Photography 101

Part 3: CompositionChapter 24

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 24Part 3: Composition

Color

Colour can connect parts of a scene, separate a subject, or set the character of the whole frame. A useful palette starts with what you want the photograph to say.

What colour is doing

Colour has several decisions inside it. Hue names the family, such as blue or orange. Saturation tells you how vivid or muted it looks. Brightness tells you how light or dark it appears. A small bright accent can carry more attention than a large muted field.

01

Find the dominant colour

Look at the largest colour area. It can set the scene's overall character without becoming the focal point.

02

Choose an accent

A smaller, distinct colour can pick out a person or object. Watch for accidental accents at the edges.

03

Watch relationships

One hue appears different beside a cool, warm, dark or pale neighbour. Judge the colours together in the finished frame.

Black and white is also a visual choice. Removing hue leaves light, shape and tone to carry the composition. Colour symbolism is personal and cultural, so test the feeling with viewers rather than treating it as a rule.

Four starting palettes

The colour wheel gives names to relationships you can seek in a scene. These swatches are simplified examples; real colours vary in hue, saturation and brightness.

Use the interactive color wheel to explore a hue, change its saturation and luminosity, and see its RGB values. Continue with Color Theory in Photography for practical choices in the field and in the edit.

Complementary

Two hues across the wheel, such as orange and blue. Their difference can create a strong accent.

Triadic

Three hues spaced roughly evenly around the wheel, such as red, yellow and blue. Balance their areas so all three need not shout equally.

Analogous

Neighbouring hues, here blue through green. The palette feels connected while retaining variation.

Monochromatic

One hue family in several values or saturations. Light and dark can supply separation without a second hue.

A small warm accent

A person in a blue jacket and orange knit hat walking through a cool-toned passage
Photo by Jack Lucas Smith on Unsplash

Cool blue fills much of the jacket and passage. The orange hat is small, warm and vivid, so it pulls attention to the person's head. The dark hood separates the two colours and keeps the accent clear.

Look for the choice

  1. Cover the hat. What becomes the first colour you notice?
  2. Imagine the hat taking half the frame. Would it still feel like an accent?
  3. Notice the muted trousers and dark figures. How do they keep the palette from becoming only blue and orange?

Field exercise: one scene, three palettes

Find a place with at least two visible colours. Change position, timing or crop; keep enough of the scene recognizable for comparison.

  1. One accent. Let a small vivid colour stand apart from a larger quiet area.
  2. Related colours. Frame neighbouring hues or several versions of one hue. Use brightness to keep a focal point.
  3. Colour-free check. Make a black-and-white version in camera or afterward. See whether the subject still separates by light and shape.

Bring back: three frames. Name the dominant hue, accent and darkest area in each. Explain what changes when hue disappears.

Review your frames

This original lesson develops Chapter 12, “Color,” of StudioBinder’s The Elements of Composition: The Complete Guide (printed pp. 76–79). See the composition reading plan.