story saves bad composition - examples and analysis, advanced


  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Welcome to the Composition in Photography Masterclass!

      Whether a beginner or advanced in the field, this course will be useful for you. Here you may find the answers to your questions:

  • Why does composition matter?

  • How can you compose the frame on the go?

  • How can you learn to see composition around - a very important prerequisite, in order to start taking better photos?

  • How can composition help you improve your overall understanding of photography?

  • Why is it important to be able to analyse your own photos - as well as the photos you see?

    Denis Buchel is an experienced photographer and his goal is to help you improve your photography skills. He has been a lecturer in different photography courses, he has spoken about photography on various exhibition openings. What he noticed in people is that they are always interested in how things work, how they really happen on the field. Why, for example there are some photos which are getting more popularity than others. The uniting theme here is composition. Composition is everywhere, it helps you structure one frame, it helps you take advantage of every detail you are surrounded by.

    During the course, he'll be explaining everything with my own photos. You will see that everything is possible, when you master the language of photography composition, of composition rules.

    We will start with the basics - what BALANCE is, how to achieve it. From there on we'll move to the different composition rules - the Rule of Thirds, the Golden Ratio, the Golden Spiral, till we reach the point where we'll be doing overall composition analysis.

    All of the time we will be analyzing photography - a really valuable skill a few people have. And a few photographers speak about, in fact, especially when it comes to analyzing their own photos.

    The course is recorded by Vyara Georgieva, that's why you'll hear a female voice once you start it.

    You are on the way to stat an amazing journey in the world of photography! What are you waiting for? Join us today! Let me help you improve your photography skills!

Meet Your Teacher

Teacher Profile Image

Vyara Georgieva

Technical Trainer & ESL Teacher


I have been teaching for seven years now, always inspired by the enthusiasm of people, acquiring new knowledge. Keep It Super Simple - the basic principle to follow, every complex theory or concept turns out clear and easily applicable. Currently, I am a technical writer and an Android developer, aimed at creating educational software products.

Before going into technology, however, I have been teaching English as a foreign language for more than 7 years. Teaching is what my passion remained - as people need to be explained, to be shown, to be helped to start speaking. I have been preparing students for the Cambridge FCE and CAE exams for more than 4 years. At the same time, my adult student have been on various levels - starting from the alphabet (A0) to being advanced (C1 leve... See full profile

Level: All Levels

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. What to expect from the course: Hello and welcome though the composition in photography masterclass. I'm excited to welcome you and Bert, as there are so many new and interesting things for you to learn from now on. This is the creator of the course, then is booted, a board member of the Bulgarian Academy of photography, or professional photographer and lecturer in photography. In the attached files, you may check his survey as well as a link to his side. During the course, however, you will be hearing my voice. Take a look at the world around. What you will see everywhere is balance. Whether nature or social media page, whether a human body or architecture, the elements are balanced. This is the basics that composition is built on. From here we will start our journey. Step-by-step. I'll guide you through different rules of composition. Diagonals that open the frame. The golden spiral, the golden ratio, the golden rectangle, the role of terahertz. Furthermore, I will show you how to find the dialogue between the objects in your photography. How to use the lines that surround you. How to turn an object into a leading one. How to fill in your frame. And more. After the course, you'll be able to understand and to speak on photography language. Something which is very important in order to be able to read for those, to analyze composition, to follow composition rows, and of course, to create amazing photographs. All of these based on your intuition or left. This is the level you will have reached. Because technique is as the beginning. Then comes your gut feeling and your heart. So that the create the images that are in your soul. And let's do it. 2. Balance basics: So let's get started. Why imbalance comes first? The answer is simple. Balance is the foundation of a good composition. It's of great importance in photography. Just because our eye, the human eye, is used to balance. We are used to seeing balanced elements are far, far away from photography and everything around us is balanced. Even if you take a look at your profile page into social media, you will find a balanced composition. We will speak about it later on in the course, our show examples as well. In short, you like balanced photography. Just because it looks pleasant to your eye. It's not even necessary to understand why you just like this or dislike that. That's it. Let's look at an example. What balance really looks like. Just in theory for now. In order to have the general idea. In the next video, photography joins the game. You'll see how balance is achieved in different photos and how can the lack of it ruin a photo in fact? But a step-by-step, an empty sheet of paper. This is what you see here. Absolutely. Nothing unusual on the scene. It looks calm and fine too. The eye, a step further of Weiler appears in the center. Yup, that's a flower, just a little bit of imagination needed. So what happened now? Nothing extraordinary, right? But there is a difference with the empty sheet. Now we have a story. The story, right? Is our flower. It's in the center. So it's balanced again. There is nothing that disturbs GI, nothing that irritates us. By the way, keep in mind that central composition in general is considered trunk. But when you understand how to speak in photography language, when you understand what composition is, then you can start breaking the rules. There are a lot of examples of world-famous masters of photography, central composition. Let me leave the door open. We will speak about central composition and breaking the rules. Later on in the course. Next step, the flower is moved a little bit on the left. So let's see what happens now. This balance, right. The left side of the sheet is heavier now. And immediately there is something that disturbs the eye that ruins the calmness we spoke about. Two now, in order to balance the flower, the big dot, we need something cows that set a small dot, small Justin size, not in importance. Here comes the butterfly. As a receiver. That's the simplest example of, but a very powerful one at the same time. Remember please the story of the flower, the big dots and the butterfly. The small dot, will be using it throughout the course a lot. Before we move to the next video where you'll be finding balance in different photos. Let me add something else. Why the butterfly needed to be there in order to balance the flower? Simple in fact. And by the end of the course, you have mastered these techniques. What we have here is the rule of thirds. You see how well our objects are located. If the butterfly or next to the flower, nothing could work. Just the opposite. The photo would be even heavier in its left part. Seems story. Put it here or there. No, it wouldn't be a well-balanced image anymore. Some more details. There is a diagonal line composition also. Something, well, again, take a closer look at another trick. A person's eye enters the image from the left upper corner. Doesn't matter whether we speak about a painting or a photography or site. Caffeine. Mind that this is closer to people who read from left to right. In other case, people who read from or write to lift 0 point the image from the right upper corner. Keep this in mind if you want to address a particular, an exact audience. In each and every camera, from a simple camera shot to a DSLR. You have this grid. You can open it and use it. Well, these were just some hints of what to expect you in the other lectures from the course. Let's come back to the balance basics. And let's take a look at how the rules are applied in practice. Time for photos. 3. Balance - examples and analysis: Time for photos. I do want to say it one more time over the photos that you will see during the course, our mind, I'm not going to show you how somebody did something similar there. It's me and my camera. So let's get finally started. Remember the story of the flower and the butterfly, the big dot and this dot which make the photo balanced. Our task now is to find where the flower and the butterflies are. If you can see balance, you can create it after that. This is my ID. It's easier now. The flower is the woman over here. The big dot. The dock is the smaller adult, the butterfly. If you remove the butterfly, the balance disappears. This woman now does not communicate with any other object in the photo? Yes. There are cars. There is a road, some trees and the parts of a bloke, but there is no dialogue between the woman and any of these objects. The balancing dot is missing. The dot two, which creates some life in the photo. Another interesting example, one of my favorites, in fact, 13 for the flower and the butterfly again, yes. It's getting quite easier. The woman is the flower, the door handler, the butterfly. If you remove the handler, the frame is completely different. It's not a bad one. I agree. There is an emotion here, dairy smooth, but the handler that brings balance and changes the way you think of the photo is not there. The handler. Again, this is our butterfly. There is another reason why our eyes, like the photo frame tone this way. Take a look at it. Now. We have a golden rectangle here. It's bars of the golden ratio. One of the most common competition elements that you will find everywhere from nature to architecture. About these two, the golden rectangle and the golden ratio, we will speak about in details later on in the course. Focusing on the handler. Now, it's deliberately here in this part of the frame. One step deeper. Here it is. Diagonal composition. Few seeing the whole picture. The same story as the one with the flower and the butterfly goes here. Even now, at the very beginning of the course, you can see how everything is connected, how elements do really combined with each other. The tails are to follow. One more time. The whole story. A woman and the handler. You make an association or with the flower and the butterfly. Without a handler gives balance. Something is missing from the frame. Golden rectangle has entered the game. It helps for the overall impression of the picture. You can see the diagonal as well. Quite a good photo. In fact, you see from an emotional as well as from a compositional point of view. Next step, look at this photo carefully. How many are these modes, the butterflies here to exactly. The bigger one is in the down left corner. The small one in the down the right corner. If this one, the smaller butterfly is missing, you see there is something that disturbs your senses. Absolutely. The photo can exist on this way as well. It's not a fatal mistake. But after all, a small detail can make the frame better. Let's make a comparison with a piece of poetry or a piece of music. A composer cannot add a node that doesn't need to be there or right there cannot write the worse, which does not match the context. Seems story goes with photographers. Every detail in your photos needs to be there for a reason. And it's important, it's self-discipline. One more detail here, even if you've missed it. Now you can see the geometry. There is a triangle. It creates kind of a mask for the woman's face. Let's go further. One more triangle also. Now you can show elicit the three dots that creates the balance in the photo, create a triangle as well. Another photo, a little bit more different, this time. Two diagonal lines. I'm sure we can see them now. The car mirror is the flower. But what we don't have still is the butterfly. Remember, the flower and the butterfly needs to communicate with each other. Well, here it is. The butterfly now appeared. Nothing special in this photo. I do agree. However, it's a good example for geometry in action. Again. This tree, our butterfly, makes the triangle full. It does also create balanced in the frame. More photos are to follow. Let's move to the next video. 4. Balance - examples and analysis, advanced: Balance one more time. Now we'll speak about a smaller event dot. This photo, for example, is safety exactly. Thanks to such a small detail, let's take a closer look. At first sight, what you notice is that the photo is heavier on the left because of demand exactly. Look at the trees in the distance. They split the photo into a left and the right bird. What this results in is that the right side is almost empty. Almost. This is the keyword. Can you see this dot, the smaller one? A reflection from a Cloud. Wow, eats our Savior. Let's see what the photo will look like without it. That's it. Notice the same photo anymore. The photo is visibly separated in these two parts and it's going to fall on the left side just because it's ok. This balance, this is what we see now. The small dot basin magical one. Really. Take a look at this one. Yes, it's a triangle. Again. Our butterfly connect the flower or with the other objects on the photo. It helps all of the elements communicate with each other. Geometry, does he APA good photo and reorder lot. Another example in the same context. Probably you can't see the triangle exactly. Let's explore the photo together. What you see at first sight is a bird in contracture and the boat, the boat real life, although it looks that small here. Focus now. Here is the triangle I mentioned a minute ago. It crosses the boat and reaches the end of D image on the right force DH of the wave and reaches the bird. Geometry in action. Once again. One more quite familiar already element, a diagonal. Here it is. You have an idea about a diagonal composition already. Just keep in mind that we will have a separate lesson on the topic. Time for the next story. Take a look at the photo and think where the flower is and where the butterfly is. Exactly. The mountain as the big dot, the flower, the tree is the butterfly. Let's try to remove the mountain and examined the photo one more time. You see it's quite more amateurish as a photon now. More importantly, it completely this balanced. The photo becomes really heavier on the right side. And that's where you start feeling discomfort while looking cadet. In fact, there is quite more detailed visual explanation why you like this photo. Take a minute to check it out. You see the triangles. One here as part of the mountain and part of the water, one as part of the water, one formed from the roads and some leading clients as well. It looks more difficult than it really is. First myth. In fact, you are just need to know what you are searching for. What we did is to geometrically splits the whole frame into triangles. As you see, our examples are getting more and more interesting. Here comes the next one. Again, a favorite of mine. What you notice at first sight, central composition, right? Something that we said is one of the mistakes. If the row is not broken, correct? Left. We'll speak about this in details as I promised you. But let me help you get the basic idea now at the beginning, if your eye is not trained to see the composition elements, you may even be enabled to see you What geometrical figures are here. However, you don't like it. Let me add the lines. You see now, everything is a really, really well composed. Yvonne. If you are still distracted by the numerous covers, leaves and branches, Let's clear it a step further. And here is the plane composition. Even without a story, the frame looks field. Your eye is calm while looking at this effect one more time. Is achieved thanks to do geometrical figures. Remember that we are still at the beginning and you do already know so many things. Just imagine what comes in the upcoming videos. Then for the next example, another photo. Let's see what is going on, where the objects are located and why the frame is pleasant to the eye. As you've seen quite a lot of photos, you may probably see where the geometrical figure is. Press the pause if necessary, and find that. I'll show you the answer in a minute. Let's check first how balance is achieved. The butterfly, there's this tree here. You see, if you remove it, something starts missing. Something is not balanced enough anymore. The photo can easily fall into pieces have been why the trees important. Another reason is a geometrical figure I asked you to think about. Now you can see it clear left. It's quite more pleasant, right? Starting from a tree reaching the sun and closing, add another tray. You have the first part of the figure. The second one, the upside down, comes into the water. I told you, the more examples you look at, the better you are to become. So we'll come the moment when you will start composing your photos without thinking of the composition elements. To more photos I prepared to look at. Here comes the first one. It looks a little bit different at first sight. Our task is still the same to find where the butterfly is and where the flower is. Looks as a simple task. The butterfly, the small dot. These are the legs of the passenger. Just see what an empty frame you have one style. Next, I removed the flower. Here it is. The diagonal railway lines. You've already noticed it's not necessary. These compositional elements we speak about to be proportional. It's important for them to bounce the frame. This is what we are taking. Last but not least, comes a real interesting story. Looking at the photo, care for that first. Keep in mind that this photo Exactly We will appear several more times throughout the course. There are really a lot of interesting elements here. Guess what who disappeared now? Guess where our balancing whether fly as could have been a surprising fact. But this is the years of the second horse. They balance the frame. If not, you'll see the head looks even more enormous and really, really heavy. Such a small detail. But it's nails the frame. Precisely. Quite a good beginning, I'd say, maybe you don't even realize what good basics you have. Everything I've told you till now, we will see in the upcoming examples and other videos. See you there. 5. Diagonals - examples and analysis: Unsafe promised him, Here Comes have our separate topic on diagonals. You do already have an idea what all this is about. Let's take a look at some more details. Keep in mind that everything we speak about disconnected. We are just advancing step-by-step. Once you know what the role of balances, you are ready to explore the next compositional element, diagonals. And again, I will mention some things that we will look at further in the course in details. Diagonals. In fact, you can find everywhere, starting from architecture, going to steal life. Try to find by yourselves where the diagonal is here first. Yep, Here it is. It opens the image from the left upper corner, reaching the down the right corner. What you need is practice. You will see that soon you'll be able to distinguish each of the elements we speak about in the photos. And this is a really, really important, it's an important step if you want, and I'm sure that you do want to upgrade your own photography skills. Another shot, another diagonal. Follow the same logic. Open the frame from the left upper corner and you will easily see what they mean to show you. Like this. Of course, how you see it depends on your cultural specifics. When you wanted to be sure that you are creating suitable images for one particular audience. Tick the direction they read in. Whether it is from right to left or from left to right, or whether the symbols are located vertically. There is nothing wrong, whichever the opsonize, the direction you search for. In fact, depends on your cultural background. It's something that you do on a subconscious level. You can't control this one. It's the same with your audience. A little bit more different perspective, three diagonal lines close to each other. You do probably feel it. Diagonals bring dynamics in the frame here. In this photo, it's visible to. The effect on men's figure is achieved with the cameras. Pete was the diagonal itself. Here's an example for a diagonal in the other direction, starting from the upper right corner, finishing in the down and left corner. There is no problem for the dynamics to take place. You see, it does help the movement to be emphasized. I'd see these births even a reminds me of a racket. Yeah, rockin that has just been launched. A different photo. More diagonals, more than one again, in one and the same frame. I'm sure you've seen the leading diagonal line here. Yeah, here it is. There are also other diagonal lines going this way, leading clients. Something that I've just mentioned is again, one of the topics we'll take a closer look at in the future. There will be different videos for this one. So just stay tuned. And now look at this photo more carefully. It's quite an interesting example. There is diagonal like this from the right upper corner to the left one. There is a diagonal like that as well. From the left upper corner. When you combine the different interpretations, this is what we have as a result. To cross diagonals. You can see the central composition again. It does work very well here, as it is deliberately chosen and combined with the other elements. Here. Remember, I've mentioned that central composition is generally considered a mistake unless you know how to turn it into an effect. One last example Looks as an easy one for analysis. In fact, the diagonal line is visible. You just need to follow the street marks. Yeah, here it is. It's not even necessary to put the focus on the diagonal your eye sees at. Are we down to the necessity to think where a test is it they are and so on. The role of the diagonal line again, it gives dynamics to the dock. It creates the image, in fact, the empty road, whether it's waiting for somebody or seeing a goodbye, It's a matter of your interpretation. I believe you understood how important the role of diagonal says. After all these examples, let's move forward. 6. Diagonals - examples and analysis. advanced: The more examples you see, the easier it will be for you to get used to this or that compositional element. Let's keep talking about diagonals now. A known story, right? As I've already told you, the photos are going to be repeated. The reason is note that I do not have what different frames to show you. Notice Oh, just the I wanted to show you how different compositional elements mix combined in order to form the overall impression feel. Now, we spoke about the balance, the story of the flower and the butterfly. There is also diagonal, quite a good one. In fact, you've probably noticed something really important. We don't need the straight line in the frame in order to find the diagonal. Absolutely not. That's why this example is so important. You see how some points that the diagonal line. This is a real enough. A clearer example in this photo, I guess it's not even necessary to draw the line. The docs chain falls the upper left diagonal line. What is important also is that this diagonal all lead to somewhere or starts from somewhere. Most commonly are diagonal splits, the framing to geometrical. It works in a wonderful way. In fact, diagonal adds to the story of the frame, not only to decomposition. And this happens when it is used in a proper way. In a portrait. There could be a diagonal as well. How to find that? Just start reading the photo. It opens from the left upper corner. Remember, here is the diagonal line. It starts from the fringe, the face, the hair. Everything adds to the dynamics in this direction as well. Yes. You do need a little bit of imagination, but it's worth that. You understand how to add dynamics, how to balance the frame if necessary. In some other situations, the diagonal draws itself in the photo. It's not necessary to think even where it test and if it exists. This type of photos is one of my favorite. They're a really clear and they are easily assimilated from your eyes. One more interesting example, take a look. First. The diagonal starts from the opposite side, from the right upper corner. Then it splits the frame into, again, one of its main roles. But what is he really interesting is that you have the bright and the dark side. The interpretation is yours. You can see the good and the bad part of humans being. You can see the ups and downs in one's life, up to your real life. Whatever your associations are. The diagonal das regarding matter, the mood here also, and to the overall atmosphere. You see when composition and story walk hand-in-hand. Then we have quite a good photo as a final output. Again, a diagonal in a portrait. Although similar to the previous one at first sight, you can notice that this photo is pretty different. First of all, it's vertical. There is diagonal split. There is a play of light, the colors, and to the atmosphere. Story and composition. Walking, canting hand one more time. What I wanted to show you is that diagonals can be everywhere, whatever the genre, whatever the elements, they can be called in a diagonal line. Here's another example to prove it. Light spots. If you connect them, again, a diagonal comes to life. Same story goes on here. I took advantage of the light coming from the window. In short, one more time. Diagonals are everywhere. It's up to you to see them. A clearer example follows. You don't need to search for the diagonal lines in this frame. The railway lines are not only diagonally located, the lead to the object. Let's follow it. It opens the photo from the left upper corner and pleats down. I've mentioned this one already. It's important for a diagonal to have a role to add to the story. Even in cases like this, people often like a photo without even understanding quiet a like it. The next photo, I'm sure you can now see the diagonal without a problem. You can also analyze its role. You are good. It does split the frame into these two parts. Can be associated with bright future and their past, or vice versa. Dark future and brighter past for this guy, it's up to you what story wants to tell. The composition is always there to help you when you take advantage of it. As in this case, Two buildings and this guy. But took the way the buildings are located at the short, he has not been taken by chance in this position exactly two diagonal lines. You see imaginary lines. Of course. It's not necessarily saying, given that to have a precise align that a snot abraded array. It's impossible. In fact, in some of the cases. And street lines are quite proper. In other cases. As days one, a hint when you see a dotted line or just a line or on the street. And he have an idea for a frame, just use it as a part of your compensation. It may help you a lot. At the beginning. That was it. You are masters at diagonals now, I'm sure that even if now you take your camera and tried to compose a few shots, the elements we spoke about will be there. Why not give it a try? Photography's practice, you know, see you in the next video. 7. Rule of Thirds basics: The rule of thirds is something we have already mentioned as well. And you do have a general idea of what the story here is about. However, in order to start seeing kids in the photos and in the world around, you need a little bit more of help. We will start with the basic theory, what the rho S, and then we'll move to some interesting examples with my photos to see that theory in practice. As I've already mentioned at the beginning, this is the most common row in fact. And at the same time a favorite of mine. Just don't think that assets, the most common one, is the simplest one, nothing like that. As everything else. It takes time and persistence to master it. It takes photography I as well. You'll see what they mean in the examples that follow this grid. You can find in every camera, from a camera shot to a DSLR. When switched on, this grid helps people who still can't imagine it or who aren't used to it. My AMS cod end of the course, to make you use whatever composition you want to, even when it is not switched on, even when you don't have grids. Okay? You just need to be able to use composition based on your intuition. At the beginning, however, I strongly advise you to switch disagreed on and unleaded TOPO. On this way, trust me, you will really advanced faster. Just please be careful. The rule of thirds and the golden ratio are two different things. This is how geometrical or the golden ratio looks like. We'll speak about it later on, of course. Just warning you in advance. They could be similar. But trust me, they have nothing to do with each other. As you see in the rule of thirds, the frame is divided into nine identical rectangles. Here, when the golden ratio is applied, the shapes are different. The composition in general is more difficult and that's why it's not so common, especially among beginners. I will show you how to master both of these rules and to apply them in your photos. Let's just advance a step-by-step, starting over there off targets. 8. Rule of Thirds - examples and analysis: Enough theory and know from the previous time, let's move to the real world examples. Once again, all of the photos you will see are mine. I want to show you that it is completely possible to build your composition following the rules or breaking them. Of course, the better one picture is composed along with the story in it, the better it is accepted by the audience, it's worth giving it a try. In other words, when I show you an image, a try please, to recreate the grid, the rule of thirds in your imagination, even if necessary, press the pause button and think which element is where. Then we will make the analysis together. Time for the pause. Here it is. The grid is now applied. Pay attention to the elements, the leaf. You can see where it is located contour. In this point exactly. I deliberately haven't moved the camera up or down. I needed the object in this rectangle. The more examples I show, the clearer it will be becoming promise. Next time. Again, unknown photo, right? The story of the butterfly and the flower, the figure that is formed the diagonal. Let's move a step further now. Here is applied the rule of thirds as well. Pay attention to the two yellow dots I've inserted exactly there on the crossing points of the lines. In an ideal frame. The objects that are located on these dots precisely. Of course, every hour shot can't be and is not necessary to be ideal. Just try to locate objects as close to the crossing points as possible. Use these points as guides. This is the idea. Well, in that case, your composition will be regarded better. When the objects are located at, around these two crossing points. You will always have a diagonal in your photo. It's a good start. That's why this is a good example. The bird look at it, is at around the point, the boat here as well. Got time for the next example. Here is the photo in turn to analyze or without seeing the grid, again, try to guess what we aim to locate as close as possible to the crossing point. If your answer is the eye, you are completely right. This should be always what you strive for to locate the eye at, around the crossing point. But pay attention here. If you can't cope with the I tried to locate the distance between the eyes. If this one is a hard task tool, then try to locate the head of the object in case the figure is small, for example, whatever you succeed to manage, you will have a better composition of your photos. Let's take a closer look at this photo gate. The second phase is not on the Dot visible and that's completely fine. In fact, it shouldn't be there. But what is important? Well, try to draw an imaginary line between the woman's eye and the ice from the poster. You see they are really located in one line. The two faces that are located diagonalized to each other. Tell me now that it's not going to play with objects location. The next example, again, the rule of thirds of light. Check where the eye of the object is now at around the crossing point. Exactly. I'm really happy when I see a photo like this. It's not that I was asking the boy to move left or right. It's street photography, you know, within a second you see something and you need to capture it. You don't have time to think or to relocate your objects. So my idea is that everything is possible. Just you need a little bit more training and patients. And I do believe that by the end of the course, you will have mastered these techniques until you have a great starting point for your own, oh, well combos photographer. One of the important steps, in fact. Is to free your mind and to start shooting with your heart. Try it. Let's move the grid to end. Took where the dialogue in the photos. You see the head of the body is in the front line. It communicate. So with this darker spot in the background about that. Ok, don't worry, we'll be talking later, just mentioning it now. You'll see what the story's about here. If you start playing with the diagonals again, you will see that they are in a diagonal line as well. That's how balance is achieved here. Next step, another example, quite interesting, Quan, either a or C. It's more express f, it's more visible why the composition is a good one. For Diodotus. Again, the ear is leading here. It's the most sensitive part of the massive back. Pay attention to the second dot. It's adding emphasis on this exact part of the bodybuilders muscle. These are really bodybuilders. They are getting ready for a composition. And this is a short behind the scenes, if you are wondering what is going on. So here combining the dots, you see how the diagonal in the shorter peers. Remember this photo and a half more to tell you about it in the upcoming videos. And it's really interesting, Kiara, when you can learn really a lot of things. So from the frame. Another example, I do like a lot. I think it will be helpful for you as well. This photo was shot in a film long time ago. What I guess you already see is the diagonal. It's formed through the x. Pay attention to the locations of the different elements. Again, the arm, the acts, they are at around the dots not exactly on them. However, the beginning of the wrist and the H are precisely on them. This photo shows that it's possible, it's possible to locate the elements or where you want it to. Apart from decomposition, you probably catch the story. The eggs, where the emphasis is, is prepared for those who are at the background. Sad story in general. Let the next one enter. Pause the video please, and take a look at the photo in details. It's worth that. In my view, this is the best example for everyone who wants to understand how the rule of thirds works. Let's get started. At first, sell it to you. Notice that the frame is divided into several parts. The grid defines these parts perfectly well. There are three equal horizontal parts. Take a look at them. I can show them even better. Let me do it. Well, that's it. No doubts. Now, the space is divided in three. Now you see that you can interpreted thirds in this way as well. It's absolutely not necessary to try to adjust an object on the points on left. It's perfect and it's very helpful when the aim is to create a diagonal. Okay? But however, it's not one side story. The grid does split the space into horizontal or vertical layers, depending on the interpretation. One more time, take a look at that. The hands are in a different layer. Under the handler. Pay attention to the bottom. There is a small man drawn there. And the same time on the canvas itself, man is written. There is a wristwatch as well, are reflected in the window. Whether to switch to the original photo again, well, here it is. The background is words. Thanks to this full speed, I have put the camera on. All these details, give it the feeling that life is going cone, time is running, or the different interpretation. Life has gone depends really on what you see. Looking at the fingers and there is formed heart given here. And yeah, just mentioning these are complete strangers in the public transport. After everything sits. I guess I've proved this photo has a really good story and a really strong one. Not only in terms of composition, but in terms of its message, in terms of its story. For a final example, I've chosen a little bit more different frame from a compositional point of view, it's more difficult even. As a hint, I'm telling kill that the thirds are within the frame. Just in a different way. Your task is to understand how, okay, Pause the video plays and think for awhile. That's it. I love compositions like this one. The lines that are there in front of you on the street. I've just helped you see them. Take a look at where the woman is. Starts from the dot, exactly. As you see, you are the one who creates everything in the frame. It does really depend on you. You can play with different geometrical shapes. You can position your objects just detail. In most of the cases, we have not more than a second or two to do it. Especially if taking street photos. Take a breath, take several shots, if in modes till, and let's continue. 9. Golden Ratio - examples and analysis: Time to go deeper. The Golden Ratio, I've mentioned it as a Terminal Radar, uh, so, uh, let's see what the story is about. This graphic seems to already familiar, right? When we spoke about the role of thirt, I've noted that the golden ratio is a little bit more difficult concept, a little bit more difficult compositional rule. Because of that, you will in fact not needed so often. The fact that a little bit harder as composition does not make the golden ratio impossible. In fact, nothing like that. I'll show you now a how you can find 18 photos, how you can start seeing it. This is the first step before you're able to create it in your own photos, to know how to use it here or there. You are aware of this approach already. Let's start from the well-known rule of thirds. Again. They're just reminding you we had nine equal rectangles. Here. The story's a little bit more different. They are the ones, least four. Then in pairs, these two and these two in the middle, another rectangle appears. What happens in fact, focus on the crossing points now. Exactly. They moved closer to the center. Enough with the basic theory, I think. Time for some examples. Here comes the first time, trying to follow the steps that you already know. When I show you a new photo, please pause the video and try to understand which object on which crossing points is located. After analyzing the image on your own, standard the video again and continue listening to my explanations. Are right. Here, is the golden ratio grid applied? The woman, this is the object we are interested in. Take a deeper look. She's exactly at the crossing point here. Move your site at the other end of the diagonal. This building. It's at the ADA crossing points. It brings balance in the frame. The difference, once again, is where the objects are situated or when we have the rule of the golden ratio, they are closer to the center. If we spoke about the rule of thirds, if we applied that they're the objects should have been somewhere here and here. Nothing so special. You see, it's just a little bit more difficult and requires a little bit more practice, but you'll be able to achieve it. I'm sure. The next story, time for you to think over the photo and the golden ratio grid. Let me repeat it again. It's not obligatory to have two objects every time. It's not obligatory to have a diagonal as well. The idea of this photo is a little bit more different. I'm sure you see it. The object follows this line. I can't even say the line kind of split the dogs corpse into parts. Well, where your analysis will go after that depends on your imagination. Next example, your turn. Remember everything you know about the rule of thirds when applied to a closer object? Exactly. The I here. One more time. The crossing point matters. The eye, It's exactly on the eye. This is the aim, you know, but it wouldn't be a problem if the object is moved to a little bit on the left or a little bit on the right. Of course, you can't see that something misses here. On the diagonal crossing point. Could have been a bird or a plane or a cloud. You're completely right. It would be much core. But even on this way, everything is composed quite well. Remember, you are trying to achieve better composition. But whether this will happen or not, well, it doesn't always depend on you. The golden ratio can be applied in every genre of photography. No doubts about that. Here's an example with the still life photo. Tick this ache again on the crossing points. Of course, you can see that the composition follows the rotor. It's not that it matters that much in this case. But look at it again, the object is closer to the center, right? Well, especially look at that, the darker part. This is the heavier one. Because of that, it's better option to apply the rule of the golden ratio. One last example before you take a breath and think over everything. Photos like this. I do like a lot, you know it already. The photo itself shows how the composition goals. Pause the video and look at that more carefully. Here is the golden ratio in practice. This is the line that tree falls exactly. It may work as a hint for you. It helps you compose your frame. Just, yeah, it's important to be able to see your hovers, right? Well, that's what you need more practice for. Let's continue with the examples. 10. Golden Ratio - examples and analysis, advanced: Let's go on. I have prepared some more interesting examples for you, just to help you master the golden ratio compositional rule. Well, you know the approach already. We make an analysis of some of my photos. On this way, your eye is getting used to how the objects are located. You do also know wants to search for when you compose your own frames. Here's an interesting example, and I want to start with a little bit deeper analysis. I do believe that this will help you understand the concept thoroughly. Think first or why the frame is captured on this way. Where the accent S or what the idea S, step-by-step. Let's keep on moving. First, we are applying the golden ratio. Take a look at the crossing points. And on this one here. More precisely. This is the end of the underground carriage, exactly. Because of the perspective here, because of the location of the object. You can feel the dynamics in the frame, all the lines going into that direction. And to the dynamics of the scene. Well, they can look at the curve for we have here quite not by chance, a real life, as you guess. It seems to go around to the carriage right? Next step. The blue line. It's important now, you see there are two different geometrical figures here. The frame is composed exactly on the way to show them, marked by this blue line, you have a completely different component. In fact, the underground is a different subject in the photo. That's what's interesting here. It's the leading, the one that moves, the one that brings dynamics. And by contrast, the people look at them. They are static. The train is C is located exactly within this rectangle. The rectangle works as a frame. Something which is pretty, pretty cool really in terms of composition. If you still have any doubts, this is what with it. This is how the space on our frame is separated. Geometry, as you know, is a great friend photographer. Just to know how to play with it. Geometry creates pleasant shapes for the eye, even if somebody does not understand why they like something. Well, the important part is that they like it. It happens thanks to your composition and to the geometry you successfully play with. So it's worth paying attention to that fund. You've seen this photo already. I'd want to use it here again to show you one trick. Yeah, something new. In fact, as you notice, everything that I explain, everything that I show is based on personal examples and personal experience. This is something I believe that's really important for you and will help you advance a lot. Let me show you now how you to understand if the composition is good or not. If you're a complete beginner, it could be a little bit more difficult for you to understand who is, where and why. At first sight, for people, write. Each of them, has a role. Tried to analyze the photo for yourselves. First. Of them is the leading one who is located on the crossing points. Pause it and let's get started. Starting with these two men. You can see there are the crossing points. Yeah, there is no diagonal here. I do absolutely agree. But, you know, already that diagonal or is not always necessary in order to have a pretty good composition. Time for the trick. It's a great help for when you are not sure if the composition is good. There are two options to use. Your eye is online or to use Photoshop. We can arise. You need to imagine how close them and defocus the picture. You did it. All right. If you prefer to use Photoshop, this is the effect you may apply. I guess you haven't seen a photo of your slide before. This effect may really help you a lot. Let's see what's going on now, when you apply this effect, you may easily distinguish what is really important in the photo. This is our aim. Now, there are no distractions. Nothing that will stop you from focusing on the main objects. You see. It's a different story. Just for contrast, Chick, how many distractions you have here, from snowflakes to trees and houses. If you apply the golden ratio now, well, there are absolutely no doubt already what the roles of the figures in the composition. S. One more trick. Yeah, that's not everything. This one, this trick is used by painters mainly. Let me explain. A painter is going to draw landscape, just an example, okay? The original canvas, for example, again, is meter per meter. Before starting to draw on the original canvas, the painter prepares a draft. He uses a small piece of paper, for example, 15 per 100 centimeters. Well, in this draft paper, you will not find any details. Imagine it just via leading objects, just the general schemes, spots, lines, triangles. Something as what we've just created. The idea is to see how the overall picture will look together, how the composition will be structured. It's a cool trick and hope you take advantage of it. The last step, of course, as the one on which the painter at the details. Two examples, two different, uh, protests. I hope on belief in that in fact, they were useful for you. And I'll be really happy if you start applying the things I'm telling you about in your photography. Yeah, 95, share your stories. Let's move on. Time for the next lesson. 11. Golden Spiral basics: Another interesting compositional rule is the golden spiral. Probably you have already noticed that the more we advanced in the course, the more everything starts mixing. It's a puzzle. In fact, when you understand one piece of it, you are ready for the next fun. At the end, you'll be able to step aside and see the overall picture. If you want to understand how mathematically everything works, how it is calculated. Now is the time to press the pause button and take a closer look. What I want now is you to have a visual idea of the golden spiral at this stage to know how it looks like. Let's first check some general examples before going to photography. The go-tos pyro We are going to speak about is everywhere. And literally, I'm deliberately chosen some examples that are in fact quite familiar to you. At the same time, I guess. You have never analyzed them in the light EUR to see them right now. Just take a look. Apple's logo. Absolutely. Nothing has been done by chance here. Every detail is specifically designed. Every small line falls the initial idea and the compositional rule. Next, fun. Twitter's logo. Seem story. Well, yeah, different interpretation. The golden ratio again, every detail is important to you see. If you start examining, get part by part, you'll notice that there is not even a line dropped here that is not on its correct place. Again, the golden ratio is everywhere. In a while. I'll explain you why. Antescofo widely asked if a thing that these compositional rules exist, the only in the artificial world, in the world that people create it. Nothing like that. Take a look at the way a human body structured, magnificent golden spiral in every part of it. In every, as well as in architecture. In the social media. We use it every day, right? This media or that one. That's how a patient Twitter looks like. Not by chance composed layout again. And what about this? You can try it on your own. My profile page in Facebook. Pay attention to decomposition again. Not even one element is located in a random place. Just a coincidence, just a chance. No way about it. Let's finally answered the question. We start at white. Why designers, CEOs, the golden spiral so often? Why this is the leading composition of choice in so many famous bronze? The answer, in fact, it's a really simple nature that's at the golden spiral is everywhere in the natural world. Because of that, our human eye is used to this composition subconsciously, we search for it. Well, here come designers and photographers who take advantage of this natural composition and to use it. Which means he ensured that this course will be really useful, not only for your photography, it will be useful for you if you want to create logos or different designs or website pages. It will be useful when you order even the furniture in your own home. Time to see how we photographers use it in photos. Examples are coming. 12. Golden Spiral - examples and analysis: As you now know, all the golden spiral S. Time for the photos I promised. This photo, for example, has an interesting story. I took it back in those times in which I had no idea of what the rule of thirds as what the Gordon's pirate says. Well, no, I'm not trying to boast off, just don't get me wrong. The idea is that some of you may have a well-developed intuition, may have seen some good composition of examples and remember them subconsciously. Then one day, when you take your archive, you may be pleasantly surprised that something you didn't expect was part of the frame. Take your time and try it. You can experiment and see whichever decomposition of rules you have subconsciously fault. Then probably you will understand why you like this photo or that one. Here it says, this is what they found in this photo, ears after it has been taken. The golden spiral matters perfectly well. Probably if at that time I had no NAT and Kant tried to do everything up to the rules. I wouldn't have been able to realize. Sometimes it's better to let yourself be guided by your intuition, by your feelings. Then good photos may also come alive. This photo doesn't even need extra explanations. The spiral opens in the eye and leads you to the end of the frame. Another example, opposite the kind of story. This is approximately two-year old photo. The difference this time is that I was searching for this composition. I didn't really want to see the golden spiral. I was waiting for it. I knew we hair I needed the object today just in case sync it again. When they should. I do not switch on any greater whatever. I don't have the golden spiral switched on. Nowhere he instituted photography. This to work for you. You need in fact, to feel and to see and to know what you want. The photo as just a little bit cropped not more than a centimeter from each site, usually or in a shooter. I know what frame I want. I know what I will do with the photo after that. And this is my advice for you as well. Learn to know what you want to achieve with the photo, then it will be easier when taking cat. The next example is again with a really old photo of mine. The summer of 2009. As I remember. At that time, I was still shooting without any idea about compositional rules. Yeah. Just with the feeling. One day when I came across this photo, I notice that there is something, something that attracted my attention. Well, take a closer look. The frame opens from here, the left upper corner, and lead to the dock. A good beginning for an amateurish photo. And here it is. This turns out to be the beginning of the Golden Spiral. Just you need to be able to see it. The very end is on the girl's face, right? Your side seems to be a let you see it from this direction to that direction, from the beginning to the end. As composition. It's a really a good shot. Nothing boring here and nothing in the very center, nothing standards that you may see all the day. The short seems messy, just at first sight, and so perfectly ordered. We're, you take a closer look. Another example that will help you see the golden spiral in action in photos that followed the compositional rule. It's really important to know how the eye enters the frame and how goes out of that the transition. Remember this needs to be always smooth without tension. In that case, then you can see that the photo is successful. And then you may expect that the photo will be liked by our audience. A political shot while composed again. This one is from the times when I worked in a newspaper as a photojournalist. When you take photos. Trust me, you don't have a second t1 to think about composition and to relocate the object. So and to say somebody did this or do that, no. It doesn't work on that way. You need to have on the deal, what you want to show to catch the motion, the news, of course. And to compose the photo at the same time. In short, you need to catch the moment. That's it. I think that now is the perfect time to share with you my philosophy in photography. This is something I understood from the very, very first days when I started shooting. Photography. In my view, has no nationality. That's at what they mean is that if you are a photographer, please talk about photography. Don't include your personnel likings. Note about this photo on left in generalized peak. You are the person with the camera, right? Well, sorry, but no one is interested. If you like the President of Russia or the president of the states or this minority or that fun. You don't have the right to be biased. When you are honest with yourself, then you will see that this will help you improve your photography life. Try it out. Another frame. You already know. It's one of the images that has everything can get. Almost every composition of rule may be found here. You under the photo from the right upper corner, smoothly from the leading object, moving to the second fund. As I told you, the roots of photography exists, how that used to be able to break them. Or you know how to do it correctly. For the Eastern, Eastern world, for example, this photography will be even more pleasant to see because it follows the natural way their site moves. We spoke about this one. The advantage of the golden spiral is that it describes the path. Your eyes fall, helps you read the damage and see all of the details in it. As OD examples to you. Now we're in horizontal photos. I don't want you to think that this is the only option. Or do you prefer adoption? Nothing like that. Be golden spiral can perfectly match a vertical photo as well. The spiral leads to the accent point. You see nothing by chance. One more time. A cool example for an end for today. And I useful one as well. Everything seems simple, right? And Peugeot, it starts from the eye and the spiral leads you out of the frame. But a photographer who is a little bit more experienced may not stop here. Rather say, if these two small ears are removed, well, isn't then this photo falling in pieces? If so, why are they then not included in the path of the golden spiral? Interesting. Let's remove them. Yes, Really, we spoke about this one before. The heavy head makes the photon not balanced anymore. Change it. So that's it. This is the spiral which matches DHA, DHEA and the bounce of the photo. An important detail. Just take a look here again. And here. Everything seems to be clear without any extra explanations needed. It's a really cool one. I do love it. Well, congratulations. You've just moved a step closer to mastering the golden spiral. Now is the time to experiment with your photos, whether from the archive for whether a nuance, it's your choice. Just keep improving, keep working on your composition. And you'll see the results. 13. Golden Rectangle basics: The rule of the golden rectangle as one of those that you will meet really opening photography. It's used as often as a rule of thirds. In fact, know that because the golden rectangle is so simple, it's just common. You can easily find that in the world around you. You can see it in your homes arrangement even if you start searching for it. In my photography, I use it quite often as well. You may find a link to Dennis site, if interested, to browse through his photos. There, you may train your eye to recognize the composition. You remember, this is the first step, C decomposition. Then start applying get in photography. Let's take out the golden rectangle a bit closer. At first sight, you may not be able to read the photo immediately, especially if you are not experienced enough. You may need a little bit more guidance. Well, look at it on this way. This rectangle on the left is the half of the square on the right. Here you may continue by drawing the golden spiral and the rule of thirds, if applicable for the photo. In our keys, will still feel the golden rectangle. Just don't think that the golden rectangle can exist in a vertical frame on left? No, nothing like that. You can use it in a horizontal frame. This is how the composition is going to look like. Let me say it one more time. The objects, the lines of your photo needs to be approximately located, not to match up to the smallest millimeter had no. You don't need perfection. If it happens. Great. In other words, you need something approximate. It works quite fine for a proper composition as file. I started with this shot because I wanted to show you this one. As a final result. You see when the two golden rectangles, one vertical and horizontal combine, then the outcome is quite pleasant. Cti, even if at the beginning you didn't see it. I'm sure you'll liked how the photo looked like. The forests on the left and add the dock on the right. These are the two elements which fill the frame, which save us. Let's say I was waiting for this dot here. In fact, that was a dock. It was chasing Kabbalah or something like that. I knew I needed it to be located in this part of the image. You know that the photo to come life. Well, now we know the basics. Let's move to more examples. It will be interesting. You have my word. 14. Golden Rectangle - examples and analysis: After the introduction to the role, you know, our next step 4 is to check more details, more examples, more photos. We are again see the golden rectangle. Let's start with photos quite different from each other. As always, our first example goes into the collection of those favorite photos of mine. We spoke about this trick already. There are photos in which you can see the composition without searching for it. It just shows itself. When we speak about the golden rectangle. You always need to have a square and a half. Exactly as this photo goals. The tree splits the frame in the way we are talking about. If you examine it a bit closer, on the right side, you will see that there is one more geometrical figure, a triangle formed thanks to the tree and the passing man. When the lines are applied. This is how our photo looks like. Even if you had some doubts, I guess I've answered all your questions now. Of course. This shot was taken yeah. By intuition. I didn't measure anything. I didn't have four grids which donor or something like that. Just I knew what I wanted to achieve. I knew how I wanted to construct the frame. And it worked out. The process in my mind goes like that. I see the story first, then I see something that they can use in the photos composition. The tree here. No, it's not a hindrance. It's not a barrier. As a lot of beginners in photography may say, it's a helper. And when I see such a helper, I find a way how to use it. Maybe I'll make a step to the right or a step to the left. The third is that a little bit of patients is needed because the people, our objects, they do not always come to the position that we want. We've commented on this photo already. Even then earlier in the course. I've mentioned the golden rectangle that is formed a square and a half. You can easily find it one more time. The person of falls in the left part, the handler, our balanced dot in the right part. Next one. Try it on your own first. In which part is the golden rectangle in your via? Hope you've managed to say it. That said, the post splits the frame as we need at a square and the how far in front of you. I like photos like this and let me explain. In the left, however, there is a bird. This is the dynamic corporates, right? The bird fills the frame. Quite proper lane fact seems story goes on the right side. The frame is filled, thanks to the woman and the second bird. There's a rectangle here as well. In fact, from a geometrical point of view, this photo is quite a good one. Even here. When you follow the sheep formed bind the bird on the left to enter the woman. You can see a rhombus. Cool. If the bird that over a little bit more on the left, it would be even better. But no, let's not be perfectionist all the time. Although, yeah, I try and I always see what a photo lacks. Lot could have been done better. Probably noticed that the majority of, let's say 90 percent, almost of the photo examples I show you are either street or report dash photographs. To achieve proper composition in these genres is quite difficult. You, when steam behind the camera thrust me, did not have even a seconds to think. By contrast to landscape photography or product photography, for example. But the training is a really good and you feel satisfied or you see that there are some results that something works. And as I've mentioned, the other genres. Here's the example coming when, while shooting, you split the frame into on this way. And Place a bigger and smaller objects in each part, then there is a high chance that your composition will fall the golden rectangle. As here, it's really clear where the splitting line, as I've mentioned that when we spoke about the previous image, my aim is to always half of field photo. In each part. Here, the half is filled with the ROCC, the square with these rocks and forests. As a result, the frame now it's balanced enough to be pleasant for DAI just to look at that, just to observe it. If you continue analyzing, you will see the different, the different geometrical shapes that appear a rectangle here. One more here. The mountain itself is a rectangle, and so on. Another quite interesting in my example, I do like this photo volt. Take a look at that. Here is the mountain. Here's a ship. It one more time. The case when B composition is so obvious, the splitting Klein is so visible that you can't ignore it. That's it. As queer and a half or the golden rectangle. One more time. If you are going to ask. Absolutely. This is done deliberately. I can't get the I searched for it. I compose stat. Yeah, I could have split it into equal parts, just in that way. I don't believe it would be so interesting. At least out have lost the mountain, right? A strange light landscape, Let's say it, but it's taken out of the box. So I like it. Next story, pause the video and find how the composition is formed. Easy, right? There is a line within the photo you may easily follow. It starts from the satellite exactly and crosses the path. This is again an example how to take an advantage of what you are surrounded by. The next example, again, easy for analysis, not so easy to be seen and taken. Trust me. Let's take a closer look. Here is the grid applied, the golden rectangle. The man, as you see a remains seen there, right half. And this is a big plus for this photo, the object is in the larger space. Because of that, it does not make it heavier on the right. Just the opposite. The shot is taken quite well. Just try to imagine the photo, vice versa, the man in the smaller left part. Well, then we'll have a large empty space making the photo these balanced. Another example, completely different kind of story, as you may see. One more time. Easy for decomposition to be seen. The h of the building splits the space in a square and a half, leaving the mountain field, the larger part of the image. Let's go on taking the examples here without so much talk on my site, tried to analyze it, to take if you can already see the lines we are talking about. Well, this one here is an interesting example. As queer and a half again, absolutely. Just the splitting choline is on this way. A little bit stranger, I agree. But this is an option. You may also take advantage of when the image allows you to, of course, how you will compose the photo. Keep in mind that in fact, depends absolutely on you. When you know the basics, you can improvise in any way just to know that the final result to be reached. As a last example here, I've lived one of my favorite photos in general, not only in terms of composition. I love the story that this one tells. Just to mention it. It's a very real life for me to like a photo of mine in real life. Always very something that could have been done better, that could have been composed in another way. But that's a different story. Let's talk a little bit more about the photo us an idea first as a message. Looking at the boy, you can't decide if he's saying goodbye or greeting card with a hello. The parts of the photo he's in is quite warmer in colors. The atmosphere feels cozy or white balance, color, temperature. Everything adds to the impression that this part is the warm R1. As an association immediately comes hope. Probably there is hope for the boy. And this is the smaller part. The other one. The larger is filled with the cold corridor. The colors, the lack of light. You can even feel it. These are the original colors. Just want to underline. I have not manipulated anything in the image because of the separation of the photo in this way. Just a half left for the hole, but the square for the coldness, it has a heavy psychological message. Another symbol in the warm part. There is a clock here. Hope you've seen it. It's always a symbol of passing time or of stops. Time depends how again, your interpretation would be windows here and they are in both parts. And an open-door. You are free to add your thoughts on the symbols you see around. When you see objects like this, my advice is to try to include them in the story of the image. Of course, if they add up to the story, just, they allow you to increase the psychological tension in the frame. Next step, the composition, the golden rectangle we have already found, I guess it's perfect here you see, it really matches up to the smallest detail. Here we can find something a little bit more different as an element as well. You can see the depth of the frame, the lines that come from the walls. He'll be C, where the elite to our Norway and in fact a window with bars. This is a really heavy photo in spite of the fact that the boy is my length, I'll even say that this photo is one of those you may write a short story on. Just a little bit more imagination, a little bit better I, and attention to detail. Let's come back to reality. Composition is what we speak about. Here once again, you see the golden rectangle in practice. 15. Golden Rectangle - examples and analysis. advanced: We'll keep on talking about the golden rectangle here, about a square and it's half. Just to change the perspective, Alito, in the previous lesson, I showed you in details how to use this compositional rule so that to create a vertical image. Let's now see how the story goals. When you want to create a horizontal frame following the same rule. You need a little bit more experience to see such composition. Let's see a little bit more difficult. Just a little realize, after several photos, you'll get used to seeing and creating cat. In this photo, for example. It's quite clear. I guess there's no need to explain it. That's why we're starting with that. How will the space in the bigger part, BOC? Remember that depends only on you. You can leave it there. It creates a certain atmosphere on this way. In fact, it's not mistake if you leave it like that. In a landscape mode, It's quite common. And again, we seem to be used to this. Our eyes accepted these elements. I have prepared deliberately examples like this one. The more you see one and the same compositional pattern, the easier it is for you to create it after that. Whether you experiment with this or not, depends on the kind of photo, of course, on the kind of modes that you wanted to show. As here, you see, the composition is not perfectly on the lines, but it's quite proper. At the same time. Another story and a historian, let's call it. It's really pleasant as a story on this way. The fact that the sky is empty is not a problem at all. I agree, because of the clouds here of birth on the other side will be perfect. But I told you there is always how to improve a photo. While in this case, the bird is missing. However, the image is not better TO remember that we are aiming had good photographer and good composition. What comes out as a result is a different story. Look at this photo again. If we draw an imaginary vertical line here, throw the figure. You'll see the space is divided again in a square and a half. Another golden rectangle in action. Another example for the rule applied in practice, it's quite more visible. In fact. Here is the golden rectangle. Pay attention to where the line S, it matches the C horizon perfectly well this time on the practice, in fact, is what you need. Nothing else can make a better photographer. Once you know that the array that we are doing with this course, please take your camera and go out. You will see it will work. The horizon here splits the frame in cours, not only in compositional components, also in the parts down, you see the man. Hero is the plane. This photo in fact does not have a great story in its right. Yeah. The clouds, the color of the water, the plane, the man, the waves. But that said, nothing amazing. After all, what adds value to the image here is exactly this proper good composition. One last example. It's worth checking guitar dyed pink. As composition. This time they are snapping, I guess surprise you at here is the correct. I'm sure you've drawn it in your imagination in advance. This is absolutely not the standard image to see the standard photo. It's something that's in front of your eyes at the same time. Just it depends on who you to take the camera out and to turn it into a photograph. If split into equal parts, well, this one wouldn't be that good. Remember that the ideal symmetry is not always the winning choice for a photographer. It's important to use your gut feeling, your intuition, your knowledge at the same time. So that to be happy or with what the result is. 16. Composition rules that often match: Welcome to the final lesson from this section of the course. Gets ready. There are a lot of interesting things to see here. Composition rules that match. This is what we are going to talk about. In other words, we are interested in those same composition rules that we've been examining from the very beginning. But this time, the emphasis will be a little bit more different. Which of these roles you will often see together in one photo. How several of these roles, or we'll help you improve the general composition of your photo. Let's check it out with some more examples. Starting with the familiar already photo. Trying on your own first to see some different compositional rules that apply here. First, you see it enters the golden spiral. It opens the frame, lead to smoothly through the objects and helps you examine the whole photo a step further. And you see the golden rectangle. It splits the frame into parts, adding the emphasis where it is needed. So case one, the golden spiral and the golden rectangle in one photo. The next images for your first, again, practice everything you know and try to understand or which composition rules match here. The rule of thirds and the crossing points. I've deliberately added the yellow dot here, you see it? The idea is just to make it more visible, ticket out. It matches the head exactly. I hope you remember the story. When an object is big enough, tried to make the crossing on DEI, when smaller or blurred, focused on the head. Then you know that you've succeeded in creating a good composition. And no, that's not all the golden spiral here. And there's the game again. It start or a tint depends on your interpretation. Coincide so with the head of the subject one more time. Following its line, you can feel the dynamics of the frame. If you keep on analyzing the photo, you will see that the hand is even somehow associated with these umbrellas. But let's keep focusing on composition may lead case to the rule of thirds and the golden spiral. In one photo. A photograph I've told you, we're going to examine often enough. The reason is that exactly here. You may see different composition rules at the same time. Because of that, as an example, it's quite a proper one. Here is the rule of thirds inaction. Pay attention to the crossing point again, marked in yellow to be more visible. Nothing should be precise to the exact millimeter. If it happens. Perfect. You know my logic. If not, well, try to be anti around the crossing point and around the line. Next step, the golden spiral. And we spoke about it as well. First figure, second figure. Everything is split in the frame thanks to the golden rectangle as well. And last but not least, here is the diagonal that divides the image into parts as well. Just from a different perspective this time, you said, when the composition rules often match, the image becomes almost perfect. Three Allah, every detail is a nice place. You remember the examples with the logos. Well, kind of that story here. The overall impression from the photograph is strong enough. One more point. If you have a story in the frame apart from the composition, well, then you may be proud that your photography has already improved, that it has moved to the next level. Case tray. The rule of thirds, the golden spiral and the golden rectangle was a diagonal. All of these in one photo. One last example, again, a strong one. I guess sure you remember this one as well. First, starting from the golden rectangle, you see how the space is divided here. Next step, the golden spiral. It adds to the power of the story of the composition. It matches perfectly well here you may see it. Last but not least, a diagonal that splits the shot. And we have our keys for golden spiral, golden rectangle, and a diagonal. In one photo. You need just a little bit of time, a little bit of practice. Then you will start seeing these things. You will start feeling how to make your composition better. Scenario like this, where several composition rules match together, is quite commonly the good photography. This is what makes it pleasant to the eye, pleasant to the audience. Don't be afraid to experiment and to practice. Just keep working. The more you shoot, the more you try, the better your results will be. I believe in you. Good luck. 17. Vertical and horizontal lines: It's time now to understand what the role of lines in photography is. More precisely speaking, of vertical and horizontal lines. Just be careful when we speak about vertical and horizontal lines. Note the vertical and horizontal photos. You can clearly see what they mean here. Imagine that these are two photos to vertical photos. However, on the first one, you see horizontal lines. Whereas on the second one, vertical lines. Looking at these two, you surely notice that at first tight, this frame is wider than that one. The one on the left at the same time looks really, really wider, right? Imagine you see it on its own. That one on the right. Look, store. It matters. It matters that ONE choose your clothes, even probably you have thought of that. This in fact, is just the play of our imagination, a play of sight, a player vision trick of what you see. Actually, the photos are completely the same incise. Let's see now how this trick may reflect on photography in awhile. Promise. The second scenario. You have two horizontal photos, absolutely identical in size. And one more time. The illusion for the difference between them comes from the lines. The horizontal photo with horizontal lines looks dynamic. The other one, the horizontal photo with vertical lines, is more static as if everything has stopped here. Keep in mind, please, everything that we set. And let's take a look at several photos as these, for example, here we have a horizontal photo or with lines in horizontal direction. Perfect dynamics here. I'm sure you can feel it. And this is a really typical effect for every photo with horizontal lines in a horizontal layout. The other keys, vertical photo, horizontal lines. There is dynamics here as well. Absolutely bad. It's not as strong as here in the horizontal photo. You can see the difference. Continue. Let's take it in one more photograph. A vertical image or it horizontal lines. The breach here is what matches Perfect Our idea. And a horizontal image with horizontal lines. Again. Take your time and look at the photos. Do you feel it now? The photo on the right a holds quite, quite more than Amex. It makes you sense the moments that traffic. Our eyes are kind of used to such frames. Horizontal images with horizontal lines where there is movement that set. It's not typical for you to see a frame like this on the left. Time for a graphics, I think it will be quite useful in our case. In order to hand to have dynamical fertile. A horizontal frame with horizontal lines is not enough. Let me explain and keep this in mind. Police as what people make this mistake. Look at the images here, one by one, starting from left to right. Here on the first one, there is not enough space in front of the cyclist. The motorcycle is at the very end, you see it. And subconsciously, you understand that there is no way ahead for him. There is no street. We are, he may continuum. Because of that. We immediately imagine that the aerosol wall here, while that stops him. And that set the end of the dynamics. Here on the second photo, the story's a little bit more different. The cyclist is in the middle, right? There is space in front. There is space behind. So here we may surely say, yeah, he moved and he'll be moving. The third one, a chief. So what we exactly a mat. The space in front of the cyclist gives you the visual idea that he will definitely move. He will definitely continue. Because of that. Here exactly. The frame is dynamical or without any doubt. You don't need to think, you don't need to analyze, you just know it, you feel it. This is a really, really useful trick that may help you compose your frame in a better way of locating the object here, as in the third example, or hear us in the first one, you provoke different emotions. You give different messages. If you want to show that the car or the man or the dog is moving, just leave space in front. Horizontal lines are not enough. Remember this one. Let me show you one similar story that goes in a vertical photo this time. The idea is the same. Just to have less space to yes. So you need to be really precise. One more time. It's not a mistake to place a vehicle or a man at the end of the frame. Just don't get me wrong. But your story and your composition have a completely different interpretation on this way. Line scene photography. Remember, may have a great role if used correctly, or may ruin something if not used in the correct way. They were more about them. In the next video, there we will speak about lines again, but in a little bit different contexts. Let me keep it for now. See you in the next video. 18. Leading lines basics: As I've mentioned at the end of the previous video, we continue talking about lines, leading lines less time. The best way to understand what this means is through some examples. So let's get started. Probably you have already understood that aligns may have great impact on photography. As in this photo, for example, lines are everywhere. In fact, it depends on you, how you interpret them, how you will add them to this or to that frame. By Saint lines, I mean, really, a lot of things here. Start with cables, go to street lines, light lines as here, both trees, buildings, the horizon. All of these are examples for various lines. In fact, you may freely build your composition around those lines. You may turn them into deleting elements. Let me explain a little bit more in details what they mean by leading clients. This example will help us. At first sight you see demand. The only man in the image gives the direction of the photo right? Then the lines center the game. This line here on the street, the dotted one. This one here that starts almost from the middle. Then the lines from the breach. This composition here should remind you of the graphics, the graphics from the previous video, the example with the cyclist. If you focus, you may enumerate a lot, a lot of other lines. But I paid attention to the leading clients on, let's take a look at this farm. I've deliberately marked the lines that matter most for us. There are the lines that give direction to demand. These heroin lines. You can clearly see it Vidal or a different interpretation. The man brings the lines with himself. You see, he's moving to the left. The lines seem to follow him. If demand were here at the beginning of the bridge, you wouldn't be able to feel the dynamics in the frame. Now, it's really obvious where the lines are hitting for, where the man is going to. An experiment we have already done. You need to take a look at the photo with half-closed eyes and try to defocus the image or use Photoshop it easier for you. Well, this is the result here. It's even easier to see. Now what I was explaining to you now, the man and the leading clients just, uh, let's follow them one more time. One coming from here, the other one coming from the road. They help him get out of the frame, leave the frame. So in short, when a line adds to the idea of your image, when the line can be added to the story you're telling. This is your leading client. I remember this one. Repeating it again. When a line adds two DID of your image. When a line can be added to the story you are telling. This is your leading line. Of course, I know, and you will agree everything is a matter of interpretation. We speak about art, we speak about photography. Everything depends on your composition. Just you need a little bit of practice so that to be able to create in your photos that which is on your mind. And it's really important, you will feel satisfied on this way. You'll be able to show your heart. More examples are coming in the next video. 19. Leading Lines - examples and analysis: As you now have a general idea what leading clients are, Let's keep on moving. The examples from the previous time where the basics, time for more details. Try to work it out on your own first, where the leading lines are in the photo. An example to start with, the leading lines in this photo are the virus from the bench. These exactly. Their role is to create dynamics and to add to the atmosphere in the photo as well. At the same time, you see the field or frame in quiet a good way. Another example, leading clients one more time. These leading Klein's lead to the object directly. One of the lines opens the frame from the upper right corner. For us. It creates the diagonal here. That's a really decent, showed. A different story. Lines that are reflections. They can quite properly believed in clients as well. They guide to your site, right? They let you fall the direction previously determined. These lines help you create a depth and dynamics in the scene. It's a perfect example for the role of symmetry. We have a symmetrical image as you see it. The leading clients go simultaneously from both sides. Another idea how to play with the surrounding, how to take advantage of it. Just, it's really a proper idea to use everything that given around you. Lines one more time, but not leading here. Or at least this is not their only goal on the part in the photo. Take a closer look. These lines are stabilizing the photo, right? If if there were only one and each side, the photo would look quite more unstable being in pairs. This adds extra strength to the composition. Two interpretations of demand here. The man is stabilized in the center of the scene, or the man is caught, kind of imprisoned by them. Whatever the message. The lines are quite properly located at the Juno like light is also part of the atmosphere here. It adds to the overall feeling for stability that's coming from the image. Different example for leading clients one more time. It's like a game with what you are given. You see cheese just having courage just before the moment of the competition, before or heard their incomes. We can see it as if she's on a crossroad. The crossing points are defined by her stripes. Without the leading lines here, the photo would look really empty and quiet, more amateurish. I'm sure you see them now. Focusing on the lines that lead to somewhere that they Rick knew exactly the railways, the yellow line next to them, the radio on the right, as well as the yellow line, the wheat closes. The horizontal composition of them, lead you to the depth of the photo. Try to guess what this composition reminds you of the Shuttle demand with, with the umbrella a minute ago. Exactly. Again, two-by-two are the railways. Again, the man is in-between them with the only difference of his position. He's quite further in the distance. Why the lines are leading? Same answer. They lead to the object to demand. In our case. The Monument here in the distance is perfectly in the center as well. If they're in the photo with the man and the umbrella, we spoke about destabilizing Crow of the line. Here, they are leading a 100 percent leading clients. The last example for now, lines that create dynamics. Sure you feel it. If you play a little bit more attention, they may remind you of a razor even they are quite sharp. These lines exactly lead to the distance to the unknown in front COVID future. From here on, your interpretations that are coming from a compositional perspective. There is a square and a half here. Then for more advanced examples, they are coming in the next video. 20. Leading Lines - examples and analysis, advanced: Some examples for leading clients you saw the previous time. Let's add some more. The more you see, the easier it will be for you to compose it after that. Remember this? When we speak about lines in photography, as I've mentioned before, everything depends on your, on your imagination. In particular, it's not necessary to follow a straight line. We are not building houses after all, we are creating images as here, for example, follow the coastline, not alone, quit me. Well, this is this is our Align. Align may look like this as well. Not a straight one for sure. Just the path of the sunset. Let's come back to this. Why this is called the leading client. You have some practice already tried to answer yourself first. If you want. Just press the pause and think why this is our leading client. Let's come back to the first example. It starts from the right down corner. You see and Li2O, the trees. This is my interpretation. The trees are the symbol of life here. In this cold frame. Here again, the line leads to somewhere. The name itself holds the meaning or leading Klein may be implying something, maybe sending a message. Back to the picture. We have golden lines, right? This is a lead sunset. I remember I was standing right here and it was waiting. I knew I needed someone to pass right here. Someone with proper body language, not one, but two people appeared, unfortunately. Well, it ought to be really perfect if demand were only one. But this is not every time we receive what we want. I never remove something from my photos and never add something which has not been there. I believe that it's important to be honest with your audience and this is my advice for your do the same. You are creating your name. You are trying to create the image of yourself. So make your name synonymous of honesty and good photography. So the leading line here leads to these men. Another interpretation of a leading line. It may look like this. Snow trace. It's not a straight line one more time, but it's a leading Klein. It leads to the object, it is connected with demand. The leading clients can be really good helpers. They can save decomposition of a good photo. This is an example that I want to show you. I experimented here with the composition. In fact, I think it's worth telling you a little bit more about the photograph and sharing my analysis. You've noticed that I analyzed for those really often throughout the course. And the reason is simple. I believe that this will help you. Absolute. I believe that this will make your photography move to the next level. So let's do it here again. May 1 say that this photo is composed in a wrong way. The tram is too heavy on the right. The granny is not well balanced on her place. But well, in my view, this as an experiment worked really, really well. Nothing in the photo is done by chance. Everything is composed deliberately on the way you see it. This line here saves the whole story. It finishes the image. Tried to remove the railways. There will be no stability in this photo anymore. Something else? The walking stick of the grant manager. That's also help. It's on her. Right. So she's bending connected keeps course table. I may even say she's fighting with her life, with the stick at her side as her helper. The body language is important here as well. She's walking forward. You can see it. The walking stick protect her from the rest of the world from the bad things, if we may call it on this way. The fact that you see the end of the line here at the end of the photo itself brings to the balance of the frame. This is an advanced usage of composition elements, really, I agree. But once you know the composition alphabet, you are free to interpret. You are free to use it on the way that matters your view of the world around. Another example which is again, out of the box. First, let's start with something you are master said already. Pause the video and think how the frame is built, which are always fold. Exactly a square and a half. This is the golden rectangle inaction or unmarried time. Let's find now we're deleting client says, Check it out. It starts from the phase, follows the order, the bars on the streets and lead you out of the frame. You see another row of lading client, it closes the frame. Our science enters from the right or left corner, right. Because of that, I tell you that this line leads us out, helps us exit the frame. It's a matter of interpretation. In fact, you may see that this leading Klein leads to the face. It opens the frame. Well, everyone has their own understanding can point of view when it comes to analysis. Then for our last example, quite an interesting, again, perfect for final thoughts. Let's move to our analysis one more time. This is something, in fact, you will rarely see. Not a lot of photographers analyze their own photos. I do believe this is helpful for you as it helps you see more and better. I'll be happy to read your comments on my approach. When I look at this photo, this is what I see. Left upper corner. We enter the frame. Then we follow the zebra or which leads us to two more zebras. One here, the pavement post, one in the accordion itself. Then from here, it helps you exit the image. The whole photo reminds me of a pentagon. Follow the lines one more time and you will see what I mean. Yeah, it's a good photo. Full stop. They won't have an idea why. The answer one more time. There is dialogue. There are three zebras, dots, the man's emotions, the legs, the books where he's collecting money. Quite successful composition. In my view. 21. Leading Composition Objects - examples and analysis: We've already cleared everything around the leading lines. Let's now take a look at something cows, which can be leading in photography as well. Leading composition objects. Get ready for examples directly. As this is the best way for you to understand over the whole story is about, as I start, let me clarify something. When you say are leading object, it doesn't mean that these objects, the leading quanta, needs to be bigger. And back to the photo. If a person has no idea what the leading composition object means, they will immediately say, this is the object that's leading here because it's bigger than the other one. In fact, neither this nor that is leaning in the frame. There is no leading cause object here. How big an object test does not matter at all. You will understand it in details further in the course when more examples come. In this photo, now, there is a leading composition object. In this case, a man. You can't say that the building is done leading composition object. It could have been just in case that there were fire or a jumping man or a hiding mode or something like that. In this case, again, the moving figure is the leading object. The building is there to balance. Mainly. Of course, in a different story. The rows could be exchanged. A little bit more different composition here, take a careful look at this photo, prints the polls if necessary. Now, as you've checked it, which is the leading composition object in your view, who brings the mood? Who creates the story? These are the questions that you need to answer. No, it's not the woman in the center. Obviously. It doesn't matter that she's the first that you see. This man here on the right. He is the leading competition object. He creates the atmosphere in the photo. Here looks at the spine, doesn't appear as if he is following somebody. He's side creates the frame. Because of that, he is the leading object here. Imagine that keyword here. Yeah, Not a bad photo. Again, I agree. There would be some mood, but not the same strength. Certainly not. I believe he started feeling the difference between a VQ into leading composition object. Next example to help you become better. No leading object here, saying direct left. Same as the first example we did bodybuilders. He's older and bigger as size. This doesn't make him a lading object. This is a child Betty's side with quite clear body language. Well, this doesn't make him a leading object either. These two figures balance each other and fill the frame that set both of them together. Together. They create the atmosphere here. Well, in this frame, the story goes in a different way. You know this photo perfectly well already. Our friend is back in the game. The horse in the front, the ears from the, another horse in the back. I'm sure you remember the story around these years. When you remove them, the photo becomes really heavy and it's ready to fall on the right. Well, this is the hint, The Joker that will always help you. If a photo loses its strength when an object is removed. We have just understood which the leading Coptic texts, in our case, the ears, a really realistic, small one in size as an object, and really powerful as a role in the overall composition. More examples are waiting for you in the next video. And let's go on or let yourselves become better. 22. Leading Composition Objects - examples and analysis, advanced: Even if you still have some questions after the previous video, I'm sure that soon everything will be clarified when we pass through these examples here, you won't have any doubts how to find the leading composition object and how it is different from all other objects in the frame. This is the first photo I'd want to stare at it. We want to jump into defining who the leading object is immediate left. It's not that visible at first sight. What you should notice is that there is nothing which differs so much in size. All of them are approximately the same. Also, our leading object should be one of these, the living quotes. Let's ignore the trees and this stage approach for doing a little bit more different way, Let's start removing the different objects one at a time. Here follows the first. One woman is removed. Two, we are taking the effect that this has on the overall composition. Nothing cap and in fact, yes, a little bit more boring photo, but it can absolutely exist on display as well. There isn't a large empty space here. There are trees. The trace also feel sin the frame. Next step, the moment is back. The man on the left is removed. This time. Again. There is a line to these balance. When there is a person they are is quite better for the overall impression that the photo gifts photo is not the same. I agree. But no problem. Absolutely. For this photo to exist on this way. The next one, the man on the left is returned. The figure in the right is removed. Now, taking it again, well, this seems story. Not as good as the original composition, but the photo may build this way as well. Let's continue something a little bit more drastic. All of the people are removed now. At once. The photo keeps on looking better TO why? Probably you see it. This trace here, a little bit dirtier. Split the image into a square and the half of the square, the golden rectangle, you know it already. In this, the upper part, there are enough trees, enough other objects which compensate for the lack of people. While here in this part, there is nothing but this null. And the doc, the AP doc. I have no idea what it is doing, can't I don't want to know infect. Last option. Everything is the same. But the doc, the doc is removed. Now, it's quite obvious, right? We've just removed our leading composition object without a dock. The photo is falling of big white spot, is without any information inside to see it. The frame looks this balance now too heavy in its upper part. There is no reason for a decomposition to beyond this way. These two slightly visible traces. No, they do not add anything to the overall meaning. The bushes. Also, they can't compensate for the big whitespace in here. Without a dog. The photo is really quite weaker as composition compared to what it was before. Well, I've just shown you the path you may use every time ON wondering if this or that is the leading composition object. Just start removing them one after another. And you will see which one matters the most, which one leads in the photo? One more. Second and last example. Duke, again, it will be in the center of our attention. This is one of the photos where we're deleting object exists or not, depends on your own analysis. Check it out. Same photo without the doc. If you didn't know that there was a dock here, you wouldn't feel discomfort, right? The photo seems to be quite well balanced. Again, you would probably say that this is a good example for a minimalistic composition, because it's just interesting to take a closer look at some smaller figures scattered here and there. There are all of the dock is to help you see some movement, to feel some dynamics in the frame. And that's it. Well, whether you will call it the leading composition of the third note, as I've told you, a, depends on your interpretation. I believe that everything is quite clear now. And you know how to find your leading composition object. Let's keep on moving and take what else will speak about in the next videos. 23. Dialogue - examples and analysis: In the next step of our photography journey, we're going to speak about dialogue. Dialogue in photography. Here again, it's quite easier to understand what we're talking about with some examples. So let's get started with them exactly. When you use the term dialogue in photography. It doesn't mean we speak about dialogue or literally, it's not necessarily the people to be talking, to be communicating in any way. As in this photo. Of course, there is doubt bulkier and it's obvious. But I do want to go deeper and to show you what they really mean by talking about dialogue in photography. As here, for example. Nothing obvious. We need to examine the context so that to understand the message. Of course, we are not searching for a dialogue between the legs of the woman and the next of the drawer. Literally. The idea goes a bit deeper. What you see here is a kind of association, a kind of connection between these legs. The communication is not viable, but it exists. I do really like such associations. A pair of legs here and a pair of flux there. The more examples you see, the clearer It's to become. So the next one. There is also dabble here between the people. Amuse DEI work, Let's call it. You see, the people do not talk, but they're in communication with each other. You can connect these objects on the same way we could connect the legs from the previous photo. Us a little bit of your imagination and you can easily imagine that these people have had a quarrel and do not want to talk to each other this moment. These are complete strangers. In fact, I guarantee for this, none of them has an idea even then the other one exists. But That's it. Photography. The people are just waiting for the undergrounds to arrive. Another example, again, a challenging interpretation. The label here says Start. The body language hidden in the arms implies for the beginning of something good of a new life, even it's common symbol. In fact, at the same time, you have the life story of this woman written on her face, shown with her clothing. This is not the start of her life, not a toe. If we go further, we may say that her life is at the end, not at the beginning. Because of that, you may feel the emotional connection here. The next one, complete strangers one more time and nonverbal dialogue between them as well. The body language, right? You can hear even his he's a reaction when he sees her. The real story is a little bit different. This is the guard from the store. She is just a passenger. But even his face is not necessary to be seen. You just feel where his eyes are. She in fact, has absolutely no idea that he exists. However, she is in a DAO or quit him. Here's an example for dialogue in landscape photography. Absolutely. It's possible to have it here. You do not need people in your photo to say that there is a dialogue. However, it's a little bit more difficult in such a frame. I agree. Look at the photo from a geometrical point of view. First, two rectangles here as part of the mountain. Triangles here down on the roof as well. Also, the way the mountain is shaped is the same as the roof of the building is shaped. The image is split into by the piece of concrete here in the middle. Try to find the analogous in your photos. Then you will know where the DAO, Okay? Next example. Try to find the dialogue by ourselves. It's not between the two parts of the mountain, just giving you a hint. Actually, the story goes like this. Focus on the colors. The white spot here exactly. This lake here with its sharp edges, communicates with the mountain slope. Again, white colored. Again. We chart by this. That's my interpretation. At least this is where I see that that will clean this image from a composition of point of view. They are located in a diagonal position from each other. You see it. Back to street photography. Let's try to find the diagonal here. There is written in this image. When you catch it, you easily find then the dialogue as well. Hope you see it without my help. You run without some extra explanations. Look at the lines. The man looks as part of them. Look at them. They are everywhere. This is the dialogue we are searching for between demand and the lines. The whole composition reminds me of a pendulum. The composition, again, a square. And to help the DAP book here, look at the two figures. I showed you, man on a bike and another one in a wheelchair. This one in the wheelchair cannot do this a lot that one can and take for granted probably. However, most of these figures move forward. Another aspect focused on the man in the wheelchair, all Linnaeus. Then look at the door here, the label, push, push your life, you, this could be your interpretation. Walk again between the label at the door and to the man in the wheelchair. You need to be able to use everything which is in your frame. Otherwise you don't need that before already spoken about this one. A good script writer does not have extra words in his crypt. A good painter does not have details which do not match the context scene with us. Photographers. If we include an element in the photo, it should be for a reason. Now we are ready for the second part, where I'll show you some more examples. 24. Dialogue - examples and analysis, advanced: Here come the other examples that illustrate what they're all kinda photo means. Let get started. This man here, a so lonely that you may feel the loneliness. However, there is someone who is smoking, quit him in the door. Canva, see it looks like a cigarette. Let's imagine it at least. The association here is with the door handler. It's not by chance. Absolutely not. This is a familiar photo. Probably. You remember it from the very beginning. The dialogue is between the woman and the dog. The dog seems to be hiding from her. She seems to be searching for the doc actual leg. This could be not even heard her OK. It doesn't matter so much in our story. In fact, our imagination may make up whatever context we want. The DAP book here is visible. It happens between the two living creatures. This is one of the photos I gave a name to, something that I really, really do. But this one does with its name, Monday lounge mood, that lounge life. Let's think about a dialogue here. In fact, you can't find a great composition, admitted. However, there is something else. Pay attention to this detail right here. The hero, he has over his head the Bible, coffees he has, and sleeping at the same time. Here comes the dialogue, or with the icon from the calendar. There is a hero here as well. The icon is so close to him, such as it is protecting human. This is the connection, the communication we speak about all the time. One more example. These three men are watching this font here, right? Just, it doesn't mean that the communication is between them. Nothing like this. Look at the photo one more time. Here is the jumping got lead and the violinist that so these are the two figures that communicate with each other. She seems to be playing for him, only for him. How I came to this conclusion. Take a closer look. I saw this detail a little bit later. There is a card here, right? And the heart is formed by the powder of his hands. A romantic stories and that this card is certainly not for them if we don't have a different context here, but that's another story. This heart is for her. He is jumping for her, she's playing for him. You see the dialogue that turns out, as a result. This is one of the photos that show how photography may be lying. How you should not believe everything that you see. At first sight, we see the protests and we are willing to believe that this man is without one lake. We are certainly even. In fact, the story goals in a little bit different way. There is another man who cannot see here, he's standing exactly behind this boy in the water. These are the crutches of demand. That's the reality. This boy, fortunately safe and sound and he has absolutely no problem with his limbs. But here is the viewers role where we see only one of the legs up to the knee. The other leg is missing. So we're sure the voice handicapped. You see, we made the Tao or kinda pack 2. We connected the boy with the Curtis. I've already told you that it's really not quite often when they're like a photo of mind. Well, this is one of those rare moments. I do like this photo because of the mood mainly and the atmosphere. You see, he looks like a spy, as if he's coming back from his duties, from his tasks. Pay attention to the C words as well. For me, these hair-like roaming cells, you know, people's souls that are connected with him somehow. These could be the people he's thinking about or the people who remembers about no idea. And here is the dialogue, a very strong Quan between the passenger and the see what's behind him. This photo, you probably also remember we spoke about the hat there. Again. The association I make is between the hand and the umbrellas. Such photo is a matter of luck. Absolutely. And here exactly is the dialogue. The hat and the embryo. Us. A little bit of imagination is needed to incent kind of analysis, I agree. But on a subconscious level, this is how the audience looks at your photos. These dialogues are one of the reasons your photos are liked. The next challenge is for you. Use your vivid imagination please, and try to find the dialogue more experienced or TOP here also, as well as more bravery in your approach. Remember that these things that I teach you in the chorus are rare as skills among professional photographer seven, really, not a lot of people would start talking about analysis of photographs of photography. You are already a step ahead. Congratulations. I've just given you some time to think over the photo, so back to it. Where is the data? Ok. I'd call the photo just as simple as that. The lamps reflection looks like a microphone. The woman is the singer, or it currently here as usual, again, the pattern in the background, quite typical for the stage. Imagine that these are reflections of projector's. I'm sure you can tell where the devil case now. The seaweed and the lamps reflection. Exactly. Just a remark here. You've probably heard those pieces of advice do not shrewd to all nowhere in the semi-strong. Well, this is an example for breaking the rules one more time. I can't imagine a stronger light, in fact, stronger sun. The photo is taken that's known in Tel-Aviv. That should mean a lot already, right? The desert. I handled the situation by playing with the C words. Nothing is impossible, in fact. And there is no wrong quarter for photography. Dialogue. One more time. Quite visible for you as well, I'm sure now, although quite strange to us interpretation agree. But that's it. A moment. It does look it as two orchestra's. Doesn't it? Even on the heater, you can play if you do your best with a stick online. I used to practice it in Mao childhoods really. Well. Here above is the professional orchestra already the masters. And here is the deadlock between the two orchestra's. One more story told by this photo, this for Monday steering, get me this one as well. Note hormone and the young woman there is, that will come again. Men is written between them. Time for the last example. It's a funny one. As far as a good one. I've already showed you several photos with bodybuilders. Well, this is another one of the series. The series is called behind the stage. The bodybuilders are shot before the competition. There isn't a photo even on the stage. Just look at the figures. A man posing, not unfocused as he is not in the center now. Then DO foam green here looking from the photo, the women, one of them applying makeup on the other. And the man here drinking these cows is what connects the photo. In fact, all of them are connected. In short. You can find that walk in every photo where there is an idea. Keep working and your photos will be getting better and better with time. I believe in it. 25. Central Composition - examples and analysis: What do you know so far? Central composition is considered a mistake in very general. But when you know the photography language, good enough, you can experiment. You can dare to break the rows. Let me show you in what scenarios this is appropriate. I have prepared a lot of examples here. So let's get started with them exactly. The leading compositional object. You do already know what this means is the dock in the center, central composition. In other words, without any doubts. Thanks to this composition, in the almost perfect center, you can feel his loneliness. You can feel the whole atmosphere. I was really lucky that all of the people were with their bags at that moment. Something that absolutely didn't happen by chance. I was searching for it. I was searching for this detail. The message, no one cares about trade-offs as if they don't exist. While I was choosing the photo out of those I had taken, I was wondering if to include this one, the second dock in the overall frame. Well, finally I decided that it's worth it. This doc does not disturb the leading object. Even more. It's looking at the pavement. It's forgotten by everyone. In other words, it adds to the atmosphere. Not the KP photo, as you have noticed away the majority of my photos. But that's it. That's the man behind the camera. Take another look at the photo. This doc is still staring at me with some hope in his eyes, staring at the camera and the photo again. Although all of the people have forgotten that this doc exists, strong image, I'd say if not for the central composition here, the photo wouldn't be as good as it is. Next story. There are different objects here. Decides of the child, the side of the grant mother. This woman here as well looking at the flowers, could be telcos, who knows. And here comes she in the very center with the bulk at the flowers. This is our leading object. All of the others facial expressions are a really good addition to the mood. They can trust her. I was wondering in fact, whether she had received the followers or she was going to give the book to someone. An interesting detail here as how she protect the book that you see, the tide hand. So it's again a situation in which central composition looks pretty well. Drc idea behind the shot. A story with leading clients. You know what their idea is, to lead to someone or to somewhere. In this case, to demand. There is a whole new set of lines. He's kind of caught in another suitable metaphor here. The man is the city spider. You see him. Just use your imagination. Central composition again. Q now, I've shown you two general types of photos with central composition. In the first scenario, the focus is on D object a 100 percent. In the second phone. Loneliness. This is the emphasis. Another one, the working man is in the perfect center. Really pay attention to the lines that come on the laws. They are as arrows, as directions leading him forward. Let's call the dynamics in the folder is created. That's how his pad is shown as well. At the same time, tried to move him a little bit on the left or a little bit on the right? Well, that was that the photo is gold. Literally. He needs to be in the middle exactly. These arrows need to stabilize him as a kind of a magnetic field here. Central composition here as well. One more time. This central composition is supported by the frames in the car. They have a role as well. Something needs to fill the empty places, right? Well, here the frames, the frames of the window. Without these frames, I agree the photo could exist as well. But it's exactly the frames that adds to the mode. Even you may see that this reminds you of a picture, of a picture in a frame surrounded you said, by the frame? Exactly. Probably. You have already noticed that I'm trying to feel every single empty space with something, something meaningful. Of course. Here in the down part comes the reflected light, the darker spot a really everywhere. There are details. How to fill in your frame. We will speak about this in awhile. Back to the central composition and loneliness. Another story. Can you imagine the story? The man has just come back from somewhere. Take a look at the bags. He is back in his hometown, for example. But something has changed. This is dramatical change. So he's teamed there in the center, in the middle, and contract recognize the place anymore. Here come his feelings, his lonely, he's isolated, has as a foreigner at home. Just keep in mind that central composition will not always work. Certainly note, just now, I'm showing you examples where it worked and explaining why. One more shot. Running Doak in the middle. Houses on his both sides. It's again, what suits this photo debased? A shepherd in the center. There is something that helps me here. In fact, the clouds over the sky, this S and the slight VNet ink in the photo. The work as a lines filling in the empty space. So the overall result is pretty good. You can see the triangle here as well, I guess the man and the stick, as if they are part of each other. The man is not in the perfect center, but we still have central composition here. A well-known photo. We spoke about the leading lines in here. Look at them one more time. They create a triangle. Geometrical figures again and again. This is something really common in photography. When composition worked an important Eumachia, each of you have worked. When vignetting. Once again, these are trees at both sides. I guess you have the feeling that the man is in a kind of a journal, write. Something really important in your photographs is body language, as here in this example, the moment is really well caught. There is harmony within the short. One more step ahead, or a little bit more different posture of the legs. And the harmony in the photo will disappear immediately. The elements that builds the photo here, the umbrella, the snow, the body language, the railways, and the central composition. Everything adds to it. Thanks to the central composition, demand is really on the front line. Here is where we put the emphasis on. The first thing that needs to have your attention quote here is the format. Cinema format is USTR. The frame is really longer than usual, but it's a good one thanks to the direction, the direction given by the railways. Everything on both sides is well filled. Again. Out of the folk. My favorite kind of wider comes the current listening the folk, let me give you a bonus hint here. It's really difficult to shoot in folk, especially when it comes to focus on, but it's worth it. The atmosphere is unique, kind of magical. If necessary. You may shoot on manual focus. It works quite better. When you shoot in folk. The best option is to choose a variable lens, 200 millimeters, at least. On this way. You can show the C words as leading quantity in the folk. Spiritual visible. Back to the central composition. The image is well-balanced. One more time. There is a dark spot here on the right of building and to post on the left. The emphasis is on the cart in the center, repeating it well-balanced. There is nothing that disturbs your senses here. Another photo, you may find similar details. The object is in the center, central composition one more time. Then this kind same technique as in the photos we took a look some minutes ago. Just to underline it. This is the real sky. I never add anything to my photos, including sky. The sky here reminds me of a peacock's tail. In fact, you see it. And the different feathers over cast leading clients leading towards the central object. Body language is important here one more time, along with the tail. The tail is an important one. In fact, it balances the heavy head. Same story. Tried to remove the horse a little bit or tried to move it left or right. And that's it. The photo is going to fall. The photo becomes this balanced immediate left problem. I agree. A little bit on the left could have worked just because of the mountain here. The flower and the butterfly from the beginning, if you remember our association. The mountain could work as a balancing that. However, on the weights taken, everything matches well enough. Mountain here balances the heavy head, which has moved a little bit on the right. Central composition one more time. The loneliness, unknown topic. Here it is definitely undermined. The emphasis is put on this exact aspect. If you go further in your analysis, you may feel how small we people are in comparison to nature. Water everywhere, dark clouds on the two sides and a tiny boat in the center. These clouds do help a lot. They create something costs a tuna one more time. A matter of luck. And patients, I admitted. Look at them. They form a symbolic view letter even could be for victory. At the same time, they are leading towards him. The mountains also, they are getting lower and lower at the distance. Every detail you see tightens the space around the man as if he stuck in the very center. If you move him on a darker background, either here or here, then the seaward wouldn't be so visible. This part on the right is a little bit heavier for me, but that's it. I'm not removing anything from my photos. You know, my philosophy already. Remember, we are trying to do the best in photography, at least as much as depends on US. Central composition may have such variation as well. Generally speaking, the frame is fueled. Leaves, possums are, lots of details are in here. The woman in the center looks really pretty stable, pretty balanced. I do want to pay attention to a very common mistake that beginners especially do. The scenario goes like this. There is some model in front of you. Oh woman. And you're going to shoot a portrait. So what the beginner dance. They take a 1.8 lanes away diaphragm 1.8 or two. The background is blurred every time. Just be careful. Probably, you know what? I'm just reminding head. With such lenses, it's only the central dots that work well as focus. A beginner usually focuses on the general approach. And without an idea about composition, just blurs the background. The woman, of course, is in the very center. Just open the beginners portfolio. And this is what you will see. Photos, photos in the center, word, backgrounds. No idea about composition. Of course, I agree. Everyone needs to start from somewhere. Everyone may hopefully improve. It just depends on the steppes, these people making their photography for the future. You're quite advanced already. In fact, you know a lot about composition. So let's continue. This is our last example for today. Central composition one more time. Here everything is taught carefully about. I deliberately didn't make a step to the right or a step to the left. I needed demand to be here in the very center. He is in dark clouds standing as a see what light background behind him. Tried to put demand here a little bit on the right and yeah, he we immediately get lost because of the patterned background. Leading clients in action one more time. All of them in his direction leading towards him. There is tension here in the buildings, in the lines in the stair seven. Geometry. Again, all of the shapes are sharp. There are edges coming from everywhere. And the man seems to be on the only safe place, as in a safe harbor. When you aim at creating such minimalism, think for the way you will emphasize on the details. You can't put an orange arrow here, right? And writes down here is demand. You can play with the light. You can play with composition. You can play with shadows. Everything is in your hands. 26. Central Composition - examples and analysis, advanced: Central composition one more time. And just from a little bit different perspective now, we'll speak about central composition is queer photos. It's more common as a compositional choice. In fact, you've certainly seen a lot of examples composed on this way exactly as here. What is important one more time is to know how to fill in the frame, how to add enough details, and how to position them. I do like square photos and really choose quite often this type of composition, central composition. Here we have the chance to create everything in a way that the viewer's attention want to be disturbed. At PTO. As here, you have one object in the center. This is where you're focuses. Quite often. It's a close up photo as this one. I can show you a lot of examples here. Just decided that it's not important to see dozens of identical equal tos. You know, what central composition is already. The most important part now is to catch the general idea when it is used in square photos and what mood it brings in. I save mentioned this central composition is really the preferred option when the photo is square one. Here's something interesting here, you may not have heard of people who choose to crop their photos in a square from a psychological point of view, are insecure people proved in different researchers. Going further, now horizontal image is considered positive. We are as a vertical image negative. This is so because we are used to landscape mode. When we woke, we are not twisting our hit right, or we are not seeing everything around this vertical. Semi GitHub, horizontal frame, positiveness, vertical frame, negativeness. Square photo, neutral, insecurity. If you know a person who's photos are predominantly cropped in a square, think for their character. You'll certainly understand what I'm talking about. Another example, central composition again, whose square, a close up photo. Probably were there. I will choose square composition depends on my mood as well. Whether I'm sure or not what they want to say to deliver as a message. Sometimes it's just the way you see the photo aids, the particular phase in your life as a photographer. As a very last example about central composition. And I don't want to show you an interesting trick. Let's come back to this. People. As we are different. We think for photography in different ways. You remember the example, how you start reading the photo is connected with the direction you read and these fun, pay attention here. Looks perfectly centralized for a person who read from left to right. Just as an experiment, Let's flip it horizontally. Now. Of all law, a completely different image, completely dis balance, not steep or not calm, disturbing for the I, I didn't say for my perceptions, this is not a good photo. I don't like it. Oh, what happened after all? Well, nothing so important. Just to flip cows conflict. These are my associations with the image. Now, I believe you are already masters in central composition. Just take your cameras and enjoy. Remember, the square is always an option. 27. Filling-in the frame: How to fuel in your frame. It's another interesting and important topic that we will check in details as it will be easier for you to understand everything with examples. Let's get started from them directly. Pay attention to this photo. And today's fun. Neither of them is cropped to start from there. They have probably at around second difference. I took them one after another. So let's say it's one and the same photo taken in different ways. This one the first one. I don't like. I don't like it because these large enough empty space plot here, the sky, it's empty. You can say that this guy is split in three layers horizontally. This is chi, absolutely not another mountain. This is what my attention was attracted by, in fact, the completely bizarre looking sky in here. So the photo is not that bad. Yes. But in case you haven't seen the second image, what I did here in fact, towards to lower down the lens a little bit. I choose to leave some of the darker part here so that the contrast to be seen, look at it better. This white part from the mountain corresponds to the white part from the clouds. The upper blue part, the darker part, is also part of the frame. But now it's not as enormous as in the previous wrote. On the contrary. It has its role to communicate with the dark parts down. Dialogue. We have it here again. No leading composition object, no psychological message here. Just the photo looks and feels better than the previous one. Here we come to the idea. When you're viewing your frame, you enjoy looking at this photo. Your senses are at peace with what you experience. It's not always necessary to search for leading objects are leading clients. The merge examples, the clearer it will become as Nadya. Look at this photo from landscapes. Let's move to our picture. Our idea again to filling the frame so that not to have any empty spaces without an idea of high, they are left empty. As you have probably noticed, the format has changed. It's 16 to nine. Now. We will speak about formats a little bit later. 16 to 9 is a good format cinema firmament. Take a look at the space in the photo. This large space here is filled in with the buildings reflection. All of these are reflections impact of the surrounding buildings. You can see that there are some details, some fragments everywhere. Because of that, you feel the frame is balanced in every aspect. Just imagine now what would be if here is the same image but not filled in on the same way. Immediately balanced terrorists missing something is disturbing the overall comprehension. You don't need holes as this one in your photo. Look at that. It's becoming a leading Quan and bring snow information adds no value at the same time. Do not do it on this way. Did not show photos like this. Even if the person does not understand him photography subconsciously, he will not like it. He will feel that something is missing. I hope these two examples so that you understand what to fill in means. Every time when you see some big empty space, just move left, move right, kneel down if necessary. But trying to find a way to fill it in. Let's move on. Here. For example, I did my best not to leave for even one larger spot, not filled in by the branches of the trees. It's not like that everywhere in nature, you know. So I was walking and checking if everything is filled in so that to find where the most appropriate position for a photodiode way. What my idea was to find the place which follows one and the same pattern as on this short. I guess it worked pretty well. You see, the pattern I mentioned is steadily spread everywhere. There isn't a site where something is quite darker, or a site where something is quite lighter. Next time. No composition here. Absolutely. I agree. Let me share with you how certain images taken. I guess it could be interesting. This is called the Zoom and short photography. Let's start from there. You're shooting on a particular exposure, 345 seconds, let's say it depends on what you want from the tripod. During these seconds of exposure, three or four or five, lightly and smoothly, you need to zoom either in or out. It's up to you. I like zooming in. That's how this effect is created. There was a story ones was taught that this is Photoshop. Well, I started laughing Creel. I just can't imagine spending so much time in Photoshop. I think all of these details, such photo is taken within seconds, literally. I have dozens of examples like this one, just enjoying it. That was another bonus administration. Vector, the skill, how to fill in your frame. Same story. Another example. You can easily notice that absolutely everywhere the cars are spread on the same way, the same pattern, almost his fault. Of course, there is a yellow bus on the left that attracts your attention. There is an empty piece of space here, but that's traffic. Do your best as much as it depends on you. Remember, not perfection. Another one is minute. A few words about the yellow color. Now, the rainbow covers all seven of them. Imagine that there are seven cars, each colored differently next to each other. If it take fast to look at them, it only the yellow car that you will pay attention to. Me, try it out. If you have some doubts. That's the reason why an emergency sign is cowered in bright yellow or bright orange? Diego cardigan. Same story there. In other words, if yellow is not one of the accents in your photo, it is not part of the idea. It may harm your photography if not, ruin it, even in some cases. The other dangerous, let's call it for photographers cower, is there a ton? It's very difficult to be shown correctly, just because cameras technically cannot reproduce it. A woman with a yellow shopping bag is pretty enough for your photo notes to happen as you want it to. And back to the main story. Another example of how to fill in your frame. It looks as it's being drawn with a brush. Starts from the darker part, goes to some evenly spreads stripes and finishes in a darker part again. And effect achieved thanks to the lens bokeh. What you see in the background are some cars. Well, the mixture of ODEs. Let me fill in the frame. There are no leading clients are leading objects. No special messages or deep analysis. Just the frame is pleasant when you look at that. It's balanced in fact. And this is what makes the photo God. Imagine that all of the cars, all of the lights were in just one part. Well, then it wouldn't work that fine. You could have not paid enough attention to the schottky amount of water you have seen already when we spoke about dialogue, remember, that was our introductory photo here. In fact, there is absolutely no composition. What makes the photo quite proper, quite good, is that the whole frame is equally filled in. This brings in the feeling of balance. There aren't places with a lot of details. Imagine that there are several more centimeters on the left or the right. Well, then it wouldn't be the same. It would be a really, really these balanced image. Another example how the few in your frame in a proper way, if not the deaf fireworks appears. The person a small person? Yes. But the person a dreamer who was looking at the sky and the fireworks, it's New Year's night here. No empty space after all you see, even here we are, we supposed to be the empty space. You see that everything is filled with threat and fireworks. And of course, the most important part, the dreams of the boy. The next photo story, take a look at the empty space here, exactly the blue piece of the sky. Even here. In fact, Jerry's across inclined. I can't say that it brings for your overall photo probably could work Not bad without it as well. But there are geometrical figures here, triangle here, a triangle, they are lines, lines, lines. You can see it now I'm sure what pleases DI is that there is something happening in every part in every detail of the photo. You like that It's filled in. In other words, imagine that this fund here, the last line, who was not here. Well, different story. Note that good image anymore. Look at the corner on the right. The pavement, the leaves. They bring in different atmosphere here, different feeling from the Trump on the itself. Another familiar photo, feuding in a proper way. One more time. The whole space is divided into the mountain, comes above the roofs, below, at the background, the sky portrait, and again, appropriately fueled in frame. Imagine that here on the left, there weren't a reflection like this. No tree, no brand as well. Then the photo would look emptier. Even more. It would become heavier on the right to end start for linking pieces. As a result, DMT, leaflets, branches of the tree and to D atmosphere of the photo, you must agree. The tension comes from here. From these branches. They seem to capture the woman to add some magic. Going on. A small piece of empty sky left here. Take a look at the details that filling the frame. In contrast, the Dark Mountain comes deal lighter triangle here on the top of the building. Another building appears in the area on the left. Look down a line here. The underpass here. They're resell label as well. Something is written. Well, if there were a man on this place, then it will be almost perfect. The building is not static at the same time just because of the lights, the lines that are here and there, because of the light at the corner as well. Nothing special as a frame at first sight. What you see in fact is that it is split into. But what makes the photon and valid to be shown is this information exactly everywhere, everywhere the error is something, something that's going cone. Kind of same story just interpreted in a different way. The frame this time is feuding with compositional elements. This is the next level, let's say, I say guess the light here is changed in the twinkling of an eye, really. Because of that, these spots here, the dark spots reposition quite often. Look at the people on the second line. They are evenly spread. You see it? There isn't too much empty space anywhere. There isn't a place with too many people at the same time with too many details. At the front line, the spots again, you see the filling the frame. We geometrical figures. A little bit more advanced example. I agree, but it's worth checking it out. Look at that more carefully if you need to. This is a really good example. How to unite composition or with the idea to feel in the frame. Here, a stranger approach, let's say this pace, the wider one is filled in with lines. The lines, yes. You are masters at lines and their role in photography already. Well, these lines bring dynamics in the frame. Another interesting short, although saying it directly, there is no composition here, nothing. But literally, the story is where the emphasis is on here. It's a play of light. As you know, this man's reflection under the icon, leaving kids on your interpretation. This was my way to fill in the frame here to achieve a more stable photo. The story, it took me at around an hour real. And literally I was standing next to the shop. This is so Windows shop. They sell like osteocyte. So I was standing, waiting for the man to pass for the appropriate body language, for the appropriate reflection here, I was hiding myself so that not to be captured in this very reflection. I remember I got a really, really close to the near wall and was taking photos with my 72200 lens. In fact, just showed was a matter of luck. And patients. Then last example, just imagine there is no light coming from the bulbs. You'd have then a really large triangle, empty, dark and heavy triangle. The other, the right part is filled in tanks to this lamp here. The rays that are coming from it. The building is in the middle of course. And here on the road. A lot of lines that bring in the dynamics in the photo. In short, when taking photos, avoid enormous empty spaces. That's the golden rule. Find a way to fuel in your frame. Find a way to include more details. Of course, if that is not your idea, to bring in some mode with the empty space that's deliberately taking part of the frame. Use your imagination, would be brave. And you will see that your photos will be better and better every time. 28. Formats: Another topic that will be really useful for you is for months. I will walk you through the most common ones. Let's start with the square for a month, one-to-one e-mail. See it really quite often. It's been in use since the times of cinema photography, even in my photos, you can see it often enough as well. It's one of the formats I like to put in action to play with it. In fact, when you take a look at someone's photos, you may understand a lot about the person behind the camera. We mentioned this one before. If, for example, the majority of one's photos are cropped in one-to-one format. That means in most of the times that this person is insecure, try it out, probably have an acquaintance who is fond of this Vermont, pay attention to his actions to the way he's capable or is not capable of taking decisions. Some more details. You may notice central composition, not quite precise, balanced frames, ecetera, reflections of the character I'm describing. As I mentioned, I like this font, but it's not the leading one in my photography. Not until the next format is three to two classics, 35 millimeters, the full frame format. This is really the most common one you have seen. You will see and you will use probably 90 percent of my photos are in this format exactly. Again, as we've mentioned, the horizontal frame is a positive one. This is what we are used to. This is how the world is going on in front of us. The square format is the neutral one, whereas the vertical 123 is a negative one. Not literally, of course, just we are not accustomed to this perspective exactly. The next one for the tray. It's quite typical for the Olympus and dependence on X matrix. It's not the one I'm in love with speaking. But I know that there are people who are keen on it, who use it really often. It's a matter of personal preference here. When I shoot with Olympus, for example, I just switched this hitting set. I showed the interior, the two again. Let's put not least comes the 16 to nine per month. Let me call it the youngest of these formats, quite dynamic. This is the Senior format after all. Why this is important. Why I'm spending time to explain it. Here comes the important part. Listen carefully. The formats I've just enumerated are the leading ones, the most common ones. It's my strong advice to keep formats. If you crop your photo just with your gut feeling, well, you will have a problem one day. You will feel the negative side of it. This shows in fact, your photography and competence. As a photographer. It moves you several levels back. Time to prove my words and to make you start keeping four months. I often hear people say, oh no problem, I have intuition how to crop it, why do I need to give the format? I mistake I used to make as well. There were times when I loved the cinema 40 material a lot. But unfortunately, I almost never kept the 16 to nine row. No reason. Right. Just take a look at the photos that came as a result of my roping called intuition. The darker lines I added deliberately to add the effect of cinema stronger. A total mice. This is the result. Imagine the following scenario. You start shooting. Figure in foggy weather for example. You take one to several photos after a period of time, you notice that this is quite a proper collection. It may turn into a serious you publish it on the social media. Then the series is noticed by different sides, by different editors. They contact you and that's good to send the photos to them. Then photos, for example, in order to be published somewhere. Great. Us. Just a small problem. You have not been following the format. You're serious. Looks like this. No way, right? It can't be published on this way. Especially imagine if the photos are going to be printed and published on the wall. Well, in short, you don't have what to send. You don't have your serious what we are exaggerating a little bit just to make it think of her. The importance of formats. Here is one way to save such a mess. In fact, you add a large enough matt white mat. It's a picture framing can know it. And after that, you do also add a black frame. What happens is that some of your photos will be quite smaller in order to your mistake to be hidden. Of course, there could be a situation in which you cannot keep the format, but these needs to be less than 1%, literally 1%. I myself almost don't have photos like this anymore. I'm really trying to keep them as needed. And just because I know what the consequences can pay, its kind of self-discipline. In fact, you need to shoot with the idea that this photo needs to match certain format after that. Here is how a collection of well-formatted frames looks like. The format escaped everywhere, 3 to 2, 35 millimeters. The beginning of this collection, in fact, was in 2008, more than ten years ago. Then I took the first photo. Of course, without having the slightest idea that that photo will turn into this serious. The name came several years later as well. Mirrored. Then followed the exhibitions. Look at them now, it's really beautiful to see photos ordered in this way. When they opened the first mirror, the exhibition, it was a real pleasure for me just to see how my photos printed and he yanked looked like on the white wall. Of course, there is no problem If the photo in, if the photos in one series are we different formats? This is the optimal option. All of the photos in one Fermat. Pay attention to the difference again. How the photos look like here and how they look like here. And here is another project I've been working connect throughout years, dog's life. You see the difference now. There are different formats here. They are asked, we are pictures, the Arab vertical frames. And there is absolutely no problem in this. Or they're next to each other, the photos match really properly. In compositional perspective. You see something that we started with at the very, very beginning. It was in the attached PDF. If you remember, even at this stage, when you need to order your portfolio or to order your exhibition, it's very important to know how to compose the various elements. You need balance, right? You can't just mess d square photos out and wonder why something MSS, when you enter a photographer's page in social media, for example, you can immediately understand if he knows what composition is all about, if he applies it in practice. If you see the format kept, the composition precisely selected, you understand this photographer is experienced enough and he has attention to details. Last example here. The photo Sarah, part of the dog's life. Serious again, you may easily notice different formats. However, it doesn't disturb your sins as a TO everything gets ordered, everything matches the elements around. In short, when you should keep on thinking about formats, you need to know what you want to achieve with the photo. Why? I think you've already understood the importance here. 29. When good story saves bad composition - examples and analysis: We've been talking about composition long enough. Let's now take a look at where the role of the story S. Because in fact, they are really, really tightly connected. Pay attention to these formulas. Good story saves bed composition. Good composition. Save so weak story. Good photography, strong story, and goes composition. You need both of them in one and the same frame in order this photo of yours to have a chance to be a real lay, a really good one. But after all, there are cases when competition prevails. There are cases when the story defines whether your photo will be as successful one or not. When it comes to photography and know everything is subjective. My aim in this and the other lectures is to show you where I see the good story. We are. I think that the composition is bad and why? Yeah, it happens. In fact, I will try to speak less and literate, think more. Use the pause button when you need to and just enjoy as always. So let's get started. Interpretations here. Well, certainly everyone will see something different. Will have some different associations. I guess. You've been through numerous pictures like this one. It's a low in fact, a real one. No, that's not a 10k tone. These are two Stickman here and here. Their hands are up. They're facing each other. You see them now, right? In other words, what I see in photos is not obligatory for you to say this is my message. You may have different interpretations, different associations, and it's pretty normal. That's why I've been encouraging you to and from just to share what you see, just to share your experience, just to share your thought on the different photos. In this first example, there is no composition. You see it? The story here is leading. The man is on the zebra crossing. The taxi driver decides not to stop. What you see is his spontaneous reaction, hysterical, kicking, swearing, gesture, increasing. The duck is cares given you good story. A real life. Probably. You're curious how these photos were taken? Well, it was like this at that time, but he used to work as a photojournalist. There were events all over the city. So I needed to cross this central crossroad quite often. When I saw it, the zebra and the background, I was with a long lens, 7200. I wanted something to happen here. I really want that everytime unfortunate layer, either the light was poor or there was no one to pass in a way a story to appear. In my imagination. There was a woman with a resident rates into small dog who was passing the zebra crossing Quinton care? Well, almost I was waiting and waiting. If there was an event for the newspaper that started at 12, for example, at around this crossroad, I could come at 1011 just to see if today is not the moment for my photo. When I started waiting for the woman, the woman in red, it was summer. Exactly. The photo, you may guess by the clouds and the leafs around the photo I took in winter six months later? Precisely. And you never know what kind of photo you'll be able to take at the end. Not a woman in a red dress, absolute lipid. A pretty good story. Instead, I know that there are photographers who keep on waiting for the correct moment ear or even two. Then when somebody tells me I'm looking after catch such a moment. While, I do slightly disagree. In fact, it's time, work, energy, and a lot more. Remember that patients is a very useful quantity for a photographer. And usually you are praised. You're given a gift for your heart to work for your patients. Look at the story on the left first. Absolutely. No story here. On the right side, the story goes deeper. It's the same girl. Just demotions are different. The story is different. Look at the back, the body language emphasized, thanks to the light. 32 something aggressive psycho, even if I'd call it the fingers DI, you see every detail adds to the overall mood. A psychological portrait with the story. Definitely. Just no competition. Absolutely know this photo effect is corrupt, not informed. Just they had to, you know, this is something that I don't usually adopt. But what I wanted to keep the story thoroughly. This one, you know, I hope you remember the story here. Again. Someone may tell me, I was lucky enough. I think I was patient enough and I had an idea what I was doing. As a result. We have an interesting co-authored a book story that makes it think, how is this possible to appear in one frame and to gain no composition here. In this photo. However, there is no story. It's the opposite example. You see, see what's on law as a composition at the same time, the photo is really, really good. Geometry. You may see the figures area where the lighter space is filled with the darks you, what is your imagination there is the letter R. What they mean is the formulas where we started with the really confirm themselves. Sometimes the story saves the photo, sometimes the composition does it. It's important for you to understand what you want to show and in which moment. Of course, if you have a story and composition, perfect, just it doesn't work every single time. Back to the stories. No composition in this photo, the woman waiting at the bus stop cast no idea that there is a scene like this one behind her. She is obviously wondering why. And if I'm taking photos of her. This man at the same time from the cartoon, seems to breed to hit her. You see it? Another good story without any special composition. A figure in the very center, some branches coming out of the creative. I'm completely wrong. Kino at the store is really cool at the same time. This is a man who let's start from there. He saw that I was shooting and he started making faces. It's a kind of parade wondering what's going on. It's a masquerade or something like that. A more specific story here one more time. And it's better to explain what's going on first, the words that you see say in memoriam off of a civil law civil rights case, one of the Bulgarian heroes. The photo is taken in volume. Again. This is a national celebration, a sad moment as you may see, all of the men in the front line are from the environment. The Bulgarian president as well is here. The Prime Minister and the mayor of the capital. Of them kneeling down, up to D, official ceremonial. Well, it's only the woman that you see standing cup as if not on the same event, let's say on the second line at the same time, there are six bodyguards, six in one frame. Not that often, one more time. You can easily recognize them if you try it suddenly, they that are not looking down. They are on duty so that they need to be alert. But good story again, compensating for the lack of composition. One last example for this lecture. The frame is well filled in. I agree. Enough details make it look thorough detailed. What makes this photo a good 11 more time. Is the story in it? Was the proper location of the objects. The smoke is what creates the atmosphere, what adds to the mode. The same parade, the same masquerade that I told you about it, something typical hearing Bulgaria DID apples once per year. Okay. I hope these were convincing enough, but NACA prepared some more examples. So let's take a look at them in the next video. 30. When good story saves bad composition - examples and analysis, advanced: Let's continue with some more examples and that profile our theory. There are situations when a photo can be saved by its story on law. Even if the composition is not perfect, and vice versa. A photo with a really good composition may compensate for an image or without any story in it. Here is the first example, a cat and a dog. Maybe you noticed that the square in the corner formed from the window. Maybe a catch their resembles that of the golden rectangle. Just, that's not where the emphasis is put here. The accent is in the story. The cat, the predator, and the deaf, the prey. Both of them are so close to each other. Yet no one has an idea about the existence of the other one. Otherwise, I believe the cat wouldn't be staying that calm over the air. The story is leading here, not the composition. Yes, you may see that the image is welfare then. Agree. Just the smile on my face came thanks to the story told. Yes, it'd be better if the Dow for was located diagonal, for example. But that set a moment. This photo does have a story behind, apart from what you see, it was 23 years one after another that I open to and took a look at this image, started editing it in Photoshop. Yvonne then stop the gain, then deleted. What bothered me hear all the time was the really weak composition. You do already know that I'm always trying to frame the image better to play with composition. Well, nothing of the kind. Unfortunately here, the image is split in two parts, almost identical. The grandmother is on the right, the one on the left is empty. There is no bouncing dots there. Nothing that may compensate for this. The only option was to add some effect here or there in Photoshop. Just I never do things like these. I do not either add or remove elements from my photos. After several experiments, I decided to show the image on this way. Why? Because of the story. I do love it here. The hand holding the bag as if this is the woman's life site. Just take a look at that. I tried to crop it in a square, no way. The space in front of the grandmother got lost immediately. The strength of the site as well. You can try to see a triangle here, the hands, the head, the back. Just it does not compensate the lack of balance. In short, the great stories saved at literally, and this story was important for me. I just wanted to let it be. As you can imagine, this is a moment. A moment when she passed several shots I took. And that was so end of the chances. Don't be afraid to take advantage of the camera that is in your hand, then you have the time to chose. Enter member. Sometimes good composition saves the lack of story, but sometimes it's the story that makes the photo words being shown. Different emotions and emotions exactly. This is what makes you like the photo we are taking right now. It's not because of some difficult composition rules that your attention is attracted by subconsciously, nothing like that. It's pure happiness. The Doak, as well as the girl. Just appropriately caught moment. You may see that the image is well balanced. That there is probably a diagonal that probably you may split the image forming the golden rectangle as well. But these are not the leading elements. The story, this is what matters here. What they see in this photo is the strong emotional message. Most of all, look at the line exactly in front of the Doak. I see it as the line thrown by us. People. We decide that, that dogs should be treated in a certain way. They should be in chains with Lee says, they should be beaten, chased away, stray, homeless. These are our rules. Somehow. They happened. The dogs happens to be obliged by them. Also, these smaller space, smaller in size. We humans are at the other side where the space is broad enough. On top of it all. We decided not to care. This is how interprets the back of the omen our world, our decisions, our lines, we simply don't care. That's why I speak about psychological message in the photo. Otherwise, if you do not try to make an analysis, you just like the photo because of the stray doc. And that's all superficial little bits do. This one is an immature do know quite well already. We made therapy compositional analysis here earlier in the course. You know about the leading plies about a dialogue about the person being because one of the lines, the dynamics in the photo reminds of a pendulum. Everything built up to the rules. In other words, well, tried to find the story. No story, right? Nothing is happening on the photo. There is a person passing the aerosols from. And that's all. This says. The opposite example. We saw one like this in the previous lecture as well. It proves that a photo can be strong enough based on composition non-black. What I had on my mind here was decomposition exactly. I can post everything in my mind. Difficult though it was imagine just how photo like DES is taken. I was in a moving from I was trying not to fall who once I knew what they wanted to be within the frame, I just started waiting for the right person with the right body language to pass. Composition. As correct as in textbooks. Not my words. And absolutely no story. At the same time, it's boastful. Another photo we've been through, and exactly the opposite story compared to the previous one. Now composition, just the story. Probably a diagonal you may find here, starting from the corner up left. Well, it's the story that attract your attention. In fact. Take a look at that halo like reflection. The hood on top of the head, the biblical phase, the calendar with the icon in front of him at the same time. Back to the doc stories. Here you may see what you're searching for. There is a story, there is a composition as well. Let's take a look at the story first. The stray doc know people loneliness. If you tried to make deeper analysis, the cars, lights, they resemble monsters. These monsters are growing nearer and nearer in the interim lead, OK. It's cold, it's winter. The dock looks hopeless. We have analysis. Just imagine the grid from the rule of thirds. The crossing point in the down left corner matters. The dog's head. If you go further, the C weight of the lamp works as a splitting client as well. Mec, the golden rectangle even here. However, in my view, it's, the story prevails one more time. This photo here is a perfect example faraway how to fill in the frame. The Arab peoples spread equally everywhere. You may try to find the diagonal in the photo from the right upper corner down to the left. This, however, is certainly not what matters right now. A story, It's defines the power of the image. The dialogue between the horse riders is direct, obvious as well. It's not an association will make thanks to our analysis. Faces dynamics. They define the power of the short. From time to time, there are photos like this one. The photo is split into symmetrical parts. One of the approaches I do advise you to avoid, however, it seems to work here. The exception from the rule, you know that dependency, the diagonal starts from the upper left corner, crosses. You may see one or both or one under the vehicle window. Well, after all, I do not like do not like repeating at how the image is composed here. There is something in the symmetry that irritates me. Honestly think I did not like this darker silhouette on the right as well. It does not bring any information. It does not any meaning to the photo. But that said I've told you I'm always trying to give the format of the photo three to two. I cannot just crop it on the way I'd want that obey. What you see is your original frame, the original crop. What I do like here is a story. The woman on the right, things that I'm shooting her own way. She let's demote enter the photo. The other girls at the back, they have no idea what is going on. Just to read their body language. As they've D1 is on the verge of pressing the button and letting the other one starts moving or start working. Photos like this. I like the objects and lets them call, let, let's call them like that. Have no idea about the existence of each other. This is what they're like and the same time they collaborate, Leighton can image workout. Last example from our miniseries. Absolutely no competition here. This time, even if you start searching for it, you can't find that impossible. It's simply not within the image. Well, the story tells a lot at the same time. This man on the front line is the Bulgarian Prime Minister at that time. She, the woman next to him is the American ambassador in Bulgaria. The photo was taken during a meeting. It's a reportage photo where the story prevails. Well, all of these examples I guess, helped you understand what they mean when I say that the proper story may save the lack of composition, and vice versa. The good composition may save the bad story. The best result, however, you know, is achieved the OI and good story and good composition combined. This is what we aim at.