Why is composition

important in Street
Photography?
Looking at experience: methods and
influential photographers with reference
to street photography
Examples of Henri Cartier Bresson, Lee Friedlander
and Alex Web
Iewduh Market, India 2021 taken by Josiah Lyngwa
About composition
According to David Präkel, “Composition, when understood as the pleasing arrangement
of the elements of a photograph, has preoccupied the photographic practitioner since the
earliest days of photography in the mid-nineteenth century”. Composing a picture is
arranging elements within it in a way that better serves the work's central idea or goal.
Moving the items or subjects may be used to rearrange the components. Since the
photographer normally does not have the option of moving his subjects himself, street
photography necessitates anticipation because the photographer must wait for them to
take the best position within the image. The photographer can also rearrange elements
by moving their own role. Composition is a technique for attracting the viewer's attention
to the most important elements of the work in a particular order (Präkel, D., 2018). From
a personal experience, a poorly judged composition is not normally fixable in post-
production, unlike easy and normal exposure or white balance errors which can be fixed
through post production. Cropping can save an image in certain cases, but only when
tighter framing and the removal of some parts of the image are the best options.

Fig. A) Roman amphitheatre, Valencia, Spain 1933 by Henri Cartier Bresson

(Magnum Photos. 2020, Henri Cartier-Bresson)
In the above photo (Fig. A) for example, composition is greatly influenced by focal length,
aperture, and the angle at which the photographer wants to position the camera relative
to the subject. Before going in depth, into the methods and styles of composition, one
must first understand the basics of aperture, exposure and composition. As a
photographer, choosing a bigger aperture, blurs the background and foreground, thereby
reducing the significance of objects positioned there. Smaller the aperture, on the other
hand, will put more objects into view, significantly increasing image balance. Composing
an image becomes naturally drawn after a while of practicing and learning skills
developed from influential photographers. A photographer will not have to think about the
positioning of certain elements after enough practice. The subconscious will take care of
it. The fingers will dial in the proper settings, while the eye will frame the shot. Poor
composition will feel unnatural and out of place right away because naturally we a drawn
to symmetry and uniformity. One can make better decisions if there is much experience.
The best way to improve as a photographer is to learn new ways of composing the image
rather than rushing the decisions and blindly trusting the subconscious.

We will be examining at some of the important elements of composition such as early and
contemporary methods through photographers who have been influenced by various
things that shaped the art of composition in photography apart from photography itself.
About experience
Early

Fig 1. Siphnos, Greece 1961 by Henri Cartier-Bresson

(Magnum Photos. 2020, Henri Cartier-Bresson)

Fig 2. Iewduh Market, Shillong, India 2021. Photo taken by Josiah Lyngwa
From the above photographs, Fig. 1 and 2 has some similarities in composition, as the
photographer (Fig. 2) uses center composition and negative space to provide significance
towards the subject as inspired in Fig1 by the photographer Henri Cartier Bresson.

French photographer Henri Cartier-Bresson, is known for his commitment to photographic

art which allowed him to claim the reputation of “the founder of modern photojournalism”
(Huxley-Parlour Gallery. 2021. Henri Cartier-Bresson: 'The Father of Modern
Photojournalism').

Henri Cartier-Bresson, is a professional photographer widely described as the world’s

greatest. His photography is always about capturing moments when reality reveals itself
to the camera whether it was a split second before the heel of a leaping man’s foot enters
the surface, or the movement of a wheel in motion. In addition, he established the well-
known photographic idea of the “decisive moment” in the process. He established it at a
period when photography was still a relatively modern form of art (Henri Cartier Bresson,
Alumni.sae.edu. 2020)

Fig 3. The Quai St. Bernard near the Gare d’Austerlitz railway station 1932 by Henri
Cartier Bresson (Magnum Photos. 2020, Henri Cartier-Bresson)
In The Quai St. Bernard (Fig. 3), Bresson uses the composition idea of leading lines which
attracts the eye to draw forwards to the subject and by placing his subject towards the
corner right using the rule of thirds to create the idea that there is an interaction between
his subject and the background.

When he was asked what makes an outstanding composition, his answer was geometry.
He started off as a painter and he identified himself as a surrealist rather than being
named a photojournalist in the early years. The distinction between excellent photography
and an ordinary one may be geometry and framing just a few millimeters. He never made
images and had a disdain for them. My primary emphasis is the use of symmetry, curves
and visual flow. The structure and balance of shapes within a stage is related to geometry.

This interrelation of forms is almost always unchanged, which ensures that great insight
and awareness must be developed and caught at a certain moment. Cartier-Bresson
believed that a person was born with or wasn’t able to understand these three factors at
once; it couldn’t be taught easily (Henri Cartier Interview. Aperture. 2020. You Must Live
and Look).

Fig 4. A) Rome 1965 by Henri Cartier Bresson

(International Center of Photography, 2021)
 B) Travestevere, Rome 1959 by Henri Cartier Bresson
(International Center of Photography, 2021)

In the above photo (Fig. 4, A & B), shadows are incredibly crucial. It's all about painting
with light in photography, and there cannot be light without darkness. In any scene,
shadows can provide us with shapes, forms, and textures as an overlay. They provide us
with two scenes in a single frame. In Bresson's photograph, the concept is the same. The
use of shadows to highlight the subject and their interaction, also adding a sense of depth
to it.

Working only in black and white photography, the photographs of Cartier-Bresson seem
to distil the abstract meaning of life into something pure. His rejection to either crop or
manipulate his images feels the creative uniqueness and refreshing in contemporary
practice, and allows the viewer to see the photo in a way that he would like them to see.
Decisive Moments encourages us all to observe important features and to respond that
bit faster, and to enjoy experiences that, without waiting to recognize and relate to them,
could live and die without ever being experienced.
Cartier-Bresson‘s philosophy of photography has a fascinating point of argument, that
one must be invisible, from the subject or trying to adapt to a certain environment and
blending in with the subject so as to capture a perfect timed shot or the critical moment
that may be waiting for the scene to surface.

Fig 5. Man cycling down street Hyeres, France 1932

(International Center of Photography, 2021)

(Hull, C. and >, M., 2021. Composition Techniques From Henri Cartier-Bresson)
As a photographer, the pursue of balance comes naturally with experience. When a photo
is balanced, it is free of conflict and gives us a sense of comfort. This is exactly what the
Fibonacci spiral provides. It is much difficult to understand than the rule of thirds because
of its complex geometry. This is why many photographers are unfamiliar with the
Fibonacci spiral or the golden ratio of photography, but for Henri Cartier Bresson, his
ideas and thoughts were as a painter then later his transition to a photographer was much
easier in implementing these rules into photography. (Hull, C., M., 2021. Composition
Techniques from Henri Cartier-Bresson). In Fig 5, Bresson crafted one of his most iconic
photographs which plays a huge impact in photography till today. In better understanding,
he uses the Fibonacci spiral by placing the stairs in spiral leading towards the cyclist
positioned towards the corner left down the street.

Art and psychology

The roots of visual composition can be traced back to painting, not photography. While a
painter may build a scene on a blank canvas, a photographer, especially a documentary
photographer, must work on his framing. Painters may use leading lines and natural
features to create an image dependent on the composition. For example, a tree line in
the landscape that leads the eye directly to the main focus, or other perspective features
that guide the eye. (Street bounty. 2021)

Example of leading lines in painting

 Fig 6. “Last Supper” by Leonardo Da Vinci from 1498.
(Streetbounty.com. 2021)

Fig 7. Left photo: Iewduh Market, Shillong 2021, India. Photo taken by Josiah Lyngwa
Right Photo: Aquila degli Abruzzi, Italy 1952 by Henri Cartier Bresson
(International Center of Photography, 2021)
In the above photos (Fig. 7), leading lines in the image give us a clear beginning. With a
simple focal point, the photographer gives us major clues on the way to proceed from
there, the use of leading lines can lead to the story of the subject rather than a random
busy street with people, artefacts, and other information, where we have no idea how they
relate to one another. The image's structure is given by the leading lines.

There are some similarities between drawing, painting, and photography techniques.
People and objects move in three dimensions, making the world a dynamic space.
Photographs and drawings, on the other hand, not only ‘stop the clock,' but also guide
the viewer's attention to a framed part of the world, where spatial interactions have been
frozen into a two-dimensional representation. Dynamic becomes static in both painting
and photography, and the three-dimensional world is flattened into two. The artist creates,
works, and reworks the image within its frame, often relating to the real world and
sometimes working entirely in his or her imagination. Their image may be updated or
revised at any time. The photographer, on the other hand, frames a portion of the world
and organises subject matter within that frame. Alternative techniques and digital editing
allow for some image reworking, but the raw material for the photograph comes from the
first selection made from the real world, if it is not to be called digital art.
(Basic Composition, Präkel, D.)

Pablo Picasso 1944 by Henri Cartier Bresson

(Glover, T., 2021)

“This recognition, in real life, of a rhythm of surfaces, lines, and values is for me the
essence of photography; composition should be a constant of preoccupation, being a
simultaneous coalition – an organic coordination of visual elements.”
- Henri Cartier-Bresson (info@PhotoQuotes.com, H., 2020)
The surrealist movement influenced Henri Cartier-Bresson, and as a painter, he was
inspired by surrealist photographer Man Ray. Gestalt Principles are human perception
laws that describe how we group similar elements, recognise patterns, and simplify
complex images when we look at objects. Designers apply the principles to arrange
content and other interfaces in an aesthetically pleasing and understandable manner in
which an audience can read and easily interpret (John Suler. Photographic Psychology.
2021).

Henri Cartier-Bresson photographed some of the famous painters of his day like Pablo
Picasso, Marcel Duchamp and Man Ray. This just shows the influences that heavily
impacted Bresson’s career (Magnum Photos. 2020. A Surreal Friendship).

Marcel Duchamp and Man Ray 1968, at Man's Ray home taken by Henri Cartier
Bresson (Magnum Photos. 2020. A Surreal Friendship)

Gestalt psychology explores the mind as a whole. It is composed of a variety of values.

In psychology, there are several Gestalt concepts. Not every one of them can be used in
photography. The simpler it is to look at the composition, the easier it will be to understand
it. The Law of Similarity, for example, is frequently used by street photographers to
transform busy compositions into stunning street shots.

If two elements resemble each other, our mind classifies them as belonging to the same
group. Colour, shape, size, texture, or any other attribute can be used to stimulate the
law of similarity. Understanding the similarity law allows us to make connections between
unrelated elements by using their colour, shape, size, or texture. This law applies to
repetition. Another example, is the Law of Proximity which is frequently used by portrait
photographers to make their subject appear as if they are grouped together. Close
proximity of objects creates a sense of familiarity. If you walk into a room and see two
people sitting together, you might assume they're friends, even if they're strangers. (John
Suler. Photographic Psychology. 2021)

Photography doesn’t always have to focus on art and storytelling. A photographer may
expand their knowledge of photography by studying various topics, such as psychology.
One can change the way a camera is used and compositions are created by following a
few basic principles.

Fig 8. Madrid 1933 by Henri Cartier Bresson

(International Center of Photography, 2021)
Fig 9. Leghorn Italy 1932 by Henri Cartier Bresson
(International Center of Photography, 2021)

Fig 10. Mexico 1994 by Henri Cartier Bresson

(International Center of Photography, 2021)
In the above photographs (Fig. 8, 9 and 10), the main subject and the background can
often be in direct contrast. The main subject can be notice instantly. When there is little
or no contrast, it may be difficult for the audience to distinguish the main subject.
Bresson's use of the figure to ground theory would then add depth and symmetry to his
photographs. Figure to ground refers to the understanding between objects and negative
space, with regards to the foreground and background. It's one of the first things people
notice when they look at an image. It's easier for the mind to differentiate components in
photos that are in direct contrast to each other. Images with a figure to ground ratio are
more likely to attract the eye of the audience. This is a fundamental visual perception
theory (John Suler. Photographic Psychology. 2021).

CONTEMPORARY

Self-portraits

Self-portraits do not fall under the “classroom” definition of photography composition,

that’s because most of the photography books do not include self-portrait as a genre that
is fascinating and appealing to the readers. But from artist’s perspective it is believed to
be fascinating in compositional technique that one can use to create more interesting
pictures.

Shenley Hall, self-portrait 2019 by Josiah Lyngwa

 Self Portrait (1950s-) by Lee Friedlander
(ASX, E., 2020. Lee Friedlander Puts Your Selfies to Shame)

The above photograph is particularly interesting because it depicts Friedlander in an

objective light. When artists make self-portraits, they are often making a representation
of the individual as they would like to be seen, rather than an image of themselves.
Friedlander, on the other hand, does not attempt to make himself look more attractive,
interesting, or intelligent, instead he takes a step back and create photographs that are
true to life and most importantly which depicts the interaction between him and his
environment .

Fig 11. A) Self Portrait (1950s-) by Lee Friedlander

(ASX, E., 2020. Lee Friedlander Puts Your Selfies to Shame)
 B) Self Portrait (1950s-) by Lee Friedlander
(ASX, E., 2020. Lee Friedlander Puts Your Selfies to Shame)

Fig 12. Self Portrait (1950s-) by Lee Friedlander

(ASX, E., 2020. Lee Friedlander Puts Your Selfies to Shame)

In the above images (Fig. 11 and 12), the artist becomes an integral part of the photo.
Every individual enters the scene and becomes a part of it.
The environment has an effect on a person's personality. People can play various roles
in various environments. They'll take on various personas. Self Portrait portrays the
multiple elements of people, as well as the influence that people have on their
environments and the impact that the world has on them. But in (Fig. 11, A and B) there’s
quite a similarity in the composition of the subject, which consisted of a frame within a
frame, to highlight the depth of the subject by using shadows and reflections.

In today’s art world, we find that this genre is quite on the rise due to the emerging pop
culture along with advanced technology in mobile camera phones having front facing and
better quality cameras unlike the early days where artists would have to make use of
different alternatives such as mirrors and reflections, which believed to have worked since
it was applied for a specific compositional task of interaction with the environment.

Social Landscape

“I always wanted to be a photographer. I was fascinated with the materials. But I never
dreamed I would be having this much fun. I imagined something much less elusive,
much more mundane.”

Lee Friedlander
(Google Arts & Culture. 2020, Lee Friedlander)

Devon, 2020 taken by Josiah Lyngwa

 Knoxville, Tennessee, 1971 by Lee Friedlander
(Fraenkel Gallery. 2021. Lee Friedlander)

A master of contemporary photography, Lee Friedlander is known for his exploration of

the American social landscape (Kieffer, M., 2020. Lee Friedlander: Capturing the 'Real'
America). He does have a remarkable ability to organise a tangled mess of seemingly
insignificant stuff into powerful compositions within a photograph's frame. He values and
makes use of the camera's ability to capture anything within the frame, no matter how
insignificant and less importance. The details that we neglect would be captured by the
camera as willingly and democratically as the main subject. In his compositions, he likes
to include various street objects such as signs, phone booths, chain link fences, walls,
statues(in photos Fig. 13, 14 and 15) as well as blurry reflections in windows and other
surfaces, sometimes filling his frames with as much imagery as they can accommodate.
(The Image Journey. 2020. The Social Landscape).
Fig 13. Golden Gate Park 1987 by Lee Friedlander
(Fraenkel Gallery. 2021. Lee Friedlander)

Fig 14. Italy 1964 by Friedlander

(Fraenkel Gallery. 2021. Lee Friedlander)
 Fig 15. Kansas 1965 by Lee Friedlander
(Fraenkel Gallery. 2021. Lee Friedlander)

While much of his work is not obviously spectacular or obvious on first glimpse, much of
it appears to be amateurish snapshots (in the above photos Fig. 13, 14 and 15) but
on noticing that spending more time with it has helped to see the world through his ideas
of exploring randomness into something unique and beautiful, and to appreciate the
amazing relationship between random objects of different shapes and angles that can be
found in his photographs.

As a photographer, Friedlander is inspiring because he has brought his own unique vision
towards his photography, creating images that are influenced by his sensitive vision,
humour and knowledge, and lack of pretence. He is known as a point-and-shoot
photographer who uses minimal professional equipment and manipulation.
(Encyclopaedia Britannica. 2021. Lee Friedlander)

Friedlander's photographs have huge influence due of the subject matter and
composition, not because of the technical handling or editing. Anyone can learn to
manipulate photographs into something visually appealing, but taking a basic piece of
equipment out into the world and taking a snapshot that can perform in the same arena
is a different issue. True photographers are the ones that perform and understand the art
of photography, and Lee Friedlander is one of them. He is also often associated with
street photographers, and with good reason. He's one of the few street
photographers whose work has a quality that goes beyond the genre and into fine art.
Influence of music

Friedlander's greatest passion after photography is music. Friedlander fused his two
interests by photographing jazz musicians while living in Los Angeles. He met Nesuhi
Ertegun, an Atlantic Records producer, as a result of his interest. (Risd.libguides.com.
2021)

Preservation Hall, 1982 by Lee Friedlander

(McNally, O., McNally, O. and McNally, O., 2021)

Fig 16 A) Louis Keppar, 1958 by Lee Friedlander

(McNally, O., McNally, O. and McNally, O., 2021)
 B) Alice Zeno, 1957 by Lee Friedlander
(McNally, O., McNally, O. and McNally, O., 2021)

As a photographer and vivid fan of all musical genres, music isn't just a set of sounds.
There must be some kind of relationship between them in order for them to form anything
other than meaningless sounds. Such relationships influence the emotions evoked by a
sequence of sounds. The same is true for photographs. Certain relationships between
image elements should exist if they are to have a strong effect on the viewer. There are
no clear composition rules since the photographer and the object form a close bond when
searching for the best form of the motive. Music bridges the most intense feelings that
somehow inspire one to visually capture the pattern recorded in his thoughts
and subconscious that are evoke through music. The perception is extremely subjective
and is largely dependent on the photographer's sensitivity.

Friedlander's photographs are layered with a visual polyphony of forms, shadings,

thoughts, and symbols. Particularly with his portraits of elderly masters taken at home in
their comfort rooms, surrounded by everyday objects. In Fig. 16. A & B, Friedlander
reveals inner truths about his subjects through their reclusive rooms, which are
marvellously cluttered with objects from framed pictures of loved ones and Spartan
furniture to mirrors and pictures of Jesus. (McNally, O., 2021. Yale Photo Show Offers
Intimate Insights into the Jazz World)
Colour

“I came to photography through books. Initially it was Henri Cartier-Bresson’s The

Decisive Moment and [Robert Frank’s] The Americans, maybe some Ray Metzker,
Lee Friedlander and [William] Klein – but always in book form. I think photography
is uniquely suited to it…”
-Alex Webb (Huck Magazine. 2021)

Iewduh Market, India 2020 taken by Josiah Lyngwa

Alex Webb is best known for his vibrant and complex colour photographs of fascinating
or surreal moments, often in places where socio-political tensions exist. His interest in
colour photography, which he began in 1979 after transitioning from black-and-white
photography, he attributes to his work in Latin America and the Caribbean. Webb has
published a survey of his colour photographs spanning 30 years, as well as sixteen
photography books, including The Suffering of Light (Magnum Photos. n.d. Alex Webb.
Photographer Profile).
 Fig 17. A street in Bombay. Bombay, India 1981 by Alex Webb
(Magnum Photos. 2021. The Suffering of Light • Alex Webb)

Alex Webb's world is a mosaic of hues (in Fig. 17). Each locations he visits has a special
and expressive radiance of colours. Webb's style of photography shows a wide range of
colours that evokes a variety of emotions. He considers himself a typical street
photographer, citing Cartier-Bresson, Friedlander, and others as influences
(LensCulture, R., 2021. Redefining Street Photography with Alex and Rebecca Norris
Webb).

Webb's work is characterised by a strong use of colour and a strong sense of depth. A
detailed depiction from the foreground, mid-ground, and background can be seen in
several of his photographs. The beauty of this is that it invites the audience to examine
his dimensional perspective of his photographs. One can begin to look at the objects that
are closest, then gradually move into the mid-ground, and finally out into the background.
(Huck Magazine. 2021. Photographer Alex Webb shares the secrets to his success).
Fig 18. Outside of the Blue Mosque during Ramadan. Istanbul, Turkey 2001
by Alex Webb
(Magnum Photos. 2021. The Suffering of Light • Alex Webb)

Fig 19. Baseball fans. Sancti Spiritus, Cuba 1993 by Alex Webb
(Magnum Photos. 2021. The Suffering of Light • Alex Webb)
 Fig 20. Barrio Chino, Havana, Cuba 2007 by Alex Webb
(Magnum Photos. 2021. The Suffering of Light • Alex Webb)

In Fig. 20, Webb uses the figure to ground principle, in his photographs, the use of
contrast to highlight and separate the relation between the foreground and the
background. It is easier for the viewers to analyse the photograph when the subjects are
separated and plainly visible, he would often use colour, shadows or natural lighting as
medium of separation between his subjects and also to bring depth.

Alex Webb's photographs are typically composed of multiple layers of interaction of his
subjects. The foreground, middle ground, and background all have their own focal points.
Webb understands how to carefully frame each layer of the photograph to direct the
viewers gaze from the foreground to the background. His photographs (Figs. 18, 19 and
20) are prime examples of this.
 Fig 21. Dance Hall, Lake Ontario 2013 by Alex Webb
(Magnum Photos. 2021. The Suffering of Light • Alex Webb)

In the above photos( Fig. 18, 19 and 21), Webb's consistent handling of light serve as a
lesson to everyone that natural lighting can be of much use in the streets. Webb is able
to use shadows and silhouettes to mask and highlight specific compositional elements,
as well as use the light to emphasise the vibrant tones by shooting in direct sunlight. Also
notice that he has a habit of exposing the highlights on many occasions, which means
that certain sections of the scene are in deep shadow. It's an excellent technique for giving
the scene a three-dimensional perspective. In Fig. 18, 19, and 20, the photographs
usually have several angles which provide depth to the subject in the background and
foreground. There are focal points in the foreground, middle ground, and background.
Webb knows how to carefully arrange each layer of an image so that the attention is
drawn from the front to the back.
Just composition?

British Museum, London 2019 taken by Josiah Lyngwa

Photography theories, in my opinion, are more meaningful and complex in terms of

interpreting an image. A professional photographer possesses three essential
characteristics: technical expertise, a keen sense of composition, and a solid
understanding of exposure. Composition, on the other hand, can be highly subjective in
the sense that each photographer has their own unique ability to communicate with their
subject. A strong composition can assist in satisfying the principles and laws, but it will
never tell us how to get closer to, relate to, or open our hearts to the subject in their own
environment. It is critical to have a good composition, but more importantly, a
photographer should capture an intimate and soulful connection in order to add a bit of
soul to the photograph. It's all about emotions, mood, and spirit in street photography.
Composition can teach an audience what to look for in a photograph, but it cannot teach
how to feel about it.

“Photography for me is not looking, it's feeling. If you can't feel what you're looking at,
then you're never going to get others to feel anything when they look at your pictures”

- Don McCullin (Don McCullin. 2021)

Photographic Reference

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