4
Framing the Scene
Zion National Park
David A. Page
Family Outing
Richard D. Zakia
Object in the Foreground: The edges of an image are called the frame, as can be seen on any camera’s LCD screen, DSLR viewer screen, and, of course, the photograph. What one decides to select in a particular scene is called framing. In this photograph, the man and woman by the water’s edge with their three dogs were selected and included in the picture frame as were parts of the landscape to the left and right of them. One dog is in the water swimming towards shore, while the other two are at attention on the shore with their tails pointing upward. The two dogs serve as a counterpoint to the couple. The foreground of the beach, middle ground of the water, and background of the hilly land provide a friendly setting. What lies outside the frame is assumed to be more beach, water, and hills.
Be attentive to what’s before and beyond the focus plane. The framing is the formality of it.
William Eggleston
Rustic Homes
Denise Felice
Framing: Objects in the foreground of a scene can serve as a framing device for objects further away, as we see here. The two large tree trunks act as curtains for the scene beyond: the three old rustic homes. Both trees and homes are probably of the same vintage. The sunlit grass in the midground contrast with the dark shadows under the trees and provide an added dimension of depth. There is a sense of nostalgia and mystery in the photograph, as one might wonder whether the homes are occupied, and if so, by whom.
The ground we walk on, the plants and creatures, the clouds above constantly dissolving into new formations—each gift of nature possessing its own radiant energy, bound together by cosmic harmony.
Ruth Bernhard
Couples
Fatima Nejame
By using the two couples on benches as a frame and photographing them from behind, we are invited to vicariously enjoy the quiet, placid scenery in front of them—rippling water, a large hanging tree limb touching the water and a castle-like structure to the distant left. The photo is nicely framed and balanced with an attractive brick pattern in the foreground. The couple embracing on the left bench gives the photo a romantic feeling and reflects some of the unseen beauty in Vietnam.
The value of composition cannot be over estimated: upon it depends the harmony and the sentiment.
Gertrude Kasebier
Malay Woman
Focal Point: Wherever the eye is directed or impelled to look in a photograph is called the dominant point or focal point. Here, the attractive Malay woman is the focal point—the center of interest. The exotic and famous Putrajaya Mosque in the background serves as a secondary point of interest and provides a setting for an informal portrait. (See chapter 9 for more on portraits.)
Nature and Man
Denise Felice
Scale: The man is dwarfed alongside this majestic land formation, but he gives scale to the Ring of Kerry in Ireland. Cover the man with your finger and notice how the size of the formation is diminished.
Young Man
Vertical: Vertically framed photographs suggest strength, power, and height, as we see in this photograph of a well-dressed young man. He stands tall and confident with his arms folded and with warm eye contact. The plain background provides no environmental clue as to his role in society. He projects the image of a professional person, however.
If you want to succeed, double your failure rate.
Tom Watson, IBM Pioneer
Tall Trees
A series of vertical forms, such as these majestic tree trunks, works well as either a vertical or horizontal. To accentuate the height of the trees, a vertical is preferred. To show the expanse of the trees and forest, a horizontal is best. In either case, it is critical that the trees be seen as vertical within the frame, because they will be compared with the vertical edge of the frame.
Perception is relative.
Rashid Malik
Standing Guard
David A. Page
Photographs of a single vertical form are best seen in a vertical format, as in this birdhouse with a perched nesting pair of brown-headed nuthatches. The viewer’s eye is drawn vertically by the birds and the red roof of the birdhouse.
Morgan Classic
Richard D. Zakia
Move in Close: The top photograph provides a broad country setting for the car, whereas the bottom photo places more emphasis on the car and less on the setting. Showing the car from a different vantage point and sharper angle provides a more dramatic look.
Scribe
Howard LeVant
Move in Closer: In this photograph, we are provided with an up-close and intimate look at a specially trained scribe (Sofer) preparing a new Torah.1 So as not to disturb or distract him, natural light was used. A slightly wide-angle lens was used to draw the viewer into the frame. The camera was carefully handheld and steadied. If a long focal length lens had been used, the intimacy would have been lost. In terms of composition, and in a personal note, the photographer wrote, “The image is comprised of two triangles, which divide the photograph evenly in half from upper left to lower right. I made the scribe the subject of the upper left triangle and the parchment being written on the lower right part. By allowing his arm to cross the centerline from the left the two triangular parts become one.”
Threesome
Richard D. Zakia
Part for the Whole: Sometimes showing just part of a subject in a photograph is more interesting than showing the entire subject. It invites the viewer to enter in and complete the photograph as he or she wishes. In this photograph, we see the lower part of three people standing around, probably in a conversation. We can identify two men and a woman. That one of the men is dressed in his native Indian clothes adds interest, for this is no ordinary gathering. Is he a visiting dignitary? What is the occasion? The woman is conservatively dressed and stands between the two men. The questioning can continue, for there is no answer to the photograph other than the one you give it.
I often painted fragments of things because it seemed to make my statement as well as or better than the whole could.
Georgia O’Keeffe
Ford Cobra
Vicki H. Wilson
This close-up of a Ford Shelby Cobra was composed in camera to identify the sports car by its famous name and symbol on the steering column. Angles, curves, and vivid colors also make this car an ideal subject for composing, to a show a part of the car. Photographing only a portion of a subject draws attention to specific details and potentially allows viewer interpretation. However, if the photographer’s intent is for the viewer to clearly identify the subject, the composition must include sufficient visual information for this purpose. One interested but not familiar with this car may want to go on the Internet for a look.
The camera doesn’t make a bit of difference. All of them can record what you are seeing. But, you have to see.
Ernst Haas
Kissing Madonna
David A. Page
Fill the Frame: By coming in tight on the subject, the viewer’s attention is directed to the loving face of the Madonna and child. The child’s left arm embraces his mother and the mother’s hand embraces her child. This tenth-century fresco was photographed in Tokali Kilise, Cappadocia, Turkey.
Palm
Richard D. Zakia
Sometimes filling the frame can be effective by filling it not with the intended subject, but with the background, as we see here. By doing so, the palm tree is isolated, has a vast grayish background, and calls attention to itself. The contrasting green color of the branches and the red color of the pot complement each other, without interference, as might occur with a busy background. The soft lighting on the subject and wall add to the quietness of the photograph. It was taken at the national Museum of Art in Washington, DC.
Don’t look for good pictures. Look at what’s in front of you and photograph what most attracts you or repels you.
David Vestal
Brothers
Vicki H. Wilson
Frame Within a Frame: The edges of a photo determine the frame. Framing a photograph within a frame can be fun. When outdoors, look for natural settings such as clusters of trees or rock formations in which to place your subject. The young boys in this photo were having fun playing on the boulders.
Basket Balls
Missy Harrill
Placing a subject within a frame can provide a more interesting composition. Doorways, windows, arbors, gates, car windows, and the like work well. Here a fun-loving group of sport enthusiasts is framed within the open tailgate of a car, holding basketballs that they have proudly won. One can imagine the same group photographed alongside the car and not framed as being much less interesting. This photograph was taken with a cell phone. The quality of the image is rewarding.
Never boss people around. It’s more important to click with people than to click the shutter.
Alfred Eisenstaedt
Gathering Water Lilies, 1886
Peter Henry Emerson
Position Within the Frame: Peter Henry Emerson’s photograph is an early classic and is in the collection of many museums around the world. It is his signature piece. Emerson was a British physician who was born in Cuba; he took up photography when he was about 30 years old. He was one of the early pioneers in practicing photography as an art form and was passionate about nature. We see in this photograph a man and woman in a boat among floating lily pads and tall reeds in the background. The boat is at an angle and positioned in the center of the frame. Shadows of the boat, man, and woman are reflected in the water. The man handles the oars while the woman picks a water lily. The photograph can serve as a reminder not to be a slave to the rule of thirds or triangles. Be aware of compositional features, but when photographing, photograph with your heart and emotion.
I never ignored or lost sight of the fundamental and vital importance of composition.
Peter H. Emerson
Joey
Richard D. Zakia
In the top photograph, Joey—sitting on his stationery bike and looking at the viewer—has room to move within the frame, but not so in the bottom photograph.
Carl and Heidi
Ken H. Huth/GEH
Beyond the Frame: Carl Chiarenza and his wife Heidi visited the George Eastman House, where this portrait was taken. By having the background out of focus, attention is fixed on the couple as figure. The photographer positioned them at the upper-right intersection of the rule of thirds grid. They appear in a warm embrace, looking beyond the frame of the photograph. Had they been placed at the upper left of the grid, they would not. They would be looking within the frame. Placing them in the middle of the frame would result in a static and boring photograph.
Photography is a picture-making medium, like any other picture-making medium. It’s a magnificent medium.
Carl Chiarenza
Bourbon Boys
Bruce Keyes
Tilt: Mardi Gras is a time for fun and frolic, as we see here. The two men hang on to the street pole for balance, their bodies tilted. We, however, have a sense of imbalance as we view the photo—some of us more than others. This is because we depend upon things being vertical or horizontal for balance. To create tension in a photograph, tilt something.
London
More Tilt: Some viewers will find this photograph unsettling to look at and may turn away from it. The tilt of the red bus, Parliament, and St. Stephen’s Tower are extreme but add to the dynamic feeling of movement.
EXERCISES
Looking
This striking vertical photograph by French photographer Nadar (1820–1910) projects the apparent strength and confidence of a handsome young man, hand in pocket, head slightly tilted, looking askance at the viewer. It would still be powerful as a horizontal but would lose some of its impact.
Photo 1. Young Man.
Nadar.
The Steerage, 1907 by Alfred Stieglitz is an iconic image and much has been written about it. Compositionally, the walkway at an angle provides a dynamic feeling and the tilted smokestack provides a feeling of imbalance. Both work together to activate the frame. Stieglitz saw Steerage as a study of line and balance, light and shade.
Photo 2. The Steerage, 1907.
Alfred Stieglitz.
Imogen Cuningham’s Magnolia Blossom, 1925 is another icon that can be found in many publications. Her close-up photo captures the sensual beauty of the flower and demands our attention. It is a reminder that we do not spend enough time looking at flowers, as Georgia O’Keeffe has stated.
Photo 3. Magnolia Blossom, 1925.
Imogen Cunningham.
Additional photographs by Nadar, Stieglitz, and Cunningham can be seen on the Internet. Look also for examples of framing by photographers such as Richard Avedon, Robert Frank, Freeman Patterson, Joel Meyerowitz, and John Pfahl.
Photographing
1. Move in close to capture the delicate beauty of flowers that you like and spend time studying their shapes and colors.
2. Take a straight photograph of a subject and then one with the camera tilted. Compare the two. Is one more engaging than the other? Play around with different degrees of tilt and subjects.
3. There are many different ways to frame a scene, including a frame within a frame, and, if you wish, within another frame. Have fun with one of your friends and frame him or her in an unusual way as David Page has done here.
Photo 4. Four Alarm Zakia.
David Page.
Note
1 The Torah is the Hebrew Scroll version of the Old Testament’s Five Books of Moses.