BASIC PHOTOGRAPHIC TECHNIQUES

Today, photography is characterized by a rapid growth in the development of technology and ideas. Each
year, millions of pictures are taken and an astonishing array of new films, cameras and imaging systems
enter the market. One of the great attractions of the photography field is the ease with which basic skills
can be learned.
Unlike some of the older arts that take years of training to produce an acceptable product, anyone can
quickly learn how to take a picture; however, photographic techniques must be mastered before you can
become an accomplished photographer; therefore, mastery of the basic fundamentals is the foundation
upon which you will build your photographic and professional skills as a Navy Photographers Mate. The
photographic techniques presented in this chapter are essential in producing quality photographs, and you
can apply each of these fundamentals, to some extent, each time you take a picture.

Lesson 1: Photographic Composition, Center of interest, Subject placement,

Simplicity, Viewpoint and camera angle, Balance.
Lesson 2: Shapes and lines.
Lesson 3: Pattern, Volume, Lighting, Texture, Tone.
Lesson 4: Contrast, Framing, Foreground, Background.
Lesson 5: Perspective.
Lesson 6: Basic lighting techniques: Outdoor and Existing ligt photography.
Lesson 7: Composition and Basic shots or sequences.PHOTOGRAPHIC
COMPOSITION
Photographic composition is the pleasing arrangement of subject matter elements within thepicture
area. Creative photography depends foremost on the photographer's ability to see as the camera sees
because a photograph does not reproduce a scene quite the way we see it. The camera sees and records
only a small isolated part of the larger scene, reduces it to only two dimensions, frames it, and freezes it. It
does not discriminate as we do. When we look at a scene we selectively see only the important elements
and more or less ignore the rest. A camera, on the other hand, sees all the details within the field of view.
This is the reason some of our pictures are often disappointing. Backgrounds may be cluttered with objects
we do not remember, our subjects are smaller in the frame or less striking than we recall, or the entire
scene may lack significance and life.
Good pictures are seldom created by chance. To make the most of any subject, you must understand the
basic principles of composition. The way you arrange the elements of a scene within a picture, catch the
viewers attention, please the eye, or make a clear statement are all qualities of good composition. By
developing photographic composition skills, you can produce photographs that suggest movement, life,
depth, shape, and form, recreating the impact of the original scene.
How are photographic composition skills developed? You look, you study, you practice. Every time you
take a picture, look all around within the viewfinder. Consider the way each element will be recorded and
how it relates to the overall composition. You must become thoroughly familiar with the camera and learn
how the operation of each control alters the image. Experiment with the camera and look at the results

carefully to see if they meet your expectations. With experience and knowledge of your equipment, you
begin to "think through your camera" so you are free to concentrate on composition. Devote serious study
to the principles of good composition. Study books and magazine articles on composition. You should
analyze various media: motion pictures, TV, magazines, books and newspapers, and evaluate what you see.
What is good about this picture or that TV image? What is bad about it? What principles of good
composition could you apply in a different way to make the picture better.
Good or correct composition is impossible to define precisely. There are no hard-and-fast rules to follow
that ensure good composition in every photograph. There are only the principles and elements that provide
a means of achieving pleasing composition when applied properly. Some of these principles and elements
are as follows:

Center of interest

Lighting

Subject placement

Texture

Simplicity

Tone

Viewpoint and camera angle

Contrast

Balance

Framing

Shapes and lines

Foreground

Pattern

Background

Volume

Perspective

As you study these principles of composition, you should soon come to a realization that some are very
similar and overlap one another a great deal.
Because all or most of these principles must be considered and applied each time you take a picture, it may
all seem quite confusing at first. With experience you can develop a sense of composition, and your
consideration and application of the principles will become almost second nature. This is not to suggest
that you can allow yourself to become complacent or careless in the application of the principles of
composition. Doing so will be immediately obvious because the results you produce will be snapshots, not
professional photographs.
The principles of composition that follow apply equally to both still and motion media photography.

CENTER OF INTEREST
Each picture should have only one principal idea, topic, or center of interest to which the viewer's eyes are
attracted. Subordinate elements within the picture must support and focus attention on the principal feature
so it alone is emphasized.
A picture without a dominant center of interest or one with more than one dominant center of interest is
puzzling to a viewer. Subsequently, the viewer becomes confused and wonders what the picture is all

about. When the picture has one, and only one, dominant "point of interest," the viewer quickly
understands the picture.

NOTE:
"Point of interest," as used here, has the same meaning as center of interest; however, using the term point
of interest prevents giving the impression that the center of interest should be located in the center of the
picture.
The specific topic, idea, or object to be portrayed must be set in your mind as you prepare to take a picture.
When there is nothing in the picture to attract attention to a particular area or object, the eyes wander
throughout the scene. The center of interest may be a single object or numerous ones arranged so attention
is directed to one definite area
When the center of interest is a single object that fills most of the picture area or one that stands out boldly,
such as a white sail against a background of dark water, attention is attracted immediately to it. As may be
expected, not all subjects are as simple to arrange or as bold and impressive.
A photographer usually has at his or her disposal many factors or elements that can be used and arranged
within the picture area to draw or direct attention to the primary idea of the picture. Some of these elements
are lines, shapes, human figures, tone, and texture.
Human figures attract attention more strongly than almost any other subject matter and unless they are the
main object of the photograph should probably be kept out of the picture; for instance, a photograph
showing a person standing at some distance in front of a building may leave the observer wondering
whether the person or the building is the primary subject. When people are included in a scene for
comparative size of objects or just for atmosphere, keep them from looking directly at the camera. When
people look at the camera and therefore at the viewer of the picture, the viewer tends to return their gaze by
looking directly back into their eyes. When they are not the intended point of interest, we miss the
statement and purpose of the picture. When people are subordinate elements within the picture and they are
looking in a direction other than at the camera, the viewers attention is directed from the people to
what they are looking at, which should be the center of interest; for example, when people are grouped
around a piece of machinery that is the center of interest of the picture, have them look at the machine,
rather than the camera.

SUBJECT PLACEMENT
Sometimes good composition is obtained by placing the
center of interest in the geometrical center of the picture; it is
generally not a good idea to place it there. Too frequently it
divides the picture into equal halves and makes the picture
uninteresting and difficult to balance. By dividing the picture
area into thirds, both vertically and horizontally, and locating
the center of interest at one of the intersections of the
imaginary lines, you can usually create a feeling of balance to
the composition (fig. 5-5).

In photographic composition there are two general guides for

determining the best location for the center of
interest. The first is the principle of thirds. The other
is dynamic symmetry. In the principle of thirds, the
intersection of lines that divide the picture area into thirds are
marked by Os. These intersections are good locations for the
center of interest in most photographs. Notice we said THE
center of interest. Remember, have only one center of interest
to a picture-keep it simple. The principle of dynamic
symmetry is a similar idea. A good location for the center of
interest is found by drawing or imagining a diagonal line from
one corner to an opposite corner. Then, draw a second line
perpendicular to the first from a third corner (fig. 5-6). The
intersections of the lines are the location for the center of
interest.

SIMPLICITY
Simplicity is the key to most good pictures. The simpler and more direct a picture is, the clearer and
stronger is the resulting statement. There are several things to be considered when we discuss simplicity.
First, select a subject that lends itself to a simple arrangement; for example, instead of photographing an
entire area that would confuse the viewer, frame in on some important element within the area. Second,
select different viewpoints or camera angles. Move around the scene or object being photographed. View
the scene through the camera viewfinder. Look at the foreground and background. Try high and low angles
as well as normal eye-level viewpoints. Evaluate each view and angle. Only after considering all
possibilities should you take the picture. See beyond and in front of your subject. Be sure there is nothing
in the background to distract the viewer's attention from the main point of the picture. Likewise, check to
see there is nothing objectional in the foreground to block the entrance of the human eye into the picture.
A last point of simplicity-tell only one story. Ensure there is only enough material in the picture to convey
one single idea. Although each picture is composed of numerous small parts and contributing elements,
none should attract more of the viewer's attention than the primary object of the picture. The primary
object is the reason the picture is being made in the first place; therefore, all other elements should merely
support and emphasize the main object. Do not allow the scene to be cluttered with confusing elements and
lines that detract from the primary point of the picture. Select a viewpoint that eliminates distractions so
the principal subject is readily recognized. When numerous lines or shapes are competing for interest with
the subject, it is difficult to recognize the primary object or determine why the picture was made.

VIEWPOINT AND CAMERA ANGLE

The proper viewpoint or camera angle is an important factor in good composition. Repositioning your
subject within the viewfinder frame and changing the camera viewpoint or camera angle are two simple
ways of controlling composition.
Photographing from a different viewpoint or camera angle can often add drama and excitement or even
bring out an unusual aspect of a subject. Most of the subjects you photograph are three-dimensional and
should be photographed from an angle (to the right or left of and/or from higher or lower than the subject)
that allows the viewer to see more than one side of the subject. The photographer should study the subject
from different sides and angles. Walk around the subject and look at it from all viewpoints. See it from
elevated and low positions as well as from eye level to find the best composition. This greatly assists in
composing the subject for the best balance and helps to select a background that compliments, not distracts
from the subject.

The terms viewpoint and camera angle are often used in conjunction with one another and sometimes used
interchangeably. They can also have different meanings depending on how they are applied. Viewpoint" is
the camera position in relationship to the subject. "Camera angle" is the angle in which the camera lens is
tilted; for example, a picture of sailors marching, made from ground level with the camera held horizontal
with reference to the ground, may be referred to as a "low viewpoint" (or camera position); however, when
this picture is made, again from ground level, but with the camera pointed up, it may be referred to as a
"low camera angle." Likewise, a picture made from an elevated or high position, with the camera again
held horizontal with reference to the ground, or even pointed straight down, can be referred to as a "high
viewpoint"; however, if the camera is not held horizontal to the ground or pointed straight down, but
pointed at some angle between horizontal and vertical, the camera position could be referred to as a "high
camera angle."

Eye-Level Shots
With the camera held horizontal, eye-level shots are usualIy made at a height of about 5 1/2 feet, the height
from which the average adult sees, and with the camera horizontal. With the camera held at eye level but
pointed up or down, the camera position changes and you have either a low or high camera angle,
respectively.

Low Viewpoint
and Low Camera
Angle
Low viewpoints and low
camera angles can add
emphasis and interest to
many ordinary photographs.
A low viewpoint can be used
to distort scale or add
strength to a picture or to
emphasize certain elements
within the picture. A low
camera angle is achieved
when the camera angle is
located below the point of
primary interest and pointed
upward. Low angles tend to
lend strength and dominance
to a subject and dramatize
the subject. Low angle shots
are used when dramatic
impact is desired. This type
of shot is very useful for
separating the subject from
the background, for
eliminating unwanted
foreground and background,
and for creating the illusion of
greater size and speed (fig.
5-7).

High Viewpoint
and High Camera
Angle
High viewpoints and high
camera angles help orient
the viewer, because they
show relationships among all
elements within the picture
area and produce a
psychological effect by
minimizing the apparent
strength or size of the subject
(fig. 5-8).

BALANCE
Balance in photographic composition is a matter of making pictures look harmonious. Each element in a
picture has a certain amount of value in respect to all the other elements. Every tone, mass, shape, tree,
rock figure, building, line, or shadow contributes a certain amount of weight that must be arranged
correctly in the composition to give the impression of balance. The subject placement within the picture
area is the factor that must be carefully considered.
Composition is kept in balance by two different methods: symmetrical, or formal, balance and
asymmetrical, or informal, balance.

Symmetrical, or
Formal, Balance
Symmetrical, or formal, balance in
a photograph is achieved when
elements on both sides of the
picture are of equal weight (fig. 59A). The idea of formal balance
can be related to a seesaw, When
there are two equally weighted
objects on the seesaw and they
are equidistant from the pivot point,
or fulcrum, the board will be in
balance.
Pictures with formal balance may
look static and unexciting;
however, they do present an air of
dignity. Formal balance does not
always mean a picture has to the
seesaw in perspective. The forces
or weights are be symmetrical.
Symmetrical pictures, in which
both presumed to be
approximately equal; but, the
imaginary sides are exactly the
same, are produced only when you
pivot point is set deep into the
picture space. With this want a
special effect; therefore, they are
not often variation to symmetrical
balance, a more interesting
produced. A variation of
symmetrical balance deals with
photograph is usually created (fig.
5-9B).

Asymmetrical, or Informal, Balance

Asymmetrical, or informal, balance is usually much more interesting than symmetrical balance. In
asymmetrical balance the imaginary central pivot point is still presumed to be present; however, instead of
mirror images on each side of the picture area, the subject elements are notably different in size, shape,
weight, tone, and placement. Balance is established by equalizing the element forces in spite of their
differences.
Asymmetrical balance is introduced when the presumed weight of two or more lighter objects is equalized
by a single heavier object placed on the other side of the imaginary pivot point (fig. 5-10). Asymmetrical
balance is more difficult to achieve than symmetrical balance, because of the problem of establishing

relative weight values for dissimilar elements within the picture area as well as presenting some form of
stability.

Aspects of Balance
There are many other factors to consider in order to make pictures appear balanced. Some of these are as
follows:

An object far from the center of the picture seems to have more weight than one near the center.

Objects in the upperpart of a picture seem heavier than objects of the same size in the lower part
of a picture.

Isolation seems to increase the weight of an object.

Intensely interesting objects seem to have more compositional weight.

Regular shapes seem to have more weight than irregular shapes.

Elements on the right side of an asymmetrical picture appear to have more weight than elements
of the same size on the left side of the picture.

The directions in which figures, lines, and shapes appear to be moving within the picture area are
important to balance; for example, a person may be walking in a direction, or his eyes may be
looking in a direction, or the shape of some element creates a feeling of movement. When the
feeling of direction is present within a scene, it tends to upset the balance if judged on the size of
the subject alone.

Understanding the factors required to create pictorial balance is essential for you to produce good pictures.
To gain this understanding, you can continually test your feelings for balance as you look through your
camera viewfinder. Once you gain an understanding of the principles of pictorial balance, achieving
balance in your photographs becomes an easy process.

SHAPES AND LINES

Shapes and lines are important elements in

photographic composition. When properly used,
shapes and lines can create a desired effect. As a
photographer, you usually have control over the
way shapes and lines are used in your pictures.

Shape
Shape is a two-dimensional element basic to
picture composition and is usually the first means
by which a viewer identifies an object within the
picture. Form is the three-dimensional equivalent of
shape. Even though shape is only two-dimensional,
with the proper application of lighting and tonal
range, you can bring out form and give your
subjects a three-dimensional quality. Lighting can
also subdue or even destroy form by causing dark
shadows that may cause several shapes to merge
into one.
Shapes can be made more dominant by placing
them against plain contrasting backgrounds; for
example, consider again the white sail against the
dark water background. The greatest emphasis of
shape is achieved when the shape is silhouetted
(fig. 5-11), thus eliminating other qualities of the
shape, such as texture and roundness, or the
illusion of the third dimension.

Lines
Lines can be effective elements of composition,
because they give structure to your photographs.
Lines can unify composition by directing the
viewer's eyes and attention to the main point of the
picture or lead the eyes from one part of the picture
to another. They can lead the eyes to infinity, divide
the picture, and create patterns. Through linear
perspective, lines can lend a sense of depth to a
photograph. (Linear perspective causes receding
parallel lines to appear to converge in the picture.
This allows you to create an illusion of depth in
your pictures.)
The viewer's eyes tend to follow lines into the
picture (or out of the picture) regardless of whether
they are simple linear elements such as fences,
roads, and a row of phone poles, or more complex
line elements, such as curves, shapes, tones, and
colors. Lines that lead the eye or direct attention
are referred to as leading lines.A good leading line
is one that starts near the bottom corner of the
scene and continues unbroken until it reaches the
point of interest (fig. 5-12). It should end at this
point; otherwise, attention is carried beyond the
primary subject of the photograph. The apparent
direction of lines can often be changed by simply
changing viewpoint or camera angle.
Vertical, diagonal, horizontal, and curved lines
create different moods. Vertical lines communicate
a sense of strength, rigidity, power, and solidarity to
the viewer. On the other hand, horizontal lines
represent peace, tranquillity, and quietness. A
generally accepted practice is to use a vertical
format for pictures having predominantly vertical
lines and horizontal format for pictures having
predominantly horizontal lines. Again, this is
a generally accepted practice, NOT a rule.

Diagonal lines represent movement, action, and

speed. A picture with diagonal lines conveys a
feeling of dynamic action even when the subject is
static (fig. 5-13). Curved lines present a sense of
grace, smoothness, and dignity to a photograph
(fig. 5-14). The most common curved line is the S
curve.
Lines are not only present in the shape of things but can
be created by arranging several elements within the
picture area so they form lines by their relationship with
one another.

PATTERN
Creating your pictures around repeating elements
or patterns provides picture unity and structure.
Pattern repetition creates rhythm that the eyes
enjoy following (fig. 5-15). When lines, shapes,
and colors within a picture occur in an orderly way
(as in wallpaper), they create patterns that often
enhance the attractiveness of photographs.
Pattern, like texture, is found almost everywhere. It
can be used as the primary subject but is most
often used as a subordinate element to enhance
composition. When pattern is used as a supporting
element, it must be used carefully so it does not
confuse or overwhelm the viewer. Pictures that are
purely pattern are seldom used, because they tend
to be monotonous. Patterns should be used to
strengthen and add interest to your subject.

Shape is the most common and powerful pattern element. Repeated lines, tone, and color can also provide
unity to your composition and combinations of these create interesting pictures. Triangles, squares, and

circles are the basic shapes to look for in a pattern. Triangles and squares are usually static but can be
placed to create a tension-filled, dynamic effect. Circles and curves are pleasing pattern shapes.

VOLUME
When photographing most subjects, you face the problem of how to symbolize three-dimensional objects
in a two-dimensional picture. The solution becomes simple when a distinction is made between the two
different ways three-dimensional objects appear: as positive, or occupied space (volume) or as negative, or
unoccupied space.
unit placed at the camera, you only symbolize empty or negative space; however, a sense of depth is
provided because of increasing darkness toward the back of the shop. Occupied or positive space (the
machines) is If you make a picture to show the entire machine front-lighted and appears shadowless and
flat. On the shop aboard a repair ship using only one powerful flash other hand, if you use a series of lights
along the sides of the machine shop to sidelight the machines, shadows are cast at their sides and occupied
or positive space appears three-dimensional; however, since all the machines, both near and far, are now
lighted the same, you do not create a sense of depth, and empty or negative space appears flat. For the best
picture of the machine shop, you should light the machines in a way that the three-dimensional form is
represented, while creating a sense of depth by reducing the intensity of illumination toward the back of
the shop.

LIGHTING
Lighting is also an important creative element of composition. By controlling the light and directing it
where you want it, you can subdue objects or distracting elements in the scene to give more emphasis to
the main point of interest.
For good picture composition, you must develop an awareness of how changes in lighting can affect the
appearance of things around you. Light and shadows can be used in composition to create mood, to draw
attention to an area, to modify or distort shape, or to bring out form and texture in the subject.
Shadows are a key to apparent form in photographs. Without shadows, the subject records without form,
curvature, or texture, appearing flat and lifeless. This does not mean that shadows must be harsh and black
to achieve the effects of form, curvature, and texture. They may be soft, yet of sufficient density to show
the most delicate roundness and form. Generally, harsh, black shadows are undesirable in a photograph due
to the loss of detail in them. From a compositional standpoint, black shadows can be very useful in
balancing a scene and directing attention to the point of interest. Harsh shadows can also be excellent for
emphasizing texture and form, for creating interesting patterns, and for directing attention to the main point
of interest; however, the same elements can also obscure detail and reduce form. When the lighting is
harsh, such as on a clear, sunny day, shadows have sharply defined edges and are probably very dark,
sometimes to the point that they appear stronger than the primary subject and attract attention to
themselves.

TEXTURE
Texture helps to emphasize the features and details in a photograph. By capturing "texture" of objects
being photographed, you can create form.
When people observe a soft, furry object or a smooth, shining surface, they have a strong urge to touch it.
You can provide much of the pleasure people get from the feel of touching such objects by rendering

texture in your pictures. Texture can be used to give realism and character to a picture and may in itself be
the subject of a photograph. When texture is used as a subordinate element within the picture, it lends
strength to the main idea in the photograph. It usually takes just a little different lighting or a slight change
in camera position to improve the rendering of texture in a picture. When an area in a photograph shows
rich texture, the textured area usually creates a form or shape; therefore, it should be considered in
planning the photograph (fig. 5-16).

TONE
Tone is probably the most intangible element of composition. Tone may consist of shadings from white-togray-to-black, or it may consist of darks against lights with little or no grays. The use of dark areas against
light areas is a common method of adding the feeling of a third dimension to a two-dimensional black-andwhite picture. The interaction of light against dark shades in varying degrees helps to set the mood of a
composition. A picture consisting of dark or somber shades conveys mystery, intrigue, or sadness. When
the tones are mostly light and airy, the picture portrays lightness, joy, or airiness.