-
Take The Fast Lane to Stunning Photos Join the March Photography
Dash
Take Amazing Photos with these little known tips and tricks!
Navigate to ...
18 Composition Rules For Photos That Shine
Filed in Tips by David Peterson 19 Comments
Rules. When you were a kid, you hated them. You probably still
hate at least some of them. For all the good that rules do in our
world, they havethe ugly side-effect of stifling freedom and
individual creativity. And what is photography but a way to express
creativity and artistic freedom?There shouldnt be any rules!
Actually, photography rules are kind of like pirate code. More
what youd call guidelines than actual rules. They are there to
provide guidance, butif you need to break them you should do so
without regret. Lets take a look at 18 of the more common
composition rules (okay, guidelines) toimprove your
photography.
Compositional Rules
You hear photographers talk about composition all the time, but
what exactly is composition and how is it different from subject?
Simply put,composition is the way that elements are arranged in an
image. Composition includes all the elements in a photo, not just
the primary subject.
The human eye tends to prefer images that have a certain sense
of order, while it tends to reject images that are chaotic. Thats
the basic differencebetween good composition and poor composition,
though its obviously a lot more complicated than that when you move
past the basics.
In order to develop a good understanding of what works and what
doesnt work in photographic composition, it helps to learn the
rules andpractice following them. And there are a lot of rules.
Youve probably heard of at least some of them, but they are worth
repeating. Remembering,of course, that these are really more
guidelines than actual rules.
5804
903
224+1
666
74Share
5804
903
224+1
666
74Share
-
Portland Maine Ocean Lighthouse by Flickr user Captain Kimo
The rule of thirds
The king of compositional rules! Any photographer who does more
than just take snapshots knows something about the rule of thirds.
The basic
theory goes like this: the human eye tends to be more interested
in images that are divided into thirds, with the subject falling at
or along one of
those divisions. Many DSLRs will actually give you a visual grid
in your viewfinder that you can use to practice this rule. If yours
doesnt, just use
your eye to roughly divide your image with four lines into nine
equal-sized parts, then place your subject at the intersection of
those lines. For
example, when photographing a person it is generally better to
position him or her at the right or left third of the frame rather
than directly in the
middle.
The Golden Ratio
And now to confuse you even more, enter the golden ratio. While
the rule of thirds divides your scene into equal thirds, the golden
ratio divides
your scene a little bit differently, into sections that are
roughly 1:1.618. Unless you are a mathematical genius or at least a
whiz, youll probably
need to see this visually:
Into the wood by Flickr user Manu gomi
As you can see, instead of being evenly spaced as they are in
the rule of thirds, golden ratio lines are concentrated in the
center of the frame, with
roughly 3/8ths of the frame in the above part, 2/8ths in the
middle and 3/8ths at the bottom. This idea has been around for
centuries millennium,
really, and can be found in many of the great classic works of
art. Of course I have given you a very oversimplified version of
this idea. There is
also a golden section rectangle, which looks like this and is
based on a very complex mathematical formula:
-
Golden section by Flickr user Absolute Chaos
With the idea being that a perfectly composed image should
follow the lines in this rectangle.
Golden triangles and spirals
But wait, theres more. So far weve just talked about the perfect
rectangle, which at 5:8 roughly corresponds to the size of a 35mm
image. But ifyour image has diagonals, try composing it using
golden triangles. To do this, divide your image diagonally from
corner to corner, then draw aline from one of the other corners
until it meets the first line at a 90 degree angle. Now place your
photographs elements so that they fall within theresulting
triangles.
szent anna t II by Flickr user 'Ajnagraphy'
The golden spiral, as you might guess, is a compositional tool
for use with objects that have curving lines rather than straight
ones. This spiral isdrawn based on that complicated series of
rectangles we saw above, but you can actually visualize this based
on natures nautilus shell, whichmatches the golden spiral shape
almost exactly. If that seems a little too convoluted to you, just
look for compositions where there is a spiral thatleads the eye to
a particular point in the image.
-
Day 23/365 : Three silly drops by Flickr user ~jjjohn~
Rule of Odds
Moving on to some simpler ideas, the rule of odds is somewhat
related to the rule of thirds. The eye tends to be more comfortable
with images thatcontain an odd number of elements rather than an
even number. A photograph of three birds on a wire, for example, is
probably going to be moreappealing than an image shot after that
third bird flies away. The reason for this is that the human eye
will naturally wander towards the center of agroup. If theres empty
space there, then thats where the eye will fall. As a photographer,
you want your viewer to look at a subject, not at an
emptyspace.
jump! by Flickr user cpboingo
Leaving Space
This rule incorporates two very similar ideas: breathing room
and implied movement. The leaving space rule probably comes
naturally to you, but ifyou need a way to visualize it think of
your frame as a box and your subject as something youre going to be
putting inside of a box. To make yoursubject comfortable, you need
to give him a bigger box that allows him some visual freedom and/or
freedom of movement. If your subject islooking at something (even
something off-camera), make sure there is some white space for him
to look into. (White space, of course, is not aliteral term but a
term used to describe the space that surrounds your subject,
usually that part of the frame where there isnt anything
happening.)Likewise, implied motion means that if your subject is
in motion you need to give her some space that she can move
into.
-
2009 Richmond Jingle Bell Run/Walk by Flickr user rogercarr
Fill the Frame
The rule of space may seem to contradict this next rule, which
is the idea that you should fill the frame with your subject.
Filling the frame, ofcourse, is different than crowding the frame.
Crowding the frame means that youre breaking that rule of space and
putting your subject in aconstricting box. The fill the frame rule,
on the other hand, simply means that youre looking for distracting
background elements and croppingthem out whenever you can. Or put
another way, decide how important your subject is and then give
him/her a ratio of the frame that is directlyrelated to his/her
importance.
For example, an image of an old woman with interesting facial
lines and features who is standing on a busy street corner will
probably warrantfilling the frame. But if you want to capture
context say that old woman is standing in the quirky second-hand
shop shes owned for 50 years you may not want to use that fill the
frame rule, because youll want to capture her with her environment
instead.
Portrait of a flower. (Explored) by Flickr user Linh H.
Nguyen
-
Simplification
As a general rule, simple images tend to be more appealing than
complicated ones. This idea is similar to the previous fill the
frame rule, in that itdemands that you get rid of distracting
elements in your photo (see how all these rules are related)? To
use this compositional rule, simply askyourself this question: does
that element add to my composition? If it doesnt, get rid of it.
You can do this by recomposing so that the element is nolonger in
the frame, zooming in on your subject, using a wider aperture for a
shallow depth of field, or simply cropping the image later in
postprocessing.
Ashbridges Bay Skate Park by Flickr user
thelearningcurvedotca
Balance
Especially when you are using the rule of thirds or the golden
ratio, sometimes an image needs balance. A photo with a large
subject positioned inthe foreground at one of those sweet spots may
end up creating an image that looks tilted, or too heavy on one
side. You can create some balance byincluding a less important,
smaller-appearing element in the background.
The leading bridge by Flickr user Miroslav Petrasko
(blog.hdrshooter.net)
Lines
If youve read my series on the six classic elements of visual
design, these next rules will be familiar. The first one is the
rule of leading lines, whichsays that the human eye is drawn into a
photo along lineswhether they are curved, straight, diagonal or
otherwise. A line whether geometric or
-
implied can bring your viewers eye into an image and take it
wherever you want it to go. If your image doesnt have clear lines
you will need
something else to let the viewer know where to look, otherwise
her eye might just drift around the image without ever landing on
any one spot.
Diagonal lines in particular can be useful in creating drama in
your image. They can also add a sense of depth, or a feeling of
infinity.
aloe by Flickr user Genista
Patterns
Patterns appear everywhere, in both man-made settings and in
natural ones. If you dont notice patterns all around you, then
youre not looking hard
enough. Pattern can be very visually compelling because it
suggests harmony and rhythm, and things that are harmonious and
rhythmic make us feel
a sense or order or peace. Pattern can become even more
compelling when you break the rhythm then the eye has a specific
focal point to fall
upon, followed by a return to that harmonic rhythm.
Upside down !! by Flickr user Nina Matthews Photography
Color
Perhaps nothing can compete with color as a tool for creating
mood in a photograph. Cool colors (blues and greens) can make your
viewer feel
calm, tranquil or at peace. Reds and yellows can invoke feelings
of happiness, excitement and optimism. A sudden spot of bright
color on an
otherwise monochromatic background can provide a strong focal
point. How you use color can dramatically change a viewers
perception of an
image. Pay attention to the colors in everyday scenes and use
them according to what you want your viewer to feel when looking at
your image.
-
2006-08-16 Train cemetery detail by Flickr user [ henning ]
Texture
Texture is another way of creating dimension in a photograph. By
zooming in on a textured surface even a flat one you can make it
seem as if
your photograph lives in three dimensions. Even a long shot of
an object can benefit from texture whats more visually interesting,
a shot of a
brand new boat sitting at a squeaky-clean doc, or a shot of an
old fishing boat with peeling paint sitting in the port of a
century-old fishing village?
Hypersymmetry by Flickr user psychogeographer
Symmetry
A symmetrical image is one that looks the same on one side as it
does on the other. Symmetrical designs are an excellent excuse for
you to break the
rule of thirds. There are a couple of ways you can take
advantage of symmetry, which can be found in nature as well as in
man-made elements.
First, look for symmetrical patterns that are in unexpected
places. For example, you probably wont expect to find symmetry in a
mountain range. If
you do, its worth capturing with your camera. Second, look for
symmetrical patterns with strong lines, curves and patterns. The
more visually
beautiful your subject is the more appealing it will be as a
symmetrical image.
-
Autumn leaves by Flickr user Roy Cheung Photography
Viewpoint
Viewpoint can dramatically change the mood of a photograph. Lets
take an image of a child as an example. Shot from above, a
photograph of a
child makes her appear diminutive, or less than equal to the
viewer. Shot from her level, the viewer is more easily able to see
things from her point
of view. In this case the viewer becomes her equal rather than
her superior. But shoot that same child from below and suddenly
theres a sense of
dominance about the child. Think of those woeful parents who
cant keep their rowdy child from picking the neighbors
award-winning roses.
Perspective can also change the viewers perception of an objects
size. To emphasize the height of a tree, for example, shoot it from
below, looking
up. To make something seem smaller, shoot it from above, looking
down. Viewpoint isnt just limited to high, low and eye-level of
course you
can also radically change the perception of an object by
shooting it from a distance or from close up.
Enjoying the sun's warmth. by Flickr user kaybee07
Background
This is one of those rules that almost all beginning
photographers break. Sometimes we get so wrapped up in our subject
that we dont pay any
attention to whats going on behind them. If the background is
busy and doesnt add anything to your composition, try using a wider
aperture so
those distracting elements will become a non-descript blur. Or
you can just try changing your angle. Instead of shooting the
subject with all those
beach-goers right behind her, angle her so that shes in front of
the water instead.
Not all backgrounds need to be excluded, of course. Just make
sure you pay attention to them and ask yourself whether they will
contribute to or
detract from your final image. Your answer will let you know
whether you should get rid of them or include them.
-
dikey boyut / vertical dimension by Flickr user m e l a n
Depth
Depth is closely related to background, and is also dependent on
the type of image youre trying to capture. In a landscape, for
example, you
typically want everything to remain in focus. In a portrait, you
may want that background to be out of focus. To isolate your
subject from his or her
background, use a wide aperture. To include the background, use
a smaller one.
Depth can also be shown through other means. Including something
in the foreground, for example, can add dimension to an otherwise
two-
dimensional appearing image. You can also overlap certain
elements since the human eye is used to seeing closer objects
appear to overlap objects
that are at a distance, your viewer will automatically interpret
this information as depth.
Onyar river in Girona (in a natural frame) by Flickr user
bernat...
Framing
In photography, the term natural frame doesnt necessarily mean a
natural object. A natural frame can be a doorway, an archway or the
branches
of a tree or the mouth of a cave. Simply put, a natural frame is
anything you can use en lieu of one of those expensive wood frames.
Using natural
frames is a trick that will isolate your subject from the rest
of the image, leading the viewers eyes straight to the place you
want it to go.
-
The Beth Chatto Gardens - Instant Releaf! by Flickr user
antonychammond
Orientation
Many beginning photographers make the mistake of shooting
everything with horizontal orientation. This is short sighted and
easy to correct by
following this simple rule: when an image contains a lot of
horizontal lines, us a horizontal orientation. When it contains
strong vertical lines, use a
vertical orientation. This of course is another one of those
guideline rules (as they all are, really), because you can take
excellent shots of vertical
lines in a horizontal frame, and vice-versa. But the choice is,
as always, going to depend on what you want that final image to
say.
Conclusion
Actually, there really is no conclusion to any discussion of
photographic rules. Because unlike that keep out sign posted in
front of the most
beautiful part of the forest, the rules of photography arent
meant to stifle your creativity. They are meant to provide you with
guidelines for
enhancing it.
Ive got more on these composition rules in my Digital Photo
Secrets video course, including loads of examples, and join in
sessions where you
can test your new-found skills.
Want to test your new-found composition skills? See my 31
outstanding composition photos page and try to guess which rules
were used in each
one.
Most people think this post is Awesome!
Reactions:
Awesome(648) Interesting(238) Useful(174) Boring(84)
Tagged:
#Composition
Join 453,537 Other Subscribers Today!
The Only photography newsletter you will ever need to read!
Free newsletter with new tips and tutorials every week.
Enter Your first name
Enter Your email Sign up!
Related Posts
-
About the Author (Author Profile)
David Peterson is the creator of Digital Photo Secrets, and the
Photography Dash and loves teaching photography to fellow
photographers allaround the world. You can follow him on Twitter at
@dphotosecrets or on Google+.
Comments (19)
Trackback URL | Comments RSS Feed
1. Rafael says:December 29, 2015 at 4:04 am
I love the article, just found it confusing because the number
of pictures and the number of rules are not equal. Also, sometimes
the ruleappear before the picture, sometimes after, and I get
confused about which one is the visual representation of that rule
:(.
Reply
2. Arindra Mishra says:July 4, 2015 at 9:01 pm
*sample pictures.
Reply
3. Richard (Spiril) Mller says:May 1, 2015 at 7:19 am
If I dont know the rules, I dont know how to break them.As
mentioned by others: There is a rule for everything.But if I break
one, by myself known rule, I might stomple upon a not so well known
but just as eye pleasing one.Its all in the mind. (I think)Thanks
for another inspiring article.
Reply
4. Trevor Buckley says:January 26, 2015 at 9:05 am
Is it just me ?No matter how clever a photo, if the foreground
is blurred, I skip over it pretty quickly.
MasteringComposition
5 SimpleComposition Tricksfor a FantasticPhoto
Six QuickComposition Tips
How to AnalyzeComposition
When Its Okay ToBreak The Rules OfPhotography
-
Sends me funny !
Reply
Pearl says:
February 15, 2015 at 5:12 am
Must admit, I tend to agree with you.
Reply
jeff says:
June 22, 2015 at 8:56 pm
this is summed up in on word.masterpiece
Reply
jeff says:
June 22, 2015 at 8:57 pm
hahahahaha yeah truly amazing piece of work
Reply
5. walufu Evans onyachi says:
October 30, 2014 at 2:36 am
Good work keep it up
Reply
6. Meatball says:
October 2, 2014 at 1:43 am
Waitwheres the spaghetti?
Reply
7. brooke says:
July 28, 2014 at 12:37 pm
cool dude learnin this in class
Reply
8. manoj says:
July 23, 2014 at 8:44 pm
Good thims
Reply
9. 6i6yo8pft says:
March 29, 2014 at 2:39 am
-
Cool, dude.
Reply
10. fsgisjgdfls says:
March 29, 2014 at 2:38 am
Nice.
Reply
11. Rob says:
March 16, 2014 at 5:47 am
Your articles are always informative. With each issue I gather a
little more knowledge to help me in my work.
Keep up the good work! Thank you!
Reply
12. Marina says:
November 21, 2013 at 8:32 am
Incredible pass noticing these rules at all that I always liked,
architecture, paintings, sculptures etc I loved this article. very
grateful.
Reply
13. Sally says:
October 7, 2013 at 5:31 pm
Im doing a course through Photography Institute thoroughly
enjoying it, but so hectic at the moment, just havent had time to
look at my
camera. After reading the 18 composition rules, and seeing the
pics, i just cannot wait to get my camera out! Awesome, so
inspiring, thank
you!!!!
Reply
14. Kaybee07 says:
July 13, 2013 at 3:18 am
Thank you for using and linking back to my pigeon photo! I
really appreciate that.
Reply
15. Michael Wiseman says:
July 13, 2013 at 1:37 am
You prove my point, Mamie: there are so many rules that you can
always find one to fit a photograph. The very plethora of rules
underlines
the meaningless of them. Just take the rules in this article,
and youll be hard put to find a photo that one (or more) of them
doesnt fit.
My point is this: I dont want my students to aim for acceptable
mediocrity. I want them to aim higher. And, to quote Barnbaum
again:
Rules have no place in art.
I warmly recommend Bruce Barnbaums book: your photography can
only improve (as mine did) upon absorbing its concepts. I
recommend,
too, Andrew S Gibson Beyond Thirds, from Craft and Vision
(craftandvision.com).
Reply
16. Marnie says:
-
July 12, 2013 at 8:49 am
I learned a lot about composition from a friend who was a
professional photographer and judged photos for a photographic
group. He allowed
me to participate as he privately appraised each photo. He asked
me if I liked each one and why I liked it. He then told me why or
why not it
would have been visually appealing. In almost all cases it was
because it complied (or not) with the rules. Most of the those that
did not but
were still attractive to me had compensated with the use of
colour or light.
I believe one has to know what the rules are to successfully
break them so despite the annoyingly mindless thoughts of some,
keep up the
good work.
Reply
Leave a Reply
Your email address will not be published. Required fields are
marked *
Name *
Email *
Website
Comment
Post Comment
Enter Search Terms search
Welcome!
I'm David Peterson and I'm sharing over 1000 tips and techniques
on photography with you. My motto is "Help the world take
better
photos"! Want more? Watch my video course.
Follow Me: RSS Feed Twitter Facebook Google+ Pinterest Email
Tags
action photography Aperture Ask David black and white camera
equipment camera settings candid photos children color
-
Composition Critique depth of field Exposure Flash focus Image
Editing Indoor Photography ISO landscape landscapephotography lens
Light lighting low light macro manual mode Motion Blur Night
outdoor photo photo effects photography troubleshootingphoto
sharing photoshop photoshop elements portrait portrait photography
post processing RAW rule of thirds shutter speed sports photography
sunsettripod wildlife photography zoom lens
Popular Posts
Do more Megapixels mean better photo quality?
18 Composition Rules For Photos That Shine
How do you find the GPS coordinates of your photos?
What Does The MM Mean On A Lens?
How To Take Stunning Pictures Of The (Super) Moon
Which is best? Spot, Center Weight, or Matrix metering?
5 Camera Setting Tips for Shooting Great Portraits
Shoot In The Dark Without Using A Flash And Without Image
Blur
When and How to use a Telephoto Zoom Lens
Shooting in the Snow
Free Photography Tips Course
Post Processing for Photographers
-
About DPS
About DavidTestimonialsContact UsAffiliate ProgramPrivacy
PolicyMore Tips
Connect
Join 453,537 other photographers who follow me!
TwitterFacebookGoogle+PinterestRSS FeedNewsletter
2016 Digital Photo Secrets. All rights reserved.
