Photography 101

Part 3: CompositionChapter 22

Tools

Contents

Part 1: Exposure

  1. 1 Mastering the Exposure TriangleBalance aperture, shutter speed and ISO for brightness, depth, motion and noise.
  2. 2 ISO and image noiseWhen to raise ISO, why grain appears, and how to trade it for a faster shutter.
  3. 3 MeteringWhat the meter aims for, how to read it, the four metering modes, and Sunny 16 when there's no meter.
  4. 4 Shooting modes and the histogramLet the camera set one setting, steer it with exposure compensation, and check the result with the histogram and zebras.
  5. 5 Dynamic rangeHow many stops a camera can hold at once, what to keep when a scene is wider, and measured figures for real cameras.
  6. 6 Shutter speed and motionCamera shake, freezing or blurring a moving subject, and ND filters for long exposures.
  7. Part 1 cheat sheetFormulas and starting settings from chapters 1–6.
  8. Part 1 quizCheck yourself on chapters 1–6.

Part 2: Focus and depth

  1. 7 Camera LensLens anatomy and how to choose wide, standard, telephoto, prime, zoom and specialist lenses for real subjects.
  2. 8 Aperture and depth of fieldWhy a wider aperture blurs the background, what else controls blur, and the shape of bokeh.
  3. 9 Sensor size and crop factorWhat a smaller sensor crops, equivalent focal length and aperture, and why phones fake the blur.
  4. 10 Hyperfocal distanceSharp from here to infinity: focusing landscapes with blur circles, focus stacking and a cheat card.
  5. 11 Diffraction and the sharpest apertureWhy f/22 looks soft, where your lens is sharpest, and how pixel size changes it.
  6. Part 2 cheat sheetFormulas and starting settings from chapters 7–11.
  7. Part 2 quizCheck yourself on chapters 7–11.

Part 3: Composition

  1. 12 The composition reading planAll 15 chapters of The Elements of Composition, with printed page numbers and a photography lesson for each.
  2. 13 Introduction to compositionComposition as visual communication: choose what to show, compare three frames, and see how viewers read them.
  3. 14 What is composition?Arrange subject, space and edges to change what a photograph says; compare photos and make three versions of one scene.
  4. 15 Focal pointsChoose where the eye lands first, use contrast and space to build a visual path, then test thirds and diagonals in a field exercise.
  5. 16 LinesFollow straight, curved and implied lines through a photograph, then make three frames of one subject from different positions.
  6. 17 ShapesFind shapes made by subjects and space, use a frame within the frame, and compare three ways to place one subject.
  7. 18 TexturesMake a surface feel tangible with light, detail and context, then photograph one material three ways.
  8. 19 PatternsUse repetition to build rhythm, break a pattern to draw attention, and make three versions of one repeated scene.
  9. 20 SpaceUse positive and negative space, fill the frame, and simplify without losing meaning.
  10. 21 DepthLayer foreground, middle ground and background, and use perspective or deep space to show distance.
  11. 22 BalanceWeigh elements with symmetry, asymmetry and radial arrangements; explore the golden ratio as an optional guide.
  12. 23 ContrastCreate meaning and focus through contrasting subjects, light, shadows and colour.
  13. 24 ColorChoose hue, saturation and brightness, then compare complementary, triadic, analogous and monochromatic palettes.
  14. 25 ToneRead shadow, midtone and highlight; shape global and local tone while keeping meaningful detail.
  15. 26 AngleChange camera height and tilt to compare level, straight up or down, high and low viewpoints.
  16. 27 Composition conclusionBring the elements together in a four-frame story and develop your own way of seeing.

Part 4: Color Theory

  1. 28 Color Theory in PhotographyUse HSL, warm and cool depth, four color harmonies, white balance and selective editing to guide attention.
  2. 29 White balanceRead the color of light, match Kelvin and tint, and choose what to preserve when lights mix.

Tools

  1. Color wheelExplore hues, adjust saturation and luminosity, enter RGB or hex values, and preview the color live.
  2. Photo editorTry light, colour, detail and crop adjustments on a sample or your own photo, then save the result.
  3. Golden hour plannerSunrise, sunset, golden hour and blue hour for where you are, and where the sun rises and sets.
  4. ND filter calculatorYour shutter speed with an ND filter on, and a countdown timer for bulb mode.
  5. Depth of field calculatorHow much is sharp for your lens, aperture and focus distance, and the hyperfocal distance.
  6. Photo info and location removerSee a photo's camera settings and where it was taken, then remove the location before you share it.

Chapter 22Part 3: Composition

Balance

Visual weight can be shared evenly, offset by something different, or arranged around a centre. Balance is a choice about how the whole frame holds together.

What feels heavy in the frame?

Visual weight is the pull an element has on attention. A large shape, a bright patch, a saturated colour or an isolated face can all feel heavy. Balance can involve position, colour, shape and tone at once. It need not mean that both halves contain the same number of objects.

Ask what counters what. A small bright subject near one edge might balance a larger but quieter dark area elsewhere. If a frame feels unsettled, that may serve its story.

Three ways to distribute weight

Symmetrical

Similar weight sits on either side of a vertical or horizontal axis. The centre often becomes the focal point. Exact symmetry can feel deliberate and orderly.

Asymmetrical

Different elements counter one another: one large quiet area against a small vivid subject, for example. Variety can create movement, comparison or tension.

Radial

Elements gather around a central point like spokes, petals or a rose window. The repeating directions can suggest motion and lead attention inward.

Symmetry with a small disruption

A corridor with similar walls on both sides, a central floor line and a staircase at the far end
Photo by the iop on Unsplash

The paired walls and lights set up near symmetry, and the centre line draws the eye forward. At the far end, the staircase breaks the mirror-like arrangement.

Look twice

  1. Cover the staircase. What holds the frame together?
  2. Reveal it. Does the asymmetry at the far end add interest or feel distracting?
  3. Imagine shifting the camera left. Which side would gain more weight?

Symmetry can guide attention to the middle, but a small difference can keep the image from feeling mechanically repeated.

Where the golden ratio fits

The golden ratio is approximately 1.618:1. A golden rectangle has sides in that proportion; dividing it repeatedly can produce a sequence of smaller rectangles and an approximate spiral. Some artists use that geometry to suggest a route through an image.

Use it as a guide

The spiral is a constructed overlay, not proof that a photograph is good. Try placing a subject near a bend or along the path, then hide the guide and judge the actual relationships. Other arrangements may serve the scene better.

The book introduces the ratio and spiral as an advanced option. It does not need to appear in every frame.

Field exercise: rebalance one scene

Find a doorway, table or street scene with more than one visible element. Keep the subjects as consistent as possible.

  1. Centre it. Use a central axis and look for equal weight on both sides.
  2. Offset it. Shift the subject toward one side. Counter it with a smaller bright detail, a larger quiet shape or open space.
  3. Circle it. Find a wheel, petals, round window or other centre with elements radiating around it. Make the centre purposeful.

Bring back: three photographs. Mark the visual weights and write whether each frame feels steady, active or deliberately tense. If a golden spiral seems useful, try it on one crop as an optional comparison.

Review your frames

This original lesson develops Chapter 10, “Balance,” of StudioBinder’s The Elements of Composition: The Complete Guide (printed pp. 55–67). See the composition reading plan.