{"id":90334,"date":"2022-11-17T10:00:55","date_gmt":"2022-11-17T15:00:55","guid":{"rendered":"https:\/\/www.adorama.com\/alc\/?p=90334"},"modified":"2023-01-10T11:55:40","modified_gmt":"2023-01-10T16:55:40","slug":"animal-photography-composition","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/animal-photography-composition\/","title":{"rendered":"Understanding Composition in Animal Photography\ufffc"},"content":{"rendered":"\r\n

I like to think of composition in animal photography<\/strong>\u00a0as the visual foundation for communicating a subject in a portrait. The manner in which you establish your subject within the frame, the orientation of the photo, and the balance of elements within the confines of a single image play significant roles in the overall impact of your image. Without keeping in mind a few basic visual considerations, your photos may not be perceived as well as it could.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n\r\n\r\n

In this article, I\u2019m going to explain basic composition for wildlife portraiture by first breaking down my thoughts on composition theory.<\/p>\r\n\r\n\r\n\r\n

The Journey of the Eye<\/strong><\/h2>\r\n\r\n\r\n\r\n

In its simplest form, composition is the journey of the eye as it moves throughout the scene within a photo. The path that a viewer\u2019s eye takes is dictated by where we as photographers place the objects or \u201celements of composition\u201d within the frame. These include the subject, of course, but also lines, patterns, textures,\u00a0color, contrast, curves, negative space, foreground, and background. This can also include visual tension between objects, natural frames, shapes, and depth.<\/p>\r\n\r\n\r\n\r\n

Conventions<\/strong><\/h2>\r\n\r\n\r\n\r\n

You\u2019ve probably heard of\u00a0the\u00a0rule of thirds<\/a>, and the cliche that it\u2019s not a \u201crule.\u201d Well, it\u2019s true that it\u2019s not a rule. Although, it is a powerful visual convention and guideline for helping you to arrange compositional elements within the frame.<\/p>\r\n\r\n\r\n\r\n

The basic concept is that an image is split up into 9 equal sections, split by three vertical and horizontal lines. By placing your elements of composition \u2014 such as the subject or the eyes of your subject \u2014 on these lines or at their intersections, you\u2019ll create a more interesting visual journey for your viewers eyes.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n
\"\"
Photo by Donal Boyd<\/figcaption><\/figure>\r\n

\"\"Symmetry in Animal Photography<\/strong><\/h2>\r\n
\"\"
Photo by Donal Boyd<\/figcaption><\/figure>\r\n

The three vertical and symmetrical lines represented above by the\u00a0rule of thirds\u00a0can also be seen as symmetrical if you divide the frame in both vertical and horizontal directions.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Each side is mirroring the other. For me, the acknowledgement of this vertical and horizontal line in the\u00a0center\u00a0forms the guideline for how I position subjects within the frame.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n\r\n\r\n

Symmetry is very pleasing to the eyes because there is less information for the mind to take in if there is balance within an image. This balance means that your image can more effectively be understood within a shorter period of time. When combined with negative space and\u00a0minimizing\u00a0other textures and\u00a0colors, symmetry can be a powerful tool in creating captivating portraits.<\/p>\r\n\r\n\r\n\r\n

Where to Place the Eyes<\/strong><\/h2>\r\n\r\n\r\n\r\n

Personally, when the subject is looking straight into the camera, it is ideal to put the eyes of the subject somewhere above the middle horizontal of the frame. There should be an equal amount of \u00a0empty space to the left and right. For me, it feels like the subject and I are on the same level, looking straight into each other.<\/p>\r\n

\"\"
Photo by Donal Boyd<\/figcaption><\/figure>\r\n

This can also work well if you place the dominant eye on one of the two vertical lines, according to the rule of thirds. Where the middle horizontal line crosses one of the third verticals is also very ideal. In the example below, the blurry foreground and\u00a0bokeh background<\/a>, combined with the leading line of the back of the subject, creates a natural journey for the eye.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n

Viewers\u2019 eyes are first attracted to the element that is in focus (the face) and then drawn to the most in-focus eye. Thus, the eye spends more time on the image and takes in more information when the compositional elements are balanced as such.<\/p>\r\n

\"\"
Photo by Donal Boyd<\/figcaption><\/figure>\r\n

\"\"There are many other well-suited positions for the eyes. For example, in the image above, the negative space around the subject immediately draws you to the\u00a0center. The eye of the African wild dog is also the strongest visual element in terms of sharpness.<\/p>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n

In the example below, placing the eyes on the third horizontal line of the rule of thirds helps to establish a sense of dominance within the frame. The higher the eyes are within the frame, the more it gives you the feeling of looking up to the subject.<\/p>\r\n

\"\"
Photo by Donal Boyd<\/figcaption><\/figure>\r\n

\"\"Leading Lines in Animal Photography<\/strong><\/h2>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n

One of the most powerful compositional elements that can help lead the eye into the focus of an image is natural curves or lines. For example, in this image of the elephants taken from below (using a special camera trap) there are several strong lines of the trunks that stand out against the sky. The lines then bring you into the\u00a0center\u00a0of the image. It holds your attention longer, and gives you a chance to take in more of the image.<\/p>\r\n

\"\"
Photo by Donal Boyd<\/figcaption><\/figure>\r\n

\"\"The leading lines formed by the symmetrical orientation of the cows in the image below is another example of how symmetry and leading lines can be combined. Here, the out-of-focus cows in the background decrease in height as you move toward the edges of the frame. This creates a natural arrow to the cow in the front middle. When you look at the cow in the\u00a0center, your peripheral vision further compounds the visual structure. This holds the gaze of any viewer on the focus of the image \u2014 the cow with the biggest horns.<\/p>\r\n

\"\"
Photo by Donal Boyd<\/figcaption><\/figure>\r\n

\"\"Natural Framing\u00a0<\/strong>in Animal Photography<\/strong><\/h2>\r\n
\"\"
Photo by Donal Boyd<\/figcaption><\/figure>\r\n

\"\"Creating depth and a sense of context can be established using the compositional element of natural framing. This, as the name might suggest, essentially means to use elements that exist in the scene to create a frame around the main subject. This could be trees, other subjects, or anything within the scene.<\/p>\r\n

\"\"
Photo by Donal Boyd<\/figcaption><\/figure>\r\n

Color\u00a0<\/strong>in Animal Photography<\/strong><\/h2>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n

Color is one of the most effective tools in establishing the subject within the frame. For example, by using two contrasting\u00a0colors<\/a>, you can create a juxtaposition for the subject to stand out. This can be accomplished either in the field, or through editing by adjusting the hues.<\/p>\r\n

\"\"
Photo by Donal Boyd<\/figcaption><\/figure>\r\n

\"\"Combining Compositional Elements<\/strong><\/h2>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n

Combining various concepts within composition theory is the best approach to creating a journey for the eye within the frame. For example, the image of the horse \u2014 which features a strong element of\u00a0color\u00a0contrast \u2014 also places the eye of the subject on the symmetrical horizontal line. Overall, this brings in the attention of the viewer straight to the\u00a0center\u00a0of the frame. This balanced horizontally as well because the horse has equal negative space to the left and right.<\/p>\r\n

\"\"<\/p>\r\n\r\n\r\n\r\n

Whether you are capturing\u00a0portraits of horses<\/a>, elephants, or your cat at home. Considering the elements of composition to establish a pathway for the eye is paramount in creating powerful imagery that holds the attention of any viewer.<\/p>\r\n","protected":false},"excerpt":{"rendered":"

I like to think of composition in animal photography\u00a0as the visual foundation for communicating a subject in a portrait. The manner in which you establish your subject within the frame, the orientation of the photo, and the balance of elements within the confines of a single image play significant roles in the overall impact of […]<\/p>\n","protected":false},"author":11111166,"featured_media":90353,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[17770,17779,17780],"tags":[2637,748,206,11115],"class_list":["post-90334","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-photography","category-photography-101","category-photography-tips","tag-animal-photography-2637","tag-composition-748","tag-photography-206","tag-wildlife-photography"],"acf":[],"yoast_head":"\nUnderstanding Composition in Animal Photography\ufffc - 42West<\/title>\n<meta name=\"description\" content=\"In this article, wildlife photography Donal Boyd will walk you through how to tackle composition in your animal photography portraits.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.adorama.com\/alc\/animal-photography-composition\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Understanding Composition in Animal Photography\ufffc - 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