Composition
This is another of the biggies. Along with lighting, composition is generally what divides the good photographs from the not-so-good ones. Even in this kind of photography, where we're trying more to document something than to create art, composition matters.
First, let's approach one of the really simple principles of composing a photo: horizontal or vertical format. This corresponds to what your computer's software describes as printing in "landscape" or "portrait" format. Normally a camera is used in horizontal, or "landscape", format, with the picture wider than it is tall. When the subject of the photo is vertical, however -- like a tree, a tower, or a person standing -- it works better to turn the camera on its side. This vertical, or "portrait" format lets you show the whole person, tree, or tower, far bigger and with less wasted space than you could with horizontal format.
That was simple, right? Good. Unlike the technical aspects of photography, which can get about as complex as you care to handle, most of the artistic aspects of photography (or any art) are based on generally simple principles.
Another of the principles of artistic composition is rhythm. Sounds like music, right? It's the same idea, just applied in a visual sense. Imagine a photo of a picket fence, close up, showing about ten or eleven of the uprights. Now, if most of the uprights were white, but one was black, it would break the visual rhythm established by the pattern of white uprights. That might or might not be a part of a good composition -- it would simply be an element, to be used by the photographer.
Similarly, a row of equally spaced trees sets up a rhythm. Having one tree suddenly out of place -- too far, for instance -- applies a visual syncopation to the rhythm that creates a tension in the viewer, because it's not there where the viewer expected to see it.
Another aspect, a simpler aspect, concerns what's happening around your subject. For instance, a common mistake is to have a person photographed standing in front of a tree, a signpost, etc. As often as not, it can appear that the tree or signpost is growing out of the subject's head! The solution is simple -- move so the offending object is to one side or the other -- but you have to be aware of the problem.
A similar problem concerns "chopping the subject's head off." This happens when a horizontal line -- such as the horizon -- is visible just at the subject's neck level, so her body is below it and her head above. Similar disconcerting effects can happen when a horizontal line matches up with the waistline of her costume, or a leaning tree might align with a diagonal on the costume. They're not disasters, but they're to be avoided.
Let's think about your eyepoint -- as a photographer. Generally, a standing photographer will hold the camera at eye level, and the photograph's eye level is that of the camera. That could be fine -- but it isn't always. If you're exceptionally tall, your camera will usually be looking down at people, and they'll appear to be smaller than they are. Similarly, a short photographer might consider whether it's always good to be looking up at people -- perhaps it would be good to stand on higher ground sometimes. When your height means the horizon will "chop off" the subject's head, something as simple as hunkering down a bit can probably cure it.
A good neutral level for the camera is to set it at the subject's eye level. This way she meets the camera, and the picture's viewer, eye to eye, on equal terms. This isn't always the most flattering angle for photographing someone, but it's a good starting point, especially when we're actually photographing the costume.
If you want to photograph something lower -- hemline detailing, or a forepart -- you need to decide how best to do it. If the subject is vertical, or nearly vertical, like the face of the skirt at the hem, your best angle for documenting this would probably be facing it directly from its own level. If the subject is angled upward -- say, something on a shoulder -- you might get the best angle by simply angling your camera downward.
Now let's talk about something a little more subtle -- dynamic versus static composition. Used in this sense, "static" has nothing to do with electricity -- it simply means unmoving, or without force. By contrast, "dynamic" means forceful, or moving. Static composition in a picture is centered, balanced, and boring. Dynamic composition is off-center, unbalanced, and much more exciting.
Have you ever noticed that photographs in advertisements rarely show the object being advertised in a direct, head-on or side view? Imagine a photo of a stereo, a computer, a car -- it's always at some kind of angle. This is not just because it looks better, though that's what our eyes tell us. It actually shows us a little more of the subject -- two sides, for instance, instead of one. A simple, head-on view presents a flat surface, but a three-quarter view adds depth to the picture.
It's not just the fact that it shows depth, though. By moving to a three-quarter angle, the lines of perspective change from orthogonal (square, vertical and horizontal) to angled, dynamic lines -- and that makes a huge difference.
The same principle can be extended to many aspects of composition -- it can be called "dynamic imbalance," or you could simply call it avoidance of a static composition. By moving the focal point, the main point of interest, off to one side of the center, we create an imbalance. If we move it upward, we also create an imbalance -- and this imbalance creates visual interest.
Understanding of this principle has led to what artists call, "the rule of thirds." Loosely speaking, it means you should put the main focus of your composition (not to be confused with the camera's focus!) along lines drawn along either 1/3 or 2/3 divisions of the frame. This can work horizontally, vertically, or both.
This same avoidance of static composition can take many forms -- a twist of the head creates a dynamic tension, an imbalance of forces, as the neck seeks to relax and center it again. We see this and empathically, automatically, sense the tension. Even something as subtle as angling the eyes upward can establish a dynamic line in the picture -- imagine the subject looking at something above the photographer's shoulder. We sense that line of sight, invisible as it is, and it adds energy to the photo.
You can also use dynamic imbalance in patterns of light and dark, if you want to get artistic -- but here we're moving away from documentary photography (creating a record) toward art photography.
Let's remember, though, that good artistic composition isn't always good documentary photography -- I wouldn't say that you should never have your subject in the center of your photo. There's nothing wrong with art photography -- many photographers will tell you it's the best goal of photography -- but it's not really what we're trying to do here.
Back to basics, then: the least you need to know about composition to photograph costumes:
These simple rules won't ensure that you make great photographs, but they'll help you avoid making bad ones.