{"id":73680,"date":"2020-01-06T00:36:01","date_gmt":"2020-01-05T15:36:01","guid":{"rendered":"https:\/\/fujifilmnxtc.wpenginepowered.com\/stories\/breaking-the-composition-rules\/"},"modified":"2024-05-02T04:25:31","modified_gmt":"2024-05-01T19:25:31","slug":"advanced-month-1-composition-1-break-the-rules","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/en-us\/stories\/advanced-month-1-composition-1-break-the-rules\/","title":{"rendered":"Breaking the Composition Rules"},"content":{"rendered":"

Some rules are made to be broken. Find out how being a photography rebel can help you produce more striking images<\/h2>\n

Photography is built on a set of rules that teach us how to evaluate and see images. However, as our skills increase and our inner desire to become more creative grows, we are forced to look at how we can break these rules in a way that will give us an original perspective and renewed sense of creativity.
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\nLet\u2019s dive in and look at five ways we can break the classic rules of composition and stretch ourselves more creatively.<\/p>\n

1. Looking In or Looking Out?<\/h3>\n

\nWe are always taught to make portraits with our subjects positioned off-center (perhaps on a \u2018third\u2019). We are also taught that it\u2019s best to have them facing back into the frame, looking into the empty space next to them.
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\nThis certainly helps make a portrait seem more natural and relaxed, however, creating tension in an image is an integral part of becoming a better photographer \u2013\u00a0making the viewer feel uncomfortable can force them to look at your image for longer.
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\nTry it: position a subject at the edge of the frame and have them look out of it, perhaps with a slightly downwards glance and thoughtful expression. You can still use the rule of thirds here, or even make use of negative space. We don\u2019t know what they are looking at, which is why this approach feels more anxious and mysterious.
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\nWith your camera set to Continuous Autofocus mode and Wide\/Tracking AF mode, or by moving a single focus point to your subject after recomposing, it\u2019s easy to maintain sharp focus on your subject while you explore different compositions. Switch between looking in and looking out views by recomposing on the fly \u2013\u00a0you\u2019ll be able to decide which looks best later on.<\/p>\n<\/p>\n

\"Learn<\/a><\/p>\n<\/div>\n

\u00a9 Bobbi Lane<\/p>\n

2. Breaking the Rule of Thirds<\/h3>\n

\nThe rule of thirds is one of the first compositional techniques a photographer learns, and it\u2019s been used for centuries by painters and sketchers all over the world, but even an entrenched rule such as this can still be broken to good effect. Try positioning your subject dead center instead, maximizing symmetry for a more powerful effect.<\/p>\n<\/p>\n

\"Learn
\n\u00a9 Jonathan Irish<\/p>\n<\/p>\n

Symmetrical compositions have lots of instant impact and are ideal for grabbing attention quickly (a magazine cover is a good example), although viewers can also become tired of central framing more quickly, compared with off-center compositions. It\u2019s a question of balance: choose which approach to take by considering what you want to create: an instant hit or long-lasting impact?<\/p>\n<\/p>\n

\"Learn
\n\u00a9 Afton Almaraz<\/p>\n<\/p>\n

3. The Odd One Out<\/h3>\n

\nUsing patterns in your compositions is a very well-established way of creating some impact and harmony in a photograph, but breaking that pattern can be even more powerful. Consider these rows of bottles on a shelf. That single space \u2013\u00a0on the middle shelf \u2013 is what breaks the pattern and makes the picture great.
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\nDecide carefully where to put the break: you don\u2019t want the \u2018odd one out\u2019 to be the first or last in a sequence, or dead in the middle. Try using the rule of thirds to decide where it should go instead.<\/p>\n<\/p>\n

\"Learn
\n\u00a9 Bill Fortney<\/p>\n<\/p>\n

4. Cut Off Their Heads!<\/h3>\n

\nOne of the more amusing photography mistakes made by beginners is cutting off part of a subject\u2019s head, but did you know this can actually be a very powerful way to frame a portrait? Browse through a fashion magazine and you\u2019ll see this technique used often to make faces appear larger in the frame and give subjects more presence.
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\nIt\u2019s easy to get wrong, though, so it\u2019s best to make the crop in your favorite image-editing software, rather than in-camera. Experiment with different aspect ratios, and try to crop so that your subject\u2019s eye is on a magical thirds compositional hot spot.<\/p>\n<\/p>\n

\"Learn\u00a9 Dan Westergren<\/p>\n<\/p>\n

5. On the Level\u2026 or Not<\/h3>\n

\nA sloping horizon is a common error made by novice landscape photographers and is caused by not holding the camera straight. But this rule can be broken by deliberately holding your camera at a slant \u2013\u00a0sometimes called a Dutch angle. It\u2019s a technique that can be used for everything from architecture to portraiture and still life and should be attempted in an exaggerated fashion \u2013\u00a0subtle camera angles are easily interpreted as mistakes!
\nA less-pronounced angle can also be used to give a sense of uneasiness and instability, as seen in this picture by FUJIFILM X-Photographer Dan Westergren.<\/p>\n<\/p>\n

\"Learn\u00a9 Dan Westergren<\/p>\n<\/p>\n

Your Next Steps<\/h3>\n