Photography 101

Part 3: CompositionChapter 18

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 18Part 3: Composition

Textures

A photograph cannot be touched, but ridges, foam, cloth and stone can make us imagine how a place feels. Texture gives a subject a surface and a setting.

Make a surface feel present

Texture is the visible detail that suggests how something might feel: rough bark, smooth glass, soft wool or broken water. It can become the subject of a photograph, or it can tell us what kind of place surrounds a person. Look for changes in light and shade across the surface.

01

Choose the material

Find a surface with enough detail to describe it. A small patch can be more revealing than a whole object.

02

Watch the light

Light from the side often reveals raised edges and hollows through small shadows. Flat light may soften that relief.

03

Decide the scale

Move close to fill the frame with marks, or step back and include enough setting to show where the texture belongs.

Texture is visual evidence, not a promise of touch. A photograph can suggest a sensation, but the viewer still interprets it through colour, light, memory and context.

Look closely at paperbark

The curved layers and dark seams make this tree bark feel almost like folded cloth or flowing water. Those comparisons come from what the photograph shows; the actual surface is bark.

Close view of paperbark with pale and dark curved layers
Wider viewThe alternating pale and dark strips create a winding path across the frame. There is no tree trunk or forest in view, so the surface becomes the subject.
Closer crop of the same paperbark image showing small ridges and torn edges
Closer cropAt this scale, small torn edges and shallow shadows become more noticeable. The broad sweep of the original composition becomes harder to read.

Photo by David Clode on Unsplash. The second view is a crop of the first, so it shows a change in framing rather than a new light or camera position.

Three choices that change the reading

LIGHT

Rake light across the surface

Try moving around a subject as sunlight falls from the side. Small shadows can reveal relief. If the light itself changes, take a second picture and compare the same area.

FOCUS

Keep the detail you need sharp

For an angled surface, focus on the important patch. A smaller aperture can hold more of it in focus, but check the shutter speed before you stop down.

CONTEXT

Show what the material belongs to

Include a hand, trunk, wall or shoreline when the material alone feels abstract. That surrounding clue can make its scale and place understandable.

Field exercise: one material, three views

Choose a safe, stationary surface such as tree bark, woven fabric, peeling paint or stone. Photograph the same area three ways.

  1. Close detail. Fill the frame with a small patch. Focus on the relief and look for repeating marks.
  2. Show the setting. Step back and include the object or place the surface belongs to. Keep the material recognisable.
  3. Change the light. Move around to find more side light, or return when the light changes. Compare the tiny shadows, not just the exposure.

Bring back: three photographs of one material. Under each, write what you imagine it feels like and which visible detail gave you that impression.

Do not pull bark or damage a surface for a photograph.

Review your frames

This original photography lesson develops Chapter 6, “Textures,” of StudioBinder’s The Elements of Composition: The Complete Guide (printed pp. 28–31). See the composition reading plan.