IP Travel Photography 10 Ingredients of Composition Mastery Ebook

10 INGREDIENTS OF COMPOSITION MASTERY
10
INGREDIENTS OF
COMPOSITION
MASTERY
Colour | Light | Leading Lines | Balance & Symmetry | Simplicity | Pattern & Rhythm
Contrast | Depth & Perspective | Subject Placement | Breaking the Rules
A
TO LEE
10 INGREDIENTS OF COMPOSITION MASTERY CONTENTS
INGREDIENTS
1. Colour p.4
2. Light p.22
3. Leading Lines p.42
4. Balance & Symmetry p.68
5. Simplicity p.88
6. Pattern & Rhythm p.102
7. Contrast p.122
8. Depth & Perspective p.140
9. Subject Placement p.158
10. Breaking the Rules p.174
1
10 INGREDIENTS OF COMPOSITION MASTERY INTRODUCTION
Introduction
Composition is the backbone of photography These 10 ingredients have been born from this
and is, in my opinion, the most important process and are the principles I practice today.
photographic element in creating compelling I’m sharing these with you because I want to
images. save you from the same heart-ache, save you
time, and hopefully help you become the best
At its core, composition is about visual strength. photographer you can be. Without further ado,
It’s the artful mastery of geometry, order and here they are:
vision. Composition is control.
1. Colour
Unfortunately, composition isn’t easy. It can be 2. Light
bloody hard. So, I’m going to share with you the
3. Leading Lines
10 ingredients of composition mastery.
4. Balance & Symmetry
Before I can do that, it’s important I share
5. Simplicity
the foundation of these ingredients because
I appreciate you could find thousands of 6. Pattern & Rhythm
composition cheat-sheets on google right now.
7. Contrast
Trust me, I’ve checked nearly every google result
out there. The problem is, I found a lot of the 8. Depth & Perspective
advice a bit general, vague and hard to apply. 9. Subject Placement
So, I took a different route. 10. Breaking the Rules
I studied the images of the world’s best Each ingredient may not sound revolutionary at
photographers, I watched local and global this point, but trust me, if you know how to use
photography competitions (hanging on every each ingredient individually, and then combine
word the judges said), I sought out mentors, and them in the right way... magic happens! That’s
I spent countless hours practising and refining why I’m going to dive into each ingredient with
my composition craftmanship. you, revealing the insight, skills and techniques
I’ve used to create award-winning images and
build a career as a professional photographer.
So, buckle up and get ready for an epic

composition crusade together.
Salar de Uyuni, Bolivia.
2 3
COLOUR
The first ingredient of composition mastery
4 5
10 INGREDIENTS OF COMPOSITION MASTERY COLOUR
How to use colour in composition

Welcome to the first compositional ingredient.
Colour.
Let me start by telling you I didn’t choose

colour as the first of ten ingredients randomly.
I strategically positioned colour in the #1 spot
because it’s really freakin’ important!
Here’s why…
A good photographer, or more to the point, a

great photographer, creates an image to connect
with a viewer in some way. To communicate with
an audience, colour is fundamental in the art of
visual connection and communication.
At its core, there are four reasons I believe colour

is important and I suggest you consider these
carefully:
• Human beings make sense of the world
through stories.
• Colour tells a story through psychological
and symbolic meaning.
• Colour evokes emotion.
• Colour effects memory.
So, if you want to tell a memorable story that

evokes the right emotion with your audience,
then you need to know how to use colour in your
image composition.
I can’t be blunter than that.
Now we understand the importance of colour

and why it’s our first composition ingredient, let
me jump into my six super-tips to using colour
successfully in your photography.
6 Abstract image of Lake Eyre, Australia.7

Tip one: don’t underestimate the basics Luminance: relates to the brightness of the
colour. Technically, luminance measures the
As you’re reading this ebook, I know you’re
intensity of the light that hits the eye as it
passionate about photography, and I imagine
reflects off an object. Luminance is an objectively
you’re already familiar with HSL, but for the sake
measurable attribute. Brightness denotes how the
of our composition crusade, we need to ensure
human eye perceives the luminance of the object,
you’re really familiar with it. HSL is how we
making it a subjective attribute.
describe a colour and refers to:
We could spend weeks diving into luminance
Hue: is the actual colour. I won’t insult your
and light alone, so I won’t go any further
intelligence and spend more time here.
into the theory but highlight the importance
Saturation: is the amount of colour you use, of understanding and mastering HSL as a
the intensity. A saturated hue in an image photographer. Particularly in processing.
composition gives a vivid effect and can make Manipulating HSL gives you the power to
a photo more dynamic. Though excessive use transform an image and can help you breathe life
of highly saturated colours in a composition into your work. It’s also one of the fundamentals
can create confusion as colours may compete I focus on when teaching processing skills on
for dominance – ultimately creating fatigue my tours.
or overwhelming the viewer. An image with a
less saturated hue appears duller and can have
a whitewashed and underexposed effect. The
underexposed effect is very trendy right now,
particularly in social media photography, so this
may be an effect you purposefully create.
Welcome to Life. An aerial composite image taken in Marismas del Guadalquivir, Spain.
8 9
Tip two: take the wheel – the colour wheel that is You can also see Expert Photography references
eight key schemes, but today I want to focus on
Again, I don’t want to tell you how to “suck eggs” here, but I’m always surprised by how many
only three:
photographers completely underestimate the importance of colour relationships and the colour wheel.
If you don’t trust me, trust Monet. Even Monet took time to study colour theory, relationships, and was Complementary: This is a case of “opposites
influenced by the colour wheel. attract”. Colours that sit opposite on the
wheel are contrasting but complementary. For
I like the Expert Photography Colour Schemes Diagram below as it simply outlines the different
example, red and green are contrast colours. As
colour relationships.
are blue and orange. Using complementing but
contrasting colours grabs a viewer’s attention,
making your image more impactful. Personally, Using contrast colours blue and orange.
MONOCHROMATIC ANALOGOUS TRIADIC TETRADIC (RECTANGULAR) I also love to use contrasting colours in my
compositions and if you’re new to it, here are a
few tips:
Keep it simple. Contrast works best with images

that are simple and not too cluttered:
• Make your image about two or three colours
for impact.
COMPLEMENTARY SPLIT COMPLEMENTARY DIAD SQUARE
• Don’t be afraid to be bold when using
contrasting colours.
• Consider using a contrasting colour to highlight
your subject.
• You can also use contrasting colours to add
accents.
Analogous: These are the colours that sit side

by side on the colour wheel, such as red, red-
orange and orange. Analogous (similar) colour
combinations are great if you want to create a Using contrast colours red and green.
sense of calm and harmony in your image. My tip
for you is to choose one dominant colour in your
image and use the sister colours as accents.
10 11
Monochromatic: this is using one hue but

different tones and shades of that hue. Black
and white photography (which uses varying
degrees of grey) is the dominant example of
monochromatic photography. Monochromatic
provides a strong sense of visual cohesion
and is very effective in prioritising a mood or
atmosphere. I also use monochromatic colours
in my image compositions. I’ve included an
example to the right, of a fine art print using
monochromatic colour techniques.
Before we move on, we have to take a moment

to talk about the variety of colours on the wheel.
You’ll notice there are 12 core colours, and these
can be defined as primary, secondary or tertiary.
The primary colours, are colours that are not

made up of any other colour, other than its own.
You’ve probably learnt about the RGB additive
colours: red, green and blue. These additive
primary colours can be combined in various
proportions to obtain any colour in the visible
spectrum.
To make things confusing yellow, red and blue are

primary colours in the traditional colour wheel
and considered the primary colours for pigment.
However, for the sake of our crusade, we’ll use
RGB as our primaries.
The secondary colours in the colour wheel

come to life when you mix two primary colours.
Creating orange, green and violet.
The tertiary colours are created by combining a

secondary colour with a primary colour creating
six colours yellow-orange, red-orange, red-violet,
blue-violet, blue-green and yellow-green.
12 An example of a monochromatic image. Captured in Atacama, Chile.

“
Color is a power which
directly influences the soul.”
Tip three: get obsessed with colour psychology and symbolism
This is vital if you want to use colour effectively in your photography. I’m not here to dive into the
science of colour psychology and symbolism, however, I will tell you that colour has a mental and
emotional effect on people. While colour meanings can be subjective to the individual, culture and
Wassily Kandinsky society influences how people see and interpret colour. As such, colours hold meaning, and colours
evoke emotion tied to the meaning associated with it.
To put it another way: colours are bonded with meaning, feelings, and emotion for people.
There are a lot of resources available to you that will help you understand what individual colours
mean in our culture, such as the image below. I recommend you take time to check out these resources
and consider how you can use colour to evoke feeling and emotion in your photography.
Ignorance is a choice here. Don’t be ignorant.
Tip four: be clear on the mood and emotional intent
Colour
meanings:
energy romantic deep honesty natural spirit fresh
hunger youthful creative simplicity fresh technology engaging
passion soft regal reliability calming openness energetic
power feminine fantastical conservative reliable data visible
attention playful thoughtful energetic
14 15
Tip four: this tip is tied directly to tip three.
Before you take and process an image, you must

be very clear about the mood you want to create
in your image and the emotions you wish to
evoke. If you start with the end in mind, your
visual story will be more precise and powerful.
As an example, I use colour purposefully to evoke

a feeling of love, to forge positive connections
between the image subject and my audience.
I’m a travel and landscape photographer at heart,
and I consider it my purpose and pleasure to show
people just how incredible our planet is. I want
my audience to love the places I visit as much as
I do and ultimately, I want them to cherish and
feel protective of our world.
Alternatively, I work closely with amazing

photographers who use their images to draw
attention to social issues like anxiety, using
colour (or the lack of it) to make the audience
uncomfortable, to make them question the way
they see the world and to immerse the viewer
in the complex and haunting emotions tied
to anxiety.
Your emotional intent and the colours you use

to set the mood will transform your image.
Using colour to evoke a feeling of heartbreak and hopelessness. Broken was taken in Finland. 17
Tip five: control the visual journey with

dominant and receding colours
You can also use colours to create visual
depth in your image, and you do this through
temperature. Confused? Let me explain…
We know light has a colour. As humans, the

colours we see and experience through natural
light have created an association between colour
and temperature. That’s why we have warm
colours and cool colours.
Warm colours include red, orange and yellow.

Warm colours have a red bias. Just think of
candlelight, a roaring fire, sunrise and sunset.
Cool colours are green, blue and violet. Cool
colours have a blue bias. Imagine ice-skating and
a mountain stream.
As a rule, warm colours/hues tend to appear in

the foreground of an image while cooler colours
recede into the background. A viewer is attracted
to warm colours first. You can use the placement
of warmer and cooler hues to direct the viewer’s
eye in a composition.
18 Directing the eye through dominant and receding colours. Captured in Karijini, Australia.
10 INGREDIENTS OF COMPOSITION MASTERY LIGHT
Tip six: never forget you’re human!

Before we complete our analysis of colour in
composition, I’d like to share a final piece of
advice. It’s advice I live by in my own career.
Never forget you’re human!
You have a natural, innate connection to colour

that you need to trust. Emotion isn’t rationale.
Sometimes you need to follow your gut, trust
your intuition and let your story unfold through
the colours you’re drawn to use.
So have fun with colour. Feel it. Let it influence

and move you.
If you do this, I promise you’ll create something

extraordinary.
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The colours of sunset in Madagascar. 21

LIGHT
The second ingredient of composition mastery
22 23
Lighting up your composition

Photography literally means “painting with
light”. While the camera is your paintbrush, you
can’t forget that you – the photographer – are
the artist. The Mona Lisa isn’t an extraordinary
painting because it was painted with a great
brush; it’s extraordinary because Leonardo da
Vinci knew how to yield the brush to tell his story. 
Creating magnificent images requires the

photographer (as the artist) to have full control
over the tools at their disposal. And light is one of
the most powerful tools in your creative arsenal.
That said, let me state again that I believe in

“composition-above-all-else”. Composition, in
my opinion, makes or breaks an image, and
light plays a role in the art of great composition.
That’s why it’s our second ingredient.
If you can use light successfully in your image

compositions, you’ll transform your work. Light
can help you create focus, lead your viewer along
the visual journey, emphasise the mood and
strengthen the emotional impact of your image.
So, without further ado, let me reveal to you

my seven super-cool secrets for using light in
composition. If you use these seven super-cool
secrets, I guarantee your images will never be
the same!
24 Lake Eyre, Australia.

Super-cool secret #1: remember, photography

is a two-step process
I suggest you ALWAYS look at the art of
photography as a two-step process: the capture
and the post-production. Why is this important
when it comes to lighting? Because the key
to using light successfully is to leverage both
Before and after enhancing stages successfully.
light for effect during
post-processing. Image of
Do everything in your power to optimise light
Machu Picchu, Peru.
while you’re capturing your shot. “Work the
light” when you shoot using the techniques
I outline below.
Then, get equally as excited about light during

post-processing. Use your processing skills to
enhance, strengthen, adjust and improve the
light in post-production. Today’s fantastic editing
software gives unlimited lighting potential.
Let me share an example with you. On my last

photography tour to Peru, I captured an image of
Machu Picchu with fabulous side-light that added
a sense of intensity to this iconic landscape.
During the post-processing stage, I was inspired

to enhance the light, accentuating a ray of
sunlight and highlighting the Inca city even
more dramatically. You can see the before
and after to the left. I think the result is more
powerful, as it strengthens the mood of the
image and gives the subject an other-worldly,
ethereal feel.  
By approaching both stages of photography

with equal enthusiasm and skill, you’ll start to
differentiate yourself from your peers. Working
artistically with light at both stages is how you
create unique photos and begin to establish your
distinct style and signature as a photographer.
27
Super-cool secret #2:

get off your arse and move
OK, this may sound a bit harsh but seriously – as
a photographer, you need to continually look at
the world in different ways, and the only way you
can do this is by moving! When it comes to light,
changing your perspective can transform your
image, so I suggest you follow these four practices
when you shoot:
Don’t settle with the obvious shot. Yes, capture

the image and light you had in mind, but then
stand up, shift direction and shoot the same
scene/subject from a different angle. Trust me,
you’ll be surprised at what happens.
Work the time of day. Get up early, shoot sunrise.

Come back at midday (and maybe try an Infrared
Camera as a quick tip). Get back out there at
sunset and don’t forget the magic blue hour
before dawn and after sunset. Even shoot at
night, you can do some astro.
Scout your location before you shoot. This is a

habit that can separate the amateur from the
master. If possible, visit the site the day before to
become familiar with how the light evolves and
impacts your subject. Apps like PhotoPills or TPE
can help, but there is nothing like scouting the
location beforehand if you have the time.
Go in search of atmosphere. Light can naturally

create a sense of atmosphere, so as you’re
Leveraging the light at sunset. Captured in La Puna, Argentina.
scouting and as you’re shooting, look for light
that evokes a real sense of atmosphere.
28 29
“
A photographer is a
manipulator of light.”
Super-cool secret #3: there’s no such thing
as bad light only bad photographers
Gee, I sound a bit like a bossy wanker in this
ingredient, don’t I? But honestly, this is a mantra
For example, the harsh midday light may not be
great for portraits, casting uncomfortable and
unwanted shadows on a soft human face but
that same harsh light is great for shooting with
Infrared Cameras or/and harsh subjects like rock
I live by.
Laszlo Moholy-Nagy faces and creating sharp contrasts.
I know it’s immediately gratifying when you get
On the other hand, the flat light of a cloudy day
the light you want, but sometimes light doesn’t
lets you do things you can’t do with bright light.
want to play ball. In fact, as a professional travel
It’s great for photographing water movement
and landscape photographer, I find most of the
(sometimes with an ND filter) and getting
time, light doesn’t play ball.  
detailed shots as it has a soft-box effect to it.
So, you need to learn how to work with the light
you get. Which means understanding how to
leverage the unique benefits and effects different
types of light have on subjects.
An example of leveraging flat light. Image taken in Peru.
30 31
Super-cool secret #4: know your direction Using side-light in

landscape photography.
This seems like an obvious tip, but sadly it’s not Image shot in
obvious enough. There are fundamentally four Lapland, Finland.
natural directions light can come from, and each
direction offers unique features and benefits.
When you get to know the strengths of each
direction, then you can manipulate it to your
advantage. The four directions are:
1. Back-light (where the light source comes

from behind the subject, and you’re shooting
into the light): This is a very popular option in
photography as back-lighting creates a strong
sense of drama. It’s also fabulous for creating
contrasts and fantastic silhouettes. 
2. Front-light (where the light source comes

from behind the camera): When the light
comes from the front, it effectively illuminates
the subject and doesn’t create many shadows.
Making it suitable for portrait photographers as
it can tend to be more flattering if it’s not stark
or too direct. Using front-lighting in
portrait photography.
Image taken in Mongolia.
3. Side-light (where the light source comes from
the side of the subject): I’m a big fan of side-
light. It’s great for creative impact, emphasising
texture (more on that below), defining depth,
and helping you separate your subject from
the background.
Using back-lighting in
wildlife photography.
Bear captured in
Kamchatka, Russia.
32 33
4. Top-light (where the light source comes

directly from above the subject): Light from above
the subject can have a harsh two-dimensional
effect as it’s generally undiffused (unless it’s
overcast) and can create unflattering shadows
if you’re shooting soft subjects such as people.
That said, a skilled photographer tests different
subjects, perspectives, filters and settings that
leverage this light. Top-light is also good for some
aerial photography subjects.
Using top-light for landscape and aerial photography. Salar de Uyuni, Bolivia.
34 35
Super-cool secret #5: use light to lead

and focus
Using light is a great way to draw your viewer’s
eye to the focal point or subject in your image
and help guide your viewer’s eye through the
image. I’m going to go into more detail around
leading the eye in your composition a little later Using light to focus on
in the ebook but for now, let me demonstrate the core subject and
what I mean with examples. create Leading Lines
in the composition.
In the first image, you’ll see, I’ve used light Captured in Ladakh, India.
to gently lead the eye to the building at the

bottom of the mountain. 
While in the second image, I’ve used light to

directly focus on the first building and then
lead the eye to the second, taking them on
a journey.
Leveraging light to lead

the eye through this image
taken in Ladakh, India.
36 37
Super-cool secret #6: love the shadows

One of the most potent elements of light is
the shadow it creates. When used strategically,
shadows enhance our images by providing
depth, perspective and drama. If well-composed,
shadows can also help you lead your viewer’s eye.
Here are a few tips when working with shadows:

• Leverage shadows to add contrast to
your image.
• Try black and white and/or IR (Infrared) to
really bring out the shadows.
• Look for interesting shapes when you shoot
that will create interesting shadows.
• Use shadows to make your images moodier
(embrace your inner Rembrandt).
• Let shadows play a supporting role to your
leading subject. It’s a great way to subtly
emphasise the subject (see example below).
• Use shadows to frame your image. Your
exposure and direction of light can create
gradual or dramatic frames around your
subject.
The award-winning image that I captured in the

Gobi Desert in Mongolia is a great example of
just how powerful shadows can be. The beautiful
side-light during sunrise and the dramatic shadow
it casts over the sand dune defines this image.  
If I’d shot this image with a soft front light, it

wouldn’t be nearly as impactful.
Final tip on shadows... experiment. Have a bit of

fun with shadows. The dark is your friend.
The power of using shadows. Shot taken in the Gobi Desert, Mongolia. 39
Super-cool secret #7: let light tease out

the textures
This last tip also relates to using light to draw
the eye of your viewer in your composition, but
we’re drawing the eye to textures. The concept of
textures can be a little confusing, but I love this
simple definition, “textures are the details that
visually describe how something physically feels”.
How cool is that! To think that textures can help

you evoke a physical, sensory experience through
a purely visual medium.
Texture exists in every subject surface, and it’s up

to you as the photographer to determine how
much of a subject’s texture you want to reveal.
The way you reveal or hide texture is through
light. Using light to create depth, contrast and
patterns will help you define texture. And you A before-and-after example of using light to draw
out textures. Portrait taken Ladakh, India.
should be thinking about the texture of the
image at both stages of the photography process:
shooting & processing.
If you look at the portraits to the right, the

placement of soft light draws out the texture
of the hat and scarf – you can almost feel the
sensation of the fur through the image. Some of
this detail has also been enhanced using levels in
Photoshop (which is easy and I love to share these
processing tricks on my tours).
There you have it, my seven super-secret tips to

using light in composition. I hope you find them
insightful and, most of all, I hope they help you
on your journey to be the best photographer you
can be.
Light really is a powerful way to transform your

images and another essential ingredient in the
mastery of composition.
40 41
LEADING LINES
The third ingredient of composition mastery
42 43
10 INGREDIENTS OF COMPOSITION MASTERY LEADING LINES
The art of using Leading Lines

in composition
I’m excited to share composition ingredient #3
with you… Leading Lines!
What’s so exciting about a concept that seems

pretty simple I hear you ask? Well, let me start
by saying Leading Lines can be your secret sauce.
The missing ingredient in your 11-herbs-and-
spices. If you find yourself struggling with an
image, have no idea what’s wrong with it or how
to fix it, chances are Leading Lines can make
everything better.
Professional photographers know this. They’ve

learnt how to use Leading Lines to their
advantage, and today I’m going to share this
secret sauce with you.
But first, let’s get clear on what leadings lines

actually are, and why they’re important in
composition. Leading Lines are lines that lead
your viewer’s eye your through image. And
while this is simple to understand, there’s a more
profound role Leading Lines play. Leading Lines
also hold psychological significance.
Do you remember when I told you at the

beginning of our crusade that human beings
make sense of the world through stories? Well,
the human eye naturally looks for lines in our
environment to help us form our stories. Used
well, Leading Lines will immerse your viewer in
your image and evoke an emotional connection
because they feel part of it.
44 A composite image using the green waterway as a leading line. Welcome to Life (photographed in Spain).
If I haven’t convinced you that Leading Lines are

exciting yet, then you should know the following.
Leading Lines also:
• provide structure to your image
• can help direct your viewer to your subject
• create depth
• create motion and movement
• give you control! (and we know that great
composition is about the control and
organisation of your image elements)
With all this in mind, it only stands to reason that

if you know how to use Leading Lines artfully in
your composition, you’ll make it easier for your
viewer to understand your story and personally
connects them with your photograph.
So, I’m going to help you understand and master

Leading Lines by revealing to you: 1) what to
KARIJINI
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46 47
Horizontal Lines My other tip for using horizontal lines is to think

laterally (haha, get it). Don’t always go with
Horizontal lines are the baseline in composition
what’s familiar and obvious. Get creative, move
as there is a distinct horizontal component in the
your horizontal line around the frame and use
way we see. Our eyes search our environment for
other lines and shapes with your horizontal lines
horizontal lines first (then we look for vertical).
to keep your image interesting.
So you need to know how to use horizontal lines
because as they say “first impressions count”.
Horizontal lines are also prolific in nature and
therefore feel familiar, so they generally evoke
a sense of calm, peace, stability and tranquillity.
While most commonly used in landscape

photography (hello horizon), they are far more
diverse than that. Horizontal lines are useful for
creating a dividing point, emphasising contrast, Placing the horizontal
establishing direction, relativity, grouping line in the top third of
different elements, and can be a great anchor the image. Image of
in your image.  Salar de Uyuni, Bolivia.
Using multiple horizontal

Though be warned, a simple unbroken horizontal lines reinforce the feeling
line in the middle of an image can be a bit “blah”, of peace and trust.
so as a rule-of-thumb don’t place your horizon Shot in Ladakh, India.
smack bang in the middle of the frame. Go for
the upper or lower third of your image, and break
it up with interesting elements like a mountain,
trees, cars, rivers, anything.
The image of Bolivia’s Salar de Uyuni is an

excellent example of following this advice
above. The horizon sits in the upper third of the
frame. I placed the horizon here compositionally
because the foreground was more important to
me than the background. However, if the sky,
or background, was more important than the
foreground, then I’d place the horizon in the
lower third. And while most people may avoid
or cut the truck and hills out of the image, I’ve
kept them there on purpose. They break up the
otherwise dull and predictable horizon. 
48 49
Vertical Lines
Vertical lines convey strength, dominance, power,
and dignity. Commonly used in architectural and
fashion photography, vertical lines emphasise the
visual importance of a subject.
The thing I admire about vertical lines is that

there are two sides to them. They can break/stop
movement, create tension, intensity, and are great
for dividing your image.
On the flip-side, they can represent growth,

elevation, and hope – continuing a vertical line
outside the frame leads the eye, and imagination,
to “beyond”. Vertical lines are also helpful in
showing scale, perspective and depth.
The image of the birch trees showcases the duality

of vertical lines. The placement and frequency of
the tree trunks evoke drama and tension. Forcing
you to pause as the viewer, immersing you in
the scene and encouraging your eyes to travel
upwards.
My tip when using vertical lines is to use them

with intent. Be clear on the impact you want
to have because if you use vertical lines in the
wrong way, you’re screwed. Oh, don’t forget the
eye looks for vertical lines immediately after it
finds the horizontal, so don’t underestimate their
importance in the hierarchy of things.
50 Using vertical lines to create impact. Birch trees shot in the Rockies, Canada.
Diagonal Lines The trick to executing delay-and-reveal is to draw

the eye towards a specific element within the
I LOOOVE diagonal lines. Can’t get enough of
frame purposefully and then design movement
them. I mean what’s not to love, they create
within the frame, so the viewer is guided to the
energy, movement, motion, direction and drama.
subject somewhere else in the frame. In this case,
They add depth and distance, and they’re damn
the eye starts at the bottom of the peak, and is
useful in leading your viewer to your subject fast.
led to the top of the ridge to be rewarded with
The best way for us to understand diagonal lines the discovery of the condors. 
is to see them in action.
Diagonals also work effectively in abstracts and
The image of Spa Pool at Karijini National Park aerials. I’ve got two images on page 54 and 55 to
represents diagonal Leading Lines perfectly. The help demonstrate just how effective they can be,
diagonal line (which is the waterway) leads the when working with abstracts and aerial photos,
eye from the bottom left of the image directly to where you can make the lines, colours and shapes
the main subject (the little spa pool). your subject.
Another example of diagonal Leading Lines is While multiple diagonal lines can work in
the photo on page 55 taken during a workshop an image, my tip for you is to keep it simple.
in Torres del Paine, Patagonia.  A well-placed diagonal line (or two) is potent.
Technically, I’d like to add that a wide-angle lens
In this example, the diagonal line of the can make your diagonal lines appear stronger
mountain peak moves the eye from the and more intense.
bottom left of the frame to the top of the
ridge and reveals the condors playing at the
mountain’s peak. 
Speaking of a reveal, this image is using the

photographic technique called the delay-and-
reveal, which I touched on in ingredient #1 –
colour. As you may recall, delay-and-reveal is a
powerful tool as it strategically controls the order
and timing of the viewer’s experience. Giving
you the power to keep the viewer’s gaze longer
and provide them with a reward for their time
by revealing something they hadn’t seen at first. 
The diagonal line of the waterway leads to the spa pool. Image of Karijini, Australia.
52 53
The diagonal line of the

mountain draws the eye
to the peak and condors.
Paine Grande, Torres del
Paine, Patagonia.
Diagonal lines used in an

abstract of a volcano in
Kamchatka, Russia.
Creating a diagonal with a waterfall, Dales Gorge, Karijini National Park, Australia.
54 55
Curved Lines Alternatively, the image of penguins in South

Georgia on page 59 uses a curved line to give
Curved lines (also known as s-lines) infuse
the story balance. South Georgia is a stark,
beauty, elegance, balance, sensuality and fluid
cold, aggressive terrain. So intense, it’s hard
motion into an image. They’re soothing to the
to believe anything could survive, or thrive,
eye because curved lines are found organically
there. The curved line of the cliff face softens
in nature; rivers, mountains, flowers, and (my
the environment, creating a more intimate
personal favourite example) the female form. ;-)
connection between the environment and the
Curved lines are also a great way to pace your subject (the penguins). This image also has
viewer’s journey through your image. In contrast a diagonal line. If you look at the two little
to a diagonal line, that gets you there quickly petrels, they connect in a diagonal leading to
and directly (no mucking around). A well-placed the penguins. The square format works the lines
curved line creates delayed gratification for your perfectly here, and did you notice the penguins
viewer, encouraging them to travel through your happen to be placed on a rule of thirds “hot
image and savour the journey to your subject. spot” (the intersection of one horizontal and one
vertical line). 
An example of this journey is the image from
the Bolivian Altiplano. You’ll see the curved line My special tip: using multiple curved lines in your
gracefully guides your eyes from the bottom of image is a way to add sensuality to your photo.
the frame, through the mountain peaks to the Just look at the picture on page 59 of Antelope
cloudy sky above being hit by sunrise. Canyon. Oh, and I do want to let you know, the
lens you use to capture your photo will determine
the shape and intensity of your curved line.
56 Using curved lines to guide the eye through the image of Seven Colors Mountain in the Altiplano, Bolivia.
“
To consult the rules of composition
before making a picture is a little
like consulting the law of gravitation
before going for a walk.”
Edward Weston
Using a curved line to

balance habitation with
the inhabitable. And the
diagonal line that joins the
two flying petrels to lead to
the penguins. Antarctica.
Using multiple curved

lines to evoke a sense of
sensuality. Image shot in
Antelope Canyon, USA.
58 59
Converging Lines
Converging lines are quite simply two lines
coming together in an image to create a focal
point (converging). What’s cool about converging
lines is that they can create an optical illusion.
The objects located on the converging lines
diminish proportionately as they near the point of
connection on the horizon, the vanishing point.
An obvious example of converging lines is the

age-old railway track shot, where the tracks
eventually meet on the horizon and seemingly
disappear. Bringing this to life visually for you,
if you look at the image from the Altiplano, the
two lines of the black path converge just before The converging lines of
the horizon, and the path appears to vanish. the path create a vanishing
point in this image of the
Not all converging paths need to create an Red Lagoon, Altiplano.
optical illusion. I find that the point of conversion
Image by Javier de la Torre:
is an excellent location for your subject, as it’s Placing the subject at the
a natural focal point. point of conversion.
The image on the right, taken by my friend Javier

de la Torre, is a fabulous example of converging
lines leading to a subject. 
60 61
Implied Lines An implied line is a line that doesn’t actually FINLAND (LAPLAND) PUNA DE ATACAMA INDIA
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implied lines are subtle, their effect can be very
interesting and impactful lines. However, they’re
powerful as they connect with your viewer on
also the most challenging to find, hard to create,
a subliminal level.
and even harder to use successfully. I guess that’s
what makes them so unique.
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62 63
If you look at the image of Christ the Redeemer

below, you’ll see his outstretched arms imply
our horizon, as does the grass against the blue
mountain to the right. Another example is the
image of the penguins in Antarctica on page 63.
Their bodies come together to create a vertical
line that leads your eye to the petrel (using the
delay-and-reveal technique again).
I’ve got two tips when it comes to implied lines,

the first is to let your imagination go wild and get
creative. They are limitless, so is their potential.
The second is to always take a step back from
your image as you capture and process, look
at it from a different perspective specifically to
search for the implied lines. Though let me warn
The grass creating an
you that while an implied line can be powerful, implied horizontal line.
it can also be dangerous. Particularly if you’re not Shot in Ladakh, India.
aware of it in your image.
The arms of Christ the
Redeemer creates an
implied horizontal line.
Photographed by helicopter
in Rio, Brazil.
64 65
What to do What not to do

Now we’ve gone through what you need to know Finally, I need to share with you what not to
about Leading Lines, let me share what you need do. Leading Lines misused can be detrimental.
to do to master them:  I appreciate that sounds a bit melodramatic,
but it’s true. So here are my big watch-outs:
1. Learn how to see:
1. Avoid Leading Lines that take your gaze off
Study your environment in your everyday life,
your image without purpose. In most cases,
searching for Leading Lines. Look for the lines
you’ll lose your viewer, and your Leading Lines
that naturally capture your attention, observe the
become nothing more than a path.
way they draw your eye and analyse why.
2. Don’t make your Leading Lines too obvious
Study the work of great artists and
or predictable. Some of the most powerful
photographers. Consider how they use Leading
Leading Lines are subtle.
Lines successfully to make their work successful.
3. Look out for lack of variance in your lines.
Make Leading Lines a passion project. If you
Natural lines are very rarely the same length,
spend enough time consciously looking for them,
An example of converging width, or run in the same direction.
eventually their pursuit will become a natural part Vertical lines found in
lines. Shot in Spain.
of your work. nature. Shot in Alaska.
4. Don’t be random. Avoid the temptation to use
Leading Lines for the sake of it, your Leading
2. Use with purpose:
Lines should always relate to, and work in unity
I can’t emphasise enough how important it is with, your subject and story.
for you to know the visual impact and story
you want to create with your image, and then Now get out there, look for Leading Lines in life
consciously use Leading Lines to help you achieve and practice using them in your art.  
this objective. If the effect of your Leading Lines
contradicts your image purpose, it can create Let lines “lead” you to composition mastery.
confusion and overwhelm your audience. So act
with purpose.
3. Capture and create:

You’ve got two opportunities to create
and control your Leading Lines; when you
capture your image and when you process it.
Leverage both.
66 67
BALANCE &
SYMMETRY
The fourth ingredient of composition mastery
68 69
10 INGREDIENTS OF COMPOSITION MASTERY BALANCE & SYMMETRY
Finding balance in your composition

Let’s start by dispelling a myth. Many people
will tell you a balanced image is all about
equilibrium – the eye is drawn to every area of
your image equally. 
But that’s not always true. 
Balance is about harmony. 
Balance in composition is the art of arranging

the juxtaposing elements in your image, and
managing the visual weight, so no object or
area dominates over the others. The individual
parts work in harmony together to create a
sense of whole. Brief side note: I confess I’m
quietly impressed with myself for finally using
the word juxtapose. A girlfriend once called me
a juxtaposition, so I’ve made it my mission to use
the word when I can. :-)
At its core, a balanced image just feels right.

It’s aesthetically pleasing to the eye and humans
have a natural desire to seek balance and
equilibrium in their world.
On the flip side, if you want to make your

viewer uncomfortable and evoke tension through
your image, then an unbalanced image could
be the way to go. An unbalanced image has
an uneven visual weight, and as a result, can
be a potent storytelling tool. However, for the
purpose of our composition crusade, I’m going
to assume you want to create an aesthetically
pleasing composition and attract your viewer
to your image.
So, let’s look at balance, and share the secrets to

creating balance in your composition, starting
with symmetry.
70 Drone Shot, Lençóis Maranhenses National Park, Brazil. 71

Symmetrical vs unsymmetrical However, with the help of your favourite

(or asymmetrical) editing software, you can manufacture identical
symmetry for the right story (great for urban
There are two core balance styles: symmetrical (or
and architectural photography). The famous
formal) and asymmetrical (informal).
“A Brooklyn Perspective” by AZ Jackson is an
Symmetrical balance is precisely what it says. excellent example of identical symmetry in
Both sides of the frame have equal weight and architectural photography.
appear symmetrical when split in half – either
Going back to the topic of natural symmetry,
vertically, horizontally or diagonally. It’s the
the image below of the two brown bears
simplest and most obvious way to create balance
showcases organic symmetry. 
in your image.
The subject, the bears, are placed in the centre
Though a word of warning, unless symmetrical
of the image, and while each side of the frame
compositions are handled correctly, they can
isn’t identical, it possesses a figurative symmetry.
be pretty boring, and if they’re overused then
symmetry can become cliché. Traditionally, we’re told not to place our subject
in the centre of the frame when shooting
That said, let me assure you that your two
wildlife or portraits. But that’s crap advice.
halves don’t have to be perfectly and precisely
identical to be symmetrical. Nature is never A symmetrical wildlife or portrait image can be
perfectly symmetrical.  very effective, as it reduces any visual distractions
in the background and helps your viewer focus
on your subject first. Legendary photographers
Herb Ritts and Max Dupain used symmetrical
composition extensively in their work.
A tip when shooting your symmetrical image;

the positioning of your camera in relation to your
subject is important. If your camera is too high or
too low, the angle of the shot may weaken the
symmetry in your image and not even Photoshop
can save it.
Remember, while not all balanced photographs

are symmetrical, all symmetrical photographs
are balanced. And this leads us into the world of An example of organic symmetry in wildlife photography. This image was taken at Lake Kuril, Kamchatka.
the asymmetrical.
72 73
Asymmetric balance occurs when you have

unequal visual weight on either side of your
image, but the unequal visual elements are
artfully placed to balance each other. This may
sound a little counter-intuitive, but asymmetrical
compositions can feel more balanced than
symmetrical images. 
That’s because the techniques used to create

balance and harmony in an asymmetrical image
are more subtle.
Personally, I love working with asymmetrical

composition, as it evokes a sense of movement, Penguins in Antarctica,
feels more energetic and encourages your viewer an example of
to spend more time with your image. asymmetrical balance.
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Flamingos at the
Red Lagoon, Bolivian
Altiplano, an example of
asymmetrical balance.
74 75
There are six tools you can use to create balance

in your asymmetrical image. Let’s dive into them:
The six principles of balance

1. Colour
Yes, that’s right, colour! And the great news is
we’ve already explored colour in our composition
crusade. So, you can use the tips you’ve learned
from ingredient #1 to help create the balance
you’re searching for.
Different colours hold different weight. A bright

red car has a heavy visual weight, in contrast,
a field of brown grass has lighter weight. You Using contrasting colours
need to be conscious that bold, bright colours of red and green/blue
hold more visual weight as a rule, while soft and to balance the image of
neutral colours are lighter. You can balance the Ayers Rock, Australia.
heavy colours with relatively more light colours Balancing heavy splashes
in your frame. of bold red with relatively
larger areas of neutral
Another way you look at colour balance is browns and greys.
temperature. Warm colours (red, orange, yellow) Photograph taken in
are heavier, cool colours (blue, green, violet) are Patagonia.
lighter. Balancing contrasting colours and colour

temperatures in your image can transform your
image. It looks impressive when you get the
balance right.
I’d like to highlight that Lightroom, Photoshop,

or your preferred editing software, are brilliant
tools for helping you get the colour balance
right in your image. 
If you don’t nail it while you’re shooting,

don’t lose heart. Photoshop is your friend.
The rule: bold, bright & warm colours are

visually heavy, subtle, neutral and cool colours
are visually light.
76 77
2. Tone
Tonal balance comes down to the contrast
between the lighter and darker areas in your
image. Your dark areas are heavier. The light
areas are lighter. 
The way you use tonal balance depends entirely

on the story you want to tell and the emotions
you want to evoke. If you wish to create
a peaceful and calming image, then generally
you want to balance your composition with more
light tones. 
If you want to awaken emotions of drama and

intensity, then use dark tones predominantly.
Just like the image on the right. The dark grey
background arouses feelings of desolation and
despair, balanced subtly with small white trees
positioned strategically.
Shadows are also a powerful tonal tool for you.

Shadows hold fantastic visual weight. Not to
mention, they help to add depth and dimension
to your composition.
It’s a good idea to convert your color images into

black and white to see if the tones work. I also
sometimes flip the image 180 degrees to get a
different idea of balance within the image.
The rule: dark tones are visually heavy, light tones

are visually light.
78 Balancing the dark tones with small white trees. Shot in Australia.

3. Texture
As you may recall, textures are the details that
visually describe how something physically feels.  
You can use textures to impact your composition

balance. Objects with strong textures appear
three-dimensional and own more visual weight,
making them heavier than objects and areas
without texture.
You’ll see in this image, the texture of the

red salt formation has a lot of texture, and
I’ve balanced it with the smoother salt/sand
formations on either side.
Texture can be an overlooked composition tool,

and I encourage you to look for the textures of
your subject and background when your shooting,
and then play with them during your processing.  
The rule: highly textured objects are visually

heavy, smooth objects are visually light.
Using textures in an abstract image for balance. Image taken at Lake Eyre, Australia. 81
“
Balance is a feeling derived
from being whole and complete;
4. Shape and size
Managing the size of the shapes in your image
is one of the most effective ways to balance an
asymmetrical composition. Needless to say, the
To showcase this, I’ve included an image I took
in India last year. The larger boy on the right
side is balanced by the smaller boys squatting
on the left. I also placed two boys in the frame
it’s a sense of harmony. It is larger the size of the shape/object, the heavier
to balance the single larger boy.
the visual weight. You can balance a large shape

essential to maintaining quality on one side of the frame with a smaller one
When playing with the size and placement of
your shapes and objects, the rule-of-thirds can
on the other side. While smaller shapes don’t
in life and work.” hold the same weight equally, it will add visual
guide you. I appreciate we haven’t explored the
rule-of-thirds yet, but I promise, we will.
interest and will still create a sense of balance
Joshua Osenga with your viewer. The rule: large & multiple shapes are visually
heavy, small & singular shapes are visually light.
The quantity of shapes in your photograph will
also impact balance. The greater the number,
the greater the visual weight. Which means you
can complement a large shape with multiple
small ones.
Balancing size and

quantity of shapes.
82 Portrait captured in 83
Ladakh, India.
5. Space and placement Now, let me share an important tip about

space and placement in portrait and wildlife
The space and placement of the elements in
photography. Focus on the eyes! The brain is
your frame impact the visual weight. The closer
hardwired to look for faces and then eyes as
an element is to the foreground or edge of the
quickly as possible in our environment. Once eye
frame, the heavier it is. 
contact is made, your viewer will follow the gaze
Analysing the image from Antarctica, the large of your subject (we’re nosey like that).
colony of penguins has been placed at the
This is important because the direction of the eyes
front of the image to intensify their weight and
and the placement of your subject in the frame
importance. Balancing the foreground with the
impacts the overall balance. Ideally, you want
smaller birds in the background. 
to place your subject so they’re gazing into the
By the way, this image also demonstrates the negative space of your image, making it “active
quantity principle we touched on above. The space” and balancing the composition. If your
larger quantity of penguins is asymmetrically subject is placed towards the edge of the frame
balanced by the small flock of only two birds. and their eyes gaze off the edge, it just feels off.
Awkward for the viewer.
The rule: objects in the foreground are visually

heavy, objects in the background are visually light.
Creating balance through placement in the frame. Penguins photographed in South Georgia, Antarctica.
The eye gaze is a vital part

of compositional balance.
Image taken in India.
84 85
6. Conceptual I’d suggest if you’re still trying to master balance SVALBARD, THE HIGH ARCTIC PUNA DE ATACAMA FINLAND (LAPLAND)
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tackle conceptual.
type of balance (perhaps that’s why it’s also called
abstract balance – wink wink). Conceptual balance That’s the six tools of balance crusaders. 
is all about balancing contrasts. Contrasting
textures, contrasting subjects, contrasting Before we complete this ingredient, can
meanings or contrasting ideas such as old vs new, I reinforce a point I made earlier? While generally,
love vs hate, city vs nature.   we seek harmony in our images, there are times BHUTAN COLOMBIA JAPAN IN AUTUMN
when you want to create disharmony. If this is KINGDOM OF THE HIMALAYAS
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To keep it simple, I’m going to use this stock

your goal, you can still use these principles as 1 1
image as an example. The image balances the your guide. But reverse engineer the rules to
contrasts of ancient vs modern energy (windmill create the tension you desire.
against the wind turbine), creating conceptual
balance. 
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Two practical examples

of conceptual balance:
old vs new.
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86 87
SIMPLICITY
The fifth ingredient of composition mastery
88 89
10 INGREDIENTS OF COMPOSITION MASTERY SIMPLICITY
Simplicity: the key to great

composition
Why is it the simplest concepts can be the hardest
to grasp?
At least that’s my experience, and this is never

truer than when it comes to the topic of simplicity
in photography. Simplicity is, in my opinion,
one of the most potent compositional tools.
That’s why I’ve made it ingredient #5 on our
composition crusade. Unfortunately, teaching the
concept of simplicity isn’t as simple as it sounds.
So, I think the best way to start is by defining
what it is, and what it isn’t.
Simplicity is not minimalism. 
Minimalism is a 20th-century artistic concept.

Minimalism can be found across many art forms
and is generally defined by the artist intentionally
using a few select compositional components
(say lines, colour and shape only) to create a
unique visual experience. Though following
minimalist practices is a great way to help you
master simplicity.
Simplicity is about focus and clarity. It’s the ability

to create a sense of order in a world of chaos,
focusing on what’s important and removing
what’s not to create a compelling image. A
well-crafted, simple composition will grab your
viewers’ attention and help them connect with
your visual story.
This means while a minimalistic image is simple in

composition, a simple composition doesn’t have
to be minimalistic.
90 Rio Negro (Black River), Lençóis Maranhenses National Park, Brazil.

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To help illustrate the point, let’s look at some To reinforce this, jump online or grab one of shop/lakeeyre
of the great photographers of their time: Steve their books. Then study their images. You’ll
McCurry, Annie Leibowitz, Frans Lanting and see that the great photographers skilfully use
Sebastião Salgado. If you take a step back and many composition techniques (ingredients) in BUY
observe their work objectively, you’ll see an combination, with focus and clarity, to create NOW
undeniable simplicity to their compositions. simply powerful photographs.
There is a sense of order, the subject is clear, and
the story is strong. Now, the tricky question. How do you create
simplicity in your photography? Well, I suggest
They practise simplicity in their compositions. you approach it as a discipline or state-of-mind. 
92 93
“
The greatest ideas
are always the simplest.”
Make simplicity a philosophy you live by. This
philosophy is founded on three fundamental
principles:
1. Always adjust your perspective

William Golding I’ve touched on this before, and I’m going to
repeat it. When you shoot, ALWAYS adjust your
perspective. Never settle for the obvious shot. 
As you shoot your subject, step in, step out, look

up, and look down. Change the time. Change
the light. By adjusting your perspective as you
shoot, you’ll discover better ways to focus on Before and after adjusting perspective of
your subject with clarity, but you’ll also find your the Lençóis Maranhenses, Brazil.
unique story. 
Let me give you a simple example of this in

action.
Earlier this year, I hosted a photography tour

in Brazil, and I took the group to Lençóis
Maranhenses to photograph the sand dunes and
water formations. At first, we shot the landscape
as it first appears (see the image at top right),
and let’s be honest, it’s a bit dull, somewhat
underwhelming, and really doesn’t tell a strong or
unique story about the subject.
So we changed our perspective. We looked

down. Focusing intimately on the sand, water
and the relationships between the two, creating
a beautiful simple abstract image.  
To keep things “simple” I’m sharing the original

captures with you so that I can demonstrate the
immediate impact of adjusting your perspective.
Hopefully, you agree the second image is a better
composition/shot than the original, and the
simplicity of the composition makes it stronger.
94 95
2. Eliminate the unnecessary
I’M GOING TO LET YOU IN ON A SECRET...
Great composition comes down to elimination.

Less-is-more may be a cliché but it is true, and in
my opinion, photography is as much about what
you leave out as what you put in. 
Anything that doesn’t add to your image takes

away from it. So get rid of it! Too many elements
in your image create chaos, clutter and weak
compositions.
While you should eliminate the unnecessary

while you’re shooting, I suggest you focus on this Before and after cropping
and cloning the distracting
principle during the post-processing stage as well.
foliage with Photoshop.
Most distractions can be fixed through cloning or
Image taken in Rwanda.
cropping with Photoshop, and I have no problem
with removing or adding elements to make my
image, and story, stronger and more appealing to
my audience.
To the right, a before and after example to

illustrate the power of elimination, where I
used cropping and cloning tools to remove the
unnecessary greenery, making the composition
stronger and subject more engaging.
Climbers on top of a glacier, Chamonix, France.
96 97
3. Give yourself space

Literally and figuratively.
One of the most essential elements in your

composition is negative space. Don’t feel like
you need to fill your whole frame with noise.
Negative space gives your subject, and your
viewer, breathing room. So always allow space for
the negative in your composition.
And as an artist, you need to give yourself the

space and time necessary for creativity and
inspiration to strike. This isn’t always easy to
do when you’re shooting, but it’s definitely an
essential practice during the processing stage.
I like to allow at least two weeks between capture
and processing. This time ensures that when I
finally sit down to process my images, I see them
with fresh eyes and a new perspective. Then,
when processing, I’ll come back to an image
multiple times over a day, or many days, adjusting LIMITED EDITION
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98 99
The flower image is a great example of this. I shot

the image in June, edited it for the first time in
July, and over the course of a week in processing,
I eventually realised the picture and story I
wanted to share.
If you practice these three principles and live by

them when you shoot and edit, I promise you,
your compositions will transform. 
And with that, I leave you with a KYSS....
KEEP YOUR SHOTS SIMPLE!
Original image.
100 Before and after. I gave myself time and space between shooting and processing. Image taken in Brazil.
PATTERN & RHYTHM
The sixth ingredient of composition mastery
102 103
10 INGREDIENTS OF COMPOSITION MASTERY PATTERN & RHYTHM
Get your groove with Pattern

& Rhythm
Yes, I can get serious when it comes to our
composition crusade, but not today! Because
ingredient #6 is a lot of fun!
Today we’re talking about rhythm and patterns,

and I really want you to read this with your fun-
hat on. Because if you have fun, if you let yourself
feel the patterns and rhythm of life, integrate
them with your work, you’ll kick-arse.
Look, I get the idea of patterns and rhythm may

stress you. Maybe because the only time we hear
about rhythm and patterns is in competitions,
in class or in books – and everyone’s talking
about them in a really serious tone. Worse, all
they discuss is the theory or analytical feedback,
making it overwhelming and intimidating.
I want to change that.
These ingredients shouldn’t be intimidating. They

should feel natural and inspiring. But to have
fun with them, you need to understand them, so
let me explain the difference between rhythm vs
pattern:
Rhythm is all about the flow and movement of

the eye through your image. Just like music, your
photograph has a rhythm. A tempo. A beat.
Pattern is the placement of repeating elements

in a part of your image. Patterns are a great way
to create or influence rhythm.
Where rhythm relates to the whole image,

pattern is about an area of your image.
Rhythm is dynamic. Pattern is spatial.
And at their core, both pattern and rhythm rely

on repetition. It’s repetition that helps the eye
dance from point to point.
104 Patterns of a chameleon photographed in Madagscar.

Why are patterns and rhythm so awesome?

Well, first, they draw attention. As humans,
we’re naturally drawn to patterns. They give us
a sense of order in an otherwise chaotic world.
There’s something fundamentally pleasing
about patterns, they let us know what to expect.
So, using patterns will help grab your viewer’s
attention and draw them in.
Second, they evoke emotion. You don’t just

want your viewer to see your image, you want
them to experience it! And the rhythm of your
image will evoke emotion and engagement of
your audience with your story. Just like a great
song, a photograph with rhythm can be an
unforgettable and emotional experience for your
viewer.
With this in mind, it’s time I dive into how you

play with, and have fun with, the concepts of
rhythm and patterns:
Rhythm
Try not to think of rhythm as a rule, it’s not. It just
exists. The eye will move through your image and
as a photographer you can influence how the eye
moves with rhythm.
Like music, each element of your image strikes

a particular note, a tone and creates a beat. It’s
strongest when each cycle in the beat encourages
the eye to move. You should also think of rhythm
as the visual tempo of your image. And like the
music, the tempo of your image composition can
vary. It can be static, calm, relaxed, or peaceful.
On the other hand, you can make it dramatic,
chaotic, and confronting. It’s up to you because
it’s a way to express your artists’ soul.
The key to using rhythm to make your

composition stronger is in first spotting the
repetitive elements in your scene and subject
(these can be colours, shapes, texture, light,
Aerial image of Marismas del Guadalquivir, Spain. 107

lines and space) and then framing the scene/ Legendary American photographer Rodney Smith 2. Alternating Rhythm
subject in a way that emphasises the rhythm you also used regular rhythm very effectively in his
Alternating rhythm takes two or more elements
want or feel. images, as you can see in the image below. While
and repeats them interchangeably. A very simple
my shot of the Vegas High Roller passenger cabins
To help you find your groove, there are generally example is the squares on a chessboard. But
repeating create an obvious regular rhythm
five types of visual rhythm you can play with: when it comes to your photography, remember
(below right).
regular, alternating, progressive, flowing and it doesn’t just have to be just objects, it can be
random. You’ll find this is the easiest rhythm to identify colours, shapes, light, anything.
and create, and it can be very effective because
1. Regular Rhythm The work, coincidentally titled “Endless Rhythm”
your viewer’s eyes will easily recognise the
by Robert Delaunay is an excellent example of
Pretty much what it says, in a regular rhythm rhythm. But, a word of warning, it can be a little
alternating rhythm.
you’ve got repeating elements with a clear dull or monotonous if not done well. Just watch
order and arrangement. Like the beating of out for this. This aerial image of Lençóis Maranhenses also
your heart. A regular rhythm happens when the provides an example of alternating rhythm, with
space between the elements, and the elements the freshwater lakes alternating with the sand Endless Rhythm by Robert Deluanay.
themselves, are similar in size and length. dunes. Like regular rhythm, there needs to be a
similarity between the alternating elements, but
Andy Warhol is famous for using regular rhythm, the added variety can make it less monotonous.
just look at the Marilyn Diptych silkscreen
painting which contains repeat images of the
famous actress for impact (at right).
Image by Andy Warhol. Using regular rhythm in his art. Aerial image of Lençóis Maranhenses, Brazil.
Hemline #2 by Rodney Smith. High Roller giant Ferris wheel, Las Vegas.
108 109
3. Progressive Rhythm
This is one of my favourites. Progressive rhythm
comes to life when the repeating elements in your
image gradually change. They can change in size,
number, colour, or other quality. That’s up to you
and your story.
You can often create progressive rhythm by

changing your perspective. A simple example:
instead of shooting a line of elephants across the
horizon, move. Reframe your shot and have them
gradually disappear out of frame, or to a vanishing
point. As the elephants progressively get smaller,
they create a visual rhythm and tempo.
The image of the frozen trees in Finland also

demonstrates this rhythm at work. At -25C,
I observed these trees and their arrangement,
shapes, and the orientation created a great
progressive rhythm and composition. Together
with a unique subject and soft light, they created
a really nice picture.
Progressive rhythm is very effective in inviting

your viewer into your story, encouraging them to
follow the journey of your elements and subject.
It’s also a great way to build a sense of drama on
the journey to your focal point or subject, with
the gradual tempo of your elements building to
a crescendo.
Frozen forest in Lapland, Finland.
110 111
4. Flowing Rhythm
Flowing rhythm in an image comes to life with
repeating elements that have a bend, curves,
a circular shape or undulation to them. If you
look at landscape photography, you’ll commonly
find flowing rhythm in waves, sand dunes, plants
Texture and flowing rhythm, Tatio Geysers, Atacama Desert. Starry Night by Vincent Van Gogh. The flowing rhythm of a chameleon tail shot in Madagascar.
and flowers.
But flowing rhythm is not limited to landscape

photography, you’ll find it in many subjects and
artforms. Let’s look to one of the greatest artists
of all time, Vincent Van Gogh, for inspiration. His
iconic work titled “Starry Night” demonstrates
flowing rhythm with perfection (above).
I’ve got two examples of flowing rhythm in

photography for you. The first image of a
chameleon tail uses the classic flow of a circular
shape that grows progressively smaller (yes,
this image is an example of both flowing and
progressive rhythm) and the image of volcanic
stone from the Atacama desert at right also
showcases flowing rhythm.
Because you often find flowing rhythm in nature,

using it in photography generally evokes a
sense of motion, sensuality, peace, serenity and
harmony for the viewer.
112 113
“
Autumn Rhythm by Jackson Pollock.
Rhythm is the soul of life,

because the whole universe
revolves around rhythm, and
when we get out of rhythm,
that’s when we get into trouble.”
Babatunde Olatunji
5. Random Rhythm You don’t have to be Jackson Pollock to create

random rhythm in your work. Nature, wildlife
Random rhythm is repetition without order or
and people provide plenty of inspiration. If you
arrangement. Trust me, it can work because
look at the image of the trees in Finland and the
it creates tension in your image. It can grab
penguins in Antarctica on the following pages,
your viewer’s attention while challenging their
you’ll see a few examples of how we can use
expectations at the same time.
random rhythm as photographers.
Of course, we can’t talk about random rhythm
Random rhythm can be very powerful in
without talking about Jackson Pollock. His work
photography, as it can make your image more
has a bold random rhythm to it. A poetic chaos.
emotional. It’s particularly effective in creating
The erratic beat of his art was created by the
feelings of intensity, hurry, drama, and chaos.
way he painted, slinging paint over his canvas.
Creating a mad flurry of motion. Genius!
114 115
A colony of penguins in South Georgia.
Aerial image of a pine forest in Finland.
116 117
PORTFOLIO
Survivor. Breaking a pattern. The lonely tree was shot in the coal mines of Queensland, Australia. Volume I
Beautiful 80 page Limited Edition

coffee table book featuring over
Patterns • You can create patterns with almost any
40 images of Ignacio’s portfolio
element: lines, colours, shapes, space etc.
Here’s the thing I like about patterns. And I bet For more information
it’s not what you think... • Patterns are generally used as a secondary
element because patterns tend to be please visit:
Patterns work in photography because people directionless.
are creatures of habit. And habits are patterns.
• If you want to make a pattern your primary shop/portfolio
Patterns of behaviour. So this means our minds
are irrationally drawn to patterns and for this subject, then I suggest you take up the
reason you can’t underestimate their power. full-frame and don’t be afraid to break the
Always remember, you’re a human, creating art pattern. Yes. Break it. A pattern on its own
for humans, so you need to understand human can be a little boring (don’t do the brick wall, BUY
behaviour to create impact. please), but if you disrupt the pattern with NOW
a contrasting colour, unique shape or other
When it comes to using patterns in photography. elements you make it interesting. You can use
I’m going to share my advice and experience my image of the coal mine with tree as an
with you through the pattern of bullet points: example of breaking a pattern.
118 119
• Filling your frame with a pattern can also give

the impression of size and importance. Zoom
in, perhaps use a macro lens and it will seem
as if your pattern is bursting out of the frame.
• Patterns don’t have to be perfect (it’s not

geometry, it’s art). You can use classic patterns
with impact, but keep in mind irregular
patterns can be just as effective, just look
at the image on the left taken in Lençóis
Maranhenses, Brazil. You will find a lot of
rhythms and patterns in aerial photography.
• KYSS! Yes, we’re going back to ingredient

#5. As you start integrating patterns into
your image, keep it simple. When you feel
comfortable, go crazy if you want, but I’ll
always encourage you to keep your shot simple.
• Breaking a pattern. Lonely tree on page 118

was shot in the coal mines of Queensland,
Australia.
• Look for patterns in your everyday life to help

you master patterns in your photography.
Once you look for them, you’ll find patterns
everywhere. In nature, in culture, in the
behaviour of wildlife.
I beg you, don’t take rhythm and patterns too

seriously. Have fun with them. It’s like dancing,
when you get obsessed with the theory of it, and
worry about every step, your dancing is shit, stiff,
and hard to look at.
You’ll master rhythm and patterns when you

let go. Enjoy the moment, feel your emotion,
embrace the natural rhythms and patterns of life
and your artistic journey.
The patterns of Black River, Lençóis Maranhenses National Park, Brazil.
120 121
CONTRAST
The seventh ingredient of composition mastery
122 123
10 INGREDIENTS OF COMPOSITION MASTERY CONTRAST
You’re in for a treat. It’s time to

talk contrast!
Having reached this point in our crusade,
hopefully you already appreciate that contrast
plays a vital role in composition
I love working with contrast because I believe it’s

fundamental to good visual storytelling. Contrast
occurs when you have two, or more visible
differences in a photo. And if you think about it,
a story occurs when two or more different forces/
subjects come together in conflict or resolution.
So, contrast is intrinsically linked to the

storytelling.
As a photographer, there are three contrast

techniques you can use:
1. Tonal contrast
2. Colour contrast
3. Subject contrast
You’ve got the freedom to manipulate any, or all,

of these contrasts to improve your composition,
tell your story, convey mood, and evoke emotion
through your art.
124 Using tonal, colour & subject contrast in this image of Perito Moreno, Argentina.
So, let’s take a look at each one-by-one:
1. Tonal Contrast
Here’s a little tip, when I help my photography
tour guests with their composition, I first suggest
they simplify their image, and then I suggest they
look at the tonal contrast.
Tonal contrast comes down to the difference

between the light and dark tones in your
image. Despite popular belief, tonal contrast
isn’t limited to black-and-white photography.
It’s just as relevant for colour photography. In fact,
sharing another tip, I often convert my colour
images into black-and-white to check the tonal
contrast, do some minor changes, and convert
back into colour.
You can generally define tonal contrast as either

high, normal or low.
High Contrast: A high contrast image uses a

full range of tones from black to white, with Transitioning between black-and-white and colour to work
a concentration of bright tones/highlights set with tonal contrast. Jaguars shot in Brazil.
against dark tones/shadows. I like to think of
it as an all-or-nothing approach, playing with
both ends of the tonal spectrum (of course, be
careful here with your histogram. You don’t want
to blow out the highlights or clip the shadows).
High tonal contrasts are fantastic for creating

bold, impactful images. It also heightens the
mood you’re trying to evoke.
The eye is naturally drawn to the highlights in an

image, so be sure to use this behaviour in your
composition design to intentionally lead your Amazon jungle in the mist, Brazil.
viewer through your image as you like.
126 127
Normal Contrast: A normal tonal contrast still While I don’t want you to limit the use of tonal
uses the full range of tones from black to white, contrast to black-and-white photography, as I
but the tones are more evenly distributed. There touched on above, a great way to practice and
is balance and similarity of tones as the eye moves master tonal contrast is to shoot and process your
across the image. image in both colour and black-and-white. Use
different exposure, shutter and colour settings on
Low Contrast: As it suggests, a low tonal your camera and then play with different settings
contrast has only a small range between the while editing.
lightest and darkest areas of the image.
And one last tip on tonal contrast, grab yourself
Low contrast images have a peak in the middle of an infrared camera if you can. It’s a lot of fun!
the histogram (see diagram at right), and usually I used LifePixel in the USA to convert an old Fuji
occurs when the light is very soft, or the colour camera that I wasn’t using, and now, after the
variations are very subtle (such as photographing conversion, I use it in nearly every tour.
in the snow).
A great way to visualise the difference between

low and high contrast is in picturing a sunny day
vs a cloudy day. When the sun is out, everything is
bright, clear and the contrasts are distinct/strong. An example of a low tonal contrast image. The Salar de Uyuni, Bolivia.
A cloudy day, on the other hand, is flat, the
colours lose their intensity, and tonal contrasts are
An example of normal tonal contrast. Brown bears photographed in Kamchatka, Russia.
harder to distinguish.
With little or no highlights/shadows, low tonal

contrast creates a soft effect, and while it can
be described as flat, don’t let this discourage
you from using low tonal contrast in your
compositions.
Looking at the three types of tonal contrast, you

may notice I personally like to use high tonal
contrasts in my work. But that’s me, and my
personal style at the moment (which may evolve
over time). You need to do you! If you prefer
normal or low contrast images, go for it. There’s
no right or wrong here, it’s about finding the
tonal contrast and style that best expresses your
artistic soul.
Histogram showcasing low vs high contrast.

Source: theailearner.com
128 129
2. Colour Contrast
Feeling a sense of deja vu here? Don’t worry,
you’re not going crazy, you’re just starting to
appreciate the interconnected nature of our
composition ingredients.
The topic of colour contrast takes us all the way

back to ingredient #1, and our colour wheel.
Colour contrast is all about how colours
interact with each other, and where they
sit on the wheel. As you may recall, colours on
opposite sides of the wheel are contrasting but
also complementary. When you use contrasting/
complementary colours together in an image,
they really work.
I’m not going to go into too much detail about

colour contrast because we’ve covered it already.
But, I do recommend you go back and review

ingredient #1. Paying special attention to the way
colours work together, the relationships between
warm/cool colours, and colour saturation.
I’ll also call out that tonal and colour contrast

go hand-in-hand. You can use colour contrast to
compensate for, or compliment, tonal contrast.
Contrasting colours of red and green at play. A chameleon I photographed in Madagascar.
130 131
3. Subject Contrast
To master subject contrast, you need to open
your mind because subject contrast relates to
the contrasts and conflicts of life. To help explain
subject contrast, I’d like to turn to the teachings
of design legend Johannes Itten.
Johannes believed the theory of composition

is rooted in contrast. He taught that great
composition comes down to great use of contrast.
Not just contrast between tone and colours, but

contrast between everything we can sense; large
vs small, hard vs soft, blurred vs sharp, delicate vs
brash, calm vs chaos, the list goes on. The contrast
possibilities are limitless, and the only way to
grasp the contrasts in front of you is to learn
“how to see” and “awaken a vital feeling for the
subject through personal observation”.
Contrast of jagged vs smooth. Moon Valley, Atacama Desert, Chile. 133

Johannes taught his students to see by following

3 important stages in the pre-visualisation
process. And I’d love to share these with you
because I know a lot of people can struggle with
the pre-visualisation process and who knows,
they could be helpful to you.
Step One: Experience the subject with

your senses
I know this sounds a bit woo-woo but give it a go.
Before you shoot, stop to observe your subject
and scene with your senses. That’s right, relax and
experience what you smell, feel, taste, hear and
see. When you experience your subject through
your senses, you notice the details, and suddenly
you’ll be conscious of important (but often
overlooked) contrasts around you.
One alive vs many dead trees, the Rockies in Canada. The truth is, we can all get so stuck in our heads.
So busy with our thoughts that we lose sight of
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134 135
“
Contrast is what makes
photography interesting.”
Conrad Hall
Near vs far. Salar de Uyuni, Bolivia.
Step Two: Study the contrasts intellectually I guarantee, the way you see and experience the
world is different to the person standing next
Before you roll your eyes again (I see you), just
to you, and photography is a way to share your
think about it. Once you’re aware of the diverse
unique experience and perspective.
contrasts alive in your subject/scene, you have an
opportunity to artistically highlight and showcase
them through your photography.
The best way to do this is to intellectually

consider the contrasts, what they mean, how they
relate, and the story they tell. After intellectual
observation, you’re free to consciously select the
contrasts that are important to you, and the story
YOU want to tell.
136 137
Step Three: Now, you can shoot OK, that wraps up our composition crusade FINLAND (LAPLAND) PUNA DE ATACAMA INDIA
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A process like this separates the professional from Ignacio Palacios – Peter Eastway Ignacio Palacios – Marsel van Oosten – Daniella Sibbing Ignacio Palacios
I completely agree with Johannes Itten – great

the amateur. And following this pre-visualisation
composition comes down to contrast.
exercise will take your photography to a whole
new level. That’s why I encourage you to study and work
to master the art of tonal, colour and subject
Trust me on this, and give it a go.
contrast. Practice them. Play with them. And
watch, as you take your compositions to the WONDERS OF PERSIA JAPAN IN WINTER MONGOLIA
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Life vs Death. This image was taken on tour in Bolivia.

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138 139
DEPTH & PERSPECTIVE
The eighth ingredient of composition mastery
140 141
10 INGREDIENTS OF COMPOSITION MASTERY DEPTH & PERSPECTIVE
Depth & Perspective

We both know, as photographers, we face a
major challenge. We’re trying to recreate a three-
dimension reality with a two-dimensional image.
So, it’s not surprising you can get frustrated when

the shot our camera captures looks nothing like
the amazing vista in front of you. I’ve been there,
I feel you.
The great news is, there is a way to craft well-

composed images that have a powerful three-
dimension effect, so much so, your viewer feels
like they’ve stepped into your scene/subject.
You do this through the artful use of depth and

perspective in your composition. Both perspective
and depth come down to how the objects in your
images relate to each other.
The space between them.
Their distance from the front to the back of your

image. Their size. And their placement.
If you manage and manipulate the depth

and perspective of the objects within your
composition, you can literally immerse your
viewer in your images. Giving them the sense that
they are there, and personally experiencing the
world through your eyes.
It’s powerful.
142 A lonely iceberg photographed in Iceland.

And with all of this in mind, let me share with You can manipulate your depth of field with focal
you how you can go about creating depth and length (lens choice), distance to the subject when
perspective in your photography. It comes down shooting, and aperture. I feel all of the above
to seven techniques: is too much information and requires a more
detailed explanation, so let’s keep it brief.
1. Depth of Field
I like to keep things simple, and I love to melt
The best way to understand depth of field is to
away the background to separate the subject
think about the behaviour of your eyes. Your
from the background in my images, in particular,
eyes are always moving around and focusing on
when I photograph animals and portraits. This
different things in front of you. Processing the
technique is called bokeh. I rely on lens quality,
complex elements in your environment in a split
aperture (the lower f-number the better) and my
second. As your eyes focus on an element/subject,
distance from the subject to do this. The distance
everything in front or behind it appears blurred.
from the subject to the background is also
This is depth of field. important.
Portrait of a child in Myanmar.
The shallow depth of field makes you look into the eyes, and her face painting and expression.
You, as the photographer, can use depth of field With all that said, there’s a little-known tip
to give you the power to decide what element/ when it comes to creating awesome images with
subject your viewer focuses on, blurring out shallow depth of field – it all comes down to the
everything around it. background and foreground. Yes, you heard me Another example of shallow depth of field, Western Mongolia.
right. If you ensure the foreground/background
Cool, right? are actually interesting, not just a random blur,
it tells a broader/deeper story. And your viewer
An image that is sharp, and in focus, from is drawn beyond the subject, encouraged to
foreground to background has what we call a go deeper.
deep depth of field. On the other hand, when
only an area of the image is in focus, and the
foreground/background around is it blurry, it has
a shallow depth of field. A shallow depth of field
obviously guides the eye more dramatically than
a deep depth of field.
144 145
This image shot in Morocco

uses a person on the
primary sand dune to
create a sense of scale.
2. Leading Lines Think about it, when you’re shooting. You know
the real size and scale of your subject and the
Do you remember ingredient #6? Well, if you do,
object around it, but you have to ask yourself –
then you’ll remember that leading lines are a
will your viewer get it when they can only see
vital part of great composition and happen to be
what’s in your two-dimensional frame.
very useful in establishing a perspective for your
viewer. In this ingredient, we also discussed the Chances are, they won’t unless you give them a
vanishing point and this is one of the simplest point of reference they understand to relate to.
ways to add depth to your image.
For example, when photographing something
Getting technical for a moment, the human eye large like a glacier or a mountain, it helps to place
judges distance by the way elements within a a relatable element such as a person, car, house,
scene diminish in size, and the angle at which animal or plane in the scene. Just as I did in this
lines and planes converge. image of Morocco, the single person on the first
sand dune puts the real size/scale of the desert in
3. Scale
perspective.
Another great way to create perspective is to help
Now, an important tip, don’t compose your image
the viewer gauge the scale of the objects in your
around the reference point. Compose as normal,
image. You can do that by comparing size. To do
and then look for a way to incorporate an object
this, you need a reference point your viewer can
of reference, so that it contrasts with the rest of
relate to.
the image naturally.
The Salar de Uyuni, Bolivia. 147

“
No perspective, no perception./
New perspective, new perception.”
Toba Beta
An example of overlap perspective. This image was shot in Puna Atacama, Argentina.
4. Layering The closer object covers and obstructs part of the

object that is further away, and that is a clue to
This may seem really obvious, but sometimes the
our brain that there is a distance between the
obvious can be overlooked.
two objects. This technique is known as overlap
Layering the objects in your image is a great perspective.
way to create depth and perspective. Often in
Building on the concept of layering, just as in real
real life, when an object is closer than another,
life, objects vary in tone as they get further away.
it overlaps it.
So highlighting the tonal change of objects based
on distance is another way to reinforce depth,
and this leads directly into the next technique...
148 149
5. Atmosphere
Faraway objects are also impacted/altered by
the atmospheric conditions between them and
the eye (or the camera). When I say atmospheric
conditions, I mean things like fog, dust, sunlight,
clouds, water, anything. These conditions
make the objects in the distance less distinct,
the contrasts become more subtle, the colour
changes, and as I touched on above, the tones
gradually change.
When you replicate this effect in your

photography, you’re creating a sense of distance
your viewer can relate to.
The image of the Horns is a composite image

where the bottom part includes fog, and a tree
that leads into the main peaks of this beautiful
Massif and mountain range.
The Horns, Torres del Paine National Park, Chilean Patagonia.
150 151
6. Shadows
As you know, I love using shadows to strengthen
composition and here’s yet another reason to love
them and use them strategically to enhance your
composition.
When an object casts a shadow, it not only gives

the photograph depth, but the shadow can also
highlight the three-dimensional quality of the
object. Your viewer will subconsciously use the
shadow to better understand the object and give
it perspective within your image and story.
The image at right from the Gobi Desert was

photographed at sunrise. The combination of
shadows and line travelling from the bottom left
corner of the image, helps to achieve a stronger
composition.
7. Viewpoint
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152 153
8. Lenses
We can’t talk about depth and perspective
without talking lenses. Now, lenses are a huge
topic in their own right, and a topic we’ll dive
into further in the future. But there are a few lens
tips and tricks that can help manipulate depth
and perspective that we have to touch on now.
If you want to increase the depth in your image,

then a wide-angle lens is the best option,
because it exaggerates the distance between the
foreground and the background, and makes the
objects around the edge of the frame appear
relatively smaller than the objects in the centre.
It’s also great for singling out your subject.
The image from Salar de Uyuni, was taken with a

wide-angle lens (14mm equivalent).
As you can see, it exaggerates the appearance of

distance; the distance between the objects in the
shot, and the distance between the camera and
the nearest element in the scene.
Leveraging the right lens to capture Salar de Uyuni, Bolivian Altiplano. 155
On the other hand, a telephoto lens compresses

the perceived distance between the foreground
and background. A long lens magnifies the size
of the background (again this is the opposite
to wide-angle lenses as they reduce the size of
the background). By magnifying the size of the
background, it gives the impression that it’s closer
– reducing perceived depth. This often creates
simpler images, and I love simplicity…
The best way to do this is to intellectually

consider the contrasts, what they mean, how they
relate, and the story they tell. After intellectual
observation, you’re free to consciously select the
contrasts that are important to you, and the story
YOU want to tell.
I guarantee, the way you see and experience the

world is different to the person standing next
to you, and photography is a way to share your
unique experience and perspective.
The image on the right was taken with a

telephoto lens that compresses the lines between
foreground and background.
Please don’t underestimate the importance

and power of depth and perspective in your
composition. I hope can use these eight
techniques to transform your images.
156 Sand dune in the Atacama Desert, Chile.

SUBJECT PLACEMENT
The ninth ingredient of composition mastery
158 159
10 INGREDIENTS OF COMPOSITION MASTERY SUBJECT PLACEMENT
Subject Placement
Do you remember the first time you picked
up a camera? Mine was a Kodak Disk that my
father (also a photographer), gave me for my
communion.
If you were anything like me, the moment

you picked up the camera, you had a dream.
In that dream, you saw yourself capture a
powerful photo of the subject in front of you.
An image that was so good; everyone gasped in
amazement.
Unfortunately, for most of us, that’s not how it

actually panned out. Rather than a remarkable
work of art, the image we captured was dull and
lifeless. Nothing like the masterpiece we saw
in our mind. And I can guess the reason why...
because we probably picked up the camera and
positioned our subject smack bang in the middle
of the frame. Creating a boring photo, with no
life, no story and no artistic soul.
We already know, when it comes down to

creating great images, composition is everything.
When it comes to great composition, subject
placement is everything.
The great news is, there are a few proven tricks

and techniques you can help you with subject
placement and frame your image like a pro. As
part of our composition crusade I’d like to dive
into three of the most effective and powerful:
1. The Rule of Thirds
2. The Fibonacci Spiral (a Golden Ratio)
3. The Phi Grid (also a Golden Ratio)
160 Frozen trees in Lapland, Finland.

Now, I’m not going to sit here and tell you one is 1. The Rule of Thirds
better than the other. Because you should never
The Rule of Thirds was created as a simple way
use just one, you should use all three. All the
to help artists to find that sweet spot and create
time. Every time you shoot and every time you
more natural off-centred compositions. The
crop your image while processing.
theory is that an off-centre composition is more
Being passionate about photography, I think it’s pleasing to the eye, looks more natural, feels
safe to assume you’re somewhat familiar with more balanced, and there’s a sweet spot for your
the Rule of Thirds. Today, my goal is to help you subject in the frame.
really understand it and feel comfortable using
The Rule of Thirds is quite simple; it divides the
it. While I appreciate you may not be as familiar
image into thirds, both horizontally and vertically
with the Rule of Third’s older and less famous
creating a grid with two horizontal lines and two
brother, the Golden Ratio. And as you can see
vertical lines (see image below).
above, the Golden Ratio has two frameworks that
are important to our composition crusade, the The reason I love the Rule of Thirds is that it
Fibonacci Spiral and Phi Grid. While they sound forces you to make use of the negative space
like painful medical procedures, once you get around your subject. Integrate the subtle, but
over the name, you’ll find they’re just as handy as essential, storytelling attributes of the broader
the Rule of Thirds. scene your shooting. Never forget that you’re not
merely capturing a subject, you’re creating a story.
So, let’s arm you with three subject placement
A work of art where every detail is important.
techniques you can use to transform your
composition. But if you place your horizon on one of the grid
lines, you’ll create a more interesting perspective.
I’m not saying you can’t ever place your horizon in

the middle of the frame, but it’s risky and tough
to pull off. And we’ll talk more about breaking
the rules in the last chapter of our crusade.
Salar de Uyuni, Bolivian Altiplano.
The rule of thirds and sweet spots.
162 163
“
In the beginner’s mind there
are many possibilities. In the
expert’s mind there are few.”
Shunryu Suzuki
Let’s take a look at a few examples of the Rule of Paine Grande and Condors, Patagonia.
Thirds in action:
Condors of Patagonia: The first example is

the image from the Paine Grande, Patagonia. In
this image you’ll see the condors near the peak
are positioned on the hot spot, which is the
intersection between a horizontal and vertical
line following the rule of thirds.
164 165
Fishermen in Myanmar.
Lonely tree in a mine in Queensland, Australia.
Three Fisherman: I’ve cropped the image so that

the fishermen are positioned on the bottom line,
true to the rule of thirds.
Lonely Tree: This image has appeared before in

our composition tips, but it is a great example to
show that the position of the tree was carefully
chosen when cropping the image to place it in
the intersection between a vertical and horizontal
line. This image received a Gold Award at the
NSW Awards in 2019.
166 167
Now we’ve got the theory down, let me give A centred composition
you a few tips when it comes to using the Rule
I have to call out that this rule doesn’t mean you
of Thirds.
can’t ever place your subject in the centre of your
The Rule of Space frame – there are countless successful compositions
where the subject is centred, and they work. In
If you’re using the Rule of Thirds when shooting fact, the Rule of Thirds can help you here too. If
portraits or wildlife, you need to keep the Rule you want to centre your subject, use the Rule of
of Space in mind. The Rule of Space is all about Thirds grid and place your subject between the
the direction in which your subject is moving, or two horizontal or vertical lines. Ensuring there is
looking, within your frame. Essentially, if you’re negative space around your subject.
shooting an animal running, you should place
more space in front of it rather than behind it. The Golden Ratio
The same applies to the eyes, there should be
About a millennium ago, a genius worked out
more space in the direction the subject is looking
that the ratio of 1 to 1.618 was incredibly pleasing
than behind them. By composing your image like
to the eye and went on to create the Golden
this, it enhances the illusion of movement and
Ratio. It’s since been scientifically proven that
helps move your viewer’s eye into your image
our human brain is attracted to, and hardwired
rather than out of it.
for this ratio because it organically manifests in
If we look at the image of the Penguins, you’ll nature – apparently, even our face follows this
see they’re positioned on the hot spot where a ratio. The ratio of 1:1.618 has also been named
vertical and horizontal line cross. “the perfect number” and just happens to apply
to famous works of art such as Leonardo da Vinci’s
They’re facing the right-hand side of the frame Last Supper and Michelangelo’s work on the
and therefore, it makes sense to locate the group ceilings of the Sistine Chapel.
on the left-hand side. It also makes sense because
two little petrels are flying in a diagonal line Impressed yet? Well, there are many
towards the penguins. interpretations of how we can use the Golden
Ratio in photography – and it can get a little
Post-processing technical, so for the sake of our crusade, let’s
focus on the two you really need to know about.
If you’ve messed up your shoot and your image
These are the Fibonacci Spiral, and Phi Grid and
composition isn’t great, don’t lose heart. You can
both have the potential to complement different
apply the Rule of Thirds during the processing
scenes and help you improve your overall image.
stage. You can easily crop your image and shift
the placement of your subject and key points of
interest to align with the Rule of Thirds grid. All Penguins and Petrels, Antarctica.
of the popular editing programs have the Rule of
Thirds position grid integration as a feature, so
you can crop and toggle to your heart’s content
until the composition aligns and feels right.
168 The Fibonacci Spiral 169

2. The Fibonacci Spiral or Golden Spiral

The Golden (Fibonacci) Spiral is based on the
shape illustrated on page 168. The brilliance of
the spiral is that the ratio of the smaller to the
larger part of the spiral is the same as the ratio of
the larger part to the whole. How do you use it?
Well, you place your subject or the most crucial

focal point of your image in the heart of the
spiral. Then frame the other prominent areas of
your image on the rest of the curve, as much as
you can, so you are leading your viewers along
the spiral to your subject.
If you look at the image from Karijini, you’ll see

it’s an example of an image that follows the
Golden Spiral. Of course, when I was shooting the
image, I didn’t think of the Golden Spiral at all,
but it looked very pleasing to my eyes. Once I was
at home in the processing phase, I realised that it
was following the Golden Spiral. The Mona Lisa embodies the Fibonacci Spiral.
I appreciate the Golden Spiral seems a little more

complicated than the Rule of Thirds, and you
probably think – why bother? Well, you should
bother for you, and your viewer. The Golden
Spiral will help your viewer naturally connect with
your image, flow with your story on a journey
of exploration along the sweeping curves of the
spiral. An image born out of the Golden Ratio,
naturally provides a very appealing balance to
your composition.
And just like the Rule of Thirds, you can apply

the Golden Spiral to your not-quite-perfect shot
during the post-processing.
Spa Pool, Karijini National Park.
170 171
3. The Phi Grid

While the Golden Ratio’s Phi Grid looks very
similar to the Rule of Thirds, it has one significant
difference – instead of dividing the frame into
equal thirds of 1:1:1, the Golden Ratio is applied
to divide the frame into sections resulting in a
grid that is 1:0.618:1.
This results in a set of intersecting lines that

are much closer to the middle of the frame – as
shown in the illustration here. While the Rule
of Thirds works well in many situations, the Phi
Grid some say creates a more visually pleasing
composition. Believe it or not, it creates a more
balanced image.
In landscape photography, the simple division

of a frame into thirds means that the placement
of a horizon line can still look a little obvious.
Placing your horizon on the Phi Grid lines can be
more impactful.
To give you an example of the Phi Grid in

action, refer to the image at left. The trekkers
are positioned more or less in the intersection
between vertical and horizontal lines that follow
the Phi Grid.
As with every ingredient we’ve covered so far,

I encourage you to play with these fabulous
framing and placement techniques.
Trekking Perito Moreno, Patagonia, Argentina. Use the principles when you photograph, and
use them when you edit.
You’ll be surprised how sometimes the most

straightforward concepts can be the most
powerful.
The Phi Grid.

172 173
BREAKING THE RULES
The tenth ingredient of composition mastery
174 175
10 INGREDIENTS OF COMPOSITION MASTERY BREAKING THE RULES
Can you believe it? We’ve reached the final

chapter of our composition crusade, and it’s fair
to say we’ve left the best till last.
Because I’m about to rock your world and

tell you that now you need to break the rules
we’ve learned.
Anyone who knows me, knows I’m not good at

following rules (just ask my parents). Conforming
to what the world thinks I should do and who
I should be has never worked for me. And when it
comes to my photography, it’s no different.
I appreciate the irony in this. We’ve just journeyed

through nine in-depth composition ingredients
built on the foundation of composition rules.
And we know these rules are designed to make
our photography and our life better. The rules
of composition mastery I’ve shared are critical to
great photography. No question!
However, if you want to become more than great.

If you want to become a true professional, award-
winning, and celebrated as a visionary in the
field of photography, then you need to find the
courage take the next step. You might need to
break the rules.
Breaking the rules of photography composition

can lead to remarkable creative results, if correctly
undertaken.
The secret to breaking the rules is knowing the

rules. You have to learn the rules first. Live them,
absorb them and apply them unconsciously and
naturally to your work. Once you’ve reached this
point, you’re ready to break them.
In the image taken in Iceland, the horizon is right

in the centre of the frame which goes against
the rule of thirds of composition. However, being
a square image and very graphic and simple, it
works well to break the rules.
176 Frozen lake in Iceland

I appreciate technical purists might tell you

something different, but I’m inclined to teach
creative illustration rather than technical
perfection. Getting too technical, can produce
photographs with little emotion, story and
connection.
I bet, at this point, you want me to list out the

5 ways to break the rules. But guess what, I’m not
going to do that. Because I can’t. No one can tell
you how to break the rules.
It needs to be intuitive.
The image on the right was taken in Salar de

Uyuni during a photography workshop with Ken
Duncan. In this case the subject matter is right in
the center of the frame and also, the horizon is
in the middle of the frame. This breaks all rules
of composition. Since there is a nearly perfect
reflection, breaking the rules works in this case.
Breaking the rules is where, your unique voice,

creative personality and style is born. As much as
I wish I could give you the secret tips to breaking
the rules – I can’t.
What I can do, is give you permission. Permission

to be you. To trust that inner artist’s spirit that’s
been screaming out to you for so long.
Listen, believe and do.
You won’t get it right the first time. But that’s OK.
That’s part of the crusade to composition mastery.
You simply have to try, embrace your failures
(because trust me, we all have them) and nurture
your moments of success.
Salar de Uyuni, Bolivian Altiplano.
178 179
“
My strongest motivation is to
create. I want to create beautiful
images of natural subjects
that can inspire others and
the joy comes from sharing those
incredible moments.”
Ignacio Palacios
Now, I want to say thank you. Thank you for

being a part of our composition crusade. It’s been
an adventure and I hope that this crusade helps
you in your photography journey.
That’s all I want. I want you to be the

photographer you know you can be.
This definitely isn’t the end for us. I’ve got lots
more tips, tricks and professional photography
secrets I can’t wait to share with you. Not to
mention epic travel stories and advice.
I’ll be back. We’ve got a lot of fun ahead of us.
180 181
10 INGREDIENTS OF COMPOSITION MASTERY
Acknowledgements
First and foremost, I would like to express my
deepest appreciation to Lee Siefken. This book
would not have happened without her drive, help
and patience. Also to Douwe Dijkstra once again
for his professionalism and skill in the design and
layout of this book. And lastly to Suzzane Telfer
for her help editing and proofreading this book
in such a short timeframe.
182
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www.iptravelphotography.com.au

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10 INGREDIENTS OF COMPOSITION MASTERY

3. Leading Lines p.42

4. Balance & Symmetry p.68

6. Pattern & Rhythm p.102

8. Depth & Perspective p.140

9. Subject Placement p.158

10. Breaking the Rules p.174

So, I took a different route. 10. Breaking the Rules

So, buckle up and get ready for an epic

Salar de Uyuni, Bolivia.

How to use colour in composition

Let me start by telling you I didn’t choose

A good photographer, or more to the point, a

At its core, there are four reasons I believe colour

So, if you want to tell a memorable story that

I can’t be blunter than that.

Now we understand the importance of colour

6 Abstract image of Lake Eyre, Australia.7

Keep it simple. Contrast works best with images

Analogous: These are the colours that sit side

Monochromatic: this is using one hue but

Before we move on, we have to take a moment

The primary colours, are colours that are not

To make things confusing yellow, red and blue are

The secondary colours in the colour wheel

The tertiary colours are created by combining a

12 An example of a monochromatic image. Captured in Atacama, Chile.

Ignorance is a choice here. Don’t be ignorant.

Tip four: be clear on the mood and emotional intent

Tip four: this tip is tied directly to tip three.

Before you take and process an image, you must

As an example, I use colour purposefully to evoke

Alternatively, I work closely with amazing

Your emotional intent and the colours you use

Tip five: control the visual journey with

We know light has a colour. As humans, the

Warm colours include red, orange and yellow.

As a rule, warm colours/hues tend to appear in

Tip six: never forget you’re human!

Never forget you’re human!

You have a natural, innate connection to colour

So have fun with colour. Feel it. Let it influence

If you do this, I promise you’ll create something

Beautiful 136 page A4-size

For more information

The colours of sunset in Madagascar. 21

Lighting up your composition

Creating magnificent images requires the

That said, let me state again that I believe in

If you can use light successfully in your image

So, without further ado, let me reveal to you

24 Lake Eyre, Australia.

Super-cool secret #1: remember, photography

Then, get equally as excited about light during

Let me share an example with you. On my last

During the post-processing stage, I was inspired

By approaching both stages of photography

Super-cool secret #2:

Don’t settle with the obvious shot. Yes, capture

Work the time of day. Get up early, shoot sunrise.

Scout your location before you shoot. This is a

Go in search of atmosphere. Light can naturally

An example of leveraging flat light. Image taken in Peru.

But that’s not always true. 

Balance is about harmony. 

Asymmetric balance occurs when you have