Learning to see and improve your pictures

Date Published: 8/7/2011
Category: Straight Takes

It is a simple shot of a pretty rose; it often creates great interests among anyone that likes to photograph flowers. If you look at the composition, beside the rose, on the left side you see is another form of slap of a concrete stone intruding a big part of the space as well. I find it rather difficult to justify why it should be in the composition, although it is blurred out. It has no relation or business to the pretty rose.  If possible, another angle of view is chosen or move in closer will omit the slap of concrete would be a less distracting composition. It is common among photographers, tends to forget or pay less attention to backgrounds.
A beautiful sunset with the landscapes in shapes, warm colours and a contrast of tones and colours, picture of such often attracts attention to those who loves landscapes photography. The sky is reflected on the water (foreground) of this composition. Upper half and lower half of this composition are given an equal emphasis, the horizon is placed 50:50 here.
I would give more emphasis on the interesting foreground water in this composition and less to the background sky in this picture, it would have been a much stronger composition than. Picture would also look much settled.  A photographer must be aware that with the presence of the horizon line in a picture automatically divides the image into two. In addition, the placement of the horizon helps to characterize the visual emphasis of the image.
Interesting texture and shape with a contrast of colours of the flowers in this composition. One need not show the full form of a flower in order to describe a flower. You see shapes and lines that are familiar as complete (closed) rather than incomplete. Nevertheless, equally distracting here is that it is neither here or there (left hanging in the air) in this composition of flowers. The colour tones in the background (negative space) tend to blend and merge with one part of the flower in the upper. By omitting the upper flower and just concentrate, the lower right flower would have made the composition much stronger.

Call it abstract if you want or totally blurred out. If the photographer knows what he/she is doing, I can read his reasons for such a composition. Except for the leading lines created by the stream of lights  in this picture against the total dark sky or background, it has created some curiosity somehow; otherwise better off   not having to show the dark sky and just the ‘abstract’ stream of lights would have been better. The whole content or the reason of this composition will also change then.
Often a photographer focuses on a portion of the subject matter, with no one point of interest to save it, a specific sense of design is necessary to make a good composition. Form is primary; content is irrelevant.
Interesting element of repeating the power pylons, with the different scale of size of the pylons in this picture and the warm light created by the sun, somehow created depth in this landscape composition.
I would have chosen to move slight to the right, to have the sun in full view and not having to overlap it with a pylon. Somehow, the strong element of the repeating pylons totally over overwhelmed the beautiful and strong colours of the overlapping sun and the picture as a whole has lost its strength.  Should you want to keep the same composition, other option would have been to shoot with a telephoto lens to magnify the size of the sun and the picture’s emotion as well. This will result to a tighter composition, ascribing to the principle that the bigger the shape, the more believable its symbolism.