After compositional balance and visualization comes structures like geometry, lines, symmetry and layers.
So, to kick off, this post will concentrate on geometry and lines.
Compositional balance, the rule of thirds and so on, is about placing elements in a frame.
Those elements are obvious, they are forests, trees, roads, buildings. In fact, all the things that we see when we go outside. Obviously!
But there are other elements that are not objects in the conventional sense, but must be placed in a photo in the same way as objects.
Those elements are geometry, lines, leading lines, vanishing points, layers.
This post will start off explaining the importance of geometry and lines…
This article is just one of a whole series of articles on creative composition.
You can click here to go to an index page of all these posts in the order that they were written.
Geometry and lines
It might not look like much on a piece of paper, but the line is really quite important.
It divides two areas of interest in a photograph, and where you place that line in a composition will fundamentally affect the way someone will view your image.
Lines help provide perspective and depth, they can be horizontal, vertical and diagonal, and there can be many, or just one.
They can be used to make patterns and they can be used to create symmetry.
There are many instances in landscape photography where nature provides perfectly straight, naturally occurring lines.
Geometry plays a big role too.
Sometimes composing a line diagonally across the frame or dead straight will fundamentally change the composition, even though the scene itself will be the same.
All these elements and geometric shapes be composed in a similar way to conventional objects. And remember, those geometric shapes appear and disappear as you change your composition and/or viewpoint.
The next four examples in this section are nice and simple.
The beach here with no people is a very graphic composition.
The beach was very wide and I wanted to express this in the photograph, so that dictated more sand than sea.
In your minds eye you can look at this image and move the line to different positions using your imagination.
What do you prefer? That is also what you have to do when you are out there taking photos.
Imagine the composition in your minds eye first,
and then put camera to eye where you can adjust to create your vision.
The next two images are similar in style to the empty beach, but with these it was the depiction of the people on the beach that
drove the final composition.
The second of these two images is more intimate, concentrating more on the people on the beach, and less on the wider environment
the first of these two images contains the horizon which splits the photo into three
geometric shapes with the horizon that helps give a sense of the enormity of our surroundings.
Those three geometric shapes need to be placed in the composition in a way that helps direct the eye to the subject of the photo.
To place them correctly requires instinct, personal opinion, intuition etc etc…as well as discipline.
The discipline comes from applying techniques like span>separation, balance and placement.
The fourth image is a detail shot of the shape of a landscape.
I have ‘flattened’ the hilly landscape by zooming in and removing the
outline of the hills, and so removing the context.
What is left is a composition of textures and lines that are carved into the landscape.
Where you put those lines will determine the aesthetic qualities of the image.
Again, it’s discipline and gut-feeling that will help you compose.
There are lots of lines in this photograph of a pier
These are called leading lines, because they lead the eye into the photograph.
Leading lines provide depth and perspective.
They don’t have to be as simple and obvious as this, but they always have the same three dimensional effect.
The composition that I have used for the pier is a very common composition, used for roads and rivers and anything flat and long, so objects on the ground or rising upwards (like buildings) suit this type of composition.
This is an easy composition to repeat, just face
head on to your subject and create a symmetry with the pathway, road or river, equal distance
either side of you, decide where you want the horizon and snap!
Practice of course, makes perfect, so the more you practice these simple compositions, the
more you will hone your compositional skills and find new, more original compositions of your
The view of chesil beach in Dorset, UK is another example of leading lines
Again there is a feeling of depth as the eye is led into the photograph via the curve of the beach on the left hand side.
The sun is setting over the landscape in this shot and the last of the light is reflecting off of the sea, but not the land, which all creates a nice visual effect.
Chesil beach is a strip of shingle beach that is separated from the mainland by a lagoon.
This can be seen in this photograph where the sea, the beach, the lagoon and the mainland all drift into the distance somewhere to the left of the horizon.
This is the vanishing point.
The vanishing point is where all the lines meet, and in
theory disappear into a dot on the horizon or in the distance somewhere.
Lines, leading lines and vanishing points should be seen as objects within a composition rather than some other abstract idea.
compositional question is where do you put the vanishing point and where do I place my lines and
leading lines in the frame?
And that is up to you, your choice…but where you put them will decide how aesthetically pleasing an image is.
check out the earlier posts in this series on separation
, placement and balance, they are the only techniques that you need for good composition….
it is those techniques that provide the discipline. The rest of the composition is your feeling and engagement for and with a place, mixed with intuition.
Had I blindly applied the ‘rule of
thirds’ with these compositions I would have unbalanced the photographs with too much sky or, as in the Chesil beach photo too much dark foreground.
That would have greatly upset the balance of the photograph.
Think creatively then apply technique and discipline.
When you want to depict depth in a photo, you very often have to direct your camera at an angle towards your subject (blurry backgrounds will depict depth too, but that’s not what I am talking about here).
So in the case of the pier scene above, my camera is at an angle relative to the boardwalk
If I shot from directly overhead from a hot air balloon there would be no angle and there would be no depth or perspective.
So, here I have photographed this block of flats head on with no angle, and all depth has gone, giving me a flat image.
I could have used a wide angle lens, walked to within a meter of the building pointing the camera up at an acute angle, which would give the building the feeling of height.
The bottom of the building would look much wider than the top, which is the same visual effect as the photograph of the pier, or to put it another way, the same composition.
However, it is the balconies and content of the balconies that I wanted as the subject of my photo, and I felt the best way to depict the balconies was head on and flat.
It’s really just deciding what the subject of the photo is and then how you want to depict it. For me that process is driven by instinct and what feels right.
So that is it for Geometry and lines….it really is simple.
The ebook also contains a number of really simple exercises to have a go at at your leisure
I can’t emphasise enough that there are no rules in photography. None, zilch, zip, zero…
Good photography is discipline and technique, which is one hundred percent learnable.
The rest is feeling, intuition, expression and engagement…all things that are personal to you.
Thanks for reading part 6, I hope you enjoyed it. This is the fourth part of a whole series of articles that I am and will
be publishing over the next few days and weeks.
So that you don’t have to trawl through my blog posts to find the next one in the series,
please visit this link which has all the individual article links to each post in this series. You could also bookmark the page as a reference too,
as it will contain more links as I continue to write articles.