Unit 10: The Art of Photography 2
Compositional guidelines may not be absolute rules that need to be followed, but they help explain the "why" people find certain images appealing. With the above image, the subject doesn't fall on any of the lines in the rule of thirds, but the center third is negative space while the outer thirds are balanced between the people to the left and the horse to the right. This visual weight balances the image and can still be attributed to the rule of thirds.Why the “Rules” Matter
In their most basic essence, compositional “rules” or guidelines are simply observations that have been made over the centuries of what people generally find more visually appealing. The purpose of the rules, going by this definition, are to help guide an artist in creating a work that is visually pleasing. It all gets a bit messy after that because different people have different preferences, cultural differences can play a role in what people view as pleasing, and subcultures play an even wider role.
Overall though the observations that make up the rules are a good place to work from when crafting an image. There are definitely times when breaking those rules and subverting expectations will be more impactful and more visually engaging, But to know when breaking the rules will be beneficial it helps to know what those rules imply.
Why the “Rules” Matter
In their most basic essence, compositional “rules” or guidelines are simply observations that have been made over the centuries of what people generally find more visually appealing. The purpose of the rules, going by this definition, are to help guide an artist in creating a work that is visually pleasing. It all gets a bit messy after that because different people have different preferences, cultural differences can play a role in what people view as pleasing, and subcultures play an even wider role.
Overall though the observations that make up the rules are a good place to work from when crafting an image. There are definitely times when breaking those rules and subverting expectations will be more impactful and more visually engaging, But to know when breaking the rules will be beneficial it helps to know what those rules imply.
Impact of Composition
Most of the rules in photography are ways to describe the balance within the frame. The rule of thirds, for example, is a way to give a visual weight that balances the direction a subject is looking. Simply putting the subject on a “third” won’t help the photo if it isn’t motivated by how the subject fits within the frame. If it’s a portrait, placing the subject on the right third if they’re facing to the right will make the frame look even less balanced than if they were just centered. Leading lines lose their impact if they aren’t leading to (or away) from something.
So the impact of the composition comes from how elements within the frame are balanced with each other. Whether it’s multiple elements interacting with the subject or the elements are just how the subject interacts with the negative space within the frame, there is more to composition than arbitrary decisions on where the subject goes.
The subject within the shot takes up space, and this size on the canvas is called it’s “weight”. A subject framed larger within the photo has more weight by nature of appearing bigger. A subject that contrasts against it’s background will carry more weight than a subject that blends in. The way a subject is facing can also change the visual weight, as can the amount of space around the subject. Other elements within the frame also carry this weight, and can cause the image to look unbalanced if the extra elements carry more weight than the subject.
These changes in balance are why things like studio portraiture tend to have little variation in composition, but in street or landscape photos there can be nearly limitless ways to frame up a single subject.
The above photo utilizes some compositional guidelines while breaking others. We’ll start with the old standby of the rule of thirds. You’ll notice the main subjects are placed on a gridline’s intersection as described by the rule of thirds, but we also have some additional elements which go against traditional guidelines. There’s a bold figure in the foreground dominating the left side of the frame. That, along with the shadow behind it may not be conventionally ‘good’, but add a balance to the image—filling in what would otherwise be an empty part of the frame. The also act as a frame for the subjects along with the rubbish bin to the right. Additionally, there’s quite a bit of headroom above the subjects. Some may say too much. But in the case of the story being told in this image, the added space helps make the figures seem smaller in the frame, adding a feeling of space between them and whatever chaos can be found at the location. The intention was to show a moment of quietude found in an otherwise chaotic spot.
Gestalt Lines, and other complex techniques
When discussing more complex composition, the main technique that comes up is the golden ratio/golden spiral. In it’s most simple uses this becomes the rule of thirds, but the curves of the spiral allow for the placement of other elements in a more “generally pleasing” manner than just sticking a subject on the thirds. Basically it gives a visually pleasing way to line up extra elements or details within the subject in a way that a more straightforward guideline may not take into consideration.
The main thing to bring up for this section though is the Gestalt principle. While it’s not particularly more complex than other compositional devices, it can be much less intuitive because instead of looking at what is in frame it’s looking at what isn’t. Gestalt lines are the imaginary formation of shapes that our eyes naturally fill in when parts of that shape are visible. So if you have the wall of a building acting as one side and the ground as another, your mind can fill in the third side of the triangle even though there’s nothing there.
This comes into play as you can use these imagined lines in the same way as a physical line within the frame while following other compositional guidelines. This can also be something to look for if you have a composition that isn’t quite looking balanced; there may be an imagined line that’s drawing attention (and therefore visual weight) from the subject.
This above image uses implied shapes to create a strong, cohesive composition. The woman on the right draws immediate attention, but her gaze and body angle subtly guide the viewer toward the children in the center. The bubbles act as connectors, forming curved paths that mimic the golden spiral and lead the eye through the frame.
There’s also an implied triangle formed by the boy in the white jacket, the crouched man, and the central child. This shape adds balance and helps ground the composition. Even though these lines aren’t physically present, our eyes naturally fill them in, creating structure in what could otherwise feel like a chaotic scene.
Combining techniques
Compositional rules are not meant to be used purely in isolation. While doing so can be striking, combining multiple techniques can give even more weight to your subject when balancing things in your frame.
Sometimes, this happens naturally. A centered subject is likely to have leading lines running toward it, and can be simple at times to use a frame within a frame. Other times it isn’t as obvious, such as using negative space but balancing the subject against two other elements to also follow the rule of odds. Planning your shot to include multiple available compositional devices isn’t always the easiest thing to do but can have dramatic results.
In the same vein, unintended combining of techniques can draw attention away. If you use center framing, but there are leading lines in the background that point to a different element it can detract from your subject. If you follow the rule of thirds but there are repeating patterns that highlight a different element it can be difficult to tell what the subject really is. Because of this, it’s important to focus on other possible compositional techniques even if you only plan on using one.