The principle point of interest
Each image requires the main point of interest, and in the eyes of a portrait is usually the subject.
The main point of interest may not be dead in the center of the frame: this is too static and symmetrical. Imagine a line running through the eyes of the subject, and one in the 90 ° runs through the nose and chin to form a cross. The best position for this cross slightly above the horizontal center of the frame, and slightly to the left or right of vertical center. Is the cross a little to the left or right depending on which way the subject is looking. If they are looking to the left, there should be more background to the left, so that the cross is put right center. Conversely, if they seek to right, the cross should be placed to the left. This helps prevent the viewer's eyes from the drawn out of the picture when the following subject line of sight. When the subject is facing directly into the camera, consider the shoulder. Here the aim should be to have a little more space in front of the subject rather than behind them. So, if the right shoulder is the nearest camera, frame shot so that their eyes are also the right of center. Back to the cross to imagine the face, if this portrait, the portrait will look very formal. It's often a good choice for a more mature subjects. Tilting the cross to either side to create a diagonal axis with the feature, which shows the vitality of the movement, and often best for younger subjects.
Each image requires the main point of interest, and in the eyes of a portrait is usually the subject.
The main point of interest may not be dead in the center of the frame: this is too static and symmetrical. Imagine a line running through the eyes of the subject, and one in the 90 ° runs through the nose and chin to form a cross. The best position for this cross slightly above the horizontal center of the frame, and slightly to the left or right of vertical center. Is the cross a little to the left or right depending on which way the subject is looking. If they are looking to the left, there should be more background to the left, so that the cross is put right center. Conversely, if they seek to right, the cross should be placed to the left. This helps prevent the viewer's eyes from the drawn out of the picture when the following subject line of sight. When the subject is facing directly into the camera, consider the shoulder. Here the aim should be to have a little more space in front of the subject rather than behind them. So, if the right shoulder is the nearest camera, frame shot so that their eyes are also the right of center. Back to the cross to imagine the face, if this portrait, the portrait will look very formal. It's often a good choice for a more mature subjects. Tilting the cross to either side to create a diagonal axis with the feature, which shows the vitality of the movement, and often best for younger subjects.
Triangle
Composition is always enhanced by the creation of a triangle. When making portraits, try to visualize the outline of the subject fits into a triangle. High in the format of an upright triangle shows a height and dignity. In their landscape format instructions on the restraint or struggles. lower triangular implies stability in landscape format. In the vertical format they give the impression of weakness. Oblique triangles indicate movement forward, and called back they imply joy. Tilt too far in any direction, and stability will be lost unless a second stabilizing element is introduced. If someone looks like they will fall, this will tell you that the composition of the shot that one (eg A head is tilted to one side may need a hand to support it Introducing an arm bent at the elbow. Creating another triangle and restore stability).
The line can be damaged during the eye can easily pass through them. The line can also be imaginary, or implied. For example, the eyes of the audience will always tend to follow the subject line of sight.
Tone
Our eyes are always more attracted to the light tone of dark tones. Directional trends can be made with a tone, so for example, if two or more adjacent areas of light, the eye will travel from one to another. In a portrait, the face should be the main attraction, and therefore lighter. Every other light area (clothing, hands) should be calm in tone, Avoid strong patterns (eg clothing), because it can compete with the face for attention. A need to be tonally balanced portrait. This means do not have all the dark tones on the one hand, and all the light tones on the other side (Unfortunately, this is what we see in the typical wedding photos bride!).
Backgrounds
I rarely reproduce the background in the photo reference, for good reason, and choosing a background for the portrait is probably worthy of a special article. What I will say here is that consideration of the simplest is one of the bright or dark background. Dark backgrounds generally look at a classic portrait. The light background is currently trendy in modern photography. For my purposes, the background light is best, because it is making an outline of the subject easier to see.
Color
Color harmony and behaviors is an important element of composition. Colors convey mood and depth. Cool colors appear to recede (blue-green, blue, purple), while warm colors appear to advance (yellows. orange, red). Cool or neutral colors work best for the background, while the warm colors of clothing helps provide depth portrait. Color selection depends on the subject. Blonde and brunets have different requirements; work well with ex-blue, while better suited blue-greens/greens last. Somber colors in accordance with the older subjects, whereas bright colors match the young subjects. The main objective should be to choose colors that compliment, and sympathetic, coloring the subject.
Our eyes are always more attracted to the light tone of dark tones. Directional trends can be made with a tone, so for example, if two or more adjacent areas of light, the eye will travel from one to another. In a portrait, the face should be the main attraction, and therefore lighter. Every other light area (clothing, hands) should be calm in tone, Avoid strong patterns (eg clothing), because it can compete with the face for attention. A need to be tonally balanced portrait. This means do not have all the dark tones on the one hand, and all the light tones on the other side (Unfortunately, this is what we see in the typical wedding photos bride!).
Backgrounds
I rarely reproduce the background in the photo reference, for good reason, and choosing a background for the portrait is probably worthy of a special article. What I will say here is that consideration of the simplest is one of the bright or dark background. Dark backgrounds generally look at a classic portrait. The light background is currently trendy in modern photography. For my purposes, the background light is best, because it is making an outline of the subject easier to see.
Color
Color harmony and behaviors is an important element of composition. Colors convey mood and depth. Cool colors appear to recede (blue-green, blue, purple), while warm colors appear to advance (yellows. orange, red). Cool or neutral colors work best for the background, while the warm colors of clothing helps provide depth portrait. Color selection depends on the subject. Blonde and brunets have different requirements; work well with ex-blue, while better suited blue-greens/greens last. Somber colors in accordance with the older subjects, whereas bright colors match the young subjects. The main objective should be to choose colors that compliment, and sympathetic, coloring the subject.
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