Saturday, October 31, 2026

COMPOSITION




By Heinz Richter

Many camera owners take advantage of social media to show off their photographic endeavors, unfortunately often with rather questionable results.  Too many people fool themselves in believing that today’s auto everything cameras are foolproof and therefore don’t require any nominal knowledge of photography.  Nothing could be further from the truth, and the result is that far too often we see pictures with the wrong color balance, with total lack of tonality, wrong exposure settings and poor composition.

Volumes have been written about the topic of composition and probably without exception, it is always mentioned that there are really no rules that are carved in stone.  What we do have is a number of guidelines, all designed to help us create better pictures.  However, these should not be looked upon as a replacement for visually evaluating whatever we try to photograph.  What we see in the viewfinder of our cameras remains as important as ever.  One piece of advice that I always give is “if it looks good, shoot it.”

Some individuals intuitively use good composition and end up with good pictures.  For them the guidelines of composition will turn into an explanation of why their pictures look good.  For the majority, however, these guidelines will help to create better pictures by simply evaluating what is seen in the viewfinder, applying some of these guidelines and thus end up with better pictures than what otherwise might have been the case.

It is not the purpose of this article to touch on each and every one of these rules.  Instead I will concentrate on just the most important ones in order to keep this from getting too tedious.

Of all these guidelines, without question the most useful one is the rule of thirds.  Here we divide the image seen in the viewfinder by two evenly spaced vertical and horizontal lines.  This will help composition in a variety of ways.  Not only does it lead to better placement of the main subject of the picture, it also suggests better placement of the horizon as well as placement of other important aspects of the picture.

 

 

 

    

    

In these four examples I used the rule of thirds by placing the main subject onto one of the four areas where the horizontal and vertical lines intersect.  Especial with cameras where the autofocus sensor is in the center of the viewfinder, it is almost intuitive to place the main subject in the center.  That usually has the result of the picture looking somewhat static.  Applying the rule of thirds usually will lead to a noticeable improvement of the picture.

Of course, this brings up the question which of the four intersection point to place the subject on.  In the first example, the upper left intersection point is most advantageous in order to emphasize the height of the flying bird.  In addition, it is usually better to place a moving subject such that it appears to be moving into the picture, with space in front to move towards.

For the second example there is no clear advantage of one over the other.  Here it is simply a matter of what one feels looks best.

The third example is similar to the first one, again leaving room in front of the bird to move towards.  I chose the lower right intersection point since the bird just took off, flying low across the surface of the water.

The fourth example was taken from a low vantage point, leading to an upward camera angle.  Therefore the picture looks better with the bird up high in the picture with space in front of the bird.  The upper right intersecting point is the best choice in this case.

 

Another aspect of good composition is lines and diagonals.  They help to lead the eye toward the subject and into the picture.  The path in this photograph shows strong lines.  The main subject was best placed on the lower left intersection point because this way the lines lead to the impression of the bikers moving forward and into the picture.

 

Even though placing the subject into the center of the picture usually will lead to a static looking image, there are times when this is actually advantageous, as in this case.  The picture contains some very strong lines which all lead the eye toward the main subject.  Utilizing these lines actually made for a better picture by placing the subject into the center.

Another aspect of the composition of this picture is the cropping.  Some photographs simply look better when cropped from the typical format of the camera.  The horizontal emphasis of this picture by cropping the top and the bottom further enhance the subject position within the picture.

 

The horizontal and vertical lines of the rule of thirds also give an indication of proper placement of strong verticals or horizontals within the picture, like the horizon in this case.  The lower horizontal is advantageous because it not only eliminated empty grass space in front of the buffaloes it also allowed to take advantage of the marvelous clouds and blue sky.

 

This example combines several aspects of good composition.  The strong diagonal lines of the background lead to the main subject, the statue, in the center.  In addition, the columns create a strong pattern which is another element of composition.  Finally, the lady viewing the statue creates a second important viewpoint of the picture.  The placement on the lower left intersecting point very much adds to the composition, as do the strong colors in the otherwise subdued colors of the picture, especially the bright, red hair.

 

This is another example of strong subject placement, in this case on the right vertical line.  The picture would have had a lot less impact had the subject been placed in the center.  In addition the picture is further enhanced by the cropping and the pattern of the seats in both the foreground and especially the background.

 

Placing the subject on the lower left intersecting point emphasized the upward camera angle without allowing it to appear distant as it would have been the case had it been placed on the upper left intersection point.  In addition, the mostly black background creates a lot of so called dead space.  This is often preferable over background detail which would be distracting.  Finally, the violin bow is a strong diagonal line, leading to the main subject of the picture.

 

Color can be another important element of a photograph as in this example.  While the colors are not an element of composition on their own, they have a great impact in this example by being placed prominently in the center, surrounded by the muted colors of the shadows and by creating a very strong diagonal.


Diagonals are especially effective when they combine to triangles as in this photograph.  But it is important that these remain natural.  Trying too hard to create diagonals and even more so triangles can easily lead to contrived looking pictures.

   

   

Framing can be used to emphasize the main subject of a photograph.  In the first example, the dark arch draws the eye immediately to the main subject, the street scene.  Similarly, the trees in the second example achieve the same result.


In portraits it is generally preferable to have more space in front of the face than in back.  Choosing to place the subject in the left vertical of the rule of thirds assured proper subject placement in this case.

   

There are, however, times when the rule of thirds does not apply, as in this case.  The strong face of the person in this picture was emphasized by the close up of it.  Since it fills the entire frame, there was no other choice than to center it.  Anything else would have been distracting.

 

Another element of good composition is curves or s-lines.  As in this example, they are an interesting element of the picture that helps to lead the eye into the picture.

    

Of course, these elements of good composition don’t apply just to photography.  They have been applied by the great masters for years, just as in this case of the painting “The Bridge at Argenteuil” by Claude Monet.  It contains numerous elements of good composition.   The bridge shows several strong lines, including a pattern created by the upright pillars and it also leads the eye toward the background.    The sailboat in the foreground is placed in the lower left intersection point of the rule of thirds.  The mast, the boom and the bowsprit of the boat also form very strong lines.  The white sail of the boat in the background form a strong triangle and the invisible connecting line between the two boats form a clear diagonal. The combination of all these elements of good composition ultimately make for a very interesting picture.

There are certainly additional rules of composition.  As mentioned above, to keep this article from becoming too long and possibly too confusing, I tried to concentrate on the most useful ones here.  Applying these when possible or warranted will lead to better pictures and over time, photographers will get used to it to the extent that these rules and their application will become second nature.  At that point, we have bridged the difference between just taking pictures and creating photographs.


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Sunday, October 25, 2026

THE NEW LEICA M EV1




By Heinz Richter

My first digital Leica was the Digilux 2. It was a huge departure from the Leica M cameras that I had used up to that time, and it brought up the idea of a Leica M camera, digital, with similar features, including the electronic viewfinder and, of course, the interchangeable M lenses. That was in 2004. Since then, we have had several digital Leica M cameras and along with them, the call for Leica to offer an electronic viewfinder Leica M camera as well.

It has been roughly a year now since the introduction of the Leica M EV1. Technically, the Leica M EV1 builds on the foundation of the M11, featuring its 60 MP BSI CMOS full-frame sensor with Triple Resolution Technology – one of the world’s most advanced. Precise color rendering, remarkable detail, and a high dynamic range lend images the unmistakable Leica Look, with vivid depth and striking presence. Images can be captured in DNG or JPEG format at resolutions of 60, 36, or 18 MP. The powerful Maestro III processor handles data swiftly and reliably, storing it either on the 64 GB internal memory or an SD card.

Future tests will reveal how well the electronic viewfinder works in comparison the time-proven rangefinder. To a long-time Leica rangefinder user, at first glance the camera does require getting used to.  The missing viewfinder gives me the impression of something missing. But I am sure that will change with time.

Let's take a look at this new addition to the Leica M range of cameras:



The big difference, of course, is the viewfinder. Acfcording to Leica the M EV1 offers a seamless entry into the world of M photography. This makes manual focusing a matter of pure precision. Focus peaking highlights the active focus plane with a colored overlay, offering real-time guidance to help you frame your composition. Used separately or additionally, the focus zoom with two levels of magnification ensures precise control. Particularly when using fast Summilux and Noctilux lenses with shallow depths of field and at close range, you can achieve sharp focus with the help of focus assist. 

The high-resolution 5.76-megapixel EVF delivers brilliant colors and outstanding clarity, capturing every detail of your subject. All shooting data – shutter speed, aperture, ISO, and exposure compensation – can be shown outside the image area, allowing you to maintain full focus on your composition. An individually configurable eye sensor enables smooth transitions between the viewfinder and touch panel, while the diopter adjustment from -4 to +2 fine tunes the viewfinder image to suit your vision.

Yes, no autofocus. That would have required an entirely new camera and lenses. One of the big advantages of the M lenses is their size. Adding autofocus would necessitate the incorporation of an autofocus mechanism and electronics, which would greatly increase the size and weight of the lenses.

The Live View exposure preview displays every nuance – from brightness to image framing – in real time. Whether you’re working with ultra-wide-angle or super-telephoto lenses or creative photo filters, you maintain complete control over your composition, without ever taking your eye away from the camera. All settings are instantly visible, unlocking new creative possibilities with the Leica M. Using advanced tools like digital zoom, level gauge, and perspective control, you can compose your images with precision, freedom, and intuition.

The frame preview lever for the rangefinder would have no function with the electronic finder. Rather than eliminating it, another function has been created. It can be individually configured to activate one of the focus assist functions or the digital zoom for the EVF. Moving the lever to the left or right allows you to switch swiftly and intuitively between functions, ensuring your subject remains in view as you compose. With this refinement, the M EV1 combines classic mechanics with contemporary functionality.



Thus, the new Leica M EV1 is a logical addition to the Leica M line of cameras, building on the far-sighted design of the Leica M3 from 1954.

For more info go to Leica M EV1

Of course, there is the argument that the addition of autofocus would have been a welcome addition to many. That is basically correct, but as stated above, that would have required extensive changes to the camera and more so, the lenses.

One of the advantages of the Leica M cameras is the small size of their lenses. Added autofocus mechanisms and electronics could not be achieved without a considerable increase in size and weight. The same would be the case for the camera body.

Instead, hyperfocal settings are the solution  with the help of a depth of field scale.  Most lenses available today no longer have depth of field scales and thus make focusing via hyperfocal settings impossible.  Fortunately, most Leica lenses still offer this advantage, and its application can overcome the lack of autofocus to quite an extend. 

 

That is because the vast majority of the Leica M lenses are non-zoom lenses.  That is the reason why to this day all of them have a depth of field scale.  Many photographers and picture takers have no idea what a depth of field scale is, and if they do, they rarely know what to with it. 


It is a known fact that the aperture setting on our lenses, the f-stop used to take a picture, determines how much of what we photograph will be in focus, how much depth of field there will be.  The smaller the aperture, the more depth of field.  That is what a depth of field scale is all about.  It will show the distance from the point closest to the camera to the point furthest from the camera that will be in focus. 


Increase of depth of field by decreasing aperture size

Effectively one third of the total depth of field will be in front of the point of focus and two thirds will be beyond it.  If applied correctly, this can actually greatly improve the sharpness of our photographs.  Imagine taking a picture of a mountain scene.  The mountains are obviously far enough away to constitute infinity as far as the focus settings on our lenses are concerned.  Subsequently it seems to make sense to set our lenses to infinity to make sure the mountains are in focus.  As a matter of fact, with any camera, this is exactly what will happen. 

 

However, let’s remember the above fact which states that two third of the depth of field is beyond the point of focus.  That means in our mountain scene, two thirds of the depth of field will be wasted.  The depth of field scale will help to prevent that, if properly applied. 

 

In this example, the boy flying his kite is obviously the main subject and therefore should be in focus.
However, focusing on him would most likely render the background out of focus.
Utilizing the depth of field scale assured that all is in focus.

Our exposure settings will always be a combination of shutter speed and aperture.  Once we or the camera determine the correct exposure settings, we will know what aperture the picture will be taken with.   

 

Back to our mountain scene.  Instead of setting the infinity mark opposite the focus mark on the lens, all that needs to be done is to set the infinity mark opposite the marking of the aperture we are using.  That will still give proper focus to infinity, but it will greatly increase sharpness in the areas closer to the camera as indicated by the other aperture mark on the depth of field scale. 

 

It is a fact that the smaller the aperture, the more depth of field we will have.  But we shouldn’t indiscriminately use the smallest aperture all the time, because this can easily lead to the necessity of too slow a shutter speed which in turn can lead to blurry pictures because of camera movement. In addition, most lenses will display a decreased performace with very small apertures.

 

Why do all of this instead of just using the rangefinder and focus on our main subject?  Because you can greatly increase your speed of operating the camera.  Using the depth of field scale and setting the lens as explained above, using hyperfocal setting, will eliminate the need to focus altogether and thus make the operational speed of your camera that much greater. 

 

What about the opposite?  What if we want to minimize depth of field, to make sure the background is out of focus? Here too the depth of field scale can be of help just as well.  If using a smaller aperture will lead to a greater depth of field, it stands to reason that a larger aperture will do the opposite.  The depth of field scale will once again display the range of focus from the point closest to the camera to the one furthest from the camera. 

 

Are there any other advantages to a Leica rangefinder camera? Yes. For instance, Leicas have always been some of the quietest cameras available, and the latest models of the digital Leica M cameras have nearly silent shutters. In most cases, rangefinder cameras are also lighter than their SLR/DSLR as well as their mirrorless counterparts.


Leica rangefinder cameras essentially have not changed their appearance since the introduction of the Leica M 3 in 1954. They certainly don't look at all like any of their modern counterparts. I have had it happen quite frequently that people think I am using an ancient piece of equipment. That might make the Leica rangefinder cameras less desirable to thieves. Personally, I don't put much stock into that argument. My equipment is covered by my insurance. Besides, many people don't consider cameras as a necessity anymore unless they are in form of a mobile phone. 

 

Ultimately the choice of a camera is up to each individual. But the Leica rangefinder cameras are not anywhere near the anachronism many like to make them.





For other articles on this blog please click on Blog Archive in the column to the right

To comment or to read comments please scroll past the ads below.

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_______________________________________________________________________

EDDYCAM - the first and only ergonomic elk-skin camera strap     
 www.eddycam.com        

      


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Please make payment via PayPal to GMP Photography

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