The composition can be constructed only on the front plane of the photograph, or it may be multidimensional. Planar compositions, as a rule, are closed and static, their space is very limited. The impression of dynamism is most often conveyed by non-closed compositions. In this case, it is necessary to select the main line of motion so that the viewer perceives and sees the movement in the past (the motion that took place before the moment of shooting), in the present (motion captured in the frame) and in the future (the movement that should continue after the shutter click).
In addition, the impression of motion arises when the object is visually blurred by a rapidly moving object on the sharply removed background of the surrounding situation. The illusion of rapid movement of the object is also achieved when it is shot sharply on an unsharp, as if blurred background. A combination of these two techniques is possible, when the object itself and the background are somewhat blurred. The sensation of movement can arise at the certain arrangement of subjects, color, light spots, etc.
The concept of motion in photography is associated with the concept of rhythm. Rhythm, along with other compositional principles, organizes space, subjecting it to a strict logical system. The rhythmic series can be based either on the repetition or alternation of commensurate elements of the composition, and on the use of such properties of objects as shape, volume, color, texture, etc.

One of the foundations of compositional construction is contrast. Contrast enhances the emotional sound of the photo, makes it more expressive. It can be built on the ratio of black and white or other colors, on contrasting broken lines with soft outlines, symmetry and asymmetry, statics and dynamics, etc. An opposite contrast is expressed by an analogy based on the metric alternation of the same elements. There are a lot of options for using and combining these two principles "and in art photography, they usually complement each other. One of them bears the main aesthetic and ethical load, and the other must supplement, make the context of the photograph clearer. So, for example, the color contrast can be strengthened by analogy of the forms painted in contrasting colors.

The concept of scale and scale also refers to the expressive means of photography. Observance of the scale is necessary to ensure that the viewer can really perceive the value of the depicted object, which is usually introduced into the composition of familiar objects for comparison with the main subject. The concept of scale as an element of artistic comprehension is associated with the notion of monumentality. To emphasize the scale, significance, monumentality of the object to be photographed, you can use many different compositional and expressive means - contrast, certain lighting, color, rhythm, etc., taking into account the laws of viewership. So, for example, a bright spot always seems more than an equal in size to a dark spot. The object of the survey, located in a small area, among smaller objects will appear more significant than in the environment of larger elements of the composition.
The scale of the objects is completely dependent on the perspective. Dimensions, outlines, shape, color change as the position in space changes with respect to the eye of the observing person. Reducing the scale of the displayed objects will be in proportion to their distance from the camera. This property is characterized by a direct or linear perspective. With such a perspective, the tendency of parallel lines to be seen to converge at one point is found, and the facets of objects that coincide with the line of sight of the eye appear shorter than in reality. Relative to the distance between the subject and the camera, the colors and tones change. Thus, the thickness of the air layer determines the tonal perspective, in which the clarity and clarity of outlines disappear as the distance from the eye of the observer decreases, the color saturation decreases, that is, the color loses its brightness in the distance, the contrasts of light and shade soften, the depth seems lighter than the front plan. Linear and tonal perspectives exist in nature and are imprinted with the lens regardless of the will of the photographer. However, the photographer has the opportunity to more clearly identify the perspective in the picture. So, for example, using a short-focus lens, you can significantly expand the space, and therefore, increase the perspective, and, conversely, a long-focus lens will limit the scope of the image, as it squeezes, shorten the perspective. The linear perspective is significantly increased if the photograph shows the point of descent of the lines that go into the distance. The illusion of greater depth of space can be achieved through the development of tonal perspective, artificially creating an air haze and indistinct outlines of objects in the distance. The arrangement of objects on the photograph, in which one object partially covers the other, also creates an impression of spatial depth. The same effect is achieved if the object is shot sharply, and the background is vague.
The perspective in photography is an important aesthetic category, since the depth of the depicted space depends on it.

"RONBO.RU" Moscow
2007