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Session photo en studio pour Peta

There are no unbreakable rules when it comes to how you should compose your photographs. After all, who likes rules except for your old school principal or heads of H.R. departments? There are, however, several photography composition guidelines you can use to help improve the composition of your photos.
Here’s the thing about these ideas; they constantly contradict each other. And that’s ok. No one idea presented here is “better” than another. They can be used on their own, combined, or completely disregarded depending on what you are trying to achieve in your photograph. You won’t get sent to the principal’s office for ignoring them. I promise. After all, there is more than one way to cook an egg. Poached egg is obviously the best way though, and I’ll fight anyone who says otherwise.
In this tutorial, I’ve listed 28 of these guidelines along with examples of each. I’ve started with the most basic ones and finished with some of the more advanced composition techniques.
First of all, we have to define what is meant by ‘composition’. Composition refers to the way the various elements in a scene are arranged within the frame. As I’ve already mentioned, these are not hard and fast rules but guidelines. That said, many of them have been used in art for thousands of years and they really do help achieve more attractive compositions. I find that I usually have one or more of these guidelines in the back of my mind as I’m setting up a shot.
Here is an index of the 28 composition techniques covered in this article:
We’ll start with probably the most well-known composition technique: The Rule of Thirds.
So I’ve just told you that there are no hard and fast rules when it comes to composition and then the first thing I write about is the ‘rule’ of thirds. In my defense, I didn’t come up with the name. The rule of thirds is very simple. You divide the frame into 9 equal rectangles, 3 across and 3 down as illustrated below. Many camera manufacturers have actually included the capability to display this grid in live view mode. Check your camera’s manual to see how to turn on this feature.
The idea is to place the important element(s) of the scene along one or more of the lines or where the lines intersect. We have a natural tendency to want to place the main subject in the middle. Placing it off-center using the rule of thirds will more often than not lead to a more attractive composition.
In this photo, I’ve placed the horizon roughly along the bottom third of the frame and the biggest and closest trees along the line to the right. The photo wouldn’t have the same impact if the larger trees had been placed in the center of the frame.
In this photo of the Old Town Square in Prague, I’ve placed the horizon along the top third of the frame. Most of the buildings sit in the middle third and the square itself occupies the bottom third of the frame. The spires of the church are placed near the horizontal line to the right of the frame.
In this street photograph taken in my home city of Dublin, I’ve placed the woman in red walking along the street on the point where two of the grid lines intersect. The cobbled street roughly occupies the bottom third of the frame; the building ground floors frontages occupy the middle third and the upper floors of the buildings occupy the top third. Having the rule of thirds grid activated in live view on my camera really helped me with composition when I took this photograph.
Now that I’ve told you not to place the main subject in the center of the frame, I’m going to tell you to do the exact opposite! There are times when placing a subject in the center of the frame works really well. Symmetrical scenes are perfect for a centered composition. They look really well in square frames too.
This photo of the Ha’penny Bridge in my home city of Dublin was the perfect candidate for a centered composition. Architecture and roads often make great subjects for centered compositions.
Scenes containing reflections are also a great opportunity to use symmetry in your composition. In this photo, I’ve actually used a mix of the rule of thirds and symmetry to compose the scene. The tree is positioned off-center to the right of the frame but the perfectly still water of the lake provides the symmetry. You can often combine several composition guidelines in a single photograph.
Square cropped frames can be a suitable option for centered compositions. A square is completely symmetrical after all. I actually studied French and history at this university over twenty years ago. I had very little time for photography though as I was just so busy drinking beer discussing eighteenth-century French poetry and the merits of enlightened absolutism in Prussia with my fellow scholars.
Symmetry doesn’t always have to be vertical in nature. Reflections can create the perfect opportunity to capture some horizontal symmetry. Early morning and evening times often present good opportunities for reflections like this as the air cools and the wind drops.
Including some foreground interest in a scene is a great way of adding a sense of depth to the scene. Photographs are 2D by nature. Including foreground interest in the frame is one of a number of techniques to give the scene a more 3D feel.
In this photograph of a waterfall in The Netherlands, the rocks in the river provided a perfect source of foreground interest.
Adding foreground interest works particularly well with wide-angle lenses.
I took this photograph in the Dublin Docklands. The dock cleats along the quay provided the foreground interest in this shot. I think it adds a real sense of depth to the composition. The dock cleat in this scene was only a few meters in front of me when I took this shot. Including it in the frame portrays a sense of depth in the scene by including an element that I was quite close to as well as the bridge and buildings in the distance and everything in between them.
A friend who was with me that evening tripped over one of the cleats and almost ended up getting a very close-up view of the River Liffey. That’s one way of adding depth to the scene I guess.
Including a ‘ frame within the frame ’ is another effective way of portraying depth in a scene. Look for elements such as windows, arches, or overhanging branches to frame the scene with. The ‘frame’ does not necessarily have to surround the entire scene to be effective.
In the photo above taken on St Mark’s Square in Venice, I used the archway to frame St Marks Basilica and the Campanile at the far end of the piazza. The use of scenery viewed through arches was a common feature of Renaissance painting as a way of portraying depth. As you can see, the square was completely empty when I took the shot. This is one of the benefits of getting up at 5 am. Early morning is one of my favorite times to get out and about with the camera.
Frames don’t have to be man-made objects such as arches or windows. The photo below was taken in County Kildare in Ireland. This time, I used the tree trunk to the right and the overhanging branch to create a frame around the scene containing the bridge and boathouse. Notice that even though the ‘frame’ doesn’t actually surround the whole scene in this case, it still adds a sense of depth.
Natural features such as trees can also be used to frame a scene. In this case, the Autumn trees frame the stone bridge. In this case, I also used a centered composition with the bridge in the middle of the frame. Note that the frame doesn’t necessarily have to completely surround your subject. It could be trees on either side, as is the case here.
Using a ‘frame within a frame’ presents a great opportunity to use your surroundings to be creative in your compositions.
Leading lines help lead the viewer through the image and focus attention on important elements. Anything from paths, walls, or patterns can be used as leading lines. Take a look at the examples below.
In this photo of the Eiffel Tower, I used the patterns on the paving stones as leading lines. The lines on the ground all lead the viewer to the Eiffel Tower in the distance. You’ll also notice that I used a centered composition for this scene. The symmetry of my surroundings made this type of composition work well.
Leading lines do not necessarily have to be straight as illustrated by the picture above. In fact, curved lines can be very attractive compositional features. In this case, the path leads the viewer to the right of the frame before swinging in to the left towards the tree. I also made use of the rule of thirds when composing the shot.
It is often said that triangles and diagonals add ‘dynamic tension’ to a photo. My mother-in-law also does an excellent job of adding tension to any scene. What do we mean by ‘dynamic tension’ though? This can be a tricky one to explain and can seem a bit pretentious. Look at it this way, horizontal lines and vertical lines suggest stability. If you see a person standing on a level horizontal surface, he will appear to be pretty stable unless he’s stumbling out of a pub at 2 am. Put this man on a sloping surface and he’ll seem less stable. This creates a certain level of tension visually. We are not so used to diagonals in our everyday life. They subconsciously suggest instability. Incorporating triangles and diagonals into our photos can help create this sense of ‘dynamic tension’.
Incorporating triangles into a scene is a particularly good effective way of introducing dynamic tension. Triangles can be actual triangle-shaped objects or implied triangles. I’ll explain this in more detail in a moment.
This picture of the Samuel Beckett Bridge in Dublin incorporates plenty of triangles and diagonals into the scene. The bridge itself is an actual triangle (It’s actually supposed to represent a Celtic Harp on its side). There are also several ‘implied’ triangles in the scene. Notice how the leading lines on the right of the frame are all diagonal and form triangles that all meet at the same point. These are ‘implied triangles’. Having diagonals going off in different directions adds a lot of ‘dynamic tension’ to the scene. Once again you can see how I have combined two techniques to compose the image: leading lines and diagonals.
In this photo of the Hotel de Ville in Paris, the implied triangles and diagonals create a sense of dynamic tension. We are not used to seeing buildings leaning at such angles in our everyday life. It is slightly jarring to our sense of balance. This is what creates the visual tension. You can also talk about dynamic tension to sound intelligent (or annoyingly pretentious) in front of your friends.
Human beings are naturally attracted to patterns. They are visually attractive and suggest harmony. Patterns can be man-made like a series of arches or natural like the petals on a flower. Incorporating patterns into your photographs is always a good way to create a pleasing composition. Less regular textures can also be very pleasing to the eye.
The photo above was taken in Tunisia. I’ve used the pattern in the paving stones to lead the eye to the domed building. The building itself incorporates a pattern in the form of a series of arches. The domed roof also compliments the rounded arches below.
In this second photo, also shot in Tunisia, I really liked the texture of the stonework on the ground. This is less regular than the pattern in the first photo but the play of light and shadow on the surface is very pleasant. There are also interesting textures to be on the walls and roof of the passage. You may also have noticed that the arch creates a ‘frame within a frame’ around the man and cafe on the other side of the archway.
Sometimes using a pattern in your composition means breaking the pattern. This was actually suggested to me in one of the comments of the last article I wrote on composition.
I’ve already said that some “rules” are there to be broken. The same goes for patterns. Breaking the pattern can really make your photograph pop. In this case, the single red candle really stands out among the vanilla-colored ones. It’s also slightly taller than the others which is another way of breaking the pattern. Notice how the photograph still follows the rule of thirds.
In the world of photography, there are certainly plenty of ‘odds’ but the ‘rule of odds’ is something different entirely. The rule suggests that an image is more visually appealing if there are an odd number of subjects. The theory proposes that an even number of elements in a scene is distracting as the viewer is not sure which one to focus his or her attention on. An odd number of elements is seen as more natural and easier on the eye. To be honest, I think there are plenty of cases where this is not the case but it is certainly applicable in certain situations. What if you have four children? How do you decide which one to leave out of the shot? Personally, I’d go by future earning potential.
The photo above is an example of the rule of odds. I deliberately framed the scene to include three arches. I think that two arches would not have worked as well and may have divided the viewer’s attention. It also so happened that there were three people in the scene. This composition also makes use of patterns and ‘frames within a frame’.
In the photo of two gondoliers in Venice above, you will see that I’ve completely ignored the rule of odds. It is true that your attention may shift back and forth between each gondolier. However, this is exactly what a conversation between two people is like, a back and forth. For this reason, I think the even number of subjects works in this case.
This photo was also taken on Saint Mark’s Square. This time, it completely ignores the “rule of odds” several times in the frame. There are two principal human subjects, four street lamps, and two ornate columns, all even numbers.
It would also be a lot of trouble to get out my angle grinder to cut down one of the street lamps. As for the columns, I don’t know where I’d start. I’d need a very strong rope and a heavy truck at least. In Venice, that would have been a challenge. I could always ask one of the subjects to leave the scene or ask somebody else to join them I guess. Or I could just ignore the rule of odds.
Filling the frame with your subject, leaving little or no space around it can be very effective in certain situations. It helps focus the viewer completely on the main subject without any distractions. It also allows the viewer to explore the detail of the subject that wouldn’t be possible if photographed from further away. Filling the frame often involves getting in so close that you may actually crop out elements of your subject. In many cases, this can lead to a very original and interesting composition.
In the photo of my pet cat on the left, you’ll notice that I filled the frame completely with his face, even cropping out the edges of his head and mane. This allows the viewer to really focus on details such as the eyes or the textures in his fur. You may also notice that I used the rule of thirds in this composition. He is a lovely pet but you should see the state of our furniture. He also loves children but he couldn’t eat a whole one.
In the second shot of Notre Dame Cathedral in Paris, I have left very little space around the edges of the building. the point of this photograph is to showcase the architectural detail of the front façade of the building.
In this photo, Notre Dame Cathedral and the adjacent buildings almost completely fill the frame. This allows us to explore details such as the flying buttresses, the stonework, or the ornate balconies on the building next door. It is a scene where the eye wanders around the frame.
Once again, I am going to completely contradict myself! In the last guideline, I told you that filling the frame works well as a compositional tool. Now I’m going to tell you that doing the exact opposite works well too. Leaving a lot of empty or ‘negative’ space around your subject can be very attractive. It creates a sense of simplicity and minimalism. Like filling the frame, it helps the viewer focus on the main subject without distractions.
This photo of a giant statue of the Hindu god Shiva in Mauritius is a good example of using negative space . The statue is obviously the main subject but I have left plenty of space filled only by sky around it. This focuses our attention on the statue itself while giving the main subject ‘space to breath’ so to speak. The composition also creates a sense of simplicity. There is nothing complicated about the scene. It is the statue surrounded by sky, that is all. I also used the rule of thirds to place the statue to the right of the frame.
This simple landscape photograph makes use of negative space. The misty morning actually helped obscure some of the background elements making the tree on the left really stand out with little to distract from it.
In the last guideline, we saw how leaving negative space around the main subject can create a sense of simplicity and minimalism. Simplicity itself can be a powerful compositional tool. It is often said that ‘less is more’. Simplicity often means taking photos with uncomplicated backgrounds that don’t distract from the main subject. You can also create a simple composition by zooming in on part of your subject and focusing on a particular detail.
In this first photo, I zoomed in on some water droplets on a leaf in a garden. It’s such a simple subject but is also very beautiful because of its simplicity. A good macro lens can be a very useful tool for creating these types of photos.
In this second photograph of a tree at dawn, I made use of a very simple and uncluttered background to focus attention on the tree. This photo makes use of ‘negative space’ to create a sense of simplicity and minimalism. I’ve also used the rule of thirds and leading lines in the composition.
Converting a photograph to black and white can be a very effective method of simplifying your composition. In some ways, color itself can be a distraction. Black and white photography often allows us to focus on the textures, light, shadows, and shapes in the frame. Take a look at the following photographs taken along the Copper Coast in County Waterford, Ireland.
The light in this version actually isn’t all that interesting. It’s that harsh daytime light that is rarely conducive to spectacular landscape photography. The location itself has potential though. Let’s see what happens when we convert this image to black and white.
With the “distraction” of color removed, I think this becomes a much stronger shot. That harsh light now helps to highlight the textures on the tree, in the grass, on the cliffs, and in the sky. The bold shape of the tree stands out against the sky and the scattered clouds in the sky look more dramatic. The color was hiding much of this in my opinion. Not every shot is suited to a black and white conversion but in this case, I think it was.
Using a shallow depth of field to isolate your subject is a very effective way of simplifying your composition. By using a wide aperture, you can blur the background that might otherwise distract from your main subject. This is a particularly useful technique for shooting portraits. You can learn more about how to use different aperture settings in my tutorial on Aperture, Shutter Speed and ISO .
In this photo of a cat hiding in a box, I set an aperture of f/3.5 which is very wide and results in a very blurred background. This focuses attention on the cat as the blurred background is now less distracting. This technique is an excellent way to simplify a composition. You may have noticed that I also used this technique to focus attention on the water droplets on the leaf in the last guideline.
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