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Anonymous File :-(, x)
>>153730 Well, take this photography by Cartier-Bresson. Captioned "SPAIN. Valencia. 1933. Inside the sliding doors of the bullfight arena." Very simple, but...
1. The "7" copies the shape of the boy in the background, and the rings circle and highlight him. 2. Right down a rule of thirds line, or almost, is the division between the dark background and the white door and wall. 3. The white door and wall contrast with the dark-clothed guard and shoulder of presumably another guard, both smack in the middle of them. The guard's reflective monocle pops out on his face. 4. The window in the door perfectly frames the guard. The window could just as easily the outer frame of a photograph in itself, albeit an inferior one. 5. The line of the white wall stops and yield to sky just up and to the side of the guard's head. 6. The boy in the background is energized somehow, the older guard is stoic and wary. And since the boy is out of focus, we can't tell if he's energized with excitement or apphrehension. (sp?)
Now, Cartier-Bresson probably wasn't thinking all this when he shot it. Composition is intuitive. And the photograph hits without this analysis because of all the little details I outlined. But that's how it works. Just keep composing and studying and it'll become intuitive.
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