What elements make this a master example of composition? While the story of this Nation Geographic cover has been well told, this lesson breaks down the visual concepts you can apply to your own photography.

1. Portrait Masterclass
Case Study: Afghan Girl
by Steve McCurry
Afghan Girl is a 1984 photographic portrait of Sharbat Gula
(born c. 1974), taken by photojournalist Steve McCurry.It
appeared on the June 1985 cover of National Geographic.

2. The aspect ratio is 4 x 6
(Ruler is used to show
ratio, not the actual size of
the image in inches)

3. Here we are less interested
in Rule of Thirds and more
interested in ratio of space
used in the frame.
The head is divided in half
by the eyes. This leaves
the expressive half at the
bottom. Yet there is equal
space for the unexpressive
forehead and hair.

4. The head is divided in half
by the eyes. This leaves
the expressive half at the
bottom. Yet there is equal
space for the unexpressive
forehead and hair.

5. The eyes are placed above
the center line.
The expressive half of her
face takes only 1/3 of total
composition.
Note her forehead, hair and
head scarf take up as much
space as her expressive half.
And there is negative space
at the top for the green wall.

6. If the expressive half of the face
takes up 1/3 of the frame and
the forehead and hair take up
1/3, the that leaves 1/3 to show
neck and clothing.
I direct models to elongate the
neck.
The viewer can infer the model’s
body type by seeing the neck
and clavicles. That is usually
where to crop.

7. The nose is placed right of
the center line.
Notice how one eye is
placed on the vertical
dividing line (2).
One Eye Placement in center

8. You will begin see many
portraits use this placement.
In this ratio her expressive
face takes up only 1/4 of the
image (2-3 across left to right)
This leaves negative space for
placing her in an environment.
It is a more dynamic
composition than a perfectly
center weighted face.

9. Color
Green and red are complementary
colors.
They vibrate in the cones of the
human eye causing energy and
contrast.
Simultaneous contrast is most intense when two
complementary colors are juxtaposed directly next to
each other. For example, red placed directly next to a
green, if you concentrate on the edge you will see a
slight vibration.

10. Negative Space
Figure/Ground
The wall in the Negative Space
or the Ground.
Note the ratio of Ground to
Figure. How much color and
texture do you need to give a
sense of place and design?
The more Ground you include
the less emphasis you put on
the expressive face.

11. Negative Space
Figure/Ground
Negative Space, in art, is the
space around and between the
subject of an image.
Figure/Ground organization is a
type of perceptual grouping that
is a vital necessity for
recognizing objects through
vision. In Gestalt psychology it
is known as identifying a figure
from the background.

12. Chiaroscuro
The light comes from the right
and creates a strong contrast
delineating the right cheek.
The left cheek has information in
the shadow, meaning both skin
texture and tonal variation.
Too much contrast in the
dynamic range would have
destroyed the subtle molding of
her bone structure and lost the
texture.

13. Chiaroscuro
Subtle shadows fall off
Strong contrast light/dark
draws the eye

14. Chiaroscuro
is the use of strong contrasts between light and dark, usually bold contrasts affecting a whole
composition. It is also a technical term used by artists and art historians for the use of contrasts of
light to achieve a sense of volume in modeling three-dimensional objects and figures. Similar effects in
cinema and photography also are called chiaroscuro.

15. Chiaroscuro
The underlying principle is that solidity of form is best achieved by the light falling against it. Artists
known for developing the technique include Leonardo da Vinci, Caravaggio and Rembrandt.
Shadows give the form depth. Our brains need Visual Clues to interpret a flat photograph as a three-
dimensional object. Humans have complicated forms and that is why working with shadows is
important.

17. Chiaroscuro
CENTER LIGHT
The area that faces most directly
towards the light source
FORM LIGHT
The part that receives direct light
TERMINATOR
This divides form light and form shadow
REFLECTED LIGHT
This brightens the form shadow
OCCLUSION SHADOWS
Where two surface get close to each
other, these are created
OCCLUSION SHADOWS
Where two surface get close to each
other, these are created
HALFTONES
Form light is divided into halftones that
darken as the form turns away from the
light source
FORM SHADOW
This is the part in shadow

18. Hierarchy of Attention
1. Eyes
2. Contrast
3. 3-6 Complimentar Color
Knowing psychology and perception lets you guide
the viewer’s eyes through the frame.
It is human nature to look at the eyes. We judge a
person’s intention, emotional availability and health
from information in the eyes. This is the ‘entry point’
to the composition.
Strong contrast of highlight against darkness is
almost as powerful for drawing attention. The viewer
will follow the line of contrast down her cheek.
The last element the moves over is the juxtaposition
of complimentary colors red against green.
1
2
3
4
5
6

19. Portrait Masterclass
Case Study: Afghan Girl
by Steve McCurry
Eye Placement
Ratio
Expressive half of face vs Unexpressive
forehead + hair
Complementary colors give contrast and
energy
Figure/Ground balance to emphasize face
while showing environment
Chiaroscuro highlights and shadows are
visual clues about depth. Gives modeling to
the face structure.

20. Join us for a Dallas, TX Photography workshop on:
https://www.meetup.com/StreetPhotographyUniversity