We started this section of the website by looking at specific cases in composotion buildinf and moved towards a general point around which the entire concept of composition is built. We can confidently say that composition is fundamentally balance in its various manifestations (even its intentional disruption is a compositional technique), and all specific cases are simply different ways to achieve that balance. These cases are numerous; even a slight variation in an already known technique creates a new one, so we can say they are infinite. For this reason, it’s no longer practical to examine them separately and in detail. Instead, in this chapter, we’ll briefly touch upon the most significant ones.
Diagonals and Triangles
Up until now, we’ve mainly discussed horizontal and vertical lines, noting that they give a photo a sense of balance and calmness. But what if we intentionally want to break that sense of calm and introduce dynamism into the frame? This is where diagonals and triangles come to our aid.
First, let’s start with two important clarifications:
- Triangles and diagonal lines don’t have to be physically visible lines. Often, a triangle in a photo is formed by the arrangement of objects within it, rather than by actual lines. For example, if three objects are positioned in the frame such that a triangle can be drawn connecting their apexes, then we already have a composition containing a triangle.
- Diagonal lines don’t have to extend from one corner to another. Any line that isn’t strictly horizontal or vertical is already a diagonal line. They differ only in their impact: the closer a diagonal line is to a true diagonal, the “stronger” its effect.
Triangles
Let’s start with triangles. This compositional technique is quite universal in its impact.
- If a triangle is “lying” on a horizontal plane, meaning its three apexes are objects on the ground, this sharply increases the photo’s depth, and the viewer gets a clear sense of the photo’s three-dimensionality. Such a triangle also introduces movement into the frame, with the direction of movement depending on which way the triangle’s apex is pointing. If it’s pointing upwards, we have movement going forward, moving away from us. Conversely, if the apex is pointing downwards, we have movement coming back, approaching us.
- Besides conveying dynamism and movement, a triangle can also do the complete opposite: calm the shot. For this, one side of the triangle needs to be parallel to the horizontal plane of the frame. This creates the impression that the triangle is at rest and won’t shift anywhere. And the opposite is also true: if a triangle is “standing” on one of its apexes, the viewer will feel a sense of tension, because subconsciously they understand that the triangle cannot stand on an apex; it must fall to one side to achieve balance.
- Leaving part of a triangle outside the frame is also an interesting trick. This can work in situations where we have a clearly defined triangle, and by cutting off part of it with the frame’s boundary, we allow the viewer to mentally continue the photo, expanding it.
- One way to emphasize balance is also to create compositions with isosceles or even equilateral triangles. Such a photo will have obvious symmetry, which, as you already know, can dramatically balance an image.
Diagonals
Conceptually, diagonals are quite similar to triangles, with the main difference being that there’s no mention of stillness here. A diagonal always implies dynamism.
Imagine a straight horizontal line, with a ball resting on it. What does that ball do? That’s right, nothing. It just stays in place; the image is static. Now, imagine we tilt that line, giving it an angle. What will happen to the ball? It will roll. Immediately, dynamism appears in the image. Diagonal lines create a clear sense of movement, giving objects potential energy and the entire frame a certain uncertainty.
We’ve already discussed diagonal lines in the chapter about leading lines, but it won’t hurt to reiterate their main characteristics.
Key Characteristics of Diagonal Lines
First, one of their important abilities is to give the photo a certain direction. We don’t see a photograph instantly and entirely (though we might think we do); instead, we “read” it. If diagonal lines are present in the frame, we instinctively start moving along those lines. Depending on whether we’re moving upwards or downwards, we feel a corresponding energy—positive or negative.
Diagonal lines help to make an image three-dimensional. For example, when photographing tall buildings from a close distance, one of the optical distortions you’re familiar with, distortion, occurs. Because of this, the building’s parallel walls cease to be parallel and begin to converge as they recede from us. Such diagonal lines clearly show that the building is tall and the frame has depth. The same effect can be seen when photographing a straight road from a very low angle: the road narrows on both sides, eventually becoming a single point, and again, we have image depth.
Finally, diagonal lines create tension. The explanation for this lies with the same example of the rolling ball. We subconsciously understand that standing still on non-horizontal surfaces requires a certain energy and tension, and we perceive photographs in the same way when there are no straight lines. This phenomenon is very successfully used in cinema when it’s necessary to disturb the protagonists’ calm, to show that they are not in a comfortable position. This technique is called the “Dutch angle,” and applying it is quite simple. You just need to rotate the camera, thereby creating a non-zero horizon line. This works very well in portrait and street photography genres, as our subjects here are people, and creating emotional tension is often appropriate.
Golden Triangles
The Rule of Thirds and the Golden Ratio are excellent techniques, but they have a limitation: they primarily work with strict horizontal and vertical lines. So, what do we do if a diagonal dominates our photo? This is where we turn to the Golden Triangles method.
It’s quite simple to construct. We take our photo and connect two opposite corners with a line. This divides the photo into two equal triangles. Then, from the apex of each of those triangles, we draw a line down to the diagonal, ensuring the intersection forms a 90-degree angle. This gives us four triangles, and these are what we call Golden Triangles.
As you’ve understood, a photo can be divided into parts in two possible ways with Golden Triangles, depending on which corners you initially connect. Its use is quite similar to the rules we’re already familiar with. We have one primary strong line (the diagonal), two additional lines, and two intersection points. Using all of these in one photo would yield fantastic results, but that’s not always possible. Usually, it’s feasible to use the main diagonal and one of the intersection points, which already has a considerably good effect on the shot.
Why to use it?
From a compositional standpoint, this technique solves several problems at once. First, it emphasizes the diagonal and turns it into a leading line, which ultimately leads to the main object (or objects). If you look closely at the overall construction, you’ll see that the intersection points are located closer to the edge of the frame than in the cases of the Rule of Thirds or the Golden Ratio. As you remember, this proximity imparts greater visual weight to an object. Thus, if there’s a need to emphasize or highlight your object, the Golden Triangles technique can be very helpful. Finally, with this technique, we simultaneously have several symmetries in the photo: the main one (to the right and left of the diagonal) and two additional ones (two pairs of triangles mirror each other).
Therefore, this not-so-well-known technique can be classified in the same league as the Rule of Thirds and the Golden Ratio. It performs well when we have a clear main object and need to harmoniously divide the frame into several visual sections, while still maintaining dynamism thanks to multiple diagonals. This is precisely what makes this technique so unique and loved by many.
The Rule of Odds
There are many “rules” in photography, but this one is truly unique, and even more unique is that it works (this has been proven by numerous experiments and surveys). So, here it is: A photograph is perceived as more visually pleasing and dynamic if the number of objects within it is odd.
One possible explanation for this strange phenomenon is that an odd number of objects allows the viewer to find the main one among them. If the number of objects is even, our brain groups them in pairs, and thus no single object is viewed separately and compared to the rest; instead, the groups are considered. However, with an odd number of objects, grouping isn’t so easy, and one object always remains alone. That one becomes the dominant object.
The other possible explanation is balance. With an even number of objects, a balanced shot doesn’t have a main object. Whereas with an odd number, we can clearly isolate the main object and place it on the axis of balance, then balance the remaining even number of objects around that axis.
When to use?
Of course, it’s not always possible to use this trick. What if you need to photograph four children? Which one do you ask to leave the frame? It’s also not possible to ensure an odd number of objects in spontaneous scenes where you cannot control the position and presence of objects.
In all other cases, it’s possible to create a composition using this rule. And perhaps this technique is most applicable in product photography, where you have absolute control over what appears in the frame, where it appears, and in what quantity. Instead of two plates, place three; instead of four accessories, use five, and see how your photo changes. Does it come into balance, or the opposite? Does the dynamism increase or decrease?
When the Rule of Odds Doesn’t Apply
Okay, now let’s understand when this rule doesn’t work.
First, in situations where we intentionally want symmetry. The same can be said about balance: some techniques inherently imply the presence of an even number of objects (for example, in conceptual balance, where objects contrast each other).
When photographing people, it’s also not always possible to apply this. If there’s a beautiful couple in the frame, a third person might genuinely be perceived as odd.
The Rule of Odds also doesn’t work when the number of objects exceeds seven. This is due to a certain limitation of our brain, where we no longer perceive a large number of objects as individual entities (which can be even or odd), but rather as an undifferentiated group.
Finally, another type of this rule is the Rule of One Object. One is also an odd number, isn’t it? And since it’s the only one, it will unequivocally capture the viewer’s entire attention. This works very well when we have one object that differs in some characteristic among many similar objects. For example, the single red rose in a bouquet of yellow roses would be the main subject. The abundance and similarity of the other roses will further emphasize the dominance of that red rose, thereby creating a powerful conceptual contrast in addition to the visually obvious one.
Negative Space and Left-to-Right Movement
When we have an interesting, eye-catching object, there’s a strong desire to give that object as much space as possible in the frame, allowing it to fill the shot. This might work in some cases, but not in situations where the object is in motion, and the direction of movement is clearly visible in the photograph.
Such photos are interesting because, although the object is static (which is natural for a photograph), the viewer clearly understands that in a few moments, the object will actually be in a different place. If that space in the frame isn’t left open, the viewer gets the impression that the object is about to hit the edge of the frame. Hence, a simple conclusion: if an object is moving, leave space in the direction of its movement within the frame. This trick also works very well if the direction of movement isn’t entirely clear and needs to be emphasized.
Direction of Movement: Left to Right
The other piece of advice related to movement concerns its direction: from left to right or right to left. There’s a common belief that we “read” a photograph from left to right. Therefore, if an object is moving, it’s desirable for it to also be moving from left to right. This way, the direction of reading the photo won’t be in opposition to the direction of movement.
This advice, of course, is quite problematic and raises many questions. In some cases, it works, especially when referring to people from European cultures where writing is done from left to right. However, there are many cultures where writing is done from right to left, or even from top to bottom. In any case, knowing about this technique won’t hurt, but whether it improves your photo or not will depend on the specific situation.
Repetition and Patterns
When certain parts of a photograph repeat in a predictable way, we’re dealing with one of the most interesting techniques in photography: repetition. Repetition can be found almost everywhere, both in nature and in man-made objects. And the good news is that we love repetition; we readily accept it.
Repetition is harmony. It’s the opposite of chaos and disorder. We like to see patterns (even if they aren’t actually there), because those patterns reduce the degree of uncertainty, allowing us to feel somewhat in control of the situation. This is the main reason why photographs containing repeating elements or patterns are so pleasant and calming. Moreover, this repetition doesn’t have to be perfect (and rarely will it be). The repeating elements can differ in size, shape, and tone. Here, the idea of repetition is more important than its sterile precision.
Broken Repetition: A Powerful Tool
A very effective trick associated with this technique is broken repetition. Imagine you have a repetition of an object or pattern: first, second, third… and suddenly, the fourth one. It’s missing, or it’s different, wrong, colorless, or overly colorful. That exception, that break in harmony, immediately draws attention to itself, while the perfection around it merely emphasizes its imperfection. This trick is successfully used in conceptual photography when the photographer has a clear message to convey, trying to show something and connect with the viewer.
Finding and Photographing Repetition
Although repetitions are everywhere, finding and photographing them isn’t always easy. Our brain perceives repetition as too natural and doesn’t always notice it amidst the chaos of the surrounding world. So, the first piece of advice: start looking for repetitions, whether with a camera or without. You need to first train yourself to distinguish and see them, to look at familiar scenes with a different eye. Initially, you’ll only start noticing geometric repetitions, but gradually, color and tonal repetitions will be added, as well as abstract repetitions.
The next question is, how to photograph them? Here, you need to show some creativity to avoid a flat and boring shot. Try to capture the same scene from different angles, focusing on a part or the whole. Combining it with other compositional techniques also works very well—for example, the Rule of Odds or the use of diagonals.
