In Composition in landscape photography Nando Harmsen shows that a strong landscape photo is not just about beautiful circumstances or an impressive location, but especially about the way in which image elements are distributed over the surface. In this adaptation of Chapter 3, Basic compositional forms, the nine basic forms of composition are discussed: from symmetry and diagonals to triangles, movement and field composition.
Composition rules help place the subject in a photo, but provide little information about the best placement for other image elements. Dividing visual elements becomes easier by treating them as shapes.
There are nine basic compositional forms that form the basis for different variants and rules: symmetrical composition, central composition, asymmetrical composition, L-composition, diagonal composition, triangular composition, geometric composition, movement composition and field composition. Recognizing these basic shapes is educational and helps to create a good composition.
In landscape photography, not all nine basic forms work equally well, but a landscape will often automatically lead to a suitable basic form. It becomes easier to find a basic form by viewing the landscape as a collection of shapes, which helps to create a balanced distribution across the picture plane. In most basic shapes, the image axis plays an important role for a balanced distribution of image elements.
Nine basic compositional forms
Symmetrical composition
A symmetrical composition is created by placing image elements symmetrically in the image plane, with a vertical image axis in the middle. There are two variants: closed and open.
With the closed variant, important image elements are placed close to the image axis, which ensures a strong mutual relationship. In the open variant, image elements are further spread across the image plane, which can lead to a weaker mutual relationship, unless there is a connection across the image axis.
Central composition
The central composition uses a vertical and horizontal image axis that divides the image into four quadrants. The most important visual elements are placed at the intersection of the visual axes, which forms the point of interest.
There is usually room for one or two visual elements, but a group with a strong mutual relationship is also possible. The effect can be enhanced by lines leading to the intersection, drawing your eye into the photo.
Asymmetrical composition
In one asymmetrical composition the vertical image axis is not in the center, which creates extra tension in the photo. The best position for the image axis often corresponds to the rule of thirds or the golden ratio. The image axis is usually placed on the right side, but can also work on the left side depending on the visual flow and story of the photo.
Imbalance can occur if there are too many image elements on one side of the photo; secondary image elements can counteract this. The golden ratio is less likely to lead to imbalance than the rule of thirds.
L-composition
The L-composition is created by adding a horizontal asymmetrical image axis to the existing image axis. Important image elements are placed on or near these two image axes. This composition resembles the rule of thirds and can be applied in the four corners of the image plane.
The most important visual element does not necessarily have to be at the intersection of the lines; it is more important to distribute the image elements over the image axes. The position of the image axes must be balanced and can be close to the rule of thirds or the golden ratio.
In landscape photography L-composition often involves larger image elements that extend over one or two image axes, possibly combined with smaller elements.
Diagonal composition
The diagonal composition is a powerful and dynamic element in a photograph, where visual elements are placed along a diagonal line, giving a sense of movement and direction. There are ascending and descending diagonals depending on the viewing direction.
Diagonal composition is not the same as a regular diagonal line, but it can blend seamlessly. Rising lines introduce the photo and provide a pleasant viewing experience, while falling lines draw attention away from the center, which can be accommodated by directing attention back to the photo.
Triangle composition
The triangle composition is created when elements are placed on a vertical image axis, and can be oriented either upwards or downwards. It concerns the distribution of separate visual elements in this shape and is effective as long as the illusion of a triangle is visible.
There are two variants: the stable (pyramid composition) with a symmetrical distribution around the image axis, and the dynamic with an asymmetrical distribution. The dynamic variant gives a feeling of movement and action, while the attention remains focused on the vertical image axis.
Geometric composition
In one geometric composition visual axes are less important and there is often no clear point of attention. There are several vertical and horizontal image axes that coincide with image planes, which provides a geometric character. Although landscapes are usually organic, nature can sometimes exhibit order, such as in crystal forms.
Drone photography offers more possibilities for geometric compositions, especially in man-made landscapes such as fields, meadows and roads.
Movement composition
Movement composition is created by using random image axes, without a geometric basis or point of interest, creating an illusion of movement in the photo. Real movement is not present and images with actual movement do not necessarily fall into this category.
ICM (intentional camera movement) photography can sometimes be considered motion composition, even though real movement is created by moving the camera. Natural perspective distortion from wide angle or ultra wide angle lenses can also create a movement composition through converging lines and vanishing points.
Field composition
The field composition, also called overall composition, is a basic compositional form in which image axes are removed and image elements are randomly distributed over the image plane. This results in an infinite pattern that seems to extend far beyond the edges of the image. The characteristic aspect of this composition is the lack of a clear point of interest in the photo.
Conclusion
After learning the nine basic composition principles, it is clear that there is a lot of freedom in positioning visual elements in a photo. Yet this requires a well-considered choice, depending on the landscape and the possibilities it offers.
Basic compositional forms come from painting, where the artist has control over the visual elements. Portrait photographers have similar freedom, while landscape photographers are more limited. However, by playing with point of view, perspective and focal point, landscape photographers still have control over image elements. By looking carefully and experimenting, one can determine which basic compositional form works best.
Text: © Fotografie.nl based on Chapter 3 of Composition in Landscape Photography - Nando Harmsen
Composition in landscape photography -Nando Harmsen
Pages: 248
Price: €34.99
Publisher: VanDuuren Media
