Rhythm, Balance, and Visual Weight
Lesson 47 from: Mastering Photographic Composition and Visual StorytellingChris Weston
Rhythm, Balance, and Visual Weight
Lesson 47 from: Mastering Photographic Composition and Visual StorytellingChris Weston
Lessons
Your 10,001st Photograph
03:24 2Camera Gear
03:03 3Piece of Gear We Always Forget
03:47 4Be a Storyteller
03:09 5Finding Ideas For Photography - Know Your Subject
06:59 6Cae Study - Why Are Zebras Black and White Striped
01:30 7Photograph What You Love
02:00 8See the Extraordinary in Ordinary Things
01:31Have an Opinion
01:46 10See With a Child’s Eyes
02:34 11Tell Your Story
08:46 12Find a Needle in the Haystack
01:38 13Lions Hunting Under Star Trails
04:21 14Ansel Adams and Visualisation in Practice
03:20 15Keeping an Open Mind and Thinking on Your Feet
02:47 16Case Study - The Maternal Bond
02:42 17Don’t Tell the Same Old Story
02:38 18Relevance
01:06 19#1 Reason Photographs Fail
02:57 20Getting Rid of Clutter
03:59 21Post Capture Cropping
02:04 22The Elements of Design
02:31 23Elements of Design
01:38 24Elements of Design - Shape
02:21 25Case Study - Shape
02:11 26Elements of Design - Color
01:55 27Case Study - Color
01:50 28Color in Camera
01:42 29Pattern
01:54 30Texture
02:24 31Seeing The Elements of Design
08:52 32Gestalt Theory
05:10 33Case Study - Cove
01:36 34Case Study - Hat
02:09 35Light and Contrast
01:54 36Light and Form
01:26 37Light and Depth
03:48 38Perspective
02:28 39Lenses and Perspective
02:47 40Rule of Thirds
02:48 41Centre of Frame
01:36 42Case Study - Positioning the Subject
01:48 43Positioning the Subject - Dynamic Symmetry
03:20 44The Horizon Line
02:52 45Should the Horizon Line Always be Straight and Level
02:13 46Other Lines
04:57 47Rhythm, Balance, and Visual Weight
02:59 48Negative Space
02:29 49The Two Most Important Controls on Your Camera
03:41 50Training the Mind
04:26Lesson Info
Rhythm, Balance, and Visual Weight
a photograph is visually balanced. When all the elements and the positive and negative space are arranged in such a way, there's equal weighting. No one area of the composition overpowers another on the visual narrative is written with rhythm and harmony. On the other hand, when one object is visually heavier than another, so it stands out and dominates while other objects recede into the background. There's imbalance, which leads to tension. Based on this observation, you might think that a balanced, evenly weighted composition is the best route to go on most of the time, I degree. But remember, photography's storytelling and sometimes a quirky or tension filled composition that takes the viewer outside their comfort zone is preferable to dull predictability. So the choice between balance and imbalance, as always, comes down to this story you want to write with your camera. Symmetrical balance occurs when visual objects on one side of an axis near perfectly reflect those on the opposi...
te side. The visual weight is evenly distributed across both halves of the frame. Symmetry evokes a sense of formality and elegance. Think of the classic wedding photograph where the bride and groom are standing to attention or the group shot of board relatives in a military precision line. In both examples, you see decorum, but you also see the negative sides of symmetry status on predictability. Toe absent dynamism, you need asymmetrical balance. Now asymmetrical balance occurs when a weighty element on one side of the axis is balanced by several smaller, less weighty elements. On the other side, it's the mix of unequal parts that gives the image visual energy. Another type of symmetry often encountered in photography, is translational symmetry. Now a perfect example could be seen in a viaduct where the regular art is repeating across the image space. Creating a recognisable pattern gives the image a sense of visual rhythm. A more subtle form is often used in portrait photography rather than relying on obvious Patton. In this instance, rhythm is created by posing the model in such a way that implied lines mirror and repeat. The famous image of Christine Keeler, taken by photographer Lewis Morley, is a classic example of translational symmetry. Notice how the angles of the arms match and former double mirrored V shape the same with the placement of the hands. Similarly, there is a symmetry in the angle of the legs and mirroring horizontal lines accentuated by the chair. Nothing in this image is coincidental. The photographer has carefully positioned the model to create rhythm and balance no.
Ratings and Reviews
Edmund Cheung
Perhaps the style of presentation and simple, short, and direct messaging does not "jive" with some; but others may really love this. Yes the production of each episode is stylized and perhaps a bit formal (like a TV Show?), but there is something to be said about it. Perhaps this is not meant for professional photographers? I think of myself as decent amateur / high level photographer. I found lots of great nuggets of wisdom and inspiration from this. Especially when I an in a rut for creativity. Yes I have heard all these concepts and ideas before. BUT it is always great to hear and see a different way of presentation and voice. Please do NOT take the naysayer reviews as the end all. You should judge for yourself and watch a few episodes. If the style and content click for you, I would highly recommend this course.
Abdullah Alahmari
Thanks a lot to mr. Chris Weston This course is great and It is a 🌟 🌟 🌟 🌟 🌟 course for me. Beside the other course ( mastering the art of photography ) both courses are Complementing to each other and highly recommended.
Kai Atherton
While I am perhaps more advanced in my photography then this course. It is always great to be able to go back to fundamentals and remind ourselves of the basic principles, and even camera function. I thoroughly enjoyed this course and Chris's other. It is a great motivational jumpstart when lacking fresh creative idea's.