Ever wonder what makes professional photographs more interesting or impactful than amateur photographs? You look at them and think they’re just better. Although many factors affect a photograph’s efficacy, the easiest way to take your photos from good to great is by using the Elements of Composition.
The Elements of Composition work together or individually to give your subjects impact. Combined with your individual style, you can create unique, moving photographs that reflect both the subject matter and the photographer’s character and personality.
The goal is to use the Elements of Composition where each component adds to the image but nothing detracts from it. Photography is about combining creativity with technique.
In this post, I will outline some of the more commonly used elements of composition. We will discuss what they are, why they’re useful, and how to use them successfully. I’ll be using plenty of demonstrative photos along the way, too.
To note, this is not all of the varying elements of composition. Not only would that be an obnoxiously long post, but the consensus varies on what the elements of composition are. Some say there are 8. Some say 10. Others talk about 20 or more.
Ultimately, we can use plenty of compositional techniques as photographers to create the most effective image. I will be discussing the most common ones I notice.
Alright, let’s get into it.
The Rule of Thirds
By far, the rule of thirds is my most considered element of composition.
Start by drawing an invisible grid inside your frame, 3 x 3, or 9 even squares. This grid will change depending on the size and shape of your intended canvas. Now, with that grid in mind, the rule of thirds dictates that your subject or focal point is most visually appealing when it falls on one of the four grid intersections and/or when your horizon or dividing line falls on one of the horizontal or vertical gridlines.
Take a look at these examples.
In a previous post about how to analyze photos to improve your technique, I mentioned that a centred horizon line is often less attractive than one that falls on the top or bottom third line. Additionally, a perfectly centred subject in the frame is often not as attractive as one placed slightly to the side, lower or higher in the frame.
Try composing your image with the rule of thirds in mind and experiment with placing your subject off-centre.
The Rule of Odds
The Rule of Odds is simply the idea that things are most visually appealing when displayed in odd numbers: 1, 3, and 5.
However, sometimes your subject matter is represented in numbers larger than 5. In these cases, you must look at everything inside your frame and think about it as bodies of subjects. This can be difficult, but I like to blur out my image in my head and see what seems to be blurring together in contrast to other elements.
We can group subjects with a similar tone or the same colour or size together. We will talk about layers in a minute, but we can also group things in the foreground or background.
Take a look at these examples.
To put this into practice, always think in odds. Like the rule of thirds, divide your image into its subjects or bodies of subjects and try to have them add up to an odd number.
Leading Lines
As the name suggests, these refer to any line – straight, curved, parallel, converging, intersecting, etc. – that leads to your subject or focal point. This technique, quite literally, guides the viewer’s eyes right to your intended target.
Here are some successful examples.
Leading lines are not always present, but you may find them in places you wouldn’t expect if you keep them in mind as you’re shooting. Move your body, walk around, and look at everything around you to find those lines that lead to your subject.
Lines
To expand, lines in an image don’t necessarily have to lead to a subject to be effective; they can be the subject, in a way. Lines draw the viewer’s eye around the photo. Even if they don’t lead anywhere obvious, combined with other compositional elements, they can tell their own story through that visual dance they’re performing.
Frame Within a Frame
This one refers to placing your subject inside of a frame within your frame.
This can be taken as literally as your model physically holding a photo frame around their head while taking their portrait. We can also use it more creatively by placing the model inside of a car, taking a picture of them through the window, for example. Moreover, frame within a frame can happen naturally while taking a nature photograph of a squirrel inside a tree’s knot.
All of these work a little bit like leading lines, emphasizing your subject or focal point.
Framing your subject doesn’t have to be obvious, either; it can be done subtly and still be effective.
Here are a variety of examples.
My top tip when it comes to composing an image is to always be aware of your surroundings. Look around and move around until you find a composition that excites you. Frame within a frame could be behind the tree or on the other side of the window, or past the fence. You never know until you scope it out.
Texture
The texture is something people often forget about when it comes to a two-dimensional photograph, but the texture of an image can completely change it for the better. Texture often adds tonal variance and depth to a photo because it creates some level of contrast.
If you want to emphasize texture even more, experiment with contrasting textures in the same frame.
Here are some examples where texture plays a huge role in the appeal of these photographs.
I am a fan of texture. It comes naturally to me to notice texture in my surroundings, and it draws me into photographing it. Try looking for textures around you and lighting that make it stand out. Contrasting textures are also visually engaging. Get creative with this one!
Side note: I find some of the best-textured photographs shine in black and white.
Selective Focus or Depth of Field
Selective focus simply means keeping one area in focus while allowing everything else in the frame blur out. Shallow depth of field is often used to isolate a specific area or subject in a photograph.
Selective focus is prevalent in macro photography, nature photography, and portraits.
Take a look at a few examples.
To achieve this effect, we use the aperture setting on your camera: the lower the f-stop, the more the background will blur. I have a whole post talking about the exposure triangle and how to balance the different settings. That post talks about the technical side of the setting; this is the creative element of aperture.
Try exposing your image with a low aperture and focus on different subjects in your frame. You’ll likely find some beautiful effects.
Diagonals and Triangles
Using diagonal lines and triangular shapes add dynamic tension to a scene that is more visually interesting. It’s tricky to explain.
Horizontal and vertical lines suggest a sound structure. Walking on a flat ground feels safe, even in poor conditions where walking downhill or uphill under the same conditions is tense. The Leaning Tower of Pisa in Italy is a somewhat unnerving structure to look at because it’s not straight; you feel like it could tip over at any moment. Artwork on the wall looks off if it’s not perfectly level.
Though a little less dramatic, diagonal lines and triangles in photography emit a degree of tension.
Besides having diagonal or triangular subject matter, there are other ways to compose your photos for diagonals. Dramatic perspective often leads to diagonal lines, so think about the angle you’re shooting at and try getting low or up high.
Repetition or Patterns
The repetition of patterns creates a sense of continuity and unity in a photograph; it is very appealing to the eye. This element of composition works very well with the rule of odds where the repetition works exceptionally well in odd numbers – 1, 3, 5, etc.
Here are some examples.
Repetition is a relatively simple concept to put into practice because it’s entirely the subject matter. Look for simple subjects that repeat themselves three or more times or stage your subjects in odd multiples.
Pattern Breakers
Also known as the odd one out, a pattern breaker is one point in the photograph that is strikingly different from everything else. Pattern breakers can manifest as many different things, such as colour, value, direction, shape, size, etc.
Negative Space
Negative space refers to any area within the frame that is virtually unoccupied. This is one of the most challenging elements of composition to master, in my opinion, because of the fine line between negative space and dead space. Negative space draws attention to the subject where dead space distracts from the focal point.
Here are some successful examples.
The critical thing to think about when working with negative space is why.
Why is there so much empty space? Why does the subject call for so much space around/below/above/beside it? Does that space give the photo dramatic impact? What kind of story is all that space telling? If you can answer those questions successfully, then you’ve probably used negative space effectively.
When you’re practicing this, I recommend trying multiple ways. Compose with a lot of negative space but also compose tight to the subject. Or frame with a lot of negative space and then fill the space and see how that looks. Looking at the shots later, it might become clear which is most effective.
Layers or Depth
This element of composition refers to the foreground, the middleground and the background. These layers are most prominent in landscape photography, but they can apply to any genre.
Generally speaking, a successful photograph combines all three of those layers. Just like the rule of odds, layers work closely with the rule of thirds, often placing those layers on specific regions of your invisible grid to make it most visually appealing. Here are some examples of photos using layers.
Combining these layers with perfect harmony takes time and patience. You’ll often find yourself in situations where the background is breathtaking while the foreground is ugly or non-existent. Or, the foreground or middleground is eye-catching while the background is unattractive or distracting. There are ways to deal with that but ideally we want the best of all three.
There’s no fast-track, quick fix or hack for finding and balancing your layers. It takes time. Like I’ve said over and over again in this post: move your body. Look around and try different angles and perspectives.
One tip I have is to compose with your phone before taking a shot with your camera. When I take a picture on my phone, I can be more critical of the compositional elements. Once I take the photo on my camera, I get excited and miss areas of improvement.
Summary
The ten elements of composition:
1. Rule of Thirds
Divide your frame into nine equal sections and place your subjects, or dividing lines, on a line or intersection.
2. The Rule of Odds
Photograph using odd numbers of subjects or bodies of subjects.
3. Leading Lines
Use lines in your frame to draw the eye around the image or to your subject or focal point.
4. Frame within a Frame
Find areas of your scene that frame your subject or focal point.
5. Texture
Use texture to deepen the tonal range of your image and add interest.
6. Selective Focus
Lower your aperture and focus on your subject so that the rest of the image blurs out.
7. Diagonals and Triangles
Create dynamic tension in your images with diagonal lines or triangular shapes through your subject matter or perspective.
8. Repetition or Pattern
Photograph repeating subjects or patterns, preferably in odd numbers.
9. Negative Space
If unoccupied space around your subject is warranted, leave it there!
10. Layers
Balance your foreground, middleground, and background to create a harmonious photograph.
Conclusion
The elements of composition are some of the most essential creative aspects of photography, and other art forms, to master. They set you up for good photos every time.
First, try focusing on one or two at a time with all of your photos; take a few extra seconds or minutes before pressing the shutter release to consider your composition. Make some adjustments. Then, capture it.
After a while, try combining two or more elements of composition in one photo. Look for subject-based elements like leading lines or repetition and pair it with stylistic features like selective focus.
Keep an eye out for a follow-up with more elements of composition explained, coming soon!
Until then, let’s give it a shot!