A Quote by Annie Leibovitz
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
Related Quotes
I may juggle the composition, as the strength of a picture is in the composition. Or I may play with the light. But I never interfere with the subject. The subject has to fall into place on its own and, if I don't like it, I don't have to print it
Composition in photography is almost as varied as composition in music or words -- melodic or atonal, safe or daring -- and can enhance subject, theme, and style. Every photograph you take involves you in some compositional decision, even if this is simply where to set up the camera or when to press the button.
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
Good composition is like a suspension bridge; each line adds strength and takes none away... Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.
Self-conscious artiness is fatal, but it certainly would not hurt to study composition in general. Having a basic understanding of composition would help construct a better organized image.
By having the big lines of the composition going out of the canvas, your imagination can wander beyond the edge. It will make it seem part of a large composition.
In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.
The sound of the rain needs no translation. In music one doesn't make the end of the composition the point of the composition... Same way in dancing, you don't aim at one particular spot in the room... The whole point of dancing is the dance.
To be a good improviser, you have to study composition as a parallel. Because what improvisation is, on a high level, is spontaneous composition.
The composition is the thing seen by everyone living in the living they are doing, they are the composing of the composition that at the time they are living is the composition of the time in which they are living.
When we look at a painting, listen to a piece of music, read a novel, or watch a movie we are taking in the artist's composition. The composition is the totality of the work.
I pay a lot of attention to composition in my art, and I will often shift myself or change a pose according to the golden triangle rule of photography composition.
My intention here is to make it clear that not a single cell of my composition, here in regard to The Raven, is found by chance or intuition, that the composition moved towards perfection with the precision and inevitability of a mathematical equation.
I don't think I differentiate between composition and improvisation. Improvisation could be a large part of a composition.
In 1968 I ran into Steve Lacy on the street in Rome. I took out my pocket tape recorder and asked him to describe in fifteen seconds the difference between composition and improvisation. He answered: "In fifteen seconds the difference between composition and improvisation is that in composition you have all the time you want to decide what to say in fifteen seconds, while in improvisation you have fifteen seconds." His answer lasted exactly fifteen seconds.
If I'm creating the composition, it's easier for me as an actor because I've just cut out the middle man. Because I've created the composition and now I'm in it, I already know exactly what I want to get out of it. So, bang!
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