The photos are first taken with the eyes and then immortalized on paper (or in a digital file) using the camera. The difference is that vision does not have established limits (or they are ignored) while cameras do, and these limits, known as borders, will be the frame of all your photographs.
The way in which you use this limit when framing (composing) your photographs can radically change the sensations that your photos convey, so knowing the secrets of framing becomes almost an obligation.
In the article I will tell you not only what framing is and its different types, but you will also learn in which situations it is convenient to use one or the other in order to enhance the messages and sensations that they transmit. You can not lose this! Nor can you miss the most complete guide on photographic composition. If you want to dig into essential tips and tricks, click on the link.
WHAT IS PHOTOGRAPHIC FRAMING?
The framing, in photography, refers to the portion of the scene that as a photographer, you will use for your photographs. That is, what proportion of the scene are you going to capture in a photograph. Imagine the frame as the stage where your photos take place.
The framing is a fundamental element when constructing the photographs since the edges of the photo, which are almost always rectangular, have a great influence on its content and on the messages and sensations they convey.
The way in which you use the edges of the frame to distribute the elements (compose) within it will give strength or not to your photographs. Getting the most out of the frame will depend on two things: first, your knowledge of composition , and second, the experience you'll get from photo to photo.
Basically there are three ways to frame:
- You plan the framing in advance, so once all the elements to include in your photograph have been decided, adjust the camera parameters for the shot.
- You compose the photograph while framing, that is, you decide which elements to include or not in your photographs in the instant before pressing the shutter.
- You take the photograph and then reframe it on the computer.
Distinguishing the different ways of framing does not mean belittling one method over the other. Most likely, depending on each situation, you use one or the other method, according to the possibilities that the type of photography you are doing allows you.
In nature photography, for example, it's more important to get the shot of that rare bird species than to worry about framing before shooting or reframing after it. In fact, in wildlife photography the vast majority of framing is done later on the computer.
FRAME DYNAMICS
When going through a scene through the viewfinder, you will be able to notice how an infinite number of possible photographs begin to appear in it, which will be more or less attractive depending on how you frame them.
Depending on which elements you want to include in your photograph and how they are related to the edges of the frame, these will have a greater or lesser influence on the final image.
Remember that, as I told you in the article "16 ways to give prominence to your subjects", the observer's gaze always seeks to be guided through a photograph: the framing and the lines, explicit or not, will mark the path to be followed by the eyes while reinforcing the messages and helping to better convey the sensations.
Pay attention to the following examples:
The way in which the elements have been arranged within the frame is not accidental: the horizontal borders and vertical lines have strongly contributed to the final design of the photographs, generating a greater impact on viewers.
To do so, photographers Mikel Ortegaand A. González-Alba, have used both the lateral edges and the diagonal lines and the angles that these form with each other, in order to generate tensions that are very attractive to the eyes of the observers.
Look at the following photo:
As you can see, it is the same situation as in the example of the fisherman with the red cap, but this time, the framing used has been different. In this case, the parallel lines of the ground and the cane with respect to the edge of the frame do not create as much attractive tension as in the example above. If you look closely, not only did the way of taking advantage of the angles change, but the author has also opted for a different framing format: the square.
PHOTO FRAME FORMAT
As you have already seen, the edges of the frame and the proportion of these have a great influence, not only on the shape the final photograph takes, but also on the sensations it generates in the viewer.
The framing format fulfills the function of separating the image from everything that surrounds it, that is, it frames it, so that you can control its composition. Depending on what you want to convey, one framing format may help you do it more than another. But, what is the format of the frame?
Although photographs can be worked to give them a sense of depth, they only have two dimensions: height and width. When we talk about the proportion or format of the frame, we are referring to the (mathematical) relationship that exists between the height and the width of the frame.
- Standard format 3:2 (Width x Height): this format is the most used by camera sensors, whether they are 35mm or not (35mm refers to the width of the sensor or film). This format is very popular because it represents very well the feeling of horizontal vision of the human being.
- 4:3 intermediate formats : these types of formats have gained more prominence in recent years with the growing popularity of digital cameras and the "more natural" feeling that their images offer. Despite this, as far as composition is concerned, since there is not such a dominant direction (the difference between the width and height of the frame is less marked), they are not as comfortable when arranging the elements in the scene. . Despite this, they are more flexible when shooting.
- Square format: the ratio in this type of framing is 1:1, that is, both the width and the height are the same. Very few cameras allow you to shoot natively in this format, but you can simulate it by cropping the photo on your computer, that is, reframing it later. It is an unusual format in that there are few scenes that lend themselves to such a format. How to get the juice? Taking advantage of the sensation of symmetry and perfect balance that they transmit, to then break it when arranging the elements, or taking advantage of said balance and enhancing it.
- Panoramic: these types of images, as you can imagine, are those in which the width of the frame is much greater than its height. This type of format allows you to create a horizontal frame, which corresponds to the horizon line, which is ideal for landscape photos. In most of these scenes, the length of the scene is key, much more so than the depth they can convey. If you want to know more, in this complete guide we explain how to get impressive panoramic views step by step .
ORIENTATION
Surely, thanks to your photographic eye and your instinct for aesthetics, without realizing it, you will have realized that, in certain situations, it is more aesthetic to take a photograph with a vertical orientation and in other situations, using a horizontal orientation.
The orientation of the frame is exactly that, the vertical or horizontal orientation that you will give to the frame (your camera and its sensor) when taking your photos. Next we will stop to see each of them:
Horizontal framing: depending on how you intend to arrange the elements present in a certain scene, a horizontal orientation can be more effective than a vertical one: if what you want is to convey a sensation of stability or, the elements to be portrayed are arranged horizontally, it It is ideal to use this orientation since it is very comfortable when composing.
If you look closely, the monitors , televisions and endless visual media that surround you have a horizontal orientation. This orientation is the most common, probably, because the camera sensor is oriented in the same way, so it is the most natural position when taking a picture.
The decision to adopt one orientation or another will depend on the message you want to convey with your photographs. When to use one or the other will basically depend on your experience as a photographer, so the more photos you take and the more time you spend analyzing the results, the better decisions you will make. As an exercise, I recommend that you practice the different orientations in the same scene and then see how one or the other works in the eyes of the viewer. Of course, before I recommend that you take a look at the following article: “9 Tips and Tricks to Improve Your Photographic Composition”.
Pay attention to the following photograph: What sensation does it give you?
The key when selecting a frame is: balance. Achieving balanced photographs is what will motivate you to choose one or the other frame, always depending on the situation you are trying to photograph and the elements you want to use in your photos. Of course, always keep in mind that the balance depends on you: do you dare to break it?
RE-FRAMING
As its name suggests, reframing is a "technique" that refers to, once a photograph has been taken, working on it on the computer or in the studio to achieve the desired framing. That is to say, that first the photograph is taken and then the best framing is sought.
Although you can do several framing in the same scene, the reframing refers to reframing once the photograph has been taken. Below you will see how a single shot, made by photographer Julio Codesal, can after reframing it acquire more or less force depending on what you want to communicate:
The original photograph of a small cabin has been framed so that the color of the sky can be appreciated and at the time that the small house and the ground were used, as an anchoring element that provides support and stability to the image. For this, a relatively low horizon was used, in order to emphasize the colors of the sky. The scene gives a feeling of loneliness and peace very well transmitted in it.
Reframing (1): if within the original framing you reframe the photograph using a vertical orientation, the tonal weight of the sky and its clouds is even greater, so a good option would be, keeping the sky as a key element, keeping the horizon lower even than in the original photograph. When reframing, try to maintain the essence of the photograph by assessing the most interesting elements of these and placing them again.
Reframing (2): if you want to give the sky even more prominence, a reframing of this type can work very well. The horizon is placed even lower, in order to stabilize the image using the ground almost as the edge of the image. This is known as the “base horizon”. To counteract the weight of placing the cabin so low to the left, it almost makes it necessary to use a large portion of sky to the right of it. Once again, attempts have been made to respect the main elements of the original scene.
Reframing (3): on this occasion, the framing has been closed, but maintaining to a large extent the original proportions. In this way, the ground and the cabin gain greater prominence in the scene. The horizon has been placed as high as possible, within what the scene allows, in order to ignore a large portion of the sky and focus attention on the cabin.
LEARN TO ENHANCE YOUR FRAMES
1-Fill the frame
Even if you don't notice it, when taking a photograph of a subject or object you ask yourself, do I include part of the environment or not? This question is fundamental since the choice you make will greatly influence the final result. The more portion of the frame your subject occupies, the more prominence it will have and you will also be able to capture it in all its splendor (in great detail). Now, perhaps the environment makes the photograph and the relationship of the motif with it reinforces the message it transmits, such as a photograph of a passerby and the city in the background as a frame.
Depending on the sensations that you want to convey to the viewer, you must choose one or the other option: if the environment is important, you must work on your framing (use angles, lines, etc.) in order to enhance the message or if you want the subject dominates the whole scene get closer to it, but keep in mind that the shape of this will influence the framing that you are going to use. The decision is yours, go ahead and make it!
Making the right decision will not be a problem after reading the following articles: "16 Ways to Give Prominence to Your Subjects" and after analyzing the photographs of "Weekly Challenge 53: Fill The Frame".
2-Work the location of the elements:
The decision to place your subjects in one place or another within the frame is fundamental. Whether you fill the frame with it or not, the place you assign to it within it must be pleasing to the viewer, that is, its position must be in harmony with the rest of the scene.
In photography, arranging the elements present in a certain scene within the frame is known as "composing the photo". Artistic compositions, whether in painting or photography, are based on mathematical rules, proportions, and methods that are "pleasing" to the eye. These rules will help you guide the viewer's gaze towards those points of the frame that, by visual instinct, are of greatest interest and that if you know how to exploit them, you will go from taking a mere photo to capturing an excellent photograph.
If you want to become a master at it, be sure to read "9 Tips and Tricks to Improve Your Photographic Composition" . But as they say "The rules are to be broken", so once you master them, don't be afraid, breaking them is also an art .
3-Divide the frame:
When arranging the elements within the frame, you have endless possibilities, as many as you can come up with, although not all of them are so interesting and attractive in the eyes of the viewer.
The most interesting divisions within the frame are those that allow a well-defined relationship to be established between them. Said divisions of the frame refer to the proportion that each element occupies within the frame and to the way in which they must be located to achieve the greatest visual impact without breaking the harmony of the photograph.
Don't worry, you shouldn't have a set square and a compass to take your photos, just train your gaze so that it becomes familiar with the different proportions that you can use when taking your photos. Some of the best known ratios are:
• Golden ratio : this ratio is a guide that will allow you to arrange the elements within the frame in a very harmonious and pleasing way. This type of proportion, being permanently present in nature, will allow you to obtain very natural photographs that generate "comfort" in your viewers. If you didn't know it, don't worry, whether you are aware of it or not, you constantly compose your photos using these proportions as it is very intuitive and natural.
• Rule of thirds: this rule is one of the most basic rules when arranging the elements within your frames. It consists of dividing the frame into three equal thirds horizontally and vertically. In this way, at the intersection of the lines, 4 imaginary points will be formed, which are the strong points of interest within a photograph. As you can see, the center, despite being the obvious place in which one would place an element within the frame, is not one of the points of greatest interest to view within the frame.
4- Locate the horizon in the frame:
The position of the horizon line within the frame is more important than you can imagine. Depending on the height that you assign to it, a photograph can transmit one sensation or another depending on the other elements present in the scene. A very high horizon line (smaller portion of sky) will give greater importance and weight to everything that is below it, and conversely, a horizon line located in a lower position, will give a greater sensation of stability. , working as a "base" and balancing the frame.
In any case, the exact position of the horizon depends on many other factors such as: balancing the photograph according to the brightness and colors of the sky (see example of the reframing point), the attractiveness of the sky above the ground, the dynamics full scene thanks to clouds and their shapes, contrast, foreground elements, etc. Everything will depend on the circumstances of the photograph, the message you want to convey and, above all, your personal taste.
5- Framing within a frame:
There is a rule in photography that almost ensures success: “frames within frames”, that is, not only take advantage of the edges of the photograph, but also inside, once again framing another scene. By drawing a new border around the main image, you'll create a very visually appealing internal frame that will give the viewer a sense of organization, stability, order, and control. This new boundary prevents the image from “reaching” to the edges of the outer (photo) boundary. This new frame will further focus the viewer's gaze on what is inside it.
