I've learned a few elements of photographic composition over the years. Some of my knowledge comes from attending school at Brooks Institute of Photography, some from attending art history and graphic design courses, some from reading books on the subject, and some from practical and professional experience.

Down through the ages, many artists have complied knowledge about what makes a good composition. Initially they just "knew" what they liked, but eventually they dicerned "why" they liked a composition. Additionally, in the modern age of advertising, many studies have been undertaken on how to make magazine advertisements that would be remembered, by having the viewer look for a longer time at the advertisement, before turning to the next page.

This knowledge has been combined into what some people call "Rules". I was never sure that there exist "rules" about composition, primarily because there are so many exceptions to the rules. So, for many years when I taught photography classes, I would use the term, "Guidelines". However, I wasn't really excited about that term either. Eventually I settled on liking the term, "Elements", which to me, are something you can use or not use, something akin to 2 parts Hydrogen and 1 part Oxygen to make water, or like mechanical tools in a tool box. In this case you can use the tools, or elements of composition to help make great photographs.

It should be noted that these elements of composition are not universal, in fact they are based mostly for the Latin or Roman reading cultures (and those others that are like them around the world). Most of these elements of composition are based on how people have been taught to read, which is not only recognizing letters to construct words, but also, more importantly for "visual arts" on the "action" that the eyes do in the process of reading. For Latin or Roman reading cultures this action starts in the upper left corner of a page, proceeds to the right, drops down a line and repeats until the end of the page is reached in the lower right corner. Some other cultures do not read in this manner, thus these elements of composition do not operate the same for them, as they are described on this web page.

Additionally; there are plenty of times an element of composition may not work for an image, additionally, a person should not try to combine "all" the elements of composition into any one image, however, applying several elements of composition can improve an image. It does take a little knowledge (hopefully provided here) of the elements of composition, and a creative, "let's try this" attitude, along with your personal experience over a length of time, and your personal composition taste, to get really good at knowing how to use these elements of composition.

Think about this... Edward Weston, a famous photographer, once said, "Consulting the rules of composition before taking a photograph is like consulting the laws of gravity before going on a walk." So, that's our goal, to not have to think about the elements of composition when taking a photograph, but just knowing what looks good, because we have learned and practiced using our tools, so well, that it is second nature. However, we all have to start somewhere, so let's get to it!

Most cameras are designed to be held horizontally to take horizontal photos, probably because we live in a horizontal world and our arms and hands are horizontally configured on our bodies. This works pretty darn good when our images show a lot of horizontal stuff, like horizon lines, receding multiple low mountain ranges, long dirt roads going from one side to the other side of an image or when our main object in the image is mostly horizontal..

However, there are times that you can create a better photo by turning the camera on its side. Sometimes, there are tall things around us and turning the camera on its side will emphasize that tallness, and de-emphasize the horizontal things.

One note, when taking a vertical photo, I would tell you to figure out which way to turn the camera based on which way feels more "stable" in holding the camera in your hands. I'm right handed and I turn the camera top to be on my right side, because I can then use my right hand for the shutter button and I can dig my elbows into my sides to hold the camera stable. For me, turning the camera top to the left would have my right elbow up in the air, not touching anything, which is not very stable.

The elements of thirds is based on the idea that our eyes are naturally drawn to things that are approximately 1/3 the distance from the edge of the image. I'm not really sure that's true, but doesn't it sound interesting? There are a lot of studies on this particular element of composition, thus it is one of the most often referenced techniques used in composition (Google it and see what I mean).

The basic idea is for the mind to make imaginary lines, both vertically and horizontally that divide up the image area into 1/3 sections. Then you see if you can place something "linear" in the image on one of the LINES or place some "object" at one of the INTERSECTION points of these imaginary 1/3 lines.

In the case of something "linear", placing the horizon on one of the horizontal imaginary 1/3 lines can either emphasize the "land" or the "sky", which ever is more suited or dramatic for that specific image. The exception to this "rule" is when the horizon or a strong line is placed right in the middle, half way between the top and the bottom of the image, sometimes that can work, but usually it's better when you do the 1/3 line.

In the case of an "object", placing it at the intersection of the 1/3 imaginary lines, seems to make that object more prominent in the image, it stands out better and in studies that tracked eye movements, it is looked at more often, than when an object was not on one of the 1/3 line intersection points.

If you don't "get anything" about composition from here on down this web page, use this... the Elements of Thirds, to your advantage. This one, is the really big composition tool to have in your tool box.

When using an object and the element of thirds concept (or some of the other elements of composition), it is interesting to think about if your object might show any directional characteristics, i.e., is the object "facing" any direction? If we go back to the idea of how we have learned to read and how our habitual eye movements occur, this can play a significant role in how long we can keep a viewer interested in our image.

From our learning to read we have been trained to enter a page of text at the top left corner, progress across to the right, shift back to the left edge, and repeat until we get to the bottom right corner, and then we're done, thus we turn the page. In other words, a page of text has taught us to start at the top left and exit at the bottom right. However, what would happen in an image that had an object that caused our eyes to break this habit and go back to the top left corner? Our mind and eyes usually want to follow any directional "clues" that are in an image. There have been a lot of studies on this subject and it has been shown where an image has something towards the right side that causes our mind and eyes to look back to the top left corner, we don't exit that image at the normal time, in fact, it takes some time of repeating this top left, to right side, back to top left, over and over again, until we finally decide to leave, via our normal exit place, the bottom right corner.

So, if you use one of the 1/3 intersection points on the right side of your image, with an object that has direction characteristics that take the viewers eyes and mind back to the top left corner (or just the left side), viewers will stay looking over your image longer.

The best intersection point is the bottom right, because you will catch the viewer, just before the normal exit place and send them back to the top left corner. Second best is the top right intersection point, you caught them earlier than the normal exit place, but you did catch them. The key element is that objects on the right side of your image should have a directional characteristic of going left. Additionally, for the bottom right corner intersection point, it could also have an "up" direction, as well, to help get back to the start place, the top left corner of the image.

If your object points to the right and down, that will give a clue to the viewer that it is time to leave the image and move on to the next image. This was actually used for positive effect in many double, side by side, magazine advertisements back in the 1970's. The left page would direct the viewer to the right page and the right page would direct the viewer back to the top left of the left page, to start the cycle all over again.

Curves seem to be pleasing feature to the human mind and eye, don't they? And, our world has plenty of natural and man made curves of all types. The most often curve thought about is the "S" curve. It makes our eyes follow it as soon as we see it. Our eyes trace the pattern of that "S", and it stimulates our mind into wondering what will be around the next bend of the "S". Placing objects very near to or on the "S" is also good, because that's what our mind was hoping for... that we would find out what's around the bend. The normal "S" shape can often take the viewer back to the top left corner to start tracing the shape of the "S" over again. If the "S" is backwards, it can often direct the viewer to the lower right exit point. The "C" or the revers "C" is almost as appealing as the "S".

Lines are also directional concepts. Objects that are long and thin usually stand out in images. We can have all directions of lines; vertical, horizontal, and diagonal. Our eyes often tend to scan in both directions on lines. When the line is wider at one end and narrower at the other end, there is a small tendency to look more often in the direction of the smaller end, as if the line were an arrow, pointing to something, yet many of these lines simply point to nothing and usually go right off the edge of the image. The viewer's eys simply go back and forth along that line. Lines can divide an image into different parts. If you can use a vertical or horizontal line with the Elements of Thirds, you'll usually have a great image. If you are looking symmetry, then placing a strong line to divide the image into two equal parts can work well.

Multiple lines can be parallel, converging or diverging. When a single line is combined with another single line, the two can have increased importance in the image. Lines can radiate from the object, directing the viewer into the object and also directing them outward in all directions.

Lines that are diagonal and not parallel to the rectangular edge of the image can be some of the most interesting lines in an image. Lines can direct a viewer in a certain direction. Objects on a diagonal line can indicate the main direction a viewer should go. If the objects are facing forward, towards the viewer, then the objects are "coming home", if the objects are facing away, then the objects are "leaving home" or "going on an adventure".

Having multiple objects in an image, the viewer often connects the objects together (making a line), with their eye going back and forth between the multiple objects. And, if the line created in the viewer's mind is a diagonal connection it can be very dynamic.

If you have one object high and another object low, it will create an imaginary diagonal line connection for the viewer. If the high object is on the right and the low object is on the left, the viewer's eye will be taken to the lower left corner of the image, where the eye might go back to the top left corner of the image and start over.

Having multiple objects in the image, the viewer can sometimes create connection lines that form a geometric shape, a dynamic triangle, in the case of three objects. Triangles that do not have equal length sides seem to be more interesting than those with equal length. Right angle triangles seem to be not as interesting as other triangle shapes.

Having an odd number of objects, 1 or 3, in your image has the psychological concept that the viewer is invited into the image to make it "complete" creating an "even" number of objects. We will tend to stay looking at that image with the odd number of objects for a longer time period as our mind gets pleasure from making the image "complete and even", by adding ourselves into the image.

We tend to like things that are evenly matched number of objects, like 2 or 4. If the image already has an even number of objects; we tend to think the image is complete and go on to look at other images.

If you want a strong image of just one object (all of it) and the background behind the object is unremarkable or a background that you want to minimize, then use the technique of making the object fill the frame.

That's where the object is very big, taking up almost all the area in the image. You don't, however, want the object so big that it is very close to the edges of the image. Remember back in the 1960's, the saying... "give me some space"? Well, you need to allow some "breathing room" around the edges of your object, so the outside edges of the image don't appear to be "crowding" the object too tightly in the image. This technique will sometimes cover up a lot of distracting small objects in the background. Using the directional concepts, always allow a little more space in front of your object, to give that sense of an ability to move forward. We like the idea of more room in front of an object, it implies the ability to move forward, something that most viewers are interested in.

If you can find something to act like an edge frame around at least two edges of the image, then you are increasing the viewer's focus to look at the main object that is "framed". The most often used natural frame is a tree trunk on one side of the image and the tree limbs and branches over the top edge of the image. Sometimes you can find a frame that causes a "tunnel" effect on both of the sides and the top of the image. If the frame is darker than the object, it will help the viewer see the main object more easily.

Simplicity in your image is very important. Most times we are refering about the background, behind the main object in your image. If there are a lot of distracting small objects, then the viewer's eye is usually attracted to those small objects and thus the viewer will become confused about what your message is within this image (look at the background or look at the main object?). Look over your image before pressing the shutter release on your camera. Does your main object really stand out from the background? Is there a simpler, cleaner background that you could use instead? Hedges or garage doord or any simple background is almost always prefered over a distracting background. This one is often referred to not just "looking", but, actually "seeing" what's in your image area.

A viewer's eyes are "bight" sensitive devices, not "dark" sensitive devices. Our eyes are attracted to objects that are bright; we have a much harder time seeing things that are dark. Having everything in your image "bright" will usually work well. Having your main object "bright" and the background "dark" will really make the main object more visible within the image. Having your main object partly in brightness and partly in darkness, or having everything in your image dark, will usually not produce an image that viewers will like to look at. Silhouettes are the exception where the main object is usually very dark, if not completely black, and the background is dramatically bright.