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by Darren Rowse
Good Composition is a key element of good photographs yet is something that is hard to define.
Instead of looking at composition as a set of ‘rules’ to follow – I view it as a set of ingredients that can be
taken out of the pantry at any point and used to make a great ‘meal’ (photograph).
Alternatively I’ve often described it as a set of ‘tools’ that can be taken out of one’s compositional tool belt at
any given time in the construction of a great image.
The key is to remember that in the same way as a chef rarely uses all the ingredients at their disposal in any
dish – that a photographer rarely uses all of the ingredients of composition in the making of an image.
Today I’d like to look at five of the ingredients (or tools, or elements) of composition that I draw on in my
photography. They’re not ‘rules’ – just things that I consider when setting up a shot.
Pattern
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Image by actionlovr
There are patterns all around us if we only learn to see them. Emphasizing and highlighting these patterns
can lead to striking shots – as can high lighting when patterns are broken.
Symmetry
Image by straightfinder
Depending upon the scene – symmetry can be something to go for – or to avoid completely.
A symmetrical shot with strong composition and a good point of interest can lead to a striking image – but
without the strong point of interest it can be a little predictable. I prefer to experiment with both in the one
shoot to see which works best.
Texture
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Images a two dimensional thing yet with the clever use of ‘texture’ they can come alive and become almost
three dimensional.
Texture particularly comes into play when light hits objects at interesting angles.
Depth of Field
Image by orangeacid
The depth of field that you select when taking an image will drastically impact the composition of an image.
It can isolate a subject from its background and foreground (when using a shallow depth of field) or it can put
the same subject in context by revealing it’s surrounds with a larger depth of field.
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Read more on getting shallow depth of field and also this video tutorial on depth of field.
Lines
Image by stevacek
They have the power to draw the eye to key focal points in a shot and to impact the ‘feel’ of an image greatly.
Diagonal, Horizontal, Vertical and Converging lines all impact images differently and should be spotted while
framing a shot and then utilized to strengthen it.
These are just some of the elements of composition that I consider in my photography. They reflect my own
style and personality but there are plenty more.
Update – I’ve just written a followup post to this one. 5 More Elements of Composition in Photography.
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by Darren Rowse
Yesterday I shared 5 ingredients of composition that I consider when setting up a shot. Today I’d like to talk
about 5 more.
Framing
Image by foreversouls
Most of us use ‘frames’ to display our images when we hang them on walls for viewing – however ‘framing’ can
be used within the composition of a shot to help you highlight your main point of interest in the image and
and/or to put it in context to give the image ‘depth’.
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Learn how to use framing as an element of composition.
Perspective
Image by fensterbme
The perspective that a shot is taken from is another element that can have a big impact upon an image.
Shooting from up high and looking down on a subject or shooting from below looking up on the same subject
drastically impact not only the ‘look’ of the image, emphasizing different points of interest, angles, textures,
shapes etc – but it also impacts the ’story’ of an image.
Space
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Image by .robbie
There can be a fine line between filling your frame with your subject (and creating a nice sense of intimacy
and connection) and also giving your subject space to breath.
Either technique can be effective – so experiment with moving in close and personal and moving out to
capture a subject in its context.
Balance
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Image by *L*u*z*a*
The positioning with elements in a frame can leave an image feeling balanced or unbalanced.
Too many points of interest in one section of your image can leave it feeling too ‘heavy’ or complicated in that
section of the shot and other parts feeling ‘empty’.
Color
Image by baboon
The colors in an image and how they are arranged can make or break a shot.
Bright colors can add vibrancy, energy and interest – however in the wrong position they can also distract
viewers of an image away from focal points.
Colors also greatly impact ‘mood’. Blues and Greens can have a calming soothing impact, Reds and Yellows
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can convey vibrancy ad energy etc.
Between yesterday’s post on composition elements in photography and today’s I’ve covered just 10 things
that photographers consider when composing a photo. What would you add?
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by Neil Creek
How do I do this? Recently I visited a local art gallery and explored the grounds looking for some interesting
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scenes to illustrate what I mean. Below you will see three different scenes. For each scene I have illustrated
and annotated my thought process.
Starting wide I assess the big picture, then I zoom in on the photo I want. I describe what compositional
elements I think are important in the final photos and I try to explain why. These are a look inside my head as
I go through the thought process of capturing a photograph.
Zooming In
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third line.
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1. This building may have potential, but it’s looking pretty bland at the moment, especially with the sun behind
the clouds. Those bricks have great texture though, and that wall will be lit from a low angle, which will bring it
right out.
2. That curved wall is unusual too, I wonder how I could bring those two elements together, and eliminate all
the boring stuff?
3. Maybe a low angle looking up past the curve into the sky could make for an interesting geometric
minimalist photo.
Zooming In
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Clouds Reflected
1. Hmmm, the sky’s looking pretty nice at the moment. It would be nice to work that into a shot somehow.
2. That reflective wall of windows is pretty cool too, ahh and they’re reflecting the clouds from the other
direction too.
3. It might be nice to use those bushes to frame the shot too, and contrast the blue of the sky.
4. If I go over to that path, I can look right up to those windows and the clouds beyond.
Zooming In
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2. That post can go on the right
third line, and I’ll make that my
vertical as well.
Thinking about a composition can really help make better photos, but
dwelling on rules and technicalities can cause missed opportunities. The
best way to find a happy balance is to get out and practice. Shoot heaps of
photos, and do it often. Even if you don’t have your camera with you, if you
see something that would make an interesting shot, close one eye and imagine how you would compose it.
You don’t need a camera to practice photography!
Pretty soon you’ll find yourself rapidly composing photos, and you’ll barely be conscious of it.
In addition to posting his Project 365 photos to his blog, Neil also runs a monthly photography project. This
month’s topic is all about The View From Below.
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by Darren Rowse
While I’m not always a fan of sticking strictly to the ‘rules’ or ‘guidelines’ of photography I think they can be
well worth knowing and keeping in the back of your mind as you shoot (whether it’s so you can follow them or
break them for effect). Here’s four ‘rules’ for landscape photography that might be helpful for those just starting
out (ie they’re not meant as a definitive guide but rather a starting point) :
1. Diagonal Lines
2. Geometric Shapes
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that I’ve done a lot of – but it is one technique to get
balance in a shot and if you’re clever, to lead the eye
into it (in a similar way to the diagonal lines rule above).
Photo by Mattijn
The Rule of Thirds gets trotted out more often than any
other in all types of photography and is one of the first
rules of composition taught to most photography
students. While sometimes it can feel a little cliche it
can also be a very effective technique in landscapes
(although keep in mind that breaking this (and other
rules) can also produce dramatic and interesting shots).
4. Framing Images
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Photo by Leviathor
Rules are Made to Be Broken?
Of course while knowing the rules can be important – knowing when to use them and when to break them is a
talent that great photographers generally have.
Practice these techniques – but don’t get so worked up about them that they kill the creativity that you have.
Let me finish with a quote about Rules of Photography from Photographer Edward Weston to help give us a
little balance on the topic:
“To consult the rules of composition before mak ing a picture is a little lik e consulting the law of gravitation
before going for a walk . Such rules and laws are deduced from the accomplished fact; they are the products
of reflection.”
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10/27/2009 The ‘Odd Rule’ of Composition
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by Darren Rowse
Tip submitted by Rachel. If you’ve got a digital photography tip to share with the DPS community contact
Darren with Your Tip.
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by Darren Rowse
PS: Of course as with every rule there are times to break this one – but in general I find that it works well.
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10/27/2009 Fill Your Frame
by Darren Rowse
I’m constantly amazed by how the most simple photography techniques produce the most effective results.
One such lesson that I always start new photographers off with is among the simplest you’ll ever find:
While empty spaces can be used effectively in photos to create stunning results (we’ll cover this in a future
tip) you’re much more likely to get a ‘wow’ from those looking at your photos if your shots are filled with
interest.
People
This technique is particularly important when taking
pictures of people whose facial features tend to
disappear when you move more than a few meters
away from them.
This year I had my DSLR with me and was shooting with a 200mm lens.
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10/27/2009 Fill Your Frame
I also spent less time shooting in the larger courts and more time on outside courts where I could get in much
closer to the action physically.
This was mainly due to the use of the DSLR and better quality lenses, but it was also a vast improvement due
to the fact that I was able to fill my frame with the players.
Shots came alive with rippling muscles, grimaces on faces and even sweat spraying off players as they hit
balls.
Still Life
Having said that filling your frame is important
when photographing people, it’s also a very
effective technique when photographing ‘things’ or
scenes. I learned this lesson on my first trip to
Europe a number of years back when on returning
I was surprised to find that the shots that got the
biggest reactions from people were not the shots
that I thought were technically the best shots.
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10/27/2009 Working the Lines in your Photography
by Darren Rowse
Over the next few posts I’ll consider three types of lines,
‘horizontal’, ‘vertical’ and ‘diagonal’. Each one has a
different impact upon a photograph and should be looked
for as you frame your shots.
A good way to practice is to go back through older images that you’ve taken and look for lines that worked
well and those that didn’t.
Then next time you go out with your camera, before you frame your shot consciously ask yourself what lines
are in front of you and how you might use them to add something to your next shot by working with them
rather than against them.
Also ask yourself whether the lines form any interesting patterns that you might be able to accentuate to add
a further layer of interest to the shot.
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10/27/2009 How to Use Converging Lines to Enha…
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by Darren Rowse
Take this shot and the natural reaction for those looking at the scene will be for them to follow the lines off into
the distance. In a sense the two lines act like a funnel which directs the gaze of those entering them in a
certain direction.
The same effect can be achieved with roads or pathways, converging fence lines, a set of stairs, power lines
or virtually any other lines that run parallel into the distance or that actually converge at some point.
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has many possibilities. One is to position
the tracks dead center and symmetrically
in the shot.
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2. Wide Angle Lenses – different lenses can totally change the impact of a shot with converging lines. I find
that a wide angle lens can be particularly useful – especially when positioning yourself between the two lines.
This will help to give the perception that the distance between the lines at the starting point of the image is
wider than it is. This exaggeration of the width of your lines can have a powerful impact upon your shot.
4. Adding Interest at the Point of Convergence – Sometimes it is worth enhancing the point of
convergence with something of interest (for example waiting until a train appears in the distance on the tracks
– or positioning a person at the top of stairs) – on other occasions the composition of the shot is strong
enough without adding an extra subject.
If you’ve got some examples of converging lines in images that you’ve taken I’d love to see them over at the
DPS forums – either in the How I took It or Critique My Shot sections.
Here are a few more Converging Lines shots to illustrate the point and hopefully give a little inspiration.
Image by MarkyBon
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Image by vividiti
Image by Lush.i.ous
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Image by Aeloux
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10/27/2009 Rule of Thirds
Rule of Thirds
by Darren Rowse
Perhaps the most well know principle of photographic composition is the ‘Rule of Thirds‘.
It’s one of the first things that budding digital photographers learn about in classes on photography and rightly
so as it is the basis for well balanced and interesting shots.
I will say right up front however that rules are meant to be broken and ignoring this one doesn’t mean your
images are necessarily unbalanced or uninteresting. However a wise person once told me that if you intend to
break a rule you should always learn it first to make sure your breaking of it is all the more effective!
The basic principle behind the rule of thirds is to imagine breaking an image down into thirds (both horizontally
and vertically) so that you have 9 parts. As follows.
As you’re taking an image you would have done this in your mind through your viewfinder or in the LCD
display that you use to frame your shot.
With this grid in mind the ‘rule of thirds’ now identifies four important parts of the image that you should
consider placing points of interest in as you frame your image.
Not only this – but it also gives you four ‘lines’ that are also useful positions for elements in your photo.
The theory is that if you place points of interest in the intersections or along the lines that your photo
becomes more balanced and will enable a viewer of the image to interact with it more naturally. Studies have
shown that when viewing images that people’s eyes usually go to one of the intersection points most naturally
rather than the center of the shot – using the rule of thirds works with this natural way of viewing an image
rather than working against it.
In addition to the above picture of the bee where the bee’s eye becomes the point of focus here are some of
examples:
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10/27/2009 Rule of Thirds
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In this image I’ve purposely placed the head of my subject on one of the intersecting points – especially his
eyes which are a natural point of focus for a portrait. His tie and flower also take up a secondary point of
interest.
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10/27/2009 Rule of Thirds
In this shot I’ve placed the subject along a whole line which means she is considerably off center and
therefore creating an additional point of interest. Placing her right in the center of the frame could have
resulted in an ‘awkward’ shot.
In a similar way a good technique for landscape shots is to position horizons along one of the horizontal lines
also as I’ve done with the following shot (I’ll let you imagine the lines).
Using the Rule of Thirds comes naturally to some photographers but for many of us takes a little time and
practice for it to become second nature.
In learning how to use the rule of thirds (and then to break it) the most important questions to be asking of
yourself are:
Once again – remember that breaking the rule can result in some striking shots – so once you’ve learnt it
experiment with purposely breaking it to see what you discover.
Lastly – keep the rule of thirds in mind as you edit your photos later on. Post production editing tools today
have good tools for cropping and reframing images so that they fit within the rules. Experiment with some of
your old shots to see what impact it might have on your photos.
Enjoy this tutorial about the Rule of Thirds? Get more free tips by subscribing to Digital Photography
School.
Read more from our Composition Tips, Photography Tips for Beginners Category
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by Darren Rowse
To see the same principles illustrated again – check out the two following images. The first shot actually
contains a lot more flowers than the second one – but because there’s a break in the flowers with the horizon
there’s a sense that the flowers are limited to a certain area. Whereas the second scene could actually have
a lot less flowers in it – but they go on and on in the mind of those viewing the shot.
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The same principles can be applied to numerous other situations. For example the same thing is done in the
following image of a sailing boat:
The boat is seemingly in the middle of an ocean – as there’s no end to the water in the frame. However the
inclusion of land in any direction or even a horizon would have interrupted the water and given the image a
different feeling.
Again it is a combination of the angle that the photographer is shooting from (from slightly above) and the
framing of the subject.
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by Darren Rowse
Here are a couple of considerations to keep in mind when making a decision on how to pose your subject:
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The direction that your subject looks when being photographed can
have a profound impact upon an image so give it careful
consideration. Many different poses can work and will alter the mood
and focal point of the image considerably.
The key is to know what you’re wanting to achieve and to experiment Image by Mareen Fischinger
with different set ups to get those results.
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by Darren Rowse
Photo by sharply_done
1. Focal Points in the Wake
An ideal time to break this ‘rule’ is where the subject leaves something in their wake – Some moving subjects
create a disturbance behind them in their environment that actually provides an image with a focal point that is
worth including.
For example – the wake behind a surfer, the lingering vapor trails in a blue sky after a jet liner flies over, the
clouds of dust after a rally car etc
In each of these cases the real action is happening behind your subject and to leave it out misses an
opportunity.
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Photo by konaboy
2. Conveying Speed
You might also like to break this rule when you want to accentuate the speed of your subject as placing your
subject at the edge of your frame in this way can convey that they are moving so quickly that you can hardly
keep up with them.
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Photo by louiskim
Photo by jan2eke
Lastly this rule is great for breaking when you want to convey something of the journey that the subject has
already been on rather than where they are going.
Photo by Ozyman
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by Darren Rowse
2. giving images a sense of depth and layers (in essence framing a shot generally puts something in the
foreground which adds an extra dimension to the shot).
3. leading the eye towards your main focal point (some ‘frames’ can draw your photo’s viewer into the
picture just by their shape). Some also believe that a frame can not only draw the eye into a picture but that it
keeps it there longer – giving a barrier between your subject and the outside of the shot.
4. intriguing your viewer. Sometimes it’s what you can’t see in an image that draws you into it as much as
(if not more than) what you can see in the picture. Clever framing that leaves those viewing your image
wondering a little or imagining what is behind your frame can be quite effective (get it wrong and it can also be
quite annoying!).
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Lastly – if you do use framing techniques you also need to consider whether you want your frame to be in
focus or not. In some instances a nicely blurred frame will really add a sense of mood and depth to your shots
(in this case use a large aperture) but in other cases to have your frame in focus can help with adding context
to the scene (in this case choose a narrow aperture.
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