Rhythm The rhythmic alternation of color spots, lines, strokes creates the illusion of movement, especially if there is a gradual increase or decrease in rhythm. The rhythmic alternation of color spots, lines, strokes creates the illusion of movement, especially if there is a gradual increase or decrease in rhythm.
Asymmetry, displacement of the compositional center If in the picture the left and right parts are not balanced, asymmetrical, then the impression of movement is also created. If in the picture the left and right parts are not balanced, asymmetrical, then the impression of movement is also created.
Undoubtedly important role the anatomically correct transmission of the movement of people and animals also plays, as well as the image of plants inclined from the wind, clouds of dust, etc. Of course, the anatomically correct transmission of the movement of people and animals, as well as the image of plants inclined from the wind, clouds of dust, etc., also play an important role.
Statics Statics If an artist depicts objects at rest, then he uses symmetrical, balanced compositions, where main object located in the center of the canvas. If the artist depicts objects at rest, then he uses symmetrical, balanced compositions, where the main object is located in the center of the canvas.
Dynamic composition - a composition that gives the impression of movement and internal dynamics.
Static composition (statics in the composition) - creates the impression of immobility.
The image on the left looks static. The picture on the right creates the illusion of movement. Why? Because we know very well from our experience what will happen to a round object if we tilt the surface on which it is located. And we perceive this object even in the picture as moving.
Thus, diagonal lines can be used to convey movement in a composition.
It is also possible to convey movement, leaving free space in front of a moving object so that our imagination can continue this movement.
Movement can be conveyed by sequential display of some moments of this movement
Lubricated is also used to transmit movement, blurred background and the direction of the lines of the composition in the direction of the movement of the object.
Statics in composition achieved by the absence of diagonal lines, free space in front of the object and the presence of vertical lines.
Movement can be slowed down or accelerated:
It seems that the movement in the left picture is faster than in the right one. This is how our brain works. We read and write from left to right. And the movement is perceived by us easier from left to right.
You can slow down the movement by the presence of vertical lines in the composition.
Rhythm in composition
Rhythm is one of the key points in art. It can make the composition calm or nervous, aggressive or pacifying. Rhythm is driven by repetition. We live in a world of different rhythms. This is the change of seasons, day and night, the movement of stars, the sound of raindrops on the roof, the heartbeat ... In nature, the rhythm is usually uniform. In art, one can single out rhythmic patterns, make accents, change sizes, thereby giving the composition a special mood.
Rhythm in the visual arts can be created by the repetition of color, objects, spots of light and shadow.
static dynamics art compositional
This pair of means of harmonization is used to express the degree of stability of the compositional form. Such stability is evaluated purely emotionally, according to the impression that the form or composition as a whole makes on the viewer. This impression can come from both the physical state of the form? stable or dynamic, associated with the movement of an object as a whole or its parts, and a purely compositional (formal) way of organizing elements.
Every period in history visual arts marked by the predominance of statics or dynamics as the main aesthetic setting. General installation historical era reflected in art as the tendency of artists to prefer static or dynamic forms. This is due to the prevailing type of consciousness and worldview.
The predominance of static in art ancient egypt(static canonical poses, static forms in architecture) is due to the focus of Egyptian culture on afterlife, the other world, the main feature of which is immobility, immutability, peace.
For ancient Greek culture the balance of statics and dynamics is characteristic, which is due to the installation of the ancient Greeks on kalokagatiya - the balance of beauty and goodness, internal and external, harmony.
Vertical dynamics gothic architecture due to the installation of medieval consciousness on the rise, spiritual transformation, religious impulse.
The dynamics of the Baroque is due to the general setting of the Renaissance for activity, the strength of the human creator, activity, masculinity.
The dynamics of romanticism expresses the general impulse of that time to a sharp escape from reality in exotic countries and a desire for heroic adventure.
Modern is dynamic, as it expresses the nature of time - the desire for renewal in all spheres of life.
The nature of life in the 20th century has become more complex and multifaceted than in other eras, so in the 20th century statics and dynamics are organically combined with each other. Perhaps dynamics prevails as the main feature of the rhythm of life in postmodernity.
We live in a constantly changing world. In works of fine art, artists seek to depict the passage of time. Movement in the picture is the spokesman for time. On the painting canvas, fresco, in graphic sheets and illustrations, we usually perceive movement in connection with the plot situation. The depth of phenomena and human characters is most clearly manifested in a concrete action, in movement. Even in such genres as portrait, landscape or still life, true artists strive not only to capture, but to fill the image with dynamics, to express its essence in action, in the course of certain period time or even imagine the future.
Dynamics - a visual impression of movement, speed, swiftness of form. Works of art in which there is movement are characterized as dynamic. The dynamism of the plot can be associated not only with the movement of some objects, but also with their internal state. Dynamism makes the form catchy, active, noticeable, highlighting it among others.
Dynamics is used to express the following meanings:
variability,
impermanence,
pursuit,
traffic,
development,
audacity,
readiness,
culmination of the moment
emotionality,
conviviality,
"alternative".
Outwardly unstable, prone to movement, asymmetry, openness, this type of composition perfectly reflects our time with its cult of speed, pressure, kaleidoscopic life, thirst for novelty, with the swiftness of fashion, with clip thinking. Dynamics often exclude grandeur, solidity, classical completeness; but will big mistake to consider simple negligence in work as dynamics, these are completely unequal concepts. Dynamic compositions more complex and individual, so they require careful thought and virtuoso performance.
Statics is the visual impression of immobility. This is a state of rest, balance of form, stability in all its structure, in the very geometric basis. Stable, motionless, often symmetrically balanced, compositions of this type are calm, silent, evoke the impression of self-affirmation, they carry not an illustrative description, not an event, but depth, philosophy.
Statics is used to express the following meanings:
tranquility,
carefree,
uniformity,
timelessness,
hardness,
confidence,
monumentality,
thoroughness,
majesty,
solemnity,
the importance of the moment
stop,
"classic".
If the above compositions are compared with each other and try to find the relationship between them, then we can say that static compositions are almost always symmetrical and often closed, while dynamic ones are asymmetric and open. But this is not always the case, a rigid classification relationship between the pairs is not visible.
It is known that the movement in the picture is not really present, but is perceived by consciousness, being the reaction of the visual apparatus, the movement of the eyes caused by certain visual impressions. Even if the picture shows a static state, a symmetrical composition, stable and motionless, there is movement in it, because the details, elements art form always express movement: their color and tone relationships, the interaction of lines and shapes, contrasts, tension cause strong visual impulses, and consequently, a sense of movement, life. Compositional techniques have the ability to direct and enhance this sense of movement in an image. What other specific methods visual means you can convey and enhance the dynamics of the plot, but how to convey static?
Artists know many secrets to create the illusion of movement of objects in the picture, to emphasize its character. Let's take a look at some of these tools.
The more dynamism in photographic images, the more greater influence they have on the viewer: they have a lot of movement, life, drama. Let's see together what needs to be done so that your photographic works, and we will talk about landscapes, are full of dynamics.
We are always attracted by photographs that capture some special moments in life, in which the author captures our attention, forcing us to hold the viewer's gaze on his work. Here the “what is” effect is triggered when we first see something new, unusual, original.
By visiting various well-known photo sites, looking at the works presented there, you can find many similar friend on a friend of photographs depicting pictures of nature. Although they will present views of various localities, they will still in their own way most often be boring and monotonous in their content. The most successful photographs always capture something unique that you would never pass by if you got it in your real life. In other words, the photographs that are literally admired are all full of exactly what we call dynamism.
What is dynamics in a photographic landscape?
So what are the features of landscape shots that we call dynamic?
For example, we shoot a sea tide or a slight rough sea. To convey the dynamism of this natural phenomenon, you can, having previously set up the camera as you need according to lighting conditions and everything else, mount it on a tripod and take not one, but a series of shots at once. And then, as a result, all the waves taken in motion, projected on one frame, seem to mix with each other, and in the photograph we will get a dynamic and lively image of them. If we turn to Wikipedia, one of the most popular sources of information, then there we can find material of interest to us on the issue of dynamics in the image of the landscape, but this is just the personal opinion of one of the experts in this field.
Let us express our own thoughts on this issue.
The display of the indefatigable and great energy of nature, endlessly changing and transforming - that is, in our opinion, the dynamics in the image of the landscape. Looking at dynamic pictures, we seem to observe the 3D effect, since these pictures are unusually deep and capacious in their content. They seem to be out of the ordinary. flat image, gain volume. For the first time the term "Dynamic image of landscapes" can be found in Galen Rowell (Galen Rowell), This wonderful landscape photographer described his work created in the early 70s of the XX century in this way.
Of course, other masters of landscape photography at that time also took pictures that were interesting from the point of view of dynamics, but it was thanks to Rowell that the term “dynamic landscape” came to life and became often used. He became kind calling card this master, his hallmark. The dynamic landscape is even identified with his work.
Dynamic composition
As in other genres of fine art, the basis of any good photographic work is composition. Regardless of whether a dynamic scene is depicted on it, or some other one. It is a successful composition that makes us stop our attention on the picture and hold it long enough.
It is easy to create dynamic landscapes, the plots of which are associated with the image of the sea. They perfectly combine all the elements inherent in a dynamic picture, namely:
- Downstream and ascending lines;
- A well-designed perspective;
- Visually attractive objects of the first plan.
- An interesting and spectacular arrangement of the horizon line, as well as a memorable landscape background.
- Bright color and light solution of the picture;
- A harmonious combination of colors that define the main color scheme and vignetting.
- Movement visualization.
Most often, the photographer rarely manages to achieve a combination of all these elements in one work. In real life, the qualities inherent in dynamism are encountered all the time. In any photograph that depicts a natural landscape, you will definitely find at least one component. And if there are several, then this can be considered luck. The success of the author of the work.
We do not aim to give clear instructions for creating good photographs. After all, photography is one of the art forms, and in art, as you know, everything rests on trifles. To notice these little things and, thanks to them, to create works of photographic art, God's gift is needed, creativity the author to create pictures, and of course - labor, labor and once again labor, ensuring the gradual accumulation of the most valuable practical experience. Therefore, the recommendations given by us on creating high-quality dynamic shots can only help you determine the path that you yourself must follow to the heights of honing your unique handwriting, technique and skill.
Now I would like to dwell in more detail on each of the elements that contribute to the creation of a dynamic landscape shot.
Ascending and descending lines in a dynamic landscape
The first thing that helps to attract the viewer's attention to the photograph is the use of converging, ascending and descending lines in the photograph.
Converging lines have long been used by artists in painting and graphics to create a sense of the depth of space (this is called linear perspective) in a two-dimensional image.
Therefore, masters of photography often use scenes depicting piers, rivers, roads. Despite some stereotypes in the image of these objects, you need to be able to correctly use the technique of placing these objects in the composition of the picture when depicting a landscape. So it should be remembered that ascending lines help to keep the viewer's attention on the photo, drawing special attention to it.
For example, a photo of a jetty includes both descending and ascending lines. Pay attention to how clear and straight lines of the pier rush into the sky, and at the same time the lines of clouds are directed down. We can observe how all the lines in such an image converge on the horizon line, due to which the vanishing point of these lines becomes the object of our close attention. Here we can recommend shooting man-made lines in order to learn how to look for thinner lines in nature. Yes, indeed, the pier is the compositional center of the whole picture, as well as the source of the main lines, but you can also observe here a number of other lines formed with the help of water, hills, clouds. So in the reflection of the water, we see dark lines that help direct our gaze to the central part of the photo.
What are photographers paid for? For his fresh look at reality, for his ability to reveal to us what we ourselves cannot see in real life and, moreover, do not have enough time for this. That is why the photographer must show the world in an extraordinary light. In order to achieve this goal, try to find the necessary angle for shooting. So photographs taken in conditions where during shooting you are lying on the ground, in mud or in snow, are usually more dynamic. This is especially evident when shooting with an ultra-wide-angle lens, thanks to which we notice even the smallest guide lines in the photo. When shooting the same object from eye level, these lines will no longer be visible.
Interesting pictures are obtained when shooting from the top point. If you climb a tree, or stand on the shoulders of a friend, you will get the opportunity to find an interesting perspective. Particularly gorgeous, as a rule, photographs taken in this way using a telephoto lens.
Foreground
It is good to place significant, strong elements of the composition in the foreground of dynamic shots. They will complement the perception of the entire picture. Take, for example, a photo that shows a sunset or sunrise. Usually in nature this moment is very beautiful - pink or even red clouds penetrating their direct sunlight. All this is quite beautifully obtained in the photographs. But, you see, the viewer will not be attracted by the image, so to speak, of “a sunset in pure form- that is, only the clouds in the sky. There is something else that needs to be included in the composition.
Dynamic photography needs an interesting foreground. This task is important and sometimes quite difficult for a photographer. The foreground element completes the composition. That's why you need to find something that would fill the foreground of your shot. If this object is correctly selected and introduced into the plane of the frame, then the dynamism of the picture will increase significantly, and you will take another step towards success.
Relationship between foreground and background elements
In cinema there are roles of the first plan and the second plan. In the film, the whole plot is based on the relationship of the main characters of the picture. But if the main characters were not set off by the characters of the second plan, then the images created by them would not be so bright and expressive. So are the elements of composition in a dynamic landscape. Elements of the foreground and background mutually influence each other, interact with each other. For example, if there is a sunset in the mountains in the background of the landscape, then in the foreground it will look good either the glare of the sun playing on the stream of a mountain river, or the collapse of beautiful stones.
Color spectrum
An important role in creating a beautiful and compositionally harmonious frame is undoubtedly played by the color scheme. Any natural colors look natural in natural light. If you really want to make the colors very bright, then you need to be able to balance them correctly. And in the case when the right balance bright colors cannot be achieved, it is better to simply exclude such a color from the frame. Some novice photographers often deliberately introduce various bright spots of light or color into the picture. But this creates excessive variegation and does not always look good. That is why in the dynamic composition of the frame there must be the correct color balance. BUT a large number Shades are best avoided.
Vignetting
Vignetting can be called vision blockage. In vignetted shots, the first thing the viewer notices is the main element in the composition of the shot. Concentration of attention in this case is well helped by the dark edges of the picture. If you look at such photos, you will notice this visual accent effect. Vignetting can be done different ways. For example, using a special filter or processing in graphic editors. This allows you to do many, even simple programs. For example, framed by the dark edges of a vignetted frame, a lone white cloud in a soft blue sky looks good.
Transfer of motion
Movement is not always required element dynamic landscape. But sometimes highly desirable. Movement can be conveyed by blurring any object, composition element. Blurring is achieved by applying slow shutter speeds. If you remove the flow of water in the aperture priority mode, then the water will turn out to be frozen, as it were, stopped in time. For example, if you take a picture at a slow shutter speed of some huge boulder that lies in a turbulent stream of a shallow mountain river, then this static dark object in the center of the picture will actively focus on the still water. And this will give the picture additional dynamics. A wide range of colors will work well here - water, stone, sky, vegetation on the banks of the river ... The texture of the surface of the stone will make it a dominant feature in this composition. You can also apply some vignetting here.
Black and white dynamic landscape
Can a dynamic landscape be monochrome, black and white? Why not? Of course it can. Classics of photography have a lot of such pictures. Black and white photography perfectly conveys contrast, favorably emphasizes movement and dynamics. But the lack of color in photography needs to be learned to compensate for something. To do this, we will have to work a little more seriously on other expressive means of a dynamic landscape. We have already spoken about these expressive means today. And with black and white flowers and their shades, you need to learn how to convey the texture and texture of the objects being shot. In such pictures, the main element of the composition is of great importance.
black and white dynamic landscapes many have been created. All of them are filled with movement. It is enough to look at various photo sites, and you will see them. Look for great shots of Hengki Koentjoro or Mitch Dobrowner, for example. The works of these authors are simply mesmerizing. They are worth learning from.
Can non-dynamic landscapes be attractive?
Of course they can! You can get the best shots of nature and landscapes in general, even if you do not follow any of our today's recommendations. Dynamics in photographic landscape- this is just one of the many ways of conveying the state of nature, environment. Static, calm photos are also very beautiful and harmonious. Since photography is fundamentally limited by its two-dimensionality, the static effect is achieved here by applying completely different rules. In this case, completely different laws work than in the transmission of dynamics. But - statics in the landscape - this is a topic for a separate discussion, for a separate article.
Based on materials from the site:
Lesson 1. Any picture begins with the construction of the composition.
And in order for your photos to look harmonious and competent, you need to study its basics.
Fundamentals of composition.
Statics and dynamics in composition.
First a little introduction
What is composition?
Composition (from Latin compositio) means composition, combination of various parts into a single whole in accordance with an idea.
This refers to the thoughtful construction of the image, finding the ratio of its individual parts (components), which ultimately form a single whole - a complete and complete photographic image in terms of linear, light and tonal structure.
In order to better convey the idea in photography, special means of expression: lighting, tonality, color, point and moment of shooting, plan, angle, as well as visual and various contrasts.
Knowing the laws of composition will help you make your photographs more expressive, but this knowledge is not an end in itself, but only a means to help you achieve success.
The following compositional rules can be distinguished:
transmission of movement (dynamics), rest (statics), the golden section (one third).
The methods of composition include: the transfer of rhythm, symmetry and asymmetry, the balance of parts of the composition and the allocation of the plot-compositional center.
The means of composition include: format, space, composition center, balance, rhythm, contrast, chiaroscuro, color, decorativeness, dynamics and statics, symmetry and asymmetry, openness and isolation, integrity. Thus, the means of composition are all that is necessary to create it, including its techniques and rules. They are diverse, otherwise they can be called means artistic expressiveness compositions.
We will return to these and other questions, but
today we will take a closer look at the transmission of movement (dynamics) and rest (statics).
STATICS 
First, I will tell you what is typical for static composition, and show how to achieve this in your work with an example.
Static compositions are mainly used to convey peace and harmony.
To emphasize the beauty of objects. Maybe to convey solemnity. Calm home environment.
Items for a static composition are selected similar in shape, weight, texture. Characterized by softness in the tonal solution. Color solution build on nuances - close colors: complex, earthy, brown.
The center is mainly involved, symmetrical compositions.
For example, I will make a small still life. Artistic value it is not great, and all the techniques and means of composition in it are a little exaggerated for clarity))
So, for starters, I select the items that I will use and draw a diagram of my future still life.
In principle, any object can be inscribed in one of these figures: 
Therefore, we will take them as a basis.
For my still life, I chose three objects - a cup, a saucer and, as an auxiliary object, a candy. For a more interesting composition, let's take objects that are different in size, but very similar in color and texture (as the properties of statics oblige).
After moving the figure a little, I settled on this diagram: 
The center is just involved here, the figures are located frontally, and are at rest.
Now we need to decide on the tonality of objects, that is, divide into the lightest object, the darkest, and a semitone. And at the same time with color saturation.
Having painted over the figures, and having played a little with colors, I stop at this option: 
Now, based on this scheme, I build my still life. I take pictures and this is what I get: 
But as we can see, this does not quite fit the properties we need.
It is necessary to achieve greater generalization of objects, so that they practically look like a single whole, and also the colors are closer. I am going to solve these problems with the help of light.
I use combined lighting - a combination of directional and diffused light:
a dim fill light, and a directional flashlight beam.
After a couple of frames and experiments with light, I manage to achieve the desired result.
I process it a bit in FS and here is the result: 
As you can see, we managed to create a static still life, according to all the rules:
Objects are at rest, in the center of the composition, overlapping each other.
The colors are soft and complex. Everything is built on nuance. Items are the same in texture, almost the same in color. The common lighting solution unites them and creates an atmosphere of calm and harmony.
DYNAMICS 
Now let's move on to dynamic composition.
Dynamics is the complete opposite of statics in everything!
Using dynamic construction in your works, you can more vividly convey the mood, an explosion of emotions, joy, emphasize the shape and color of objects!
Objects in dynamics are mostly lined up diagonally, an asymmetric arrangement is welcome.
Everything is built on contrasts - the contrast of shapes and sizes, the contrast of color and silhouettes, the contrast of tone and texture.
The colors are open, spectral.
For clarity, I will take the same objects, only I will replace the cup with a more contrasting color.
Again using our three figures, I build the composition, but based on the properties of the dynamics. Here's the diagram I came up with: 
Now I am working on tone and color, not forgetting that everything should be as contrasting as possible in order to convey movement in a still life.
Here is the finished sketch: 
Now we turn all this into reality, arrange objects, take shots.
Let's see what we have done and what needs to be changed 
So, the location seems to be good, but because of the general light, it was not very possible to create contrast, especially in colors. The items look too much the same.
I decide to use a colored flashlight to emphasize the shape and make objects contrast in color.
I experiment with blue light, choose the most successful frame in my opinion, refine it a little in FS and here is the result: 
Now everything seems to be in place. The composition is built diagonally, the objects and their arrangement relative to each other are dynamic, one might say contrasting: the saucer is standing, and the cup is lying.
The colors are more than contrasting.)) The same applies to tone.
That's like all. I specifically tried to keep all the tricks and rules to a minimum so as not to rewrite the numerous pages of the abstract here.))
If you have any questions that I have not considered here or missed, be sure to ask!
HOMEWORK
Now let's move on to the final part of our lesson - to the homework.
It will be extremely simple.
You will need to independently compose two compositions for statics and dynamics, guided by the rules described in this lesson.
To get started, select the items that are most suitable in your opinion for the intended composition, then be sure to draw up a diagram! (regular and tone-color) And then proceed to the setting of objects according to the scheme and directly to the shooting itself.
We need to take our three figures as a basis: 
If you want to complicate your task, try to use the same items both statically and dynamically.
ADVICE!
For more expressiveness
all three items are taken in different sizes - large, medium and small, auxiliary.
And also different in tone - the lightest, medium and dark.
So, as homework need to provide
two works: on statics and dynamics, as well as two schemes for them!
So using the knowledge gained and your imagination, create new masterpieces!
Creative success to you!
