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Content arrangement is not for the prevailing traditional curricula

. Arranging the contents of the image (composition) according to new concepts, and away from the traditional standards, is the way to achieve exceptionally distinctive shots with the same conditions and equipment that we dealt with before we got acquainted with the simplified method that we will review now.

Arranging the content of the image is considered one of the most important ingredients for achieving an artistic image that the photographer can present to people with great pride. What is worth mentioning in this field is that many fallacies have been experienced by photographers for more than one generation about the ways or methods by which the content of the image can be arranged. .

But even that method that calls for ignoring the traditional foundations, rather destroying them and not adhering to them, needs instructions and information that must be paid attention to when taking this path. , standards, direction and other features that can impose the design of the image .. But the importance of all the things that it depicts in relation to their relationship with each other, needs changes that we can make to the content knowingly and in a deliberate manner, not instinctively. Hence, the starting point in the elements of content arrangement is our knowledge of effective ways to watch and deal with content in more aggressive ways.

- the design
The basic elements or components of the matter of arranging content begin with the design first, which is an alternative way of describing how to view it.. so design. The slide, or print, includes a two-dimensional plan made of lines, shapes, and spaces between them.
The lines that extend close may represent a dimension, similar to the goals that recede away from the lens, but the suggestion of depth is not available in a scene or subject, as we arrange the contents of flat systems. Or we pass from the scene based on our own aesthetic concepts, and so this arrangement of content is the individual style with which we are therefore responsible for the results that we will obtain. Within most designs there is usually a dominant shape. Sometimes we see the color before we see the shape, but what generally happens is that the scale, location, shape, and realistic importance of an element are what pushes it to prominence. There are less important or dominant elements, which may be shapes and lines, but we often choose these topics without deliberately defining what is dominant or less dominant.

- Balance
The content elements work to separate the traditionalists, and they prefer images of scenes that are not divided equally by the horizon, and between the innovators, and they prefer the opposite, as they prefer to present contents half of which are sky and the remaining half of the earth. The subjects are further away from the edge of the picture or completely in the middle of it.. That is, if the picture is divided equally and its subject is completely in the middle, some consider it static.
They affirm that a balance like this hinders the path of the beholder's eye from what is important in the subject. The dynamic content - the opposite of the static - is created by strong moving shapes and lines and variations in scale, color or location within the structure of the image. Dramatic or fish-eye views can help produce dynamic visual designs, and the active subject contributes to the dynamic quality of the image, depending on lens selection and camera angle with the subject's surroundings.
In addition to this, we find discrepancies between what is big and small, dark and light. Soft and rough, bright and colorful - when we are aware of these contrasts, our understanding of how the elements of the subject affect the arrangement of the contents of the picture increases.
One of the common methods for arranging image content is also the adoption of what is called dynamic consistency, which is
It is a theory based on placing shapes and lines according to common and well-known systems, such as the curve in the shape of the letter (S). This gives an old-fashioned aesthetic that tends to be hindered and far from innovation.
As for color, it is usually not an element in itself related to the arrangement of the content, but rather forms because of its gradation, strength and closeness. And lines that may control the eye, in addition to the fact that spots and color areas may help to arrange the content with plasticity and plasticity, which results from the type of eye path in colors, shapes and lines in the foreground to colors
and shapes in the background.

In this field, in addition to practical experiments, it is possible to look at the works of adults and famous photographers whose capabilities we do not doubt.
Powerful images that stick in memory often depend on their subject matter, rather than how things and places are arranged in them. Examples include pictures of art stars and celebrities, politicians, or
News clips of emotional ordeals, or travel topics were limited to a few. We may find all of these subjects important, even if the photographer’s capabilities are limited, so that we take a snapshot of an animal inside the zoo in a stupid pose here, and despite not controlling the background or the angle required for the camera, you may get an exciting and enjoyable picture, but with achieving a clear, clear picture, or an unobtrusive subject. Ordinarily we might be fooled into thinking we've arranged the content effectively, when all we've actually done is display a sense of timeliness and the ability to be in the right place when something happens.
The effective arrangement of the content, then, requires that the image be characterized by a visual effect that works for further analysis, moment by moment.

- realistic and abstract
Photography in general is a realistic field, and most people try to achieve a sense of reality and definition of the subject matter through their photos. But through dealing with cameras and lenses themselves, it is possible, and with a little imagination, to achieve abstract images. These operations are done very easily and through a different treatment of the content of the image, a treatment that goes out of the ordinary in our viewing of this or that subject. An example of this is that the tall buildings prepare their realism in the image from dealing with it while it is depicted in its traditional vertical form, but through a change in transferring it to the negative, it will turn into an abstract scene that has nothing to do with the reality of the image.

Likewise, the children we see around, we usually tend to face them with a camera held horizontally.
The content is also arranged in response to moods, feelings, and artistic inclinations. The rural theme, which is characterized by an extension of tall trees or a field of wheat, may look different with the time of day, meaning that we can show the shape with a design that we choose ourselves by simply controlling to take the picture at the time.
What we want from the day.
Finally, we can, just by looking at the works we previously photographed. That we find and after the new information, that we are with
Our knowledge of new methods, we would have achieved much more important results if we arranged their contents as required.