Project 52, Week 7, Informal Balance - Asymmetry

This week we're going to become unbalanced and talk about using asymmetry, or informal balance, when composing our photographs.  Informal balance is considered more interesting more dynamic, and less static than formal balance, 

"Asymmetrical balance is introduced when the presumed weight of two or more lighter objects is equalized by a single heavier object placed on the other side of the imaginary pivot point. Asymmetrical balance is more difficult to achieve than symmetrical balance, because of the problem of establishing relative weight values for dissimilar elements within the picture area as well as presenting some form of stability."  NAVEDTRA 14209 (section 5-8, page 116)

Informal balance can be harder to achieve than symmetry because it isn't just balancing two objects or elements. It's arranging everything in the scene to create an attractive balance that leads the eye to the photo's focal point.   Some things to note:

• Use the Rule of Thirds  (and other golden rules) to help achieve successful asymmetry.
• Dark objects weigh more than light colored ones.
• Elements at the top of the scene have more weight than those of the same size in the lower section.
• An object near the edge of the scene has more weight than one that is centered.
• A group of small items can balance one larger related object.
• A small visually interesting object can balance a larger but less interesting subject.  "Visually interesting" may relate to the shape, color, texture, and placement as well as the object itself.

Can't decide whether the scene demands Symmetry or Asymmetry?  Shoot both and decide later.

Suggested Readings and Photographs:

1. Symmetry and Asymmetry from JohnsbarsbyPhotography; brief article with photographs
2. Asymmetry from 2 D Design Notes; illustrated short lecture type article
3. Basic Photography Techniques, Asymmetrical, or Informal, Balance from photoinf.com; excerpt from the NAVY manual on photography
4. Symmetry and balance in photographic composition from DigitalPhotographyTipsOnline.com; lists 7 tips
5. Composition in Landscape from Learning Photography; examples of symmetry/asymmetry composition and landscape photos
6. Symmetry and Asymmetry in Aesthetics and the Arts by I C McManus, Department of Psychology, University College London; a cerebral look at symmetry and asymmetry
7. Asymmetrical Balance: Creating Dynamic Compositions from The Helpful Art Teacher; lots of illustrations

Refer to the 2012-Project-12-52-365 page for the year's list of topics.

Project 52, Week 6, Formal Balance - Symmetry

One of the easiest ways to achieve balance in your photo compositions is to look for a symmetrical arrangement of elements.  Symmetry, (aka formal balance, static balance, rotational balance) may be considered static, or even boring, because it does not challenge the eye to move from point to point in the scene, but it can add strength, dignity, and serenity to a photograph.  We are used to looking for symmetry, for balance, and often find it comforting.

Formal balance, or symmetry, is achieved when one or more identical or similar subjects are repeated on each side of a given point, or when one symmetrical subject is placed dead center in the scene as shown in the following photo of the St. Michael and St. Gudula Cathedral  in Brussels, Belgium.  Symmetry is often found in architecture, from grand cathedrals to log cabins.

Suggested Readings and Photographs:
Symmetry - Photography Composition by Nate Kay at Photography Blogger; 25 symmetry photos
When is the last time you used symmetry in your photo compositions? by Marlene Hielema at ImageMaven; symmetry in Netherlands architectural photography
Art of Photography - Project 11 at Phil Corley OCA Photography Journal; photos with accompanying diagrams and explanations
Photography Composition Part II - Balance by Doug Wilson from J. D. Wilson Photography; a short video lecture
Jim Zuckerman on Composition: Symmetry at Mac-On-Campus Learning Center and Photography Composition Technique: Symmetry at pixiq; brief how-tos with accompanying photographs.

Project 12, Month 2, Balance

"Balance in photographic composition is a matter of making pictures look harmonious.  Each element in a picture has a certain amount of value in respect to all the other elements.  Every tone, mass, shape, tree, rock figure, building, line or shadow contributes a certain amount of weight that must be arranged correctly in the composition to give the impression of balance.  The subject placement within the picture area is the factor that must be carefully considered.

Composition is kept in balance by two different methods: symmetrical, or formal, balance and asymmetrical, or informal, balance."

• Symmetrical, or formal, balance in a photograph is achieved when elements on both sides of the picture are of equal weight.  (While symmetrical implies formal balance, formal balance does not always mean a picture has to be symmetrical.)
• Asymmetrical, or informal, balance is usually much more interesting than symmetrical balance.

There are many factors to consider in order to make pictures appear balanced.  Some of these are 

• An object far from the center of the picture seems to have more weight than one near the center.
• Objects in the upperpart of a picture seem heavier than objects of the same size in the lower part of a picture.
• Isolation seems to increase the weight of an object
• Intensely interesting objects seem to have more compositional weight.
• Regular shapes seem to have more weight than irregular shapes.
• Elements on the right side of an asymmetrical picture appear to have more weight than elements of the same size on the left side of the picture.
• The directions in which figures, lines, and shapes appear to be moving within the picture are important to balance; for example, a person may be walking in a direction, or his eyes may be looking in a direction, or the shape of some element creates a feeling of movement.  When the feeling of direction is present within a scene, it tends to upset the balance if judged on the size of the subject alone.

You can read more about balance in the Navy basic photography training course manual NAVEDTRA 14209 (section 5-8, page 116) from which the above was taken.  Although published in 1999 for film cameras, the Navy photography manuals still contain much relevant (and easy to read) material.  They can be downloaded free from SHOPDAWG or read (in part) at photoinf.com. 

Other aspects to consider:

• Dark objects "weigh" more than light colored objects.
• A group of smaller objects on one side of the scene can balance one large object on the other side.
• An object has more weight by itself than in a group

This month we'll be concentrating on balance in composition:

1. Formal Balance, symmetry
2. Informal Balance, asymmetry
3. Radial Symmetry
4. Light/Dark Balance

Suggested Reading and Photographs:

1. Balance from North Penn School District
2. NAVY Training Course, Balance, at photoinf.com; older photography course well worth reading
3. Some Ideas About Composition and Design by Marvin Bartel at Goshen College; "formal aspects of composition and design"
4. Symmetry - the Forbidden Fruit of Picture Composition in Film by Louis Thonsgaard at P.O.V; composition in movies
5. Symmetry - A User's Guide by Susheel Chandradhas from BeyondPhotoTips; discusses and illustrates different types of  symmetry
6. Principles of Design, Balance, from Art, Design, and Visual Thinking, Cornell University; a more formal approach to symmetry
7. Jim Zuckerman on Composition: Balance from Mac-On-Campus.com; accompanied by illustrations and photographs
8. Creating Photographic Composition from LearnMyShot.com; video on composing food photographs.
9. Photographic Composition 2 - Balance from Ian Bramhan Photography; text, illustrations, and photos
10. Composition: SEX and Balance from Ken Rockwell; it may not be what you're expecting from the title, but some great tips on achieving balance when composing photos.