Framing Up the Rule of Thirds

The act of isolating our kinetic, changeable world as a two-dimensional, static rectangle (or square) is a very subjective practice. Most photographers are familiar with the technical rules—such as exposure and focus—that influence successful results. Compositional rules, however, have a less defined effect over the success of an image. In fact, when it comes to composition, there is a healthy debate over whether the term “rule” should be used at all. This adds fuel to the fire in arguments about one of the fundamental principles of photographic composition: The Rule of Thirds.

Before Photography

The Rule of Thirds predates the invention of photography; it was originally applied as a compositional tool in landscape painting, which is described further in John Harris’s Explora article Who Wrote the Rule of Thirds.

Using the Rule of Thirds to balance a figure against an otherwise geometric composition. The massive form of the foreground seat back effectively bottom-weights this image.

This rule, or guideline, proposes that composing a picture with an imaginary grid overlay of two horizontal and two vertical lines that divide the frame into nine equal segments, and placing key picture elements along these lines and at the intersection points, will result in a more balanced and aesthetically pleasing photograph.

In many respects, this type of compositional trope is at odds with photography’s spontaneous nature. It is, perhaps, most relevant to practitioners of the more classical photographic disciplines, such as landscape, architecture, and still life. Photographers from these specialties tend to work with larger-format cameras fixed on a tripod, and often entrust devices such as afocusing screen as an aid to aligning picture elements with the grid lines and power points that form the backbone of the thirds rule. All this suggests a more contemplative practice, with framing decisions that are carefully weighed before applying, to immortalize the scene in an image.

Applying Different Targets

So, how does one reconcile such arcane facts and behaviors within our point-and-shoot, run-and-gun world? Perhaps even more important than how, is the question of why the Rule of Thirds still remains a valid compositional aid, given that so much about the image-making process has changed over time.

This image is focused on the centrally framed metal edge, but the eye is kept busy by key picture elements that fall along the lines and points mapping out the Rule of Thirds.

To better understand the continued significance of this rule—or tool if you will, for a more positive spin—it might be worthwhile to ask: When you compose a photograph, how much of the picture’s framework do you really see? How often do you pay attention to the corners, edges, and other compositional mechanisms within your field of view? A more essential question, perhaps, is this: How often do you simply position your primary subject in the center of the viewfinder, LCD, or screen? Are you generally aware of the dynamics of the frame beyond this point?

Targeting the subject in the middle of the frame is a natural habit, which is reinforced by the technical requirement of focusing the camera lens on the target. While this might be the best, or the only, approach for a grab shot captured with a manual focus lens, such a predictable recipe is likely to limit a viewer’s attention and interest when repeatedly used as a compositional solution.

A Rule-of-Thirds framework and central focus point coëxist in this image of commuters scurrying through the corridors of Grand Central Terminal.

Breaking Down Your Picture Elements

An essential function of the Rule of Thirds is to engage the viewer’s eye and draw attention to various parts of the image. To do this, the aforementioned grid lines and intersection points should align with key picture elements. While some may consider this a limiting factor in composing a unique and engaging photograph, the prescribed framework of a grid makes it easier for the photographer to analyze efficiently how a given scene occupies the frame, and then adjust the composition as desired on the fly.

An example of Rule-of-Thirds framing that emphasizes just one section of the grid.

Every image to be captured presents a unique set of circumstances, yet the key to the framing process is allowing the given picture elements—the horizon line, anchor points, directional cues, dominant shapes, graphic textures, and color relationships, to name a few—to be your guide, and letting the relationships between such elements attract and direct the eye within the frame.

In contrast to the classical photography disciplines described earlier, let’s conclude this discussion using the most accessible of examples—giving a nod to current generation of mobile phone cameras. When setting up the trusty photo app in a smartphone, you’ll likely discover the available option (or, if not, one is easily downloadable) for a gridded framing mechanism of horizontal and vertical lines, which establishes a 2:1 ratio top-to-bottom and side-to-side.

The Rule of Thirds vertical grid lines create a strong framework for balancing a figure with an architectural element, while placing the horizon at the grid lines’ intersection point, in the lower right, teases the eye into the distance.

While you may have previously used these grid lines as an aid to aligning the horizon or squaring up edges, using it as a tool for Rule of Thirds composing can boost efficiency in sizing up a shot, particularly given the informal format of the small screen.

Conclusion

Try it out as an exercise. Balancing picture elements against the lines and points of the gridded Rule of Thirds framework may offer you a clearer sense of the potential for visual tension (or lack thereof) in an image. Think of it like being an acrobat juggling balls in the air. You may choose to adopt the Rule of Thirds in one image and break it in the next, in favor of a different compositional spin. There’s nothing wrong with that. The ultimate goal is to keep the balls moving, all while trying out new patterns to keep your images fresh and capture the viewer’s interest.

The upward angle and placement of chandeliers at the top of the Rule-of-Thirds grid draws the eye, before it is set in motion around the image by the rotating carousel at the bottom of the frame.

For more on the Rule of Thirds and other observations about photographic composition, you might enjoy these two B&H Event Space videos on the B&H YouTube Channel.

David Brommer: Better Photographic Composition: Beyond the Rule of Thirds

Adam Marelli: Bridging the Gap: Classical Art Designed for Photographers

For additional images that demonstrate the benefits of applying the Rule of Thirds for clarity and strength in an image, visit this slideshow by photographer, adventurer, and author Art Wolfe. His popular instructional offerings include The Art of Photography: Essential Habits for Stronger Compositions and The New Art of Photographing Nature: An Updated Guide to Composing Stunning Images of Animals, Nature, and Landscapes.

In May, 2015, Wolfe was a featured speaker at the first annual B&H Optic Conference. To watch his presentation, The Inspirational Traveler, as well as the videos by 19 other speakers, click here.

In June, 2016, B&H will be hosting the Optic 2016 Conference. Stay tuned for full details.