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Photography Composition - 12 Composition Rules for Your Photos to Shine By James Carren

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Rule of Thirds<br />

I want <strong>to</strong> start out with the rule of thirds because it was the first rule I learned as a new<br />

pho<strong>to</strong>grapher. It’s very useful <strong>for</strong> changing up your composition in interesting ways, and<br />

it’s very simple. Basically, despite what a lot of people believe, you just don’t want <strong>to</strong> put<br />

your subject in the middle of the frame. Now, you might be thinking, “But I know one of<br />

the other elements of design is balance.” And you’d be right. But there are a lot of other<br />

ways <strong>to</strong> create a much more dynamic sense of balance than <strong>to</strong> have everything smack in<br />

the middle of the frame.<br />

Granted, there are times where centering your subject can work out, such as: if there is a<br />

lot of movement or action in the background, if the subject in the middle is balanced by<br />

other items in the midground, background, or <strong>for</strong>eground, as the case may be, or if you put<br />

the subject just imperceptibly <strong>to</strong> one side of the middle. If you are a practiced<br />

pho<strong>to</strong>grapher, I would suggest that you experiment with these techniques and see what<br />

you think. If you are a brand new pho<strong>to</strong>grapher, odds are you’ve been centering things in<br />

your work since you started, so I want <strong>to</strong> completely break that notion <strong>for</strong> you.<br />

In order <strong>to</strong> effectively illustrate the rule of thirds, it would be helpful <strong>for</strong> you <strong>to</strong> either take<br />

out a print that you have or <strong>to</strong> pull one up in <strong>Pho<strong>to</strong>s</strong>hop. Using two horizontal lines and<br />

two vertical lines, divide the entire pho<strong>to</strong> in<strong>to</strong> thirds. Illustratively, you should end up with<br />

nine squares. What you want <strong>to</strong> see once you’ve done this is that the subject of the pho<strong>to</strong><br />

does not fall smack in the middle three squares. It’s fine if the subject does fall within<br />

them, but it needs <strong>to</strong> also fall more <strong>to</strong> the left or the right. This technique creates more<br />

dynamism within the pho<strong>to</strong>, allowing your eye <strong>to</strong> travel <strong>to</strong> it and then around the frame.<br />

Believe it or not, when you trap the subject right in the middle of the frame, the eye goes<br />

straight <strong>to</strong> it, as intended, but then has nowhere <strong>to</strong> travel <strong>to</strong>. The viewer gets stuck, and<br />

that is why centered pho<strong>to</strong>s are boring.

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