Part 22a - Rules and Guidelines of Photo Composition

The Rules of Composition are fairly comprehensive, so I propose we focus on them a few steps at a time. Part 22 will therefore be broken into a series of individual posts. Here, Part 22a begins a discussion of the two Rules that can have the most immediate impact on a beginner's photography.

Remember, you promised in Part 21 to hold the Rules of Composition as Golden. Once you feel completely comfortable with applying these Rules, and gain experience using them, you will know when to stray from the straight-and-narrow path of composition to develop your own creative style.

Here are the first two Rules.

Rule 1: KISS (Keep It Simple, Stupid)

If you were to walk with me as I photographed an assignment, you would likely hear me murmuring to myself, "Keep it simple, stupid." Few pieces of advice have more impact than the basic reminder to keep the picture as simple as possible. To begin your photographic experience, concentrate on images containing a single subject -- eliminate everything that distracts from your subject. Start by photographing subjects you know well or have a special interest in.

So you have a fetish for running shoes. Fine. Start there.

Using subjects you know well provides you a comfort factor that makes it easier to concentrate on composition. Working with a simple, single subject also allows you to practise composition and technical aspects of photography without the distraction of dozens of complex picture components.

Your thing is metal giraffe statues? That's fine. In this photo, the photographer spent his/her time concentrating on subject composition (lines, depth of field, tone, etc.), exposure and the histogram for a single subject. By minimizing the complexity of the composition, the variables of photography are more manageable for beginners.

Most importantly, KISS is what your viewers are seeking. Simple, straightforward images are easily recognized and understood. These pictures leave no doubt about your central focus and message in the minds of viewers.

Rule 2: The Rule of Thirds

This may be the first rule most photographers learn and then discard -- for some unknown reason. It is the most basic rule of composition that applies to all the visual arts.

The Rule of Thirds states that centering a subject is NOT the most effective or aesthetically desirable placement. Instead, the Rule requires photographers to mentally divide their viewfinder frame into horizontal and vertical thirds (as shown in yellow above). These lines intersect at four locations (shown in red). These points are the most visually satisfying positions for your central subject.

Although the picture above is interesting, by placing the barn in the center of the picture, the mood and appeal of the image is static and uninteresting. The more psychologically natural position for the center of interest is at the four intersection points:

By moving the camera's location and carefully positioning the main subject based on the Rule of Thirds, a more natural, dynamic and emotionally compelling image is produced. In the above example the barn has been relocated to the lower left intersection of the imaginary lines to produce the image below:

The Rule of Thirds also cautions the artist against creating subject, or secondary subject, lines that split the frame into two equal parts (either vertically or horizontally). Notice the ground or "horizon" line of the final barn picture above is placed on the lower one-third line, again to create a more aesthetically appealing composition.

Shown above is the mandatory picture that every photographer is required to take during his/her career. (You'll find this requirement in the Photographer's Book of Laws, maintained and guarded by a celibate monk high in the Tibetan mountains.) Notice the subject (the Colorado Aspens) is placed in the frame according to the rule of thirds. The artificial horizon provided by the highlighted ridge behind the aspens is also located in the lower third of the composition.

This informal portrait of a guitar artist employs the Rule of Thirds to position the central focus of the image -- the guitarist's face. Notice also by using this placement gives the subject has "room" for the eyes to "see" into the picture. The careful positioning brings the viewer into the image and provides a natural space for gaze the of the musician.

In this picture, the mannequin on the left appears to be sneaking a peek at the main subject (the woman on the balcony) who has been placed at the intersection of the upper right lines. Our eyes consider this subject location to be natural and visually attracting.

Finally, finding the subject in the more complex picture above could be difficult if it weren't for the Rule of Thirds. As the viewer scans the image, the natural inclination is to place the most attention at the intersection of the invisible Rule of Thirds lines. The eye quickly identifies the window on the left and the man inside talking on the telephone.

There's no digital imaging magic here. It was all done in the camera, and on location, by the careful application of the Rule of Thirds.

With KISS and the Rule of Thirds in mind, surf the Internet and find photographer artists you admire. Review their work and see how they apply these two fundamental rules.

Now try it yourself.

Note: There are occasions where the Rule of Thirds is traditionally set aside. Two such instances are in portrait and group photography. It's common practice to center the subject(s) in a formal portrait setting or when shooting a group of people. Over the years, our eyes have grown accustomed to seeing people arranged in this manner for these formal, studio-like pictures.

The next post, Part 22b, will continue this primer on the Rules of Composition.