Photography Essentials Part 1: The Frame and the Artist’s Intent

The camera’s frame is the genesis of every photograph you will ever create.

The rectangular boundary of the camera’s viewfinder functions much like a painter’s canvas—it defines the edges of the intended composition. Yet, important differences exist between photography and other visual arts. The most significant is this: photography is a subtractive process, while painting and drawing are additive.

In photography, the world is already assembled before you. Your task is to thoughtfully select what will be included within the frame, eliminating all distractions and unnecessary elements. In painting and drawing, by contrast, the artist begins with a blank surface and purposefully adds only the elements they wish to include.

This, I believe, is the true challenge and beauty of photography.
To refine the chaotic visual world into a cohesive, uncluttered narrative that tells a story—using only what is seen within the frame—requires time, experience, and a deep study of the principles of design and composition. As the renowned photojournalist and street photographer Henri Cartier-Bresson once said, "Your first 10,000 photographs are your worst."

With growth in experience and insight, composing within that small rectangle becomes less a conscious process and more an act of intuition. This transition marks the beginning of a photographer's unique visual voice—the foundation of their personal style.

After nearly two decades behind a camera, I find it difficult to describe my process as strictly linear. Nevertheless, I will endeavor to outline it as precisely as possible, deconstructing the intuition that has developed over years of practice.

Considering Intent

Before my tripod touches the ground, I already have a composition in mind. I have carefully observed what initially captured my attention, and I begin to envision how best to frame the scene.

My first and most important question is: What is my intent?
Is this image destined to be a casual family snapshot, a story shared on social media, or a fine art piece intended for sale and exhibition?

Identifying the Subject

Before lifting the camera to my eye, I determine the subject.
It could be as tangible as a single red leaf or as abstract as a fleeting emotion. Often, a closer examination is required to fully understand what the subject truly is.

To Fill or Not to Fill

Once the subject is identified, the next consideration is how much of the frame it should occupy. Should the subject dominate the entire composition, or would allowing more of the surrounding environment to remain visible enrich the narrative? Each approach offers a different emotional and visual impact.

In architectural photography, the frame itself can serve as a powerful compositional tool. Positioning strong lines or archways at the very edge of the frame can dramatically enhance the perception of depth and invite the viewer’s eye deeper into the image.

Color or Black and White?

The next decision is whether the final image will be in color or black and white. This choice often reveals itself early. If the colors themselves were what initially drew me to the scene, it is likely that the final piece will be in color. However, if the scene’s power lies in its forms, contrasts, and mood, a black and white interpretation may better capture its essence.

At times, the decision is not so clear. In those cases, I experiment—converting the image to black and white in Adobe Lightroom and evaluating which version best communicates the emotion I wish to convey.