One of the most difficult things for any photographer to master is the art of composition. Composing a compelling photograph is about much more than the four points available to us on the Rule of Thirds grid. In our hearts, we all know that doesn’t work.
Composition is about relationship and proportion. It’s about contrast, color, and light. It’s about the underlying story that you, as an artist, are trying to share. More often than not, all these things come together on the head of a pin and can topple into a mess If pushed too hard in one direction or another.
Composition is about finding and maintaining the tension point created by the interplay of all these things. This course is designed to enable you to navigate this delicate balance with ease and grace so you can produce photographs that captivate your audience. And you’ll be able to do it on demand! This, as you already know, is no small feat.
We seem to have decided that it’s important to focus on how things are distributed in the frame. This is why the points in the Rule of Thirds grid are fixed. I believe this is a fatal error. It’s like trying to drive by focusing on how hard you should press the gas pedal. If you pay attention to what’s around you, the gas pedal problem takes care of itself.
Think of composition in the same way. Pay attention to what’s in your photograph by thinking in terms of relationship and proportion. The “distribution problem” then solves itself. Thinking in this way requires a shift in approach from beginning to end. In this course, you will learn how to use some simple tools, including Dynamic Symmetry, to shoot AND process your images. If you’re thinking, “I already know about Dynamic Symmetry”, put that thought right back where it came from. You most definitely haven’t thought about it like this.
Any tool is only as good as the skill of its user. If I give you a fish, then I have to come back every day and give you another one. I’m not just going to give you a bunch of grids and send you on your merry way. Knowing how something works is pointless if you don’t know why it works. I’m going to teach you not only how to fish, but why fishing works the way it does. By the time you’ve finished the course, you’ll understand why Leonardo DaVinci (and for a thousand years, countless others) thought this was so important. If it’s good enough for Leonardo, it’s good enough for me.
One thing is for sure. You’ll never see composition in the same way.