This article appeared in the March/April 2003 issue of PT. To purchase this issue and receive this and other valuable articles in this issue, CLICK HERE: Ship within the U.S. | Ship outside the U.S.

This article deals with the formal aspects of photographs. Regardless of subject matter, we should pay attention to the arrangement of forms that make up the image, their relative size and brightness, and their placement within the frame. The relative sizes change when the camera is moved, and the shapes can be altered when adjusting the camera’s viewpoint or when using the rear swing or tilt of a view camera.

It’s also useful to be aware of factors influencing the way viewers scan the image. Eyes are often directed by lines or arrow-shaped forms; there’s also a strong tendency to be attracted to the lightest areas. If you want to direct the viewer’s attention to the interior of the image, avoid placing the lightest (or any interesting object) at the edge of the frame.

In spite of one’s attempts to include exactly the right amount of the subject when exposing film, there will be times when using cropping els with proof prints will reveal opportunities for improving images by eliminating distracting objects at the edges. Perhaps the picture had to be made at top speed before the subject changed, the ideal focal length lens wasn’t available, the camera couldn’t be placed in the best location, or a leisurely examination of the proof leads to a different compositional decision from the one made originally. I crop most often when the camera format doesn’t have the proportion a subject needs. Painters use all height-to-width ratios from square to very long and narrow. Yet, some photographers feel their prints must include everything on their negatives, because some famous photographer had that rule.

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