◼ Picture composition ↑

“Composition is a means, not an end, and the most perfect composition does not justify an irrelevant image. Composition is a tool used to enhance the impression the picture makes. Assuming that image content and photographic treatment are equivalent, a well-composed photo will make a stronger impression than one with a weak composition. That is the whole secret,” wrote photographer Andreas Feininger (1906–1999).

A picture worth looking at is not (only) bright and sharp, but also has a meaningful composition and structure in terms of subject and image information. Depending on subject and situation, there are various composition tools available to the photographer. Just how such image composition can be implemented in practice will be explained with the help of some examples in the following chapter.

◼ Pars pro toto ↑

Pars pro toto means that a part stands for the whole. In terms of photography, this means that I will find and present a striking detail ... something that provides an undisturbed view of the essential. My subject will be immediately recognisable and will not be lost in the bigger picture.

I will leave out distracting and diversionary elements that have nothing to do with my subject or the related message of the photo. This is comparable to a sculptor who wants to carve a bust from a stone: he cuts away everything about the stone that is not associated with the bust, such that only the bust remains in the end. This may sound simple, but is admittedly not always so easy in practice.

The art of photography is to find a typical detail and emphasise it. The picture will then be limited to the essential and will be particularly worthwhile to look at, perhaps even owing to the unusual proximity and perspective.

Less is often more! Not every photo needs to show the church sanctuary in its entirety with all 220 divine service attendees. From time to time it can also be interesting to see just a few people or to even focus on a single individual. And these do not have to be life-sized, but can also simply show a part. Detail often increases the attractiveness of the picture.

In summary: as long as you can still cut something out of it, the picture is not yet good enough!

As is so often the case in life, practice makes perfect. Even though the whole range of available picture composition tools may seem overwhelming at first glance, various developments will eventually become recognisable as you implement these tips—in other words, step by step.

◼ Depth of field ↑

“If you can see, you can also take photos—but it can take a long time to learn how to see,” explained one advertising slogan by the German camera manufacturer Leica.

Depth of field describes the area of the image that is in focus (from the foreground to the background). Depth of field is determined by a combination of the aperture and the focal length of the lens.

For one or the other photographer, depth of field is the most important style element in photography—and not without good reason. Using the aperture pre-set program “AV” (Canon) or program “A” (Nikon, Sony, Panasonic), pictures can be crafted in a special way.

A razor-sharp subject—embedded in a blurred foreground and background—has a special effect, and directs the gaze of the image viewer to the actual message of the image.

Shallow depth of field (shallow focus): open aperture, low f-number. the wider the aperture (that is, the smaller the f-number, for example, f1.2, f2.0, or f2.8), the less focused everything but the subject becomes. The subject is especially emphasised using this effect. Positive side effect: distracting elements in the foreground or background can be easily removed using this method.

Large depth of field (deep focus): closed aperture, large f-number.: the narrower the aperture (that is, the larger the f-number, for example f16, f20, f26), the sharper the picture in the overall depth. The image is sharp from the foreground right into the background. Few or no parts of the image are blurred. The picture provides maximum information. When taking photos with a large f-number, you will need more light (that is, ambient light, flash lighting, or an increased ISO value ...).

◼ Light and shadow ↑

“See the light, understand the light, make the light,” said Joe McNally (born 1952), an American photographer whose work included photography for National Geographic.

The effect and quality of an image are, to a large extent, dependent on the light and the colour of the light. The overall brightness of a picture has influence on its effect. Overwhelmingly bright photos have a more optimistic and friendly impact than dark ones. Bright photos allow the viewer to better recognise the details.

How does light impact the subject?

Light from above
Flat and two-dimensional pictures area created without spatial effect. The shadows are short and dark. With people, eye sockets are darkened and the chin casts shadows. Light from above at times creates an unnatural and unfavourable effect on people shown in the photo.

Light from the front
Taking photos is very easy in this case. Shadows are created behind the subject. People in the photograph may blink, depending on the light intensity. Be careful with your own shadow.

Light from the side
Shadows create depth and a three-dimensional effect. Expressive contrast areas come into being. Contours and structures are emphasised.

Opposing light
If the light source is behind the subject, it will create strong contrasts. Dark shadows appear in the front, which you may have to (or need to) brighten with a flash. Otherwise the foreground remains poor in detail and is without contrast.

Shadow
Direct sunbeams can be very bright. Sharp, dark shadows are created. The colours of the subject are all the more intense as a result. In order to avoid direct sunlight, place the subject in the shade, or change the camera position.

◼ Condensing images ↑

“Often it is only distance that brings two people closer together,” said the German poet Annette Andersen (born 1953). Presumably she was not thinking about the distance that comes about when a photographer mistakenly chooses the wrong perspective.

When two people who are acquainted stand across from one another, they keep a distance of between 60 and 100 centimetres, in accordance with the four zones of interpersonal space (Edward Hall, 1914–2009). Close friends, family members, or partners might, on the other hand, come very close, leaving less than 60 centimetres between us. The distance between people clearly symbolises how they relate to one another.

In pictures, proximity, affiliation, and esteem between people can be accentuated—or, on the other hand, understated (whether unconsciously or consciously)—depending on a highly individual selection of perspectives.

My position as a photographer will decide whether people are portrayed as mere acquaintances or whether they deserve the title of “close friend” (and in the extended sense, “minister/brother/sister”) —all on the basis of their proximity to one another. The photographically documented distance is (at least subconsciously, if not quite obviously) the impression that the picture will leave with all those who view it.

Regardless of the actual distance, the amount of space between people in photos can seem especially great or especially little. It is important to know about this effect. As a photographer, I decide on my perspective with care.

Nothing surprises the observer more than a large amount of space between two people who are actually very close to one another in conversation. If I do not want to document any distance photographically, I will avoid “no man’s land”, actually create existing proximity using the right perspective, and bring the subjects together in the picture.

◼ Changing perspective ↑

“If your picture isn,t good enough, you,re not close enough” said Robert Capa (1913– 1954), one of the most famous war photographers in the world—thereby setting the bar for the work of many dedicated photojournalists to this day.

Get close! Even closer! In many situations, this is the photographer’s formula for success.

The camera’s position—and the perspective thereby selected—is decisive for the message of the picture, the subject, the proportions, the lighting conditions, and thus also for the overall image quality. No amount of photo editing can correct what I lose just before clicking if I have the wrong perspective.

It pays to think about the right perspective for a few moments. It is worthwhile to photograph a subject from a second or third perspective too. It is also worthwhile to analyse the perspective of already completed photos and optimise it for similar pictures in the future.

After this click is before the next click. And between clicks there is movement. Either my subject moves—such that my second and third photos generate a different message all on their own—or I move as the photographer, and thereby expand my range of different perspectives.

Perspective is classically divided into three forms:

• Bottom view (extreme form: worm’s-eye view). Owing to the selected perspective, people in the photograph seem to be elevated on a pedestal, ennobled, or lifted up (this effect occurs in particular when using portrait format).
• Normal view (people in the photograph are at eye level).
• Super view/Top view (extreme form: bird’s-eye view). People in the photograph seem trivialised, small, awkward).

◼ Emotions and feelings ↑

“The fact that a photo which is flawed (in the conventional sense) can be emotionally more impactful than a technically flawless photo will come as a shock to those who are naïve enough to believe that technical perfection alone constitutes the true value of a photo,” said photographer Andreas Feininger (1906–1999).

A picture must captivate the beholder. A picture must be memorable.

The likelihood that an image will be described as both worth seeing and extraordinary increases when it conveys emotion and captures a unique moment in all its originality.

Not every photo in a reportage series can fulfil this requirement—or can it?! However, the more emotions that can be recognised, the longer and the more intensively people will look at a photo.

How does a photo manage to convey such originality? It must be either striking, strange, sad, funny, unusual, authentic, inspiring, original, informative, or poignant—and in any case, unique.

◼ Golden Ratio/Rule of Thirds ↑

The positioning of the subject in the centre of the picture often has a boring or static effect.

An interesting alternative in the composition of the image—by contrast to the central formation—is to arrange the subject in accordance with the Golden Ratio or the Rule of Thirds. In both cases, the (main) subject is positioned on one of the four intersecting points of the lines.

Attention! Not every image needs to be structured in accordance with this rule. However, many subjects (people, animals, plants, the horizon, etc.) are often more interesting, intense, and harmonious as a result of this positioning.

Important: when photographing people, it is important to always choose the point of intersection that yields space in the direction of view. In other words, do not arrange faces such that the persons depicted are looking directly out of the photo with a lot of space behind them.

◼ The Five Ws and how ↑

“A picture is worth a thousand words,” says an old proverb.

Journalists learn that their reports must always include all the essential information. To this end, journalists answer the five Ws and how in the course of their research or in their write-up of the events.

Photographers can likewise answer these questions when producing a reportage, and see to it that their galleries/photos contain the maximum of information. At times, a photographer might even succeed at capturing so much information in his photos that there is nothing more for an editor to do. Using the example of a divine service, these questions —and the responses to them—might appear as follows:

Who?
Who conducted the divine service? A photo of the officiant and the ministers who served along. Who took part in the divine service? A photo of those who attended the divine service

How?
How did it happen? A (detailed) photo of the act; photos that capture the mood.

What?
What happened? Photos of divine service components (arrival, music, sermon, acts, conversations, farewells ...).

When?
When did the divine service take place? Photo of the church or hall from the outside (which also shows the time of day), photo of a clock/wristwatch.

Where?
Where did the divine service take place? Photo of the church or hall, photo of place sign.

Why?
Why did it happen (this way)? Photo of posters (announcement) with reference to a joint divine service for various congregations for example.

◼ Image format ↑

The field of view of a healthy person corresponds to landscape format. It is possibly for that very reason that the cameras of almost all manufacturers produce photos in landscape format when you point them directly ahead. We are also familiar with landscape format from the classical television set or computer monitor.

Here is an overview of the most frequently used picture formats and their effects.

Landscape format

• corresponds to what people are naturally accustomed to seeing
• imparts peace and stability
• is most frequently used

Portrait format

• more unusual, dynamic, and dramatic
• supports vertical lines
• documents size, strength, and power using height
• contradicts natural perception
• emphasises the reduced elements of a picture

Panorama

• extreme aspect ratios
• causes landscape and portrait formats to make a more dramatic statement

Circles, ellipses, and polygons

• are unusual and can be used in individual cases
• this format wears off quickly after repeated uses

The format best suited for publishing photos on the Internet is landscape. Panoramic and other special formats are difficult to view in online galleries.