Composition

Thirty-two ways to arrange a frame, and the wording that gets each one.

Composition is where things sit in the frame. A model centres the subject unless it is told otherwise, so naming the arrangement is the fastest way to make a shot look deliberate rather than generated.

Where the subject sits

11

The first decision in any frame. On a third, dead centre, or hard against an edge, and the shot says something different each time.

Rule of Thirds: The subject sits on a third line rather than in the middle.

The subject sits on a third line rather than in the middle.

Golden Ratio: The subject sits on a spiral proportion rather than on a simple grid.

The subject sits on a spiral proportion rather than on a simple grid.

Centered Composition: The subject sits dead centre and the frame is built around that.

Centered Composition

The subject sits dead centre and the frame is built around that.

Central Framing: Everything in the frame points the eye to the middle.

Central Framing

Everything in the frame points the eye to the middle.

Symmetry: Both halves of the frame mirror each other.

Both halves of the frame mirror each other.

Asymmetry: The weight sits off to one side and the frame stays unbalanced on purpose.

The weight sits off to one side and the frame stays unbalanced on purpose.

Visual Weight: One part of the frame pulls the eye harder than the rest.

One part of the frame pulls the eye harder than the rest.

Headroom: The space above the head is measured on purpose.

The space above the head is measured on purpose.

Lead Room: There is space ahead of a moving subject for them to move into.

There is space ahead of a moving subject for them to move into.

Look Space: There is space ahead of the direction the subject looks.

There is space ahead of the direction the subject looks.

Short Siding: The subject is crowded against the edge they face, so the frame feels tight.

The subject is crowded against the edge they face, so the frame feels tight.

Lines that steer the eye

6

Something in the scene points. Lines, angles and repeats run the eye to the place you want it.

Leading Lines: Lines in the scene run the eye to the subject.

Lines in the scene run the eye to the subject.

Diagonal Composition: The strong lines run at an angle, so the frame feels in motion.

Diagonal Composition

The strong lines run at an angle, so the frame feels in motion.

One-Point Perspective: Every line runs to a single point in the middle of the frame.

One-Point Perspective

Every line runs to a single point in the middle of the frame.

Vanishing Point: Parallel lines converge on one distant point.

Vanishing Point

Parallel lines converge on one distant point.

Repetition and Pattern: One element repeats across the frame until it becomes the structure.

Repetition and Pattern

One element repeats across the frame until it becomes the structure.

Architexture: Built form fills the frame and reads as pattern rather than as a place.

Built form fills the frame and reads as pattern rather than as a place.

Depth in the frame

7

A frame is flat until something sits in front of something else. These are the ways to build a near, a middle and a far.

Layered Depth: Near, middle and far planes all carry something.

Near, middle and far planes all carry something.

Foreground Interest: Something in the near field gives the frame depth.

Foreground Interest

Something in the near field gives the frame depth.

Figure-Ground: The subject separates cleanly from what sits behind it.

The subject separates cleanly from what sits behind it.

Clean Frame: Nothing intrudes between the camera and the subject.

Nothing intrudes between the camera and the subject.

Dirty Frame: Something near the lens intrudes into the edge of the shot.

Something near the lens intrudes into the edge of the shot.

Frame within Frame: Something in the scene forms a second frame around the subject.

Frame within Frame

Something in the scene forms a second frame around the subject.

Windows: A window frames the subject and separates inside from out.

A window frames the subject and separates inside from out.

Emptiness and balance

4

What you leave out carries as much weight as what you put in.

Negative Space: Emptiness takes most of the frame and the subject holds a corner of it.

Emptiness takes most of the frame and the subject holds a corner of it.

Void: A large emptiness sits in the frame and means something.

A large emptiness sits in the frame and means something.

Tonal Contrast: Two opposing things share the frame and define each other.

Two opposing things share the frame and define each other.

Triangular Composition: Three points in the frame make a triangle that holds it together.

Triangular Composition

Three points in the frame make a triangle that holds it together.

Frames, screens and surfaces

4

The scene supplies a second frame, a reflection or a screen, and the shot gains a layer without a second camera.

Reflections: A reflective surface gives a second version of the subject.

A reflective surface gives a second version of the subject.

Screen in Screen: A display inside the shot carries its own image.

Screen in Screen

A display inside the shot carries its own image.

Voyeur: The framing suggests you are watching without permission.

The framing suggests you are watching without permission.

Tableau: Everything is arranged and held still, like a painting that happens to move.

Everything is arranged and held still, like a painting that happens to move.

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Other techniques

Shot typesTwenty-five ways to frame a shot, and the wording that gets each one.25 shot types Camera anglesNineteen places to put the camera, and the wording that gets each one.19 camera angles Camera movementEighty-six ways to move the camera, and the wording that gets each one.86 camera moves LightingForty-one lighting setups, and the wording that gets each one.41 lighting setups Lenses and opticsSeventeen lenses, and the wording that gets the look of each one.17 lenses Colour and film lookNineteen colour looks, and the wording that gets each one.19 colour looks Time and motionTwenty-one ways to bend time in a shot, and the wording for each one.21 time effects Cuts and transitionsTwenty-three ways to get from one shot to the next.23 transitions In-camera and optical effectsFifty-seven effects a camera can make on its own, and how to ask.57 effects Atmosphere and weatherThirteen ways to fill the air, and the wording that gets each one.13 atmosphere effects Genre looksTwenty-seven genres, and the wording that gets the look of each one.27 genre looks Viral looksForty-four looks that travel on short-form video, and how to ask.44 viral looks

Divide the frame in three, across and down, and put the subject on one of the lines rather than in the middle. It leaves room for the subject to look or move into.