Photography 101

Part 3: CompositionChapter 17

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 17Part 3: Composition

Shapes

A shape can be a visible object, the space between people, or an opening that holds a subject. Look for the outline first, then ask what it does for the photograph.

See the outline

Before you name the objects in a scene, notice their outlines. Roofs, windows and shadows make obvious geometry. A person's bent arm can make a triangle; two people and the space between them can make another. The shape is useful when it helps you understand a relationship or find the subject.

01

Solid shapes

Notice the silhouettes of people and objects. Step around the scene until a profile or outline reads clearly.

02

Shapes between things

The gap beneath an arch or between two figures has a shape too. Watch what the empty area adds.

03

Nested shapes

A window, doorway or curve can make a smaller frame inside the photograph and hold your subject within it.

Geometry does not have one fixed meaning. A circle may feel enclosing or welcoming depending on the people, light and story around it. Judge the whole scene.

Shapes formed by relationships

Imagine each pale circle is a person. The amber outline shows a shape you might notice in their arrangement. The same people can feel connected, separate or enclosed when you change their positions.

Triangle

Three positions can create a hierarchy. Notice who occupies the top, middle and edges, then look for gestures that change the reading.

Circle

People or objects around a centre can suggest a gathering, an enclosure, or attention aimed inward.

Frame

An opening separates a subject from its surroundings. It can also reveal where they are and how much space they have.

A frame inside the frame

A silhouetted person stands within a bright rectangular opening inside a dark interior
Photo by Mario Scheibl on Unsplash

The dark room makes the bright rectangular opening easy to see. The person stands inside it, so the opening locates them and separates them from the surrounding shadows. The floor tiles add smaller repeated shapes beneath.

Read it in two passes

  1. Cover the person with your finger. What does the bright rectangle make you expect to see?
  2. Reveal the person. Does their small size change how large or imposing the room feels?
  3. Look at the outer edge of the photograph. Would a tighter crop make the inner frame stronger or lose the sense of place?

A frame within a frame can be an arch, window, gap between branches, or even two foreground figures. Keep enough of its edge visible for the opening to read.

Field exercise: one subject, three shapes

Find one subject near a doorway, arch, window or two objects that make a gap. Keep your subject and light as consistent as you can.

  1. Show the object. Make a frame where the subject's own silhouette is the clearest shape. Check that the background does not swallow the outline.
  2. Show the gap. Move until the empty shape around or beside the subject becomes noticeable. Try a small change in camera height.
  3. Frame it. Photograph through an opening. Include enough of the surrounding edge to show the inner frame, then try a tighter crop for comparison.

Bring back: three photographs. Trace the main shape on each and write what relationship it gives the subject: isolated, connected, enclosed, or something else you see.

Review your frames

This original photography lesson develops Chapter 5, “Shapes,” of StudioBinder’s The Elements of Composition: The Complete Guide (printed pp. 23–27). See the composition reading plan.