Statics and dynamics in a composition of geometric shapes. Basics of composition Dynamics and statics
Statics and dynamics.
First, a few words about statics. Statics is immobility. Sometimes it is necessary to convey in a composition exactly staticity, stability, a certain calmness, etc. Usually in such compositions only verticals and horizontals are used. But there are not so many such compositions where any movement would be completely absent. Therefore, we will stop here and move on to the topic “Movement”.
Movement or dynamics.
A very interesting and very voluminous topic. What do we mean by the word "movement"?
Firstly, the simplest and most understandable thing is an image of something or someone moving, for example: a person, animal, bird, car, etc. Or an image of the elements of nature: trees bending in the wind, waves on the water, etc. .p. .
And secondly, by “movement” in composition we mean the movement of the viewer’s eyes. When looking at a picture (composition), the eyes move along certain lines (directions). Even if there is no image of a single moving element in the picture (composition), “movement” can still be present in it.
If the artist has thought through his composition well, then he seems to guide the viewer, directing his gaze from one element to another. And the eyes, looking at the image, move in accordance with the intention of the author of the composition. The artist attracts the viewer, invites him to look at his work. His task: to stop (surprise), hold attention, attract to his composition (picture, etc.). The gaze moves along figures, lines and spots, along rhythmically arranged verticals, diagonals and horizontals.
Techniques and methods of transmitting “movement”.
Usually, a diagonal line helps convey movement. Most often, this line seems to be directed from the upper right corner to the lower left. Either in a straight line or along an “es-shaped” line.
That's about it.
Why this way? Some deny the effect of transferring movement in this direction. Movement can also be transmitted in the opposite direction (depending on the design and many other elements that make up the composition) and this is true. I think that this direction is used more often simply because it is much easier to draw a diagonal in this direction. True, perhaps this is only true for right-handers(?). Try drawing a diagonal in the opposite direction. Like this.
If it is not difficult to draw one line, then drawing them many times in this direction is much more difficult than in the opposite direction (from right to left and from top to bottom).
Several examples of organizing movement in a composition.
Rice. 1. 
If the image of a figure that moves is placed very close to the edge of the sheet - as in Fig. 1, then the figure will seem to come out of it. And the viewer’s eye, moving in this direction, will also try to follow her. And this is where the examination of the composition ends. The viewer will move on to the next work.
Rice. 2. 
Thus, if we want to delay the viewer, then it is better to turn the figure in the opposite direction. Direct as if deep into the sheet (composition).
Rice. 3. 
Or, the gaze can be brought back by some other element (figure, spot) - equally bright in meaning or simply visually bright color, tone, etc. In any case, it is better not to place the figure at the very edge, you need to leave enough places to the end of the sheet. That's about it. The gaze now has the ability to return and look at the image for a while, rather than leaving after the figure
Movement in the landscape.
Often in landscapes there is an image of a road in a central perspective, diagonally or in an es-shaped line. This element immediately gives the landscape dynamics and depth of space.
Movement in still life.
Here we can talk about diagonally located objects. They help guide the viewer's eye from one element to another.
Movement in a plot composition.
Here there is more variety in the methods of transmitting movement. Here both the figures and their environment obey the rules of dynamics and statics.
Exercise.
Based on the concepts already familiar to us: “integrity”, “contrast” (nuance) and “rhythm”, come up with a composition where there would be some kind of “movement”.
1). Abstract composition of geometric shapes. Movement can be organized in any direction (in a circle, towards the center, or from the center, diagonally, etc.)
2). Landscape with a road using perspective, diagonal or es-shaped line.
3). Still life of 3-4 items.
4). Arrange two or three interconnected figures. On free topic(sport, work, recreation, work, children, family, etc.).
So what is important to remember about this topic in my opinion? This is the use of diagonals. The composition becomes more dynamic, movement appears in it when diagonal directions appear. The rhythm of diagonal directions gives activity to the composition.
*The pictures used in the text serve to illustrate the text and are not examples to follow :)
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Statics and dynamics in composition
Composition (from Latin compositio) means composition, combination of various parts into a single whole in accordance with some idea.
This refers to the thoughtful construction of an image, finding the relationship of its individual parts (components), which ultimately form a single whole - an image complete and complete in terms of linear, light and tonal structure.
In order to better convey the idea, special means of expression are used: lighting, tonality, perspective, as well as visual and various contrasts.
The following compositional rules can be distinguished:
1) motion transmission (dynamics);
2) rest (statics)
Composition techniques include:
1) rhythm transmission;
2) symmetry and asymmetry;
3) balance the parts of the composition and highlight the plot-compositional center
Statics and dynamics are used to express the degree of stability of a compositional form. Such stability is assessed purely emotionally, by the impression that the form makes on the viewer. This impression can come from both the physical state of the form - stable or dynamic, associated with the movement of the object as a whole or its parts, as well as the compositional (formal) number.
Based on the degree of visual and physical stability, forms can be divided into the following four types.
1) Visually and physically static forms. Based on the impression they make, they are assessed as extremely stable. These include: a square, a rectangle, a parallelepiped placed on a wide base, a cube, a pyramid, etc. A composition made up of such forms is monumental, extremely static in nature.
Main types of static forms:
Symmetrical shape
Metric
With slight displacement of elements
With a combination of equal elements
Lightweight top
With slight bevel of elements
Horizontal division
Equal arrangement of elements
With large close elements
With a large main element
Symmetrical arrangement of elements
With dedicated center
2) Physically static, but visually dynamic forms, assessed by the impression of their certain imbalance. This assessment concerns stationary forms, directed, for example, in one direction, with broken symmetry and other properties specific to dynamic compositions.
The main types of these forms:
Shape with off-center axes
Rhythmic character
Perpendicular arrangement of elements
Parallel arrangement of elements
Lightweight bottom
Twisted kind
Diagonal division
Free arrangement of elements
Elongated elements
Inclined arrangement of elements
Asymmetric arrangement of elements
Included in open space
3) Visually static, but physically partially dynamic forms. They have a stable base in which individual elements “move”. Often in design practice, such “movement” is due to the peculiarities of the functioning of objects, the real movement of individual parts in them. However, their composition as a whole is static. An example from design practice is the shape of a loom with a moving shuttle. In a formal composition, this is visual movement in the static form of individual elements.
4) Visually and physically completely dynamic forms. They are typical for many modern moving design objects, especially various vehicles. Often these forms actually move in space. Their structure often changes. In compositional terms, they are characterized by an extremely dynamic, impetuous character. In formal composition, these are the so-called flexible, open, and changing in structure, combinatorial forms.
Composition means include: format, space, compositional center, balance, rhythm, contrast, chiaroscuro, color, decorativeness, dynamics and statics, symmetry and asymmetry, openness and closedness, integrity. Thus, the means of composition are everything that is necessary to create it, including its techniques and rules. They are diverse, otherwise they can be called means artistic expression compositions.
Static compositions are mainly used to convey peace and harmony.
To highlight the beauty of objects. Maybe to convey solemnity. Calm home environment.
Objects for a static composition are chosen that are similar in shape, weight, and texture. Characterized by softness in the tonal solution. Color solution build on nuances - similar colors: complex, earthy, brown.
The center and symmetrical compositions are mainly involved.
The colors are soft and complex. Everything is built on nuance. The items are the same in texture, almost the same in color. The overall lighting solution unites them and creates an atmosphere of calm and harmony.
Staticity is an expression of peace, stability of form. Static objects are those that have a clear center and in which the axis of symmetry serves as the main means of organizing the form. This form is perhaps not as impressive as the dynamic form. Movement is much more impressive than rest. The static form is usually not only symmetrical (a clearly defined center), but also has a large mass. We understand the concept of static as something necessarily heavy and large in size.
Movement and expression can also be conveyed by showing the irregularity and instability of the composition. It is common for us to recognize a position of rest and staticity. We can always tell whether a body is in a state of equilibrium. An imbalance in the position or shape of an object gives us an apprehension of movement - we expect a series of actions.
While waiting, the form is visually destroyed. Of course, it is difficult to determine the outline of a form in motion, since we usually rely on its outline in a fixed space. Thus, a destroyed or erased outline can be used as an indicator of movement. A form that seems to invade space is usually called dynamic. If dynamism is clearly expressed, it can become the main compositional quality.
Dynamics
dynamics statics composition
Dynamics is the complete opposite of statics in everything!
Using dynamic construction, you can more vividly convey mood, an explosion of emotions, joy, and emphasize the shape and color of objects!
Objects in dynamics are mainly arranged diagonally, asymmetrical arrangement is encouraged.
Everything is built on contrasts - contrast of shapes and sizes, contrast of colors and silhouettes, contrast of tone and texture.
The colors are open and spectral.
The dynamism of the form is associated primarily with proportions. The equality of the three sides of an object characterizes its relative staticity. The difference in sides creates dynamics, “visual movement” in the direction of the predominant value.
Let's compare a cube and an elongated parallelepiped. The figure on the left (an elongated parallelepiped) creates eye movement along the long side. Let's lay the parallelepiped flat: the vertical will disappear, and with it the one-way direction. Now it is a static, “lying” volume. For dynamism to manifest itself, it is necessary to indicate the beginning, giving the form direction. The skyscraper, directed upward, is dynamic, since we see the beginning of the form and its rapid movement upward.
A dynamic form can be characteristic of both stationary volumes (architectural structures, machine tools) and moving ones (various vehicles). However, the manifestations of this property are different. The dynamic shape of a racing car or supersonic aircraft expresses the essence of the object itself; it is determined by the conditions of aerodynamics. The form of technology of the 20th century is a product of the rhythm of our time.
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What is composition? Composition (from Latin compositio) means composition, combination of various parts into a single whole in accordance with some idea. This refers to the thoughtful construction of an image, finding the relationship of its individual parts (components), which ultimately form a single whole - a photographic image complete and complete in linear, light and tonal structure. In order to better convey an idea in photography, special expressive means are used: lighting, tonality, color, point and moment of shooting, plan, angle, as well as visual and various contrasts.
The following compositional rules can be distinguished: 1. Transfer of motion (dynamics) 2. Rest (statics) 3. Golden ratio (one third).
We will consider only two types of composition: dynamic and static. 1. Static compositions are mainly used to convey peace and harmony. To highlight the beauty of objects. Maybe to convey solemnity. Calm home environment. Objects for a static composition are chosen that are similar in shape, weight, and texture. Characterized by softness in the tonal solution. The color solution is based on nuances - similar colors: complex, earthy, brown. The center and symmetrical compositions are mainly involved.
Let's look at an example: Steady, motionless, often symmetrically balanced, compositions of this type are calm, silent, and give the impression of self-affirmation.
Now let's move on to the dynamic composition. 2. Dynamics is the complete opposite of statics in everything! Using dynamic construction in your works, you can more vividly convey mood, an explosion of emotions, joy, and emphasize the shape and color of objects! Objects in dynamics are mainly arranged diagonally, asymmetrical arrangement is encouraged. Everything is built on contrasts - contrast of shapes and sizes, contrast of colors and silhouettes, contrast of tone and texture. The colors are open and spectral.
Statics and dynamics are means of harmonization used to express the degree of stability of the compositional form.
Such stability is assessed purely emotionally, by the impression that the form makes on the viewer. This impression can come either from the physical state of the form - stable or dynamic, associated with the movement of the object as a whole or its parts, or purely compositional or formal.
Static balance occurs when figures are symmetrically arranged on a plane relative to the vertical and horizontal axes of the format of a composition of symmetrical shape.
Dynamic equilibrium occurs when figures are asymmetrically arranged on a plane, i.e. when they are shifted to the right, left, up, down.
Symmetry and asymmetry in composition
Symmetry and asymmetry are the arrangement of composition elements relative to the main axis. If it is the same, then the composition appears as symmetrical, if there is a slight deviation in one direction or another - as disymmetrical. With such a significant deviation, it becomes asymmetrical.
There are three main types of symmetrical composition: mirror, axial and helical.
Mirror symmetry is formed when the elements are identically arranged relative to the main axis, passing through the center of a horizontal or vertical compositional plane, graphic or plastic. An example is a square with a crosshair in the middle.
Axial symmetry is typical for a volumetric form, which has a central, usually vertical, axis of symmetry and a uniform arrangement of elements around this axis. The characteristic symmetrical axial shape is a cylinder.
Helical symmetry is characteristic of a volumetric form that has the same central axis and uneven development of elements in the longitudinal direction, their contraction and displacement relative to this axis. A typical example of this is a shell-like shape.
A composition can include symmetry and asymmetry at the same time. Then it is built on the basis of the subordination of secondary, asymmetrical parts and the main symmetrical form. With this subordination, visual balance of the entire composition is established. It can be achieved in a position in which the main element is asymmetrical relative to general form, and its parts are symmetrical, and vice versa.
Meter and rhythm in composition
Meter is the simplest order based on the repetition of equal elements. Repetition makes the form easier to perceive, making it clear and distinct. However, over a long period of time, the metric composition may look monotonous. The elimination of monotony is facilitated by: 1. a combination in the composition of several metric series of different constructions; 2. identification of groups of elements in the metric series; establishing tensions between groups; 3. “revival” of the metric series by including accents in it; 4. changing individual properties of repeating elements.
Rhythm is a more complex order of alternating elements of a composition than meter. It is based on an uneven change in their properties. This change can affect both the elements themselves and the spacing between them. With their constant change, a continuous set is formed, which can have a different character - sharply or smoothly changing.
Abrupt change is typical of simple "rigid" geometric shapes. These are squares, triangles, rhombuses, etc. Smooth changes are typical for more complex and “soft” shapes - parabolas, ovals, spirals, etc.
The circle is not included in the second row: it is formed on the basis of the formation of a metric, that is, a uniformly changing set.
The most characteristic method of constructing rhythm is changing the size of elements. Increasing and decreasing rhythmic series are built on such a change. A smooth rise leads to the construction of a “calm” rhythmic composition, a sharp rise leads to a “tense” composition. Behind the excessively sharp change in the size of the elements lies the destruction of the compositional and rhythmic structure.
Another common technique is changing the spacing between elements. Its use is associated with the construction of narrowing and expanding rhythmic series. The first rows are formed by reducing the distances between elements, the second - by increasing them. The degree of change in this case will determine the slowdown or acceleration of the rhythm. A gradual increase in the size of the intervals leads to a visual weighting of the form in the direction of this increase, and vice versa, a decrease - to its lightening.
Like meter, rhythm can be composed of one or several rows, that is, it can be simple or complex, multi-row. Complex rhythmic series can be formed by a combination of different metric, metric and rhythmic, or just rhythmic series. The rhythmic orientation of combining rows relative to each other can be different:
1. parallel direction - when the properties of the elements in the rows change equally, for example, brightness increases, size increases, etc.,
2. counter - when the properties change unequally, for example, the brightness increases, but the magnitude decreases.
The nature of the composition largely depends on this direction. It becomes either emphatically rapid, or more calm, built on the intersection of rhythmic series “moving” in different directions. With a random, “Brownian” arrangement of elements, the composition is destroyed.
The more dynamism there is in photographic photographs, the greater the impact they have on the viewer: they contain a lot of movement, life, and drama. Let's see together what needs to be done so that your photographic works, and we'll talk about landscapes, are full of dynamics.
We are always attracted to photographs that capture some special moments in life, in which the author captures our attention, forcing us to hold the viewer’s gaze on his work. Here the “what is it” effect is triggered when we see something new, unusual, original for the first time.
By visiting various well-known photo sites and looking at the works presented there, you can find many similar friends on a friend of photographs depicting pictures of nature. Although they will present views of various areas, they will most often be boring and monotonous in their content. The most successful photographs always capture something unique that you would never pass by if you came across it. real life. In other words, the pictures that are literally admired are all full of exactly what we call dynamism.
What is dynamics in a photographic landscape?
So what are the characteristics of landscape photographs that we call dynamic?
For example, we are filming a sea tide or light waves at sea. To convey the dynamism of this natural phenomenon, you can, having previously configured the camera as you need it in terms of lighting conditions and everything else, install it on a tripod and take not one, but a series of pictures at once. And then, in the end, all the waves captured in motion, projected on one frame, will seem to mix with each other, and in the photograph we will get a dynamic and lively image of them. If we turn to Wikipedia, one of the most popular sources of information, then there we can find material that interests us on the issue of dynamics in the depiction of a landscape, but this is just the personal opinion of one of the experts in this field.
Let us allow ourselves to express our own thoughts on this issue.
Displaying the irrepressible and great energy of nature, endlessly changing and transforming - this is what, in our opinion, dynamics in the depiction of a landscape are. Looking at dynamic photographs, it is as if we are observing a 3D effect, since these photographs are unusually deep and capacious in their content. They seem to go beyond the usual flat image and acquire volume. For the first time, the term “Dynamic depiction of landscapes” can be found in Galen Rowell. This wonderful landscape photographer described his works created in the early 70s of the 20th century in this way.
Of course, other masters of landscape photography at that time also took photographs that were interesting from a dynamic point of view, but it was thanks to Rovell that the term “dynamic landscape” came into use and became frequently used. He became peculiar business card this master, his distinctive feature. The dynamic landscape is even identified with his work.
Dynamic composition
As in other genres fine arts, the basis of any good photographic work is composition. Regardless of whether it is a dynamic plot or some other one. It is a successful composition that makes us stop our attention on the picture and hold it for a long time.
It is easy to create dynamic landscapes, the plots of which are related to the image of the sea. They perfectly combine all the elements inherent in a dynamic photograph, namely:
- Descending and ascending lines;
- Well-developed perspective;
- Visually attractive foreground objects.
- An interesting and spectacular location of the horizon line, as well as a memorable landscape background.
- Bright color and lighting solution of the photo;
- A harmonious combination of colors that define the main color scheme and vignetting.
- Visualization of movement.
More often than not, a photographer rarely manages to achieve a combination of all these elements in one work. In real life, the qualities inherent in dynamism occur all the time. In any photograph that depicts a natural landscape, you are sure to find at least one component. And if there are several, it can be considered luck. The success of the author of the work.
Our goal is not to give clear instructions on how to create good photographs. After all, photography is one of the forms of art, and in art, as you know, everything depends on the little things. To notice these little things and, thanks to them, create works of photographic art, you need God's gift, the author's creative approach to creating photographs, and of course - work, work and more work, ensuring the gradual accumulation of valuable practical experience. Therefore, our recommendations for creating high-quality dynamic photographs can only help you determine the path along which you should take yourself to the heights of honing your unique style, technique and skill.
Now I would like to dwell in more detail on each of the elements that contribute to the creation of a dynamic landscape photograph.
Rising and descending lines in a dynamic landscape
The first thing that helps to attract the viewer’s attention to a photograph is the use of converging, ascending and descending lines in the photograph.
Converging lines have long been used by artists in painting and graphics to create a sense of depth in space (called linear perspective) in a two-dimensional image.
Therefore, photography masters often use scenes depicting piers, rivers, and roads. Despite some stereotypes in the depiction of these objects, you need to be able to correctly use the technique of placing these objects in the composition of the photograph when depicting a landscape. So, remember that rising lines help keep the viewer's attention in the photo, drawing special attention to it.
For example, a photograph of a pier includes both descending and ascending lines. Notice how the clear and straight lines of the pier rush into the sky, and at the same time the lines of the clouds rush down. We can observe how all the lines in such a photograph converge on the horizon line, due to which the vanishing point of these lines becomes the object of our close attention. Here we can recommend shooting man-made lines in order to learn how to look for finer lines in nature. Yes, indeed, the pier is the compositional center of the whole picture, as well as the source of the main lines, but you can also observe here a number of other lines formed with the help of water, hills, and clouds. So in the reflection of the water we see dark lines that help direct our gaze to the central part of the photo.
What do photographers get paid for? For his fresh look at reality, for his ability to reveal to us what we ourselves cannot see in real life and, moreover, do not have enough time for it. That is why a photographer must show the world in an extraordinary light. In pursuit of this goal, try to find the necessary angle for shooting. Thus, photographs taken in conditions where you are lying on the ground, in mud or in snow during shooting, usually turn out to be more dynamic. This is especially pronounced when shooting with an ultra-wide-angle lens, thanks to which we notice even the smallest leading lines in the photo. When shooting the same object from eye level, these lines will no longer be visible.
Interesting pictures are obtained when shooting from the top point. Climbing a tree, or standing on a friend's shoulders, can give you an interesting perspective. As a rule, photographs taken in this way using a telephoto lens are especially stunning.
Foreground
It is good to place significant, strong elements of the composition in the foreground of dynamic shots. They will beneficially complement the perception of the entire picture. Take, for example, a photograph that depicts a sunset or sunrise. Usually in nature this moment is very beautiful - pink or even red clouds pierced by the direct rays of the sun. All this turns out quite beautifully in photographs. But, you must admit, the viewer will not be attracted by the image, so to speak, of “sunset in its purest form” - that is, only clouds in the sky. There is something else that needs to be introduced into the composition.
Dynamic photography needs an interesting foreground. This task is important and sometimes quite difficult for a photographer. The foreground element completes the composition. That's why you need to find something that fills the foreground of your photo. If this object is correctly selected and introduced into the plane of the frame, the dynamism of the photo will increase significantly, and you will take another step towards success.
Relationship between foreground and background elements
In cinema there are leading and supporting roles. In the film, the entire plot is based on the relationship between the main characters of the film. But if the main characters were not shaded by the supporting characters, then the images created by them would not be so bright and expressive. So are the elements of composition in a dynamic landscape. Elements of the foreground and background mutually influence each other and interact with each other. For example, if in the background of the landscape there is a sunset in the mountains, then in the foreground either the glare of the sun playing on the flow of a mountain river or the collapse of beautiful stones will look good.
Color range
The color scheme undoubtedly plays an important role in creating a beautiful and compositionally harmonious frame. Any natural colors look natural in natural light. If you want to make colors very bright, then you need to be able to balance them correctly. And in the case when the desired balance of bright colors cannot be achieved, it is better to simply exclude this color from the frame. Some novice photographers often deliberately introduce various bright spots of light or color into the photo. But this creates excessive diversity and does not always look good. That is why the dynamic composition of the frame must have the correct color balance. It is better to avoid a large number of shades.
Vignetting
Vignetting can be called vision blocking. In vignetted photographs, the first thing the viewer pays attention to is the main element in the composition of the frame. Concentration in this case is greatly helped by the dark edges of the photo. If you look at photos like this, you'll notice this visual accent effect. Vignetting can be done in different ways. For example, using a special filter or when processing in graphic editors. Many, even simple programs, allow you to do this. For example, framed by the dark edges of a vignetted frame, a lonely white cloud against a soft blue sky looks good.
Motion transmission
Movement is not always required element dynamic landscape. But sometimes it is quite desirable. Movement can be conveyed by blurring any object or element of the composition. Blurring is achieved by using long shutter speeds. If you remove the flow of water in aperture priority mode, the water will appear frozen, frozen in time. For example, if you take a long exposure photograph of some huge boulder that lies in the rapid flow of a shallow mountain river, then this static dark object in the center of the picture will actively focus attention on the non-moving water. And this will give the picture additional dynamics. A wide range of colors will also work well here - water, stone, sky, vegetation on the banks of the river... The texture of the surface of the stone will make it dominant in this composition. You can also apply a little vignetting here.
Black and white dynamic landscape
Can a dynamic landscape be monochrome, black and white? Why not? Of course it can. The classics of photography have many such photographs. Black and white photography perfectly conveys contrast and emphasizes movement and dynamics. But you need to learn to compensate for the lack of color in photography with something. To do this, we will have to work a little more seriously on other expressive means of a dynamic landscape. About these expressive means we already talked today. And with the help of black and white colors and their shades, you need to learn how to convey the texture and texture of the objects you are shooting. In such photographs, the main element of the composition is of great importance.
Many black and white dynamic landscapes have been created. They are all filled with movement. Just look at various photo sites and you will see them. Look for great photos by Hengki Koentjoro or Mitch Dobrowner, for example. The works of these authors are simply mesmerizing. It's worth learning from them.
Can non-dynamic landscapes be attractive?
Of course they can! You can get the most excellent photographs of nature and landscapes in general, even if you don’t follow any of our recommendations today. Dynamics in a photographic landscape is just one of many ways to convey the state of nature, environment. Static, calm photographs are also very beautiful and harmonious. Since photography is, in principle, limited by its two-dimensionality, the static effect is achieved here by applying completely different rules. In this case, completely different laws apply than in the transmission of dynamics. But - statics in the landscape - this is a topic for a separate conversation, for a separate article.
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