| In an age of digital photography, where the ability | | | | two, and you want to draw attention to it, you |
| to set automatic exposure, automatic focusing, | | | | apply the rule of thirds. By forcing the viewer's |
| and automatic white balancing virtually ensures a | | | | eye away from the center of the image you are |
| sharp and technically pleasing image, the | | | | suggesting that you (the photographer) have |
| difference between a great shot and an | | | | done this for a reason, and that to appreciate the |
| unremarkable one often boils down to mere | | | | full story behind the photograph you have to |
| composition. Understanding this one concept can | | | | search elsewhere for it in the image. |
| transform the quality of your photography | | | | Application of the rule of thirds forces the viewer |
| overnight and reveal a whole new way of looking | | | | to relate the principal object to their immediate |
| at the world. | | | | environment. Application of the rule of thirds tells |
| Perhaps the most widely quoted principle of | | | | the viewer that you have thought about your |
| effective composition involves the "rule of thirds". | | | | image, and so should they. |
| In order to understand when this principle should | | | | But the rule of thirds has its limitations. If there is |
| be used, and when it should be ignored, it is | | | | no relationship between the principal object and |
| important to understand the psychology behind | | | | their immediate environment which needs to be |
| the principle, which is something that is not | | | | emphasized, application of the rule of thirds can |
| adequately conveyed in most discussions of the | | | | still be employed, but the effect will be significantly |
| rule of thirds. | | | | weakened by causing the viewer to look for a |
| The idea behind the rule of thirds is that when | | | | relationship that is not there. In such cases, |
| you survey a scene in your viewfinder, you | | | | consider throwing the background completely out |
| should mentally divide the image before you into | | | | of focus to re-emphasize the main subject. |
| thirds. Imagine two vertical lines which are placed | | | | Applying the rule of thirds in the wrong situation |
| one third, and two thirds, of the way from the | | | | can also completely destroy the strength of a |
| left border of the viewfinder image. Then imagine | | | | photograph. In sports photography the money |
| two more lines, horizontal ones this time, placed | | | | shot is often captured at the peak of the action, |
| one third, and two thirds, of the way down from | | | | and at that instant the principal subject usually |
| the top border of the viewfinder image. In effect | | | | belongs at the center of the frame for maximum |
| you have placed a coarse, but uniform, grid over | | | | impact. This is not an absolute rule, but the rule of |
| the image. | | | | thirds is more often applied effectively to |
| The rule of thirds states that when you compose | | | | relatively static scenes. |
| your image, you should try to place the most | | | | Other times that demand the rule of thirds be |
| important visual elements on these lines. For | | | | ignored arise when you photograph symmetrical |
| example, a person standing upright should be | | | | objects. A starfish, or the inside of a flower, |
| centered on one of the two vertical lines. A | | | | photographed at close range are going to result in |
| horizontal band of water, a hedge, or the base of | | | | much stronger images if the center of the |
| a wall, would be positioned on the upper or lower | | | | starfish or flower coincides with the center of the |
| horizontal line. The idea is that the points of | | | | image. In these instances, symmetry trumps any |
| central interest in your image should neither be | | | | relationship of the starfish, or flower, to its |
| placed at the center of the image, nor too close | | | | immediate environment. |
| to the edge of it. | | | | If you have not yet consciously applied the rule |
| If you study photographs that are held in high | | | | of thirds to the composition of your photographs, |
| regard by others you will often be able to discern | | | | now is a good time to start. Just remember to |
| the application of the rule of thirds. Other times | | | | ask yourself one question: is there a relationship |
| you will instantly be able to see how a photograph | | | | between the principal subject of the photograph |
| with weak composition could have been | | | | and their immediate environment that I want to |
| substantially improved had the photographer | | | | convey to the viewer. If there is, the rule of |
| applied the rule of thirds. | | | | thirds should help you to capture that relation, |
| So why does this method work so well to | | | | increase the story-telling aspect of your |
| improve the composition of a photograph? And if | | | | photograph, and improve the chances that others |
| it is known to often *dramatically* improve the | | | | come to hold it in high regard. |
| composition, when should it not be used? | | | | To help you select a suitable digital camera to get |
| The key to mastering the rule of thirds is to | | | | started with, I have put together an article for |
| understand the relationship between the principal | | | | you about how to find the right Beginner Digital |
| object being photographed, and its immediate | | | | Camera. |
| environment. If there is a relationship between the | | | | |