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We have to talk about
composition of your images

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but it's very
difficult to separate

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the idea of composition and
point of view, background.

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And even lighting,
they all go together.

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When you adjust your light
-- you'll see later --

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you're going to get a different
kind of shadow and that shadow

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becomes part of the composition.

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So, we've attempted to separate
them into three categories,

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but really they are
very closely connected

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and it's something
to keep in mind.

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So let's start with these
leaves, these autumn

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leaves that I put on a light
box, which you will see more

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of when we talk about light.

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In fact the light box itself
is an important compositional

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element in this
image because it's

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giving us a very strong negative
space between the leaves.

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And, it could be an
interesting thing

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to play around with, using
the background as part

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of your composition.

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Something to think about.

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Taking a look at these
crystals, which I just randomly

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placed on a background just to
show the ability of creating

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these crystals.

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Uh, this is, you
know, an okay image.

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Um, by the way, notice how
the shadows of these crystals

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become part of the composition.

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What I finally decided to
do was, simplify the image

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and just selected four
crystals and made a more close,

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close-up shot of them.

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They're both fine and and
that's one of these issues about

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what's better.

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I mean, we could
split hairs and --

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I really don't think there's
any...we could argue either

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way.

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That's the fun part about this.

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Once again, there are no
rules to any of these things.

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One of my gut ideas, which has
no data associated with it is I

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think it's more interesting
to show two of something

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rather than show one.

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And I suppose that I could
speak to some psychologist

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and discuss whether we
really do perceive it more.

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I don't know, I just,
it's just the way I do it.

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And I'm suggesting that if
you like what I do, then maybe

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you'll wanna do it, too.

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I did take these two
devices (by the way,

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it does show that you
can do more than one,

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you can create more than one)
and I photographed it this way.

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I photographed it in my
studio with a skylight above.

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And notice there is a little
problem with depth of field.

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The one above is not really
as sharp as it should be.

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And so I stopped down, which
you know, that what that means,

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so that the aperture
became smaller

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and I gave myself
more depth of field.

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That is I got more in focus.

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And what [laughing]
happened was,

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I got so much in focus
that I could actually

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see the detail of the skylight
with the clouds showing

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through.

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This is tangential to the
point, but it's all connected

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and you have to really pay
attention and learn to see

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what it is you're getting at.

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Eventually, I would up, I
thought that this next image

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was the best.

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Again, using two and
not necessarily showing

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exactly the edge
of each, I think

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it's an interesting idea to not
completely finish the image.

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Let the viewer finish it in more
of a participatory involvement,

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perhaps.

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ONCE AGAIN THIS
IDEA OF TWOS: Here

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are two balls that
have so small a pattern

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that we're seeing
light refracting.

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And here are two
silicon chips that

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have material embedded on it.

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Again, I decided
to do it in twos.

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Here's another two
duet, two petri dishes

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of E. Coli growing.

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By the way, notice the
composition: It's not

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exactly equal, equally divided.

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I have one a little
more than the other.

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For our book, No
Small Matter, we

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wanted to talk
about self-assembly.

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Actually these are two acrylic
dishes with acrylic balls

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that literally
line themselves up

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and I did it in twos as well.

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You know, again, it's an idea
that I'm comfortable with.

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It's actually easier to compose
when you have two things.

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At least it is for me.

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You might give it a shot.

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You might think of using
the process of composing

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your picture as means of telling
a story, a visual story of what

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your devices are about.

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What you're seeing here,
you're seeing basically three

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components of an image.

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You're seeing the underside
of a wafer on your upper left,

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the green upper left.

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And that wafer has
fabricated on it small chips.

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So the fuchsia color is what
the wafer looks like as a whole.

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And then we we have
the individual chips

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on top of the larger wafer.

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So you'll see the
individual ones as well.

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So trying to sort of say
this is a fabrication

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of these particular
chips that deliver drugs.

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That's why we wanted to show
the underside of the wafer.

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By the way, all this needs
to be discussed in a caption.

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None of this works
without text, but uh this

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is an attempt to visually
describe what this is.

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In this next one,
these are fibers

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that are constructed
so that they have

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different optical qualities.

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And the attempt was, I tried to
weave them in sort of a [laugh]

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fabric because that's
what they were thinking

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of making it work with.

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They were imagining these
fibers literally being

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woven into clothing.

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I don't know if
it ever happened,

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but this is a
number of years ago.

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Once again telling, suggesting
the use of material.

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In this next one I was
just playing around with,

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this was trying to show glass
when it's treated properly.

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You see on the upper
right and the lower right

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when glass is treated in
a certain way it shatters

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properly and safety wise whereas
the other one in the more

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triangular area, it's just
not the way that we wanted.

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It is a little too artsy
probably or many of you,

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but again, I was
just playing and I

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do want you, as I
continue saying,

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to play with this stuff.

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The next one it
was about corn that

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was treated in a
particular way and I

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decided to use the containers,
the plastic material that it

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came in as a suggestion of
how these are delivered.

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And finally, just some devices
that evolved over time.

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These are various iterations
of a particular idea

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and we see how they
changed, how they

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evolved, telling a
sort of chronology

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of these particular devices.

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This is an example of really
stretching our imagination.

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It's of the watch that we've
seen before on my computer

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screen as well, which
I have focused in on

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and we're seeing a
detail of the watch.

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Using the computer screen
as another light source

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but a compositional one as well.

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So here I'm selecting the image
of the watch on the screen.

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I don't like the colors here.

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That's what we're
doing here, we're

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basically going to be
matching the colors.

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So I selected the watch
then inverted, selected

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the real watch, as
opposed to the screen,

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and now we have an image
that is balanced, color-wise.

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Just imagine, perhaps, another
kind of image on your screen

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with your device.

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Maybe to expand the explanation
of how your image works.

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Something you might
want to think of,

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using your own imagination.

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So this is just a
hint [laugh] of what

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you could do with composition.

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And, as I said before,
it's very difficult

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to separate this
idea of composition

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with point of view
and backgrounds,

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which you'll see
in very shortly.

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So, you know, it's
all connected and I

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could have very easily put some
of these in other categories,

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but thought it would be
fun to just try for myself,

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by the way, in separating
them, but they are truly

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very much connected.