Composition, Colour and Creativity - Frames

Firstly, let us look at our first decisions, what size should the frame be? Assuming a basic rectangle then we could start with the "Golden Ratio" - a principle derived by the ancient Greeks. Basically it says that the the long edge should be 1.62 times the length of the short edge (or nearly 2/3rds again). So if it's 10 inches high, it should be 16.2 inches across.

I know this sounds bizarrely mechanical, but in fact this is a natural ratio, it does occur very frequently in nature and we as humans do respond to it, as a kind of well proportioned, but also neutral rectangle.

However, our medium might dictate our image, in that if intend to go to computer screen on printed photo or poster sizes we might need to adopt slightly different ratios. The standard PC small screen ratio for example is 640 by 480 pixels (ratio of 1.5:1 or 3/2), but if we go to any of the larger screen resolutions, i.e. 800 x 600 pixels we have a ratio of 4/3 or 1.3:1. If we go to paper sizes, the "A" series (i.e. A4, A5 etc) dictate a ratio of 1.42:1. And if we went to photo, then you find that the standard 35mm size is another 1.5:1 ratio.

Pixel Size	Screen 9/12 - 1.3	"A"paper 10/14 - 1.42	Photo 9/15 - 1.5	Golden 8/13 - 1.6
100	130	142	150	160
200	260	284	300	320
400	520	568	600	640
500	550	710	750	800
800	1040	1136	1200	1280
1000	1300	1420	1500	1610

Switching to a purely square frame, which might sound and obvious start point but isn't creates a very rigid, over format format - strangely uncomfortable. Just look around at the objects around you, surprisingly few are square.

The alternative is to stretch the format so one side is especially long, usually used for panorama's, especially now with new film formats, but note that once the image gets to beyond 1:3 ratios the eye will only see in sections, the viewer will have to look and move on across the image.

From here, we must look to how the picture sits within the frame: Cropping the subject close to the edge of the frame is usually uncomfortable. Placing the subject dead centre produces a stable image, placing images off-centre adds dynamic.

	Placing the subject dead centre creates a static balance, a sense of calm and stability
	Similarly, placing two equal subjects also creates a static balance
	But, placing two equivalent, but different subjects creates a dynamic balance. The picture holds up and there is a new tension to the image
	And if the image is unbalanced, then the eye will try and create a balance by looking for something in the empty space - this can be useful.

All of which leads us to questions about how we divide out the space within our frame. Fundamentally, you need to decide if you are going to go for a symmetrical or asymmetrical view. (Note, you can be asymmetric and balanced though).

Starting with symmetry, divide your image down the middle, you can of course go further, and divide across the middle too. There is both a left/right and up/down symmetry. And don't forget "circular" symmetry - as you would see in a kaleidoscope.

To go to asymmetry, then you would normally apply the "Rule of thirds" basically this says that you should be able to visually focus on divisions at the 1/3rd intervals across and up the page.

	In this image the subject is central and stable
	In this version, by placing the subject within the left third, we have created a sense of dynamic and tension.

But we might also apply the rule of thirds to landscapes as well - especially useful when the sky is uninteresting, run the horizon through the line 1/3rd from the top. Essentially, push the horizon high to emphasizes the foreground, drop it low to emphasize the sky (interesting clouds maybe?)

Indeed, this would apply to any Figure/Ground relationship. So, in our example above, really we are using the division between figure and ground on the 1/3rd line.

Black and white presents a special issue, in that then you are moving away from colour and form to present subjects, instead then you are using non-colour properties such as texture, shape and line to create the symmetry and balance.

And what of size within the frame? Reducing the boundary, the space around the frame is typically uncomfortable, so don't overcrop your image. Particularly if images are to be viewed on screen on in a large display format close-cropping can be quite aggressive.

Conversely, too much boundary around the subject just makes the subject too small, normally backgrounds are not interesting and not the purpose of an image. Don't make backgrounds compete with subject unless you have a reason to.

Then, there are Frames Within Frames, a common trick to use say a doorway to frame a person. Frames within frames draw the viewer in to the subject within. Note: the inner frame needs to be close to the actual image boundary, otherwise it will become part of the picture itself.

• Introduction
• Contrasts
• Space and Frames
• Design and Position
• Colour Theory
• Creativity