Back in the days when I was shooting landscapes, only 1 out of 10 of my photos were taken vertically. Now, 17 years later (yeah, I’m getting old!), it’s the opposite. I started out capturing wide vistas and loved creating panoramas to remember those views. Today, I focus more on finding leading lines and connecting the foreground with the background. Plus, with Instagram as the primary platform to showcase work, vertical photos have naturally become more popular. Both formats have their pros and cons, but in this article, it’s all about the vertical format!
The vertical format refers to images where the height is greater than the width. Common ideal aspect ratios for vertical photos are 4:3 or 4:5 (height to width). Instagram’s preferred vertical aspect ratio is slightly different, at 4:3.2. Because of this, you often need to crop parts of your photo, usually the top or bottom, or use some distortion or warping tools to make the image fit properly before posting.
Square aspect ratios, on the other hand, don’t always work well for vertical compositions. This is because our eyes naturally want to choose whether to view the image horizontally or vertically, and a square format can create visual tension or confusion in how the composition is read.
Iceland, taken in 2013.
This image has been shot in square because the sheep on the side had to be included. At least this was my decision back in 2014 when I took the photo. Without the sheep, I would have taken this vertically with the river as a leading line in the middle. The square format now lacks a strong leading line but also doesn't have the wideness of a horizontal photo.
How to Look for Vertical Compositions
Firstly decide on your background which is the main subject of your composition. This can be a mountain, tree, viewpoint etc.
Next, look for interesting foreground elements like leading lines or subjects that draw the viewer’s eye. For leading lines, think about a tree branch stretching toward the frame, patterns in stone, a winding river captured from a drone, or the silky white streaks created by long exposures on flowing water. As for subjects of interest, consider fields of flowers, clusters of plants or cacti, unique trees, cracked mud patterns, caves, waterfalls, and more - anything that adds depth and texture to your composition.
Leading lines in sheets of rock formations, Kazakhstan.
The third step is to connect the foreground with the background. Since the previous step focused on finding an effective foreground, it’s important to approach this with a vertical composition in mind. Leading lines that work well in a horizontal format don’t always translate the same way in a vertical frame.
Cactus, framing as foreground in USA.
Generally, it’s easier to find effective leading lines in a vertical image because there’s less horizontal space to fill. A vertical composition usually guides the viewer’s eye from bottom to top and often fits within an aspect ratio ranging from roughly 1:1 up to about 3:2 (height to width). The main subject is typically placed in the upper part of the frame.
In a horizontal image, it’s often difficult to fill the entire width with a single leading line, so multiple leading lines tend to be more common and effective.
Multiple leading lines can also look good in vertical format but there needs to be one clear line directing to the background. Look at these tongues of this river in the image above. There are multiple leading lines but one dominant line for your eye to follow. It can also be something more subtle like the white-wash in a fast flowing stream such as in the image below.
Waterfall in the French Alps.
When shooting something like a field of flowers in a vertical image, you don’t just include flowers randomly—you want to find a specific area where the foreground elements line up beautifully with the background. Balance is key. Ideally, the flowers (or other subjects) are evenly spaced with similar heights and distances. This principle applies to any foreground subject you include.
Dolomites yellow flowers.
For example in the above photo, the flowers work so well because of their unique formation. The patch of flowers is fresh, so the petals are in-tact and the colour is vibrant. But most importantly is their formation, they form a triangular shape which acts as a leading line pointing towards the mountain.
The French Alps in summer during stormy conditions.
Even though these flowers in the image above don't have a particular formation that points to the mountain they still work as a group. This is because their height is relatively the same and they are nicely separated. If they were too close together it can look messy, also if the heights vary too greatly it can be distracting. Flowers tend to work best in a vertical format as you can shoot them much closer than in horizontal.
A single mountain works better in a vertical image than a horizontal one. It appears bigger and more impressive. The elements—foreground, leading lines, and background—are easier to define and separate in a vertical frame. Of course, every landscape is different and calls for its own composition, with plenty of examples where a horizontal frame works better. But in general, vertical images tend to be easier because they naturally make the mountain stand out more and make including leading lines simpler.
A single mountain creates a strong focal point in vertical format.
Difficulties with the Vertical Format
Less original: Because vertical compositions are easier and more common, especially with platforms like Instagram, many photographers tend to default to shooting vertically. As a result, vertical shots can sometimes feel less unique or creative. That's it's important to also really consider the midground. It can be easy to over-simplify vertical format shots, especially with flowers. You think flowers + mountain = good composition. Actually the midground can take an average photo and elevate it to an exceptional photo.
Peru purple flowers, with a strong midground focus.
Limited space: The reduced horizontal space in a vertical frame can make mountains appear larger and more dramatic but mountains also often need breathing room on the sides. This varies by location, and it’s up to you to decide whether a horizontal composition would work better.
Knowing when to use a vertical panorama: Sometimes, vertical is still the best format for a scene, but it might require a bit more width to fully capture the subject. In these cases, a vertical panorama can work beautifully. Even adding just 5% more width can significantly improve the composition. While most people think of panoramas in a horizontal context, they’re equally effective (and underused) when shooting vertically.
Lack of strong leading lines or foreground interest: If a scene lacks a clear foreground subject or a strong leading line, a horizontal format might work better - especially when you're dealing with a wide, open view in the distance. In these situations, horizontal compositions often feel more balanced and natural.
Water streams form after heavy rain in Iceland.
Shooting Vertical with a Drone
The vertical format can be especially effective for drone photography when you're looking to highlight strong leading lines—like rivers, glaciers, or layered mountain ranges. For me, these are the key components of a compelling aerial vertical shot. You can combine all of these elements in one photo of course, but an image can still succeed with just one of these elements.
Rivers and glaciers often work better in vertical format because their natural flow lends itself well to a bottom-to-top composition. Mountain layers, on the other hand, can work in both vertical and horizontal formats, though horizontal may have a slight advantage due to the broader space for layering.
Since most drones don’t have ultra-wide lenses, you’ll often find yourself shooting panoramas to get more coverage. I recommend using manual shooting mode over auto to maintain consistent settings across your images. If you want help with composing drone photos here are My Top Six Tips for Drone Photography.
Join our Senja Midnight Sun Tour for epic pictures like this one!
Personally, I often shoot one vertical column of 3 images, or two rows of 3 columns (a 2x3 grid), depending on the scene. The above photo is a good example of this technique. Use the same panorama techniques you would use for horizontal panos: ideally around 30% overlap between frames, and consistent exposure settings across all shots. It be a bit of a job to merge in post-processing so the results are worth it, having everything sharp.
If you're shooting toward the sun, you'll likely need to do an exposure blend. I suggest handling this before stitching the panorama. For example, if you're capturing a scene with bright sky at the top and darker land below, shoot both areas with the same base exposure settings. Then, for the top (brighter) portion, take an additional shot with a faster shutter speed to preserve highlight detail. Before merging the full panorama, blend those two exposures for the top portion to balance the light and maintain detail across the entire frame.
My Top 3 Vertical Images
Yellow Flowers Peru
Reasons
• The flowers in the foreground are well-balanced and arranged in a way that leads the eye directly to the background, creating a strong sense of depth.
• The mid-ground features a river that leads the eye toward the background. However, this river is only visually interesting in a small section. If you look at the wider scene (in horizontal), there is no to the right, and to the left, it no longer leads toward the mountain. By focusing on this specific section, the composition remains strong—without cutting off any particularly beautiful parts of the river.
• The background mountains all fit within the frame in vertical format, making every part of the scene visually engaging and attention-grabbing.
Would this image work in a horizontal format? While the foreground might not, the background could—but not as effectively as in vertical. The sides of the background are less interesting and actually distract from the spectacular mountains in the center.
As you can see from the horizontal composition from this same area. The picture is still really good, but less impactful than the vertical format version.
Cracked Mud Saudia Arabia
Reasons
• The background features a single dominant peak—the highest in the scene—with enough space on either side to create a strong sense of depth.
• The foreground and mid-ground work together seamlessly, with one clear leading line guiding the viewer’s eye directly toward the background.
This image wouldn’t work as well in a horizontal format. The background is only visually compelling within a narrow range; expanding the frame would introduce less interesting areas that distract from the central peak. Additionally, the central leading line is powerful because it's the only one, starting clearly from the bottom of the frame. In a horizontal composition, additional lines would enter the frame from the sides and compete for attention, weakening the overall impact.
Patagonia Drone Panorama
Reasons
• The leading line fits perfectly within the vertical format, drawing the eye directly through the scene.
• The background mountain—while relatively small—appears more prominent thanks to the cloud above it and the emphasis provided by the vertical framing.
This image wouldn’t be nearly as effective in a horizontal format. There’s nothing visually engaging on either side of the river, and the mountain (Fitz Roy) would lose its impact as a standalone subject, blending into the wider scene rather than standing out.
Final Thoughts
Vertical composition isn’t just a trend driven by social media it's a really great landscape photography format. Whether you're working with rivers, mountains, flowers, or leading lines, the vertical format allows you to build strong visual flow from foreground to background and isolate the most compelling parts of a scene.
Stay mindful of what the scene offers, and don’t hesitate to experiment. Vertical may be easier in some ways, but it still requires a thoughtful composition, considering all elements.
So next time you’re out shooting, don’t just ask yourself what’s in the frame, ask yourself which format will make the composition stronger.
Max Rive is most driven by seeking new perspectives in the natural world and capturing them in his own distinguished style. Max's powerful portrayals of his interactions with the mountains has earned him international recognition in the outdoor community.
Madison McCardle is a passionate landscape photographer driven by curiosity and a desire to capture the true essence of each place she explores. Through her lens, she seeks new perspectives that reveal the beauty and authenticity of the world.
✉️ JOIN US TODAY
Don't miss out on wallpapers, E-books and tour announcements!
RELATED ARTICLES
DISCUSSION
LEAVE A COMMENT
Your Email Address Will Not Be Published. Required Fields Are Marked *
No comments