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5 Elements of Composition in Photography

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.

Read more on using repetition and patterns in photography.

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.

Read more on symmetry in photography.

Texture

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Image by Grant McDonald

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.

Read more on using light to create texture in your photography.

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

Lines can be powerful elements in an image.

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.

Read more from our Composition Tips Category


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Digital Photography School

5 More Elements of Composition in Photography

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.

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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.

Read more on photographing people from different angles.

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.

Sometimes it is what you leave out of an image that makes it special

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’.

Read more about balance in photography.

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.

What have I missed?

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?

Read more from our Composition Tips Category


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10/27/2009 Rapid Composition – How to Compos…

Digital Photography School

Rapid Composition – How to Compose a Photo


Quickly

by Neil Creek

The following post is from Australian photographer


Neil Creek who is part of the recently launched
Fine Art Photoblog, and is participating in Project
365 – a photo a day for a year – on his blog.

Composing a photograph well can seem to be a


mysterious art: hard to master, even harder to
explain. Knowledge of the “rules” of photography
helps, but who can go through some checklist in
their head every time they put eye to viewfinder?
The real world waits for no one, and if you delay to
think through every compositional possibility, you
can easily miss the moment.

In the five years I’ve been pursuing photography,


I’ve found that I’ve gone through a progression of
not thinking about composition, to thinking too
much, back to not thinking so much. Or at least it
seems like I’m not thinking much. I’ve practiced
“seeing” the photo before I take it so many times
that it’s become a reflex, and nowadays I find
myself rapidly assessing a scene, considering
possibilities and picturing the shot before I even
look through the camera.

I find that when I see a possible subject for an


interesting shot, I disengage part of my brain, and I
ignore the details. My eyes flick over the scene,
looking for shapes, patterns, colours, light and
form. I shuffle these elements around in my mind’s
eye and see how they fit together. In this way I
quickly and almost sub-consciously get a feel for the scene and composing a photo becomes a more natural
process.

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.

Flowers and Rubber Duckie

1. Oooh! Pretty flowers! They’re


down pretty low to the ground,
and the wind’s blowing around a
lot. I’d better go to Shutter Priority
to freeze the movement. So if I’m
shooting low, what’s going to be
in the background?

2. Well those ducks sure are


different! That could make an
interesting splash of colour behind
the flowers, but it might be cool to
blur them in the DOF so it’s not
really obvious what they are.

3. Ugh, the pond’s a bit


overgrown, and there’s garbage
floating in it. Gotta make sure
that’s not visible. The low angle
and narrow DOF will help that.

4. Alright then, time to get down


on the ground and see how it
looks through the viewfinder.

Zooming In

1. Ahh this has potential. Ok, get


down REAL low, hold those reeds
in the background back a bit with
my foot, balance the “mass” of
the flowers around the right one

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third line.

2. Great, opening up the aperture


blurs the overgrown pond, and the
ducks are nice and ambiguous.
Lets put them on the top left
intersection of thirds. Wait for the
sun to come out. Waiting,
waiting…. *click*

Have a look at the result:

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Bricks Before Blue

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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

1. Looking good! The sun makes


a big difference. The curved lines
of the bricks are leading the eye
nicely into the centre of the
image.

2. This wall is showing the texture


I had hoped, and it looks great
against the blue. The lines also
lead the eye right into the centre
of shot.

3. Okay, lets position the top of


that wall so it’s entering shot on
the bottom third.

4. Now where to put the curved


wall? Ok the top edge can just
dissappear out the corner, and I’ll
put the part where the curve really
gets going on the top third line.
*click*

Have a look at the result:

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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

1. This could be tricky to expose,


I’d better go a stop under the
metered exposure to avoid
burning out the sky. I can pull the
bottom half back up in Lightroom.
So, lets put those windows
around the bottom third line.

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2. That post can go on the right
third line, and I’ll make that my
vertical as well.

3. Nice! I can put that large cloud


right around the top left thirds
intersection.

4. And now we’ve got a cool


recursive cloud thing going on in
the reflection, and it’s even
helping balance the composition
around the centre. *click*

Have a look at the result:

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.

Read more from our Composition Tips Category


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10/27/2009 4 Rules of Composition for Landscape…

Digital Photography School

4 Rules of Composition for Landscape Photography

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

Using diagonal lines can be a very effective way of


drawing the eye of those viewing an image into it and to
the main focal point.

The ‘lines’ need not be actual lines – they could be the


shape of a path, a line of trees, a fence, river or any
other feature in an image.

Converging lines (two or more lines coming from different


parts of an image to a single point) can be all the more
effective.

Read more about using Diagonal Lines in your digital


photography.
Photo by Feuillu

2. Geometric Shapes

By positioning key aspects of a landscape on points of a


geometric shape you can help create a balanced
composition. Perhaps the most common and easiest
way to do this is to use a ‘triangle’ shape between
objects in an image with three objects in a frame
positioned with one to each side and one more central.

Using Geometric Shapes in this way isn’t something

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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).

You can see this illustrated (to a point) in the


photomontage image to the right.

Photo by Mattijn

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3. The Rule of Thirds

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).

Position key points of interest in a landscape on the


intersecting point between imaginary ‘third’ points in an
image and you’ll help give your image balance and help
those focal points to really capture attention.

Read more about using the Rule of Thirds in composing


Photo by james_wicks your shots.

4. Framing Images

While adding points of interest to a foreground is an


important technique for adding interest to landscape
shots – a similar technique is to ‘frame’ the shot by
adding interest to other parts of the edges of an image.

Perhaps the most common way of framing a landscape


shot is to include an overhanging branch in the upper
section of a shot. Similarly framing a shot with a bridge
might work.

Read more about 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.”

Further Reading: 11 Surefire Tips for Improving Your Landscape Photography.

Read more from our Composition Tips Category


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10/27/2009 The ‘Odd Rule’ of Composition

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The ‘Odd Rule’ of Composition

by Darren Rowse

“Odd numbers are better than Even ones


in photography.”

I heard about this ‘odd rule’ years ago in a


magazine and laughed it off as the author
having some sort of obsessive compulsive
disorder – but ever since I heard it I’ve
noticed that in the shots I take it is true.

I’m not exactly sure why it works – but it


does. Perhaps it’s about the balance that
odd numbers create (there’s always one
thing in the centre to give balance)?

I find that three objects in a shot are


particularly good. Five, Seven or more can
work but you run the risk of clutter.
Photo by Indy Charlie
Give it a try – it works!

Tip submitted by Rachel. If you’ve got a digital photography tip to share with the DPS community contact
Darren with Your Tip.

Read more from our Composition Tips Category


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10/27/2009 Create Active Space In Your Photogra…

Digital Photography School

Create Active Space In Your Photography

by Darren Rowse

A number of weeks ago I wrote a tip on the


portrait photography composition
technique of Giving Your Subject Space to
Look Into. A similar tip for action
photography is to give moving subjects
space to ‘move into’.

Some call the space in front of a moving


subject the ‘active space‘ in a
photograph. Alternatively the space behind
your subject is often called ‘dead space’.

The reason that this compositional


technique is used is that when someone
views an image and spots that your
subject is moving in a direction – their eye
naturally moves in that direction too. It’s
quite instinctive.

Working with the way your viewer will


instinctively view your image helps to
create balance, drama and anticipation in
your shot.

Image by Mute* This technique of creating active spaces in


action shots can be applied in many types
of photography including sports (cars,
bikes, people etc), wildlife (photographing a running animal) or virtually any other subject matter that is
moving.

PS: Of course as with every rule there are times to break this one – but in general I find that it works well.

Read more from our Composition Tips Category


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10/27/2009 Fill Your Frame

Digital Photography School


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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:

Fill your Frame


Time and time again I’m approached by people to look at their photos and time and time again I’m amazed
that people continue to take shots where you almost have to squint to make out their subjects because they
are so distant.

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.

While it can be appropriate to take shots that put a


person in context with the environment that they
are in, if they get lost in the picture you might as
well just take a shot of the scene and leave them
out of it.

Here’s an example of this applied with a couple of


shots that I took at the Australian Open, a couple
of years apart.

In the first year I only had a little point and shoot


camera with me which meant despite being in the front row the following was as close as I could get with it’s
3x Optical Zoom lens.

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.

The difference in the quality of shots was remarkable.

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.

Here’s a couple of shots to compare with the one to the left.

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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.

Instead what people responded to were shots that


I’d taken on the run in market place situations by
putting my little point and shoot digital camera up
close to food. While many of the shots were
poorly framed, badly exposed and had little
planning – they were the shots people ‘ooohed’
and ‘aaahed’ about. Here’s two of them.

So how do you fill your frame?

You’ve largely got three options:

1. Use your Optical Zoom – most point and shoot


digital cameras these days come with a zoom
lens and all DSLRs are able to be fitted with one.
Use them.
2. Use your Legs – most photographers have a built
in zoom in the form of their legs. Don’t just rely
upon your cameras zoom but actually position
yourself effectively for close in shots.
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3. Crop your Shots – the other option is to zoom in
manually at home after you’ve taken your shots.
This is a handy option to have but I personally
prefer to use one of the first two options where I
can because cropping shots later means if you
want a large image that you’ll find that it becomes
more pixelated. This is a good option if you’re just
trimming shots but any major cropping will result
in a loss of quality of your image.

Digital Zooms – Another option that many digital


camera owners use is to utilize their ‘digital
zoom’. Most digital cameras these days have
boast about having digital zooms but don’t tell you
that to use them will decrease the quality of your
shots in a similar way that cropping your shots
can. In essence a digital zoom fills your frame by
increasing the size of pixels in your shots when
can leave you with a grainy impact. I would highly
recommend switching off your digital zoom feature
and relying upon option 1 and 2 above. If you still
need to get in closer you can always crop your
shots and achieve the same results as using your
digital zoom.

Read more from our Composition Tips Category

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10/27/2009 Working the Lines in your Photography

Digital Photography School

Working the Lines in your Photography

by Darren Rowse

When considering the composition of an image one of


the elements that I suggest digital camera owners look
for are ‘Lines’.

The lines that can be found in images are very powerful


elements that with a little practice can add dynamic
impact to a photograph in terms of mood as well as how
they lead an image’s viewer into a photo.

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.

Learning how to use lines in photography doesn’t just


happen. It takes time and practice to become good at it.

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.

Read the rest of this series so far at:

Using Horizontal Lines in Photography


Using Vertical Lines in Photography
Using Diagonal Lines in Photography

Read more from our Composition Tips Category


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How to Use Converging Lines to Enhance Your


Photography

by Darren Rowse

When framing a landscape shot one of the


types of environmental features that many
photographers look for and like to
incorporate in their shots is converging
lines.

We’ve talked previously about how lines


have the potential to add interest to an
image – but multiple lines that converge
together (or come close to one another)
can be a great technique to lead your
viewers eye into a shot.

Perhaps the classic example (and one


that’s probably been overdone) of
converging lines are railway tracks.
Photo by stevacek Position yourself in the middle of two
tracks (after taking a look at what might be
coming from behind) and you’ll see the two
tracks on either side of you appear to get closer and closer together as they go into the distance.

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.

4 Tips Regarding Converging Lines

1. Experiment with Positioning – the


classic railway line shot described above

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has many possibilities. One is to position
the tracks dead center and symmetrically
in the shot.

Another positioning would be to step to


one side of the tracks and let them run
diagonally through your frame from a lower
corner to the opposite upper corner. The
beauty of this is that you’ll end up with a
more dynamic shot. Symmetrical and
vertical placement of the lines can be
powerful but diagonal lines tend to convey
movement.
Photo by Kenny Maths Alternatively stepping away from the start
of the lines can give another perspective –
as can holding your camera on an angle to
give another diagonal framing of the lines.

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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.

3. Positioning the ‘convergence’ - one


thing to consider when you have
converging lines in an image is that they
draw the eye into a shot – towards the
point that they converge – this becomes
one of the most important parts of this
image – a focal point.

As you’re framing your shot ask yourself –


‘where is the most effective position to
frame this?”

Keep in mind rules like the Rule of Thirds


that says that the intersecting points of
imaginary lines a third of the way into an
image are key points for positioning points
Photo by MarvinOS of interest.

Also know that if the point of convergence


is outside the frame of the shot that you
are leading the eye out of your shot. This could leave a shot unbalanced and with tension – alternatively it
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could enhance the shot and leave your viewers wondering about the place that they converge.

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 Loving Earth

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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

Digital Photography School

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!

What is the Rule of Thirds?


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10/27/2009 Rule of Thirds

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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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:

What are the points of interest in this shot?


Where am I intentionally placing them?

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.

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Digital Photography School


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Using Tight Framing to Create a Sense of Infinity

by Darren Rowse

The way you frame and crop your


shots has power to give a sense
of size to a scene that may not
actually be there.

For example – the shot to the left


of a field of tulips is framed in
such a way that there is not
beginning or end to the tulips
anywhere inside the frame.

While the field tulips may in fact


end just beyond the edge of the
frame in any direction – the
feeling that this framing gives is
that of a never ending sea of
tulips.

To get the effect the photographer


has managed to get the angles
right so that there’s no horizon
and they’ve filled the frame with
their subject.

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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Where is Your Subject Looking and Why Does it


Matter?

by Darren Rowse

When posing a subject, two important


questions to ask yourself are:

1. ‘where are they looking?’


2. ‘what impact does this have on the
shot?’

Early in the life of DPS I wrote a series of


tutorials looking at the impact that lines
can have upon an image.

Lines are an important aspect of any shot


and can draw the attention of your image’s
viewer and lead their eye into the shot.

The gaze of your subject can have a


similar impact. Here are a few examples:

two people looking at each other – draws


Image by Hel Des your viewer into ‘relationship’
a child holding out a plate with a chocolate
cake but looking at the camera gives a
feeling of invitation – the child becomes the focus
a child holding out a plate of chocolate cake and looking at the cake can give a sense of ‘desire’ – the
cake become the focus
Looking outside the frame can leave the viewer wondering what they’re looking at?

Here are a couple of considerations to keep in mind when making a decision on how to pose your subject:

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10/27/2009 Where is Your Subject Looking and W…

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Looking Away from the Camera

If your subject is looking at something other than the camera


viewers will naturally want to see what it is. You then have two
choices – either to show them or not hide the object of their
gaze.
If the object is within the frame this will often create a focal point
for your shots (example – in the picture of the ‘bubble boy’
above).
If the subject looks outside the frame it can create either tension
or intrigue. This can either spoil or make the shot!
Image by stoneth

Looking Directly At the Camera

If your subject is looking directly at the camera it’s hard not to


look at them – they become the focal point
Sometimes when a subject looks directly at the camera it can
create discomfort or tension for the viewer of the image – it
can be a very strong and confronting pose. This is not
necessarily bad – in fact it can really make the shot quite
powerful – but it is something to be aware of.

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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Digital Photography School


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Leaving Space Behind Moving Subjects –


Composition

by Darren Rowse

When photographing a moving subject the


generally acceptable compositional rule is to
place the subject in the frame with space in
front of it to give it room to move into (creating
‘active space‘).

This is said to give the image more balance and


provides the viewer of the image an answer to
the question ‘where is the subject going?’

However rules are meant to be broken and as


with every rule there are times when it can be
very effective to break this one also.

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.

Here some examples:

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Photo by konaboy

Photo by michele cat

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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

3. Showing the Journey

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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Digital Photography School

Framing Your Shots – Photography Composition


Technique

by Darren Rowse

We often put the photos we take into


frames as a way of displaying and drawing
attention to our favorite photos – but there
is another type of framing that you can do
as you’re taking your shots that can be
just as effective doing just the same thing!

Framing is the technique of drawing


attention to the subject of your image by
blocking other parts of the image with
something in the scene.

The benefits of framing pictures include:

1. giving the photo context (for example


framing a scene with an archway can tell
you something about the place you are by
the architecture of the archway or
Photo by mnadi including some foliage in the foreground of
a shot can convey a sense of being out in
nature).

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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Frames for photographs come in all


shapes and sizes and can include
shooting through overhanging branches,
shooting through windows, using tunnels,
arches or doorways – you can even use
people (for example shooting over
shoulders or between heads) etc.

Your frame doesn’t need to go completely


around the edges of your image – they
might just be on one or two edges of your
shot.

My rule of thumb when considering framing


is to ask the question – ‘will this add to or
take away from the image?’ Sometimes
framing can just add clutter to a shot and
make it feel cramped – but at other times
it can be the difference between an ordinary shot and a stunning one.

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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