Composition Fundamentals

Composition is the arrangement of visual elements within the frame. Good composition guides the viewer's eye, creates visual interest, and communicates your intent. Unlike exposure or focus, composition has no technically "correct" answer—but understanding principles helps you make deliberate choices.

This guide covers fundamental composition techniques and when to apply them.

The Rule of Thirds

The Principle

Divide the frame into nine equal parts using two horizontal and two vertical lines. Place important elements along these lines or at their intersections.

Why it works:

• Creates dynamic, asymmetrical balance
• Avoids static centre placement
• Provides natural resting points for the eye
• Matches how we naturally scan images

Applying Rule of Thirds

Horizon placement:

• Lower third: Emphasises sky (dramatic clouds, sunset)
• Upper third: Emphasises foreground (interesting ground, reflections)
• Centre horizon: Often static, but works for perfect reflections

Subject placement:

• Place eyes at upper third intersection in portraits
• Position moving subjects with space in the direction of movement
• Anchor vertical subjects (trees, buildings) to side thirds

When to Break It

Centre placement works for:

• Perfect symmetry (reflections, architecture)
• Direct confrontation (intense portraits)
• Isolation (single subject, minimal background)
• Square format (natural central strength)

Edge placement for:

• Tension and unease
• Suggesting something outside frame
• Extreme negative space effects

Leading Lines

What They Do

Lines within the image direct the viewer's eye through the frame, typically toward the main subject or into the scene's depth.

Types of Leading Lines

Converging lines:

• Roads, railway tracks, paths
• Rows of trees or posts
• Building edges
• Create strong depth and draw eye to vanishing point

Diagonal lines:

• More dynamic than horizontal or vertical
• Suggest movement or energy
• Can lead from corner to subject

Curved lines:

• S-curves are particularly pleasing
• Rivers, winding roads, shorelines
• Gentler guidance than straight lines
• Create flow through the image

Implied lines:

• Direction of gaze
• Pointing gestures
• Arrangement of objects
• Viewer's eye follows these automatically

Using Leading Lines Effectively

Common mistake: Lines that lead the eye out of the image or to unimportant areas weaken composition.

Framing Within Frames

The Technique

Use elements within the scene to create a frame around your subject—windows, doorways, arches, branches, or any natural boundary.

Why Framing Works

Focus attention:

• Naturally directs eye to framed subject
• Reduces distracting surroundings
• Creates clear visual hierarchy

Add depth:

• Frame in foreground establishes layers
• Creates sense of looking through
• Adds three-dimensional quality

Provide context:

• Frame can tell part of the story
• Shows relationship between elements
• Adds environmental information

Finding Frames

Architectural:

• Doorways and windows
• Arches and tunnels
• Bridges and underpasses
• Building openings

Natural:

• Tree branches overhead
• Cave or rock openings
• Gaps in foliage
• Natural arches

Human-made:

• Mirrors
• Holes in fences
• Vehicle windows
• Any opening or aperture

Framing Considerations

Complete vs partial frames:

• Full frames surround the subject entirely
• Partial frames suggest enclosure
• Both can be effective

Sharp vs soft frames:

• Sharp frame draws attention to itself
• Soft/blurred frame (wide aperture) is subtler
• Choose based on frame's importance to the story

Symmetry and Patterns

Symmetry

Types:

• Reflective (mirror image across axis)
• Radial (elements radiate from centre)
• Approximate (near-symmetry, slight variations)

When to use:

• Architecture and design
• Reflections in water or glass
• Formal, structured subjects
• Creating calm, balanced feel

Breaking symmetry:

• Perfect symmetry can feel static
• One asymmetrical element adds interest
• "Almost symmetrical" creates tension

Patterns

Finding patterns:

• Repeating shapes or textures
• Rows and grids
• Natural patterns (leaves, waves, bark)
• Urban patterns (windows, tiles, crowds)

Using patterns:

• Fill frame for abstract effect
• Use pattern as background
• Break pattern with contrasting element
• Show pattern's extent for scale

Negative Space

Understanding Negative Space

Negative space is the empty or minimal area around your subject. It's not "nothing"—it's an active compositional element.

Why Negative Space Works

Emphasises subject:

• Isolation draws attention
• Subject has room to "breathe"
• Eliminates competing elements

Creates mood:

• Calm, contemplative feeling
• Sense of solitude or vastness
• Minimalist aesthetic

Implies scale:

• Small subject in large space = vulnerability, insignificance
• Suggests environment's dominance

Using Negative Space

Proportion:

• More negative space = stronger effect
• Subject might occupy only 10-20% of frame
• Extreme ratios create dramatic impact

Tone and texture:

• Plain backgrounds work best
• Sky, water, walls, fog
• Consistent tone prevents distraction

Subject placement:

• Off-centre placement with directional space
• Leave room for implied movement or gaze
• Avoid cramping subject against frame edge

Foreground Interest

Adding Depth with Foreground

Including foreground elements creates layers that draw the viewer into the scene, particularly important in landscape photography.

Effective Foreground Elements

Natural:

• Rocks and boulders
• Flowers and grasses
• Water ripples
• Fallen leaves or branches

Human-made:

• Fences and gates
• Paths and roads
• Boats and equipment
• Architectural elements

Foreground Technique

Position low:

• Getting camera close to ground emphasises foreground
• Wide-angle lenses exaggerate perspective
• Creates dramatic near-far relationship

Ensure sharpness:

• Small apertures for front-to-back sharpness
• Hyperfocal focusing maximises depth of field
• Or deliberately blur foreground for different effect

Connect to background:

• Foreground should relate to main subject
• Creates visual journey through image
• Avoid random foreground that doesn't support composition

Depth and Layers

Creating Three-Dimensional Images

Photographs are two-dimensional, but composition can suggest depth through careful layering.

Building Layers

Foreground:

• Closest elements
• Often at bottom of frame
• Provides entry point

Middle ground:

• Where main subject often sits
• Primary area of interest
• Bridge between front and back

Background:

• Furthest elements
• Provides context and environment
• Should support, not distract

Depth Techniques

Overlapping elements:

• Objects partially covering others
• Clear spatial relationships
• Simplest depth cue

Size relationships:

• Smaller = further (for same-sized objects)
• Known objects provide scale reference
• Perspective diminution

Atmospheric perspective:

• Distant objects appear lighter/hazier
• Colour desaturation with distance
• Common in landscape photography

Focus gradation:

• Sharp subject, soft background (or vice versa)
• Depth of field as depth indicator
• Selective focus guides attention

Balance and Visual Weight

Understanding Visual Weight

Different elements have different "weights" in a composition—some draw the eye more strongly than others.

What Carries Visual Weight

High visual weight:

• Bright areas (especially against dark)
• High contrast
• Human faces and eyes
• Text or recognisable symbols
• Warm colours (reds, oranges)
• Sharp/focused areas
• Complex textures
• Unusual or unexpected elements

Low visual weight:

• Dark areas
• Low contrast
• Empty space
• Soft/blurred areas
• Cool colours (blues, greens)
• Simple textures

Balancing the Frame

Symmetrical balance:

• Equal weight on both sides
• Stable, formal, restful
• Can feel static

Asymmetrical balance:

• Unequal elements balanced against each other
• More dynamic and interesting
• Requires more careful arrangement

Example: A large dark area can balance a small bright subject. A single figure can balance a distant mountain. The eye accepts these as balanced even though the elements differ.

Intentional Imbalance

Deliberately unbalanced compositions create tension and unease—useful for unsettling subjects or dynamic energy.

Aspect Ratio Considerations

Common Film Formats

Composing for Your Format

35mm (2:3):

• Natural for horizontal landscapes
• Works well with rule of thirds
• Portrait orientation good for figures
• Most versatile aspect ratio

Square (6×6):

• Strong centre composition
• Symmetry works naturally
• Diagonals become important
• Less obvious "up" or "across"
• Can crop later to any ratio

6×7 and 6×4.5:

• Near-square behaviour
• Slightly more flexible than true square
• Natural match to traditional print sizes

Panoramic:

• Requires horizontal sweep of interest
• Leading lines particularly important
• Consider left-to-right reading flow
• Can feel like a window view

Composing for Cropping

From square:

• Many photographers compose 6×6 with cropping in mind
• Compose with "safe area" for various ratios
• Or embrace the square deliberately

Enlarger cropping:

• Darkroom printing allows cropping
• Compose with options in mind
• But best results from using full frame

Format-Specific Composition

35mm Considerations

Film's limited frame count teaches intentionality. With 36 (or 12, or 10) exposures, you learn to wait for the decisive moment rather than spraying and hoping.

Advantages:

• Easy to rotate for portrait/landscape
• Quick handling encourages experimentation
• Many frames per roll reduces preciousness

Common approaches:

• Horizontal for landscapes, environmental portraits
• Vertical for single figures, architecture
• Quick framing for decisive moments

Medium Format Considerations

6×6 square:

• Compose definitively or for cropping
• Diagonals gain importance
• Waist-level finder encourages different angles
• No need to rotate camera

6×7:

• Similar to enlargement paper ratios
• More considered, slower shooting
• Excellent for portraits (vertical format)
• Natural for landscapes (horizontal)

6×4.5:

• Most frames per roll in medium format
• Portrait-oriented by default
• Good compromise of quality and quantity

Large Format

4×5:

• Near-square ratio
• Ground glass composing is deliberate
• Movements allow perspective and focus control
• Every composition is considered

8×10:

• Similar to 4×5 compositionally
• Contact printing means full-frame is essential
• Ultimate deliberation

Practical Exercises

Exercise 1: Single Subject, Multiple Compositions

Exercise 2: Leading Lines Hunt

Exercise 3: Negative Space Study

Exercise 4: Layer Building

Common Composition Mistakes

Centred Everything

Problem: Every subject dead centre creates monotonous images.

Solution: Use rule of thirds as default; centre deliberately when it serves the image.

Cutting at Joints

Problem: Cropping people at knees, elbows, wrists looks awkward.

Solution: Crop at mid-thigh, mid-forearm, or include the full limb.

Mergers

Problem: Background elements appear to grow from subject (tree from head, pole from shoulder).

Solution: Check background carefully; move camera position slightly.

Cluttered Frames

Problem: Too many competing elements with no clear subject.

Solution: Simplify. Move closer, change angle, use shallow depth of field.

Tilted Horizons

Problem: Unintentional horizon tilt looks careless.

Solution: Use camera grid lines, check level before shooting, correct in post if needed.

Subject Cramped

Problem: Subject pressed against frame edge with no breathing room.

Solution: Leave space in the direction of gaze or movement.

Summary

Rule of thirds:

• Powerful default for placement
• Place key elements on thirds or intersections
• Break deliberately when centre or edge serves better

Leading lines:

• Direct the eye through the frame
• Should lead to something meaningful
• Diagonals and curves are dynamic

Framing:

• Use scene elements to create frames within frames
• Focuses attention and adds depth
• Can be complete or partial

Symmetry and patterns:

• Create order and visual interest
• Breaking symmetry/pattern creates focal point
• Square format strengthens symmetrical composition

Negative space:

• Empty space is active compositional element
• Creates isolation, mood, scale
• Subject doesn't need to fill the frame

Foreground interest:

• Adds depth and entry point
• Particularly important for landscapes
• Should relate to main subject

Depth and layers:

• Build images with foreground, middle, background
• Use overlapping, size, atmosphere, focus
• Creates three-dimensional feeling

Balance:

• Visual weight creates compositional equilibrium
• Asymmetrical balance is dynamic
• Intentional imbalance creates tension

Aspect ratio:

• Different formats suit different subjects
• Learn one format deeply
• Compose for your specific ratio

Composition is both intuitive and learned. Study images you admire—analyse why they work. Shoot deliberately, review critically, and over time, strong composition becomes instinctive.

For more on using composition to convey meaning and emotion, see our visual storytelling guide.