| What is balance? Does it mean all things have to be | | | | what happens if in the lower left hand corner we add |
| equal? Well, yes and no. There are basically two types | | | | a man in a fishing boat trying to net the big bass that's |
| of balance. Formal balance is the balancing on opposite | | | | on the end of his fishing pole? Is it any less of an |
| sides of a given point, either by one or more elements | | | | interesting shot now? No. In fact, many would argue |
| that are identical or very similar. Think of a nice formal | | | | that it is now much more interesting. This is Informal |
| portrait of someone staring straight ahead. If you were | | | | balance at its best. |
| to fold this picture in half, it would look the same on | | | | Both shots have emotional appeal, but one makes you |
| both sides. Both sides would have one eye. Both sides | | | | feel peace and one makes you feel active. This is one |
| would have one ear. Both sides would show half a | | | | of those areas that people who only take snap shots, |
| nose, and both sides would show half a mouth. This is | | | | just don't get. If every thing you shoot is always dead |
| Formal balance; and it is most often recognized by | | | | center and always the same on both sides (formal |
| subjects that are uniform in shape, thus creating a | | | | balance) your work can get boring really quick. Don't |
| rather harmonious effect. | | | | take that wrong, you can take really great formal |
| Informal Balance is the balancing on opposite sides of | | | | balance shots, but you have to plan it that way. When |
| a given point, by one or more elements that are | | | | you decide which balance looks best for any given |
| dissimilar or contrasting elements. Say we had a | | | | situation; you are the master creator . . . you are in |
| picture of a baby playing with some blocks. If you | | | | control. |
| folded that image in half; on one side you would focus | | | | Have you ever noticed two people arguing and |
| on just the baby, but on the other side you would | | | | suddenly a third person shows up and magically |
| focus on just the blocks. Here you have two entirely | | | | makes them feel like friends again? That third person |
| different things that do not even remotely look the | | | | has an eye for balance. He or she can see both points |
| same, but that's OK. Informal balance is less obvious, | | | | of view and has the gift to make others see a |
| because its subjects are often not uniform, in fact they | | | | different point of view as well. That's what learning |
| vary greatly. There is nothing wrong with this, because | | | | balance is all about. As a great photographer; you |
| it gives the viewer more to appreciate. | | | | should work at seeing things in more than one way. |
| Is one type of balance better than another? That | | | | More importantly, you should be able to help others |
| depends on what you're shooting. Buildings, monuments | | | | see things differently than they have before too. |
| and cars are often taken as a formal balance shots, | | | | One of my all time favorite photo lessons was to |
| after all . . . that's how they were built. On the other | | | | shoot a mailbox. The rules were simple. It had to be |
| hand; mountains, plants and people often come in | | | | the same mailbox and each shot had to be uniquely |
| different sizes, shapes, and colors. Obviously, since I | | | | different. Oh, and by the way, you had 36 shots. Think |
| also used people in the first example, you can always | | | | that sounds easy? Well let's see . . . Up, down, left, right, |
| choose to shoot any given subject in a variety of | | | | close-up, far away, that's great now all you need are |
| ways. This is where both personal style and taste | | | | 30 more shots. The point of that lesson was to force |
| come into play. | | | | you to look at things differently. Most people liked their |
| At one time or another, I'm sure all of us have seen or | | | | last three or four shots the best. Why? Those shots |
| taken a shot of a mountain reflected off a perfectly | | | | forced them to look at things differently. If you always |
| still pond or lake. If you get in close enough (leaving out | | | | shoot formal or informal, take a step back and look |
| the things on the edge of the lake) the shot almost | | | | again. I promise it will bring more balance to your work |
| becomes an abstract work of art. Very interesting, | | | | and your life. |
| very intriguing, very much a formal balance shot. But | | | | |