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5 Photo Composition Hints. The First Element - Texture
This article is
an attempt to combine photographic principles with laws of nature and
some philosophical visions. The aim is to find harmony in photography
as an art.
I. Textural Composition. This
photographic aspect forms everything, connected with the features of
matter and its 5 elements: space, wind (air), light (fire), water and
earth. It's interesting that the space, under its qualities, is
unnoticeable and we often forget about its presence.
1. If we examine textural composition in the field of photographic creativity, we can meet some kinds of it depending on different aspects:
a) Lens. From the utterly sharp detailed image (low dispersive lens, closed diaphragm) to the utterly unsharp one (lens with good bokeh, opened diaphragm).
b) DOF. The possibility to regulate and combine texture also depends on the lens Depth Of Field (DOF).
c) Textural composition can be created with the help of every thing that can reveal the psychology of the object we can touch:
- material (paper, plate, ambrotype...)
- textural qualities of light-sensitive elements (film, matrix, noise, grain...)
- scanning process (scratches, lints ...)
- stylization (computer design or coloring photoprint with brush)
2. If examining it through the content
we can find that it appears in the four elements of life: Earth, Water,
Fire and Air - according to the decrease of their textural quality of
sharpness. The fifth element is Space that hasn't got any
textural qualities and can't be sharp or unsharp, but nevertheless, it
has its invisible texture. We can see the Space by means of different
things as a net, bee's cells, stairs, a crowd.
The spectrum of tactile qualities of all the 5 natural elements is a foundation for all the other forms of composition. It is a material basis of the whole composition. This basis is so self-sufficient that the image can be easily consist from the only texture without selecting any separated forms.
3. A Texture or A Form? We can define it with the help of scale.
For example, one hair on the pillow (of any scale according to the
image) is a form. It builds the story and dimensional composition. Hair
of a sleeping woman on the pillow is a texture. The same thing with one
man on the shot (a form) and a crowd (a texture). Even if it's a group
portrait, people go there as a whole and therefore it's a texture.
Due to the practice in textural composition we can come to the understanding of the main artistic problem - how to distinguish Object and Subject, Form and Content? The problem of revealing the content through the form is a top task in creativity.
In
this very case we can start distinguishing that, for example, water as
a form exposes through the object of water itself, but as an element of
nature it should be exposed through the texture of water. Methodical practice can expand your possibilities of artistic language. Most textural peculiarities are hidden to our eyesight and can be revealed only during the post processing.
4. How Do We Perceive Textural Composition?
Textural Composition influences the viewer in a subconscious way because of the archaic origin of tactile sensation. We can't describe them with words, but imagine them easily.
In musical analogy texture is in line with tone quality, which depends on the material of musical instruments.
5. The best way to show texture is to convert your image into monochrome (black and white, sepia, cyanotype). It's not because of the fact that it becomes more visible, but the color draws a lot of our attention to itself. It is an illusive essence of color, and it's going to be the next topic of our article.
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