This section explores different composition techniques in photography, focusing on horizontal, vertical, and square formats. It discusses how each format affects the subject, depth, and viewer engagement. Additionally, it introduces advanced composition techniques such as the distorted foreground panorama, connected subjects, vertical symmetry, framing, diagonal composition, and the winding line. Each method is analysed in terms of its strengths, challenges, and ideal use cases, helping photographers create visually compelling and well-balanced images.
1.1 Horizontal
Because of the extra space, a horizontal image often includes more than one subject in the background. When there is framing on the sides, a single subject is often the best choice. The foreground of a horizontal image can be a leading element, just like in vertical images. However, it is less likely to lead all the way from the foreground to the midground and background.
Framed horizontal images with a single subject create a strong composition. While this approach may not showcase as much of the landscape as an unframed shot, it places more emphasis and visual interest on the framed mountain.
Otherwise, the image may just appear as a nice view without a clear focal point to guide the viewer's eyes.
The downside of using a horizontal format, with or without framing, is that a stand-alone mountain will look smaller compared to a vertical shot.
Horizontal formats are ideal for showcasing wide landscapes, especially when there are multiple layers and leading lines. This orientation allows the viewer’s eyes to explore the scene naturally. Horizontal images are particularly effective in conveying a sense of space and vastness. However, it is important that the landscape includes one or more subjects that are visually connected. Otherwise, the image may simply appear as a scenic view without a clear focal point to guide the viewer’s gaze.
Another important point is that horizontal images tend to be more visually comfortable to view than vertical ones due to the natural position of our eyes. After all, our field of view is naturally wider, making horizontal compositions feel more intuitive and immersive.
1.2 Vertical Images
Vertical images are ideal for highlighting a single subject and guiding the viewer’s eye toward it using a leading foreground and/or midground. Fewer subjects and less landscape are needed to create a strong composition.
Vertical images often include more of the near foreground, drawing attention to a single leading line (since it runs vertically). This composition typically results in a greater sense of depth compared to a horizontal image.
In vertical compositions, the background space is significantly reduced. This results in greater focus and emphasis on the main subject while providing less freedom for the viewer's eyes to wander around the scene.
1.3 Square
Lastly, I want to discuss images in a square format. I only shoot in square format when the composition at a given location benefits significantly from it. This typically happens when a horizontal format would result in losing interesting elements in the foreground, while a vertical crop would cut off important details on the sides.
I only choose the square format in such circumstances. Perhaps the reason it appears less interesting is that both the vertical and horizontal sides have the same dimensions. Or maybe it's because our eyes naturally prefer to interpret a composition either horizontally or vertically. Composing techniques.
Each photography location offers multiple composition options that work. Ultimately, the goal is to narrow these down to one or two that are the most effective. The easiest way to achieve this is by first learning specific composition techniques, then applying them in the field, and finally comparing the results on-site to determine which works best.
2.1 The Distorted Foreground Panorama
This composition technique focuses on showcasing a large foreground object by capturing multiple wide-angle photos and merging them into a single image. The resulting distortion in the foreground acts as a natural frame for the background, adding depth and visual interest to the composition.
The distorted foreground panorama is not the easiest composition to recognize in the field, as the final result often looks quite different after post-processing. To achieve this effect, a wide field of view and a multi-shot panorama are necessary to create the foreground distortion.
As always, the process begins by selecting a strong background subject or view. By capturing a very large field of view, the foreground becomes distorted. While this might not seem ideal at first, it allows for the inclusion of an entire stream or waterfall, which can also serve as a leading element guiding the viewer’s eye toward the background. Additionally, the rounded shape of the distorted foreground acts as a natural frame for the background.
The final step is to find a strong focal point. While the view itself may be impressive, a single, standout mountain may not always be present. In this case, the sun serves as the unifying subject, bringing the composition together. Its position was carefully planned using Google Earth before visiting the location.
Characteristics:
- - A wide-angle, often multi-shot panorama.
- - Due to the wide angle, the foreground takes on a round shape.
- - The foreground essentially frames the center of the image.
- - Can feature either a single subject or multiple subjects in the background.
- - Ideal for framing the background layer.
Difficulties:
- - The distortion in the foreground is noticeable.
- - Requires good pre-visualization in the field, as it involves a multi-shot panorama.
- - Demands significant post-processing work to merge the photos and reduce excess distortion.
2.2 The Connected Subjects
Characteristics:
- - Two or more subjects in the background, with one being the main subject.
- - These subjects are connected by elements such as rivers, light, or valleys.
This composition is ideal for horizontal formats, as it involves two or more subjects in the background that are connected in some way. One subject should be the main focal point (A), and the composition becomes even more powerful when another subject serves as the starting point (B), guiding the viewer’s eye toward the main subject. If the subjects are identical, there’s no clear starting point, and therefore no obvious main subject.
A good example of the ''Connected Subjects' composition is a sunrise or sunset on one side and a mountain on the other. Another example could be a person on one side and the sun on the other.
The subjects should be linked in some way. Effective elements for this connection include rivers, light rays, or valleys—anything that guides the viewer’s eye through the landscape from one subject to the other.
This composition works well in both horizontal and vertical formats, though it is easier to execute in a horizontal orientation due to the need for two subjects in the background.
The key difference between the ''Connected Subjects'' composition and the ''Distorted Foreground Panorama'' is that the latter focuses on a wide field of view with a distorted foreground, while the ''Connected Subjects'' composition centers on the relationship between the subjects in the background. In fact, both composition techniques can be used together in a single image!
Characteristics:
- - One main subject inside one half of the frame.
- - Another subject in the other half to create balance.
- - The subjects are preferably connected by elements like a river or light rays.
- - Most effective in a horizontally oriented image.
- - Requires space and a wide-angle field of view.
Pros:
- - Highlights more parts of the background due to multiple subjects.
- - Creates many opportunities, such as combining a person with a sun in a mountain view
- - (there’s always a rising or setting sun, and you can always create a mountain selfie).
- - Great for showcasing a wide landscape with a subject.
Downsides:
- - The second subject, needed for balance, may distract from the main subject.
- - A single subject photo tends to grab attention more quickly.
- - More difficult to create in vertical images due to limited space.
2.3 The Vertical Symmetrical Composition
The vertical symmetrical composition is one of the most commonly used techniques among landscape photographers, partly due to Instagram’s influence and its simplicity. This composition features a centrally placed main subject (A) in the background, with a foreground that creates depth and leads the viewer’s eye toward the background (B). It may also include a leading midground.
The strength of this composition lies in its simplicity, which allows the viewer’s eyes to focus quickly on the main subject. The composition is immediately clear due to symmetry and a minimal number of elements. Additionally, because of the vertical format, the central subject appears larger than it would in a horizontal format.
This composition is especially recommended when the main subject in the background is impressive, as it will draw a lot of attention. Using this composition the other way around—i.e., with a less dominant subject—is possible but less recommended. This is tempting when incredible foreground elements are found, and you want to connect them with a background subject. However, the main background subject will always be dominant in this composition.
Characteristics:
- - A wide-angle, vertically oriented image.
- - A single, symmetrical/center-placed background subject.
- - A foreground that leads the viewer’s eye to the background.
Difficulties:
- - The main background subject needs to be visually strong enough to carry the image.
- - This is a very popular and commonly used composition, which can make it more difficult to stand out.
2.4 The Framed Composition
Framing is a powerful technique to keep the viewer’s eye within the photo (B) and draw more attention to the main subject(A). When around ¼ of the image (or more) is used for framing, certain composition rules apply. The framed composition is especially powerful in horizontally oriented images. While it can be done in vertical images, it’s more challenging due to the lack of horizontal space. The framing can be applied to all sides of the image at once, or to each side individually.
Framing at the top of the image is a great way to reduce dependence on sky conditions. While the composition might look boring with a clear, cloudless sky, the framing can replace the sky in terms of visual interest.
Framing also acts as natural vignetting, as it is often darker than the center of the image, which helps to focus attention on the main subject.
Not all subjects are suitable for framing. Ideally, you want something that’s visually interesting and has depth. Trees often work well, but too many bushes or small branches can make the composition feel cluttered.
Framing can also be much darker than the background subject. For instance, when using a cave as framing, this can be easily resolved with an exposure blend. When framing with smaller objects like trees, the exposure blend may require more post-processing work.
Characteristics:
- - Makes the background area smaller.
- - Especially well-suited for horizontal images with a single subject.
- - Can be a solution when there are no clouds in the sky.
Difficulties:
- - Not all subjects and objects are suited for framing.
- - Can be challenging in post-processing when there’s a significant difference in brightness compared to the background.
2.5 The Diagonal Composition
The diagonal composition is a more unique and challenging technique. It is particularly effective when there is a river (B) or other leading line in the foreground. This composition works best when the background subject (A) is ''looking'' or aligned in one direction.
If the subject is looking to the left, you ideally want to place it on the right side of the frame so that it appears to be ''looking'' into the frame. The foreground should then lead from the bottom left to the upper right, creating a diagonal line of interest. This composition works better in vertical format because in a horizontal format, the empty spaces on the opposite sides of the diagonal line can feel too large.
Characteristics:
- - The line of interest follows a diagonal path.
- - More commonly used in vertical compositions.
- - A leading line in the middle is required to fully connect the elements.
Difficulties:
- - Empty space (without interest) on the opposite sides of the diagonal line can make the composition feel unbalanced.
2.6 The Winding Line
The winding line is a very interesting and effective composition, especially for creating balance. A good example of this technique is the use of winding rivers. The benefit of this composition is that the winding line occupies more of the frame compared to a straight line, while still leading the viewer's eye toward the background.
This composition is ideal for aerial photography, especially when capturing a river. The key to this technique is finding the right elevation. If you are not high enough above the river, you won’t capture enough bends or the distant parts of the river. If you are too high, you may lose the depth of the lower parts of the river, as the lines become more vertically stretched.
The Winding line must make at least 2 bends (A). This way you will use more of the frame. There are still dead spaces opposite of the winding line. But they are smaller compared to the diagonal line. The background
subject can be symmetrical (B), a-symmetrical and/or looking into a direction.
Characteristics:
- - Often used in vertical format due to the long leading line.
- - Frequently features a river.
- - Ideal for aerial photography.
Difficulties:
- - Deciding where the starting point of the winding line should be in your composition.
- - The winding line is often only visible when you're elevated from the ground, such as in aerial shots.
Conclusion
Mastering composition is essential for creating compelling and visually engaging photographs.
By understanding the strengths and challenges of different formats—horizontal, vertical, and square—photographers can make more intentional choices in framing their shots. Additionally, advanced techniques such as framing, diagonal composition, and winding lines provide creative ways to guide the viewer’s eye and enhance depth. Ultimately, the best composition is one that effectively conveys the photographer’s vision while drawing the viewer into the scene. Experimentation and practice are key to refining these skills and developing a unique photographic style.
MAX RIVE
PHOTOGRAPHER & PHOTO TOUR LEADER
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
PHOTOGRAPHER & PHOTO TOUR LEADER
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.
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