How to Make Aggressive Photography Compositions

Dynamic low angle composition. Tokyo, 2011 by ERIC KIM

To make dynamic compositions — you must be AGGRESSIVE.

Take your photography composition to the next level with ERIC KIM WORKSHOP >

Why rule of thirds is boring

The rule of thirds as a beginner photography composition tool is good. But it is boring, and sterile.

Horizontal and vertical lines aren’t as dynamic and sexy as diagonal lines. Diagonal lines are more edgy, dynamic, and have more FORCE. The more diagonals can integrate into your compositions, the better.

The golden triangle

To make stronger, more dynamic and more aggressive compositions, I recommend using the GOLDEN TRIANGLE— seen below.

Golden Triangle x Annette Kim — GOLDEN TRIANGLE by ANNETTE KIM

See the diagonals, and the intersecting points.

Now, your photography compositions don’t always need to fit this grid 100% with absolute precision. Consider the golden triangle as a flexible framework to make you think about diagonals more.

Here are some examples of how diagonal lines and compositions have more POWER and AGGRESSION:

Study diagonal artwork

Tilt your camera (Dutch angle)

Wedding picture, note the diagonal tilt and composition.

Study Physics — look for diagonals

Physics example to show how diagonals are more dynamic.

Diagonals in Architecture

Skyscrapers. NYC, 2017. Pentax 645Z

DYNAMIC and aggressive tilt, to make architecture pictures more strong. Tokyo, 2017

Diagonals with leading lines

Man with flip phone. Tokyo, 2017 — Dynamic and aggressive composition, because shot from low angle, which emphasizes the diagonal lines pointing to this man.

Don’t center your subject

Off-center subject, note all the diagonals in the frame to make this picture seem more aggressive.

Even this picture of me shooting a selfie— I tried to make as many diagonal lines as possible, and putting myself off-center, on the far right of the frame:

Diagonals and selfie. Red. Tokyo, 2017 — Off-center self-portrait in red.

A street picture of a woman in Kyoto, with a flash — note how the picture is dynamic and aggressive — I shot very close with a 28mm, head-on, and she is on the far left of the frame— about to exit the frame: