By MICHAEL PERKINS
PHOTOGRAPHIC COMPOSITION MAY MATTER MORE than any other single aspect of technical mastery. The godlike power to decide what to include in the frame is the ultimate tool in the making of any photograph. It sets the terms of engagement, stating, merely by what’s been included, this is what we’re talking about today. That makes the photographer a narrator…a storyteller. The rest is all just measurements.
Macro photography, or, as we used to call it, “close-ups” are the purest exercise in compositional choice, because in getting nearer to our subject, we are forced to be aware, in the making of a picture, just how much of the rest of the world we are paring away…whether because it’s distracting, or too busy, or merely because it’s not what our picture is “about”. Macro work also shows, in the clearest possible terms, what happens when too much is left in the frame, and reinforces the same discipline that’s vital in composing a shot at any scale, i.e., including what communicates best, and snipping out the rest. It also becomes a useful introduction to “abstraction”, which is valuable even for people who think they hate that term.
When you abstract something, you are merely pulling it free of its normal contexts and associations. Once you are close enough to your subject, you are working more and more in terms of raw light, patterns, and texture, in a way that makes the familiar unfamiliar. You see compositional elements purely. For example, a piano, as a fully-sized object, registers in the mind as a quite particular thing, whereas magnified detail applied to the arrangement of its inner workings, is an exercise in mechanics, math, the pure arrangement of repetitive motifs. Composition in macro , then, is always great practice for composition in general. When you are zoomed in tight, you must make real choices as to what will make the cut for the final image, and these choices are obvious, and immediately understood. Pull back out for shots taken in the wider world, and that choice-making ability is now more instinctual. There’s a reason so many people say that, in the acquisition of a skill, you should start small. Because little things mean a lot, and the sooner that thinking gets into our pictures, the better tales we tell.