In Figure 4–9,1 used sidelighting to bring out the texture in the brick. I took this image for a brick manufacturer that needs to provide its clients with images that clearly represent the specific qualities of its products. Revealing texture gives the clients a sense of what makes this brick texturally different from another brick with the same shape and color.
Figure 4–9: Sidelighting helps to reveal texture in an image.
Considering Pattern Types
Photographers seem to be drawn to patterns, both natural and manmade. Patterns are interesting to look at, so it makes sense that they work well in photographic compositions. In fact, patterns can help you do any of the following: reinforce your message, draw a viewer's eye to certain elements in your scene, and add visual interest.
Most importantly, however, including patterns in your compositions is an easy way to keep a viewer in your frame for longer periods of time. You can lead a viewer to your subject by positioning it at the end of a pattern or in the line of one. Picture a car driving around the bend on a winding road. The yellow dotted lines create a pattern that leads your eyes from the foreground, around the bend, and right to the car.
The key to using patterns successfully in your compositions is to know one when you see it, to know which type of pattern it is, and to figure out how it relates to your message. I show you several of the different types of patterns you're likely to use in the following sections.
Adding interest With sequence patterns
You can find a
composition in Figure 4-10. The scene alone was interesting enough to photograph, but I still felt that it could use something else to make people want to look at it — and continue to look at it. Without the sequence of ripples in the water, this lagoon would be bordering on boring.
50mm,
Figure 4-10: Using a pattern to add interest to your composition.
Look for basic sequence patterns in reflections, butterflies, brick walls, ripples in the sand and water, and on flowers, plants, and trees (to name only a few). Elements that repeat naturally draw the eye and people's attention. Viewers often tend to follow the pattern to see whether it keeps going or to compare one side to the other as if looking for differences.
Leading your Viewer by using repetition
Repetition can suggest a pattern even when no real pattern exists. Five men lined up with surfboards standing in the sand right next to one another can suggest a pattern. The men and boards can be of varying shapes and sizes and colors. This situation doesn't technically show a pattern, but you get the sense that it does, and your eyes are drawn to it.
Repeating elements also help drive home your message. For instance, if you see one sailor walking down the street in Times Square, you may assume he's on leave and is visiting the city. On the other hand, if the streets are filled with sailors, you probably can assume that a parade or other special occasion is taking place.
Notice the use of repetition in Figure 4-11. The chopsticks act as leading lines to direct your eyes to the main subject — the repeating sushi rolls. (I explain more about using lines in the earlier section 'Following Lines, Real and Imagined.') The repeating shapes of the sushi rolls draw your eyes around the frame and back to the starting point, which in turn leads your eyes back into the image. In this image, repetition works as a leading element and as a descriptive element. It shows how many pieces are served with this particular menu item.
50mm,
Figure 4-11: Repetition is used to guide your eyes through the frame and inform you about the subject.
Breaking patterns to grab attention
One way to capture attention even more strongly than a pattern itself is to show a break in a pattern. Technically, a break in a pattern could be considered a flaw, and flaws stick out visually like sore thumbs. However, you can use this attention to your advantage; Figure 4-12 proves it. Which window draws your eyes the most?
In the figure, the windows with no lights create the pattern. The one window with the lights on stands out as being different from the rest. If you take advantage of the situation and incorporate your subject in the broken area of the pattern, your subject will stand out for sure.
Sometimes the flaw in the pattern can work alone as your subject. For instance, a row of trees in which one has been chopped down could provide a message of taking only what's needed. A row of tree stumps with only one tree standing would provide a message of greed and abuse.
Figure 4-12: A break in the pattern can grab your attention more strongly than the pattern itself.
Chapter 5. Arranging Visual Elements in a Frame According to the 'Rules'
Understanding the different areas of an image
Aiming for a more pleasing composition with the rule of thirds
Making the most out of the space in your frame
Deciding between simple and chaotic compositions
Creating balance in a composition to keep a viewer's attention longer
Think about it this way: If you placed a person's face directly in the center of your frame, you have just as much space above the head (referred to as
As a photographer, you choose what to shoot and how to position that subject in your frame. The 'rules' —
