A Quote by Sasha Pivovarova
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.
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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.
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.
People generally will soon understand that writers should be judged, not according to rules and species, which are contrary to nature and art, but according to the immutable principles of the art of composition, and the special laws of their individual temperaments.
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.
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.
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.
Visually, I'm always considering shots and composition quite a lot, and I love putting art into films, and I do a lot of the art.
The golden rule is work fast. As for framing, composition, focus-this is no time to start asking yourself questions: you just have to trust your intuition and the sharpness of your reflexes.
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
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.
Improvising is writing, too - there was no music and now there's music. So that's composition. And any time you take any sort of a performance liberty, you're making a compositional choice. I don't know a serious performer who hasn't made compositional decisions, who hasn't engaged in the art of composition.
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.
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.
It's better to find a composition through an instrument and to play it and record it because you have something. It's a composition, and the song is good. It lives as a song. The worst is when you have a song and nothing is working well when you produce it. It's not like what you expect in your imagination. It's the worst because it requires a lot of work.
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