Category: Composition

Line One of the most effective ways to draw the viewer’s eye into an image is by use of line. Lines are a very powerful compositional element, not only do they tell the viewer where to look, but they also influence how the viewer feels. Horizontal lines such as a horizon can make the viewer feel relaxed, whereas vertical lines, trees, buildings, imbue a sense of power. Diagonal and converging lines such as railway tracks and fences provide a sense of depth and space, and utilising curved lines can lead to a  soothing or unhurried mood. Lines are everywhere  though, straight, curved, meandering, both natural and manmade, they can all… Read More

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Three dimensions Why is form important? Because a photograph is actually just a 2 dimensional representation of a 3 dimensional world, without this missing dimension everything lacks volume and is reduced to just a collection of 2 dimensional shapes, so when the form of an object is important, the skill lies with the ability to somehow re-inject this missing dimension back into the image. Luckily for us though, the brain has an innate ability to interpret light and shade in terms of depth, and can therefore easily replace the missing binocular depth information from the eyes with a pseudo version of its own. Form is therefore a function of light,… Read More

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Juxtaposition Balance is one of the more important rules of composition, one whereby elements are juxtaposed within a composition in order that the overall image has more balance. Although aligning the main subject off-centre, such as according to the rule of thirds, can create a more interesting and dynamic composition, it can also sometimes lead to there being an imbalance due to the large area of negative space it produces, therefore an object of lesser importance can be placed in the empty space to balance the overall image. This is known as an informal balance as the objects are not uniform, it’s therefore balanced asymmetrically. Knowing how to balance objects… Read More

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The picture frame Framing is probably one of the easiest of compositional techniques in photography to master, it’s very easy to use architectural elements such as doors and windows to draw attention to the subject and at the same time to lend context to the overall image. But with some creativity it’s actually possible to use all sorts of natural occurring elements within the field of view to act as framing components, to close down parts of the image, concentrating the viewer’s attention on the main subject. Some examples illustrating the technique Tips for when on location Doors and windows are probably the simplest method to frame a subject Frames… Read More

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Forward to the past. There was once a time, back in the far off days of analogue photography, during the 50s and 60s, when the square format photograph reigned supreme, it was only cut short by the advent of affordable 35mm compact cameras in the 80s. And now, although the digital age of photography has been blamed for all manner of evils, it has actually been responsible for a revival of this particular format as the success of Instagram just goes to show. A square format breaks the usual rules, it eliminates the dominance of longer horizontal or vertical lines  which encourages the eye to travel from side to side… Read More

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Mirror image. Symmetry is the compositional tool most closely related to balance, but than rather just balancing different objects against each other, symmetry refers more to a line that splits an object in half, creating mirror image of each other, think in terms of the Rohrschach test (ink-blot test). Symmetry has long been thought to be associated with beauty and is a powerful tool that automatically creates balance, proportion pattern and harmony, so why not use it? There are 2 main types, a vertical line of symmetry and a horizontal line of symmetry,  everywhere you look there are opportunities, you just have to become aware of them. Some examples illustrating… Read More

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Repeating. Pattern recognition is one of the most important survival skills we possess, it’s a cognitive process of the brain and is so strong that we can see patterns where none actually even exist, faces in clouds, figures in shadows etc. Patterns are repeated shapes, colours or objects in either a regular form, as in many collections of man-made objects, or irregular as found in the natural world, the petals of a flower, the ripples on a sandy beach. Patterns are everywhere but not all are created equal, it’s purely subjective whether a particular pattern is good or bad, but appreciating pattern does enhance the photographer’s eye, and offers the… Read More

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Odd numbers This rule is rather self explanatory, that having an odd number of subjects in a composition: 3,5,7 etc. will be visually more interesting, exciting even, than having an even number: 2, 4, 6, etc. The brain loves organising and having an odd number means that the eye focuses in on the middle subject rather than the empty negative space between two equal groups. In its simplest form a group of three will always form either a straight line or a triangle, both considered to be aesthetically pleasing shapes. It also has parallels in religion: the holy trinity, in literature where lists of three are more efficient in supporting… Read More

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Greater depth Photographs are 2D by nature, and so by using strong elements in the foreground, it’s possible to lend an image more of a 3D feel, of adding the illusion of depth to the image. Although it’s easy to forget about the foreground when concentrating on the subject, particularly when the subject is quite a distance away, to purposely add elements to the foreground brings a sense of drama to the final shot. There are various styles and techniques to achieving this, and we’ll be practicing some of them on a visit to the Fischerinsel. Some examples illustrating the technique Tips for when on location Including a foreground object… Read More

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Supersize it. One of the easiest methods that the budding photographer can use to instantly improve his or her photography is just to get a lot nearer to the subject and fill the frame with it. All too often the distance between the viewpoint and the subject is so great that the subject almost gets lost within the background, because it is just too small, in fact an image could quite often be improved by simply removing the subject and just taking a good photo of the background instead. But by getting in closer and filling the frame you add instant interest, because the added detail and lack of conflicting… Read More

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