Photographic

composition
Tips and Techniques

Diagonal Lines
When we look at an image,
we unconsciously look at
them the same way, nearly
every single time.
How do we do this?
Our eyes start in the top
left corner and then move
diagonally towards the
bottom right corner.
We dont even know were
doing it, but that is exactly
what happens.

Any line within your image that

Why is this important to
follows the natural diagonal
know? Because you can
movement of our eyes, will create
use this knowledge to
pleasant emotions [positive feelings]
compose your image in ways
that work with the way your for your viewer. The image flows
with our eyes and somehow feels
viewers will look at your
images.
good.

This type of line

breaks the flow of
our eyes, it interrupts
our vision, and forces
us to notice it.
Both of these diagonal
lines are completely
valid compositional
tools, you can use them
to manipulate
your viewers emotions
and create long term
interest in your image.
Best of all your
viewers will have no
idea why they feel the
way they do about your
images.

However, a diagonal line that

crosses [goes from bottom left to
These diagonal lines
top right] the natural way we
could be a road going
look at an image, will create
into the distance, a
tension for your viewer [negative
train track, a beam of
feelings].
light, the wires on a

Subject Placement
This is generally confronting
and will cause tension
[negative feelings] in your
viewer.
Why? Because the subject is the
first thing we see. There it is, in
your face. We havent had a
chance to ease into the image yet.
Then we are presented with a vast
open area. The last thing we see
[and therefore the last thing we
remember] is empty space
hence the associated feelings of
isolation and loneliness.
This can also be a difficult position
to place your subject in, because
after the excitement of seeing
your subject straight away, the
following Negative Space [the
empty area of the image] contains
nothing for us.
Our eyes continue to move
diagonally down to the bottom
right corner and there is
nothing there to see!
This enhances the feelings of
isolation in your viewer, and is a
very effective technique.

Top left Corner

This is a good position to place your
subject when you want to create
feelings of loneliness, isolation and
empty space.

This is generally not

confronting [positive
feelings] for your viewer.
We start looking from the top
left corner. Negative Space,
more Negative Space then
hooray! we discover our
subject. Its almost exciting,
like a reward.
Then we go back and check
out the Negative Space and
then come back to our
subject.

Bottom Right Corner

Placing your subject in this position is
more exciting for your viewer because
we have had a buildup of
anticipation before we encounter the
subject.

Subjects in this position will

generally seem insignificant within
the frame because they are below
the diagonal line our eyes follow
when we look at an image. This is a
subordinate position for your
subject.
Subjects in this position tend to be
neutral in regards to creating
positive or negative feelings, and can
almost feel like a surprise because
we dont expect them to be there.
Generally, our eyes will continue
along the natural diagonal
movement uninterrupted and then
notice the
subject in the bottom left corner, but
[depending on their size] subjects in
this position can potentially break
the natural movement of our eyes.

Bottom Left Corner

Subjects in this position will generally
seem insignificant within the frame

Subjects in this position

will seem surprising
and a little confronting
because they are
above the natural
diagonal movement of
our eyes.
This is a dominant, but
less confronting
position for your
subject as opposed to
the top left position]
but it will tend to break
the natural movement
of our eyes.

Top Right Corner

Subject
Orientation
If your subject is facing in
the same direction as the
natural flow of our eyes,
we encounter the back
of the subjects head, and
then their face; this will
create positive feelings in
your viewer.
This is a non confronting
orientation, and will
make the subject feel
approachable.
Traditional Portrait
photography often has
female subjects looking
downwards from top left
to bottom right.

Subject Facing Left to Right

This is a non confronting orientation, and

will make the subject feel approachable.

This orientation creates

feelings of opposition and
strength because your
subject is facing into or
against the natural flow
of our eyes so the first
thing we encounter is
their face.
This orientation is
confronting and can
create feelings of tension
in your viewer.
So guess which way males
are often positioned in
traditional portraiture?

Subject Facing Right to Left

Yep, you got it males This orientation is confronting and can create
feelings of tension in your viewer.
are often positioned
facing against the natural
movement of our eyes.

Rule of Thirds
Studies have shown that when viewing images that peoples 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.
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.
4 Key Points of
interest
or
lines of interest
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.

Perceptual Order
Its important to understand the order in which we
perceive aspects of an image so that we can use
those principles to support our compositions and
enhance our expressive vision. If our compositions
are counter to how we are hardwired to perceive
these aspects, then our desired expressions are
weakened and at worst, full of distractions.
Heres the order we perceive the aspects of
an image:
First: We see the brightest areas or objects
Second: We see high contrast edges
Third: We see bright, saturated areas of color
or objects
Over time we can train our eye to recognize and
see these aspects and it will become more
automatic. Once integrated into our creative
process, the process itself will disappear (a
definition of mastery).
Try this very simple test
When in front of an image, close your eyes for a
few moments and then when you open them, note
what do you see first, second and then third? Also
observe how your eye travels through an image.
Usually it will loop and repeat the loop many
times.
Is your eye naturally drawn to your primary
subject?
If it isnt, then the image is fighting itself and it
will be confusing to a viewer. We want to use these
principles to guide and lure the viewers eye to the

In this case, the bright area, the highest

contrast and bold color are all in the same
spot. Note how your eye is drawn over and
over like a moth to a flame back to the
bright yellow trees?

The eye first lands on the bright

waterfall where it hits the pool,
then we see the contrasting
edge along the top of the log in
the water, then our eyes rove
around the image to see the
green foliage. Then we touch on
the bright water and loop
through that a few more times.
The key points are:

The perceptual order

reinforces what the primary
subject is. We want to see the
primary subject first and not
have to hunt for it and guess
what it is or isn t; in this
case, the waterfall.

Our eye is contained within

the frame (we loop around
the image)

Its a dynamic subject

(moving water) and directing
the viewers eye to rove
around reinforces that sense
of kinetic energy in the

The eye first lands on the bright

waterfall where it hits the pool

First we see the source of light coming

down from above. Its a slot canyon so
that reinforces the slot that gives it its
name and the basic concept of the
canyons shape; this adds meaning
because it informs us about the subject.
Next the contrasting edges and bright
colors invite the eye to caress the
sculpted walls of the canyon.
Down to where the bright light hits the
bottom.
Then our eye loops around. When
looping around the image, we start to
notice the weeping eye at the upper
middle, a reward for the viewers
exploration. That tends to encourage
the viewer to explore more to see what
they can discover.
First we see the source of light
coming down from above.