Documentary photography composition method

Lead: Bresson said that the function of composition is to coordinate the visual elements organically. I said, let's take a picture, our eyes are watching, our feet are moving, and our heads are thinking. When everything is as we wish, we will press the shutter. Talking about composition and the theory of foreground and background is of little use. The key is intuition when taking pictures. Of course, intuition needs to be cultivated, and it is practiced by actual combat. The following are my common composition tips to discuss and share with you.

First, take an impressive face.

We meet many people, some of whom forget it after reading it, while others can't forget it after reading it. If you think this is the case, take a picture. Composition, very simple, does not need anything else, just his (her) face. Of course, it would be better if you had a good expression.

Second, take some impressive faces.

Nonsense, do you want to talk from one face to ten faces and then to a hundred faces, hehe. Of course not. When multiple faces are together, there will be trade-offs, which is more difficult to shoot than one face. Sometimes, the excellent ones need to be shot, and the others can be empty. However, that's the load of the eye. A bunch of monks went forward, and a little monk turned back. Such works are all awards.

Third, shoot Byakki Smoker.

Anyway, there are mirrors, puddles and reflective things. If you try to shoot them, you will make different visual effects. As for the barber, it is more meaningful to deal with the mirror all his life and photograph him in front of it.

Fourth, come to the environment while shooting people.

Different occupations, different jobs and people's living environments are different. Adding some environment to the composition will provide more information and make the photos more chewy.

Fifth, shoot the environment and shoot someone at the same time.

Nonsense again. Is it different from the above? It's really different What is said above is people-oriented, and what is said here is environment-oriented. Great difference!

Sixth, shoot the far back.

The figure in the distance has a sense of perspective and imagination, so we are not afraid that he will come back and scold us. What a bargain. As long as it is the back, shoot more. Of course, it is best to take a long stone road, and a person who takes a winding path is generally better alone. There are more people, so it won't be lonely and boring.

Seven, shoot the shameless.

At this time, no matter who he is, what we want is something else, such as an antique, a stone lion, an old stone step and so on. People are empty.

Eighth, shoot the people in the box.

There are many boxes in life, such as old doorways, such as photo frames, such as flower windows. When there is a person inside, it is also a good composition. However, it usually takes a while for more interesting people to appear. Of course, you should not be so rigid. The box is interesting, and so are the circles. It's up to you whether you can draw inferences from others.

Ninth, shoot the villain.

It will be interesting to make the environment bigger and people smaller.

Finally, a few words, the composition is ever-changing, if you want to pass? Stick your stomach to the ground or take other ridiculous actions? (Bresson) Making different compositions is your business. I don't want to do that.