Oftentimes, when we talk about creating better images in photography, the conversation begins with compositional rules such as the rule of thirds, the golden ratio, leading lines, and so on. These guidelines serve as a good benchmark for discussion and a way to introduce structure to what can otherwise feel like an abstract concept.
Let’s be honest: how many of us truly memorize and apply these rules consciously in the practical world? More often than not, they’re just tools to make photography classes feel more structured rather than steps we actively follow subconsciously when photographing in the field.
Instead of memorizing all the compositional rules and trying to make them work for us in the field, what I personally do is let our subconscious take the front seat in finding balance in our compositions to create sufficient visual interest. While balance ensures that an image feels harmonious and complete, there is a hidden component called tension behind an image that makes viewers pause, explore, and connect with your work. These two elements, seemingly opposing forces, when worked together, shape a compelling image. In this article, we will dissect these elements in detail and see how they interact to elevate your compositions.
What Is Compositional Balance?
To fully understand the harmony of the opposing forces between balance and tension in creating interesting visuals, we first need to understand what compositional balance is. To me personally, compositional balance is related to the spatial distribution of the visual elements within the frame—specifically, the balance between the active elements and the empty space between those elements and the frame edge. The unequal distribution between each element and the edges will lead the viewer to feel imbalance since our eyes are often drawn to unequal areas due to asymmetry. While there is no right or wrong in this case, the distribution of elements usually depends on what we are trying to emphasize.
For example, a red wall, which happens to be the unequal dominant area in the image, might be desirable to emphasize the spread of the red wall. Having the stairs as a heavy enough counterbalance also helps in balancing out the frame. Compositional balance is all about the harmonious distribution of visual weight within an image, ensuring that no part of the frame feels disproportionately heavy or out of place. This is fundamental to crafting visually pleasing photographs.
That being said, here are a few tips on how balance can be manifested in various forms. Symmetry, for example, offers calm and order by mirroring elements on either side of the frame, creating a structured and tranquil effect. Asymmetry, on the other hand, relies on contrasting elements that are visually balanced. This is commonly used to bring a more dynamic and engaging feel to the composition. Then there is radial balance, where elements radiate from a central point, naturally guiding the viewer’s gaze around the image.
While balance is crucial in providing the viewer with a sense of completeness, it often lacks the spark needed to truly captivate the viewer’s attention. This is where the element of tension comes into play, providing energy and injecting life into the frame, elevating an image beyond the ordinary.
Introducing Tension: The Hidden Component
Tension is the energy that keeps a balanced image from becoming static or predictable. It’s the subtle push and pull between elements, the contrast or clash that sparks curiosity and invites deeper engagement. In my opinion, tension is what stops viewers in their tracks, compelling them to study the image further.
To better understand tension, we need to first understand how it works. In a common image study, we categorize an element that takes up the majority of the space in an image as the background, with the remaining elements considered active. This is where tension comes into play, created by the interaction between the active elements and the background space. This creates a differential of interest between the different elements in the frame, encouraging the viewer’s eye to flow between them.
For tension to have sufficient influence in an image, it must be recognizable to a certain degree. Since tension arises from the relationship between different elements within the frame, the viewer must be able to mentally connect the dots for that relationship to exist. This can only happen when the elements are both identifiable and somewhat understood, allowing the viewer to engage with the image on a deeper level.
Tension can emerge in various ways, each adding its own layer of intrigue. For instance, the interplay of light and shadow can create strong contrasts, with bright highlights set against deep shadows to produce a sense of drama. This dynamic draws the eye to specific areas of the frame while leaving others in mystery.
Similarly, unresolved relationships within the composition, such as a lone streetlamp pole appearing among scaffoldings, can provoke questions about the story being told.
Dynamic lines and angles, like diagonals and curves, disrupt the stability of horizontal or vertical lines, introducing movement and a sense of unease that energizes the frame.
Even spatial imbalance can generate tension, as placing a subject in an unconventional spot, such as at the edge of the frame, challenges the viewer to question why it’s not in a more "comfortable" position.
Through these techniques, tension becomes the hidden energy that transforms a photograph from simply balanced to deeply captivating, inviting viewers to pause and unravel its layers of meaning.
The Interplay of Balance and Tension
Achieving a compelling composition is quite literally a balancing act between balance and tension. Too much balance, and your image risks feeling flat or overly safe. Too much tension, and it may become chaotic or uncomfortable. The key is to use tension to disrupt the balance just enough to evoke curiosity without losing harmony.
This is why tension matters in every image. Tension is the element that elevates an image from “nice” to “unforgettable” with its ability to create visual flow. It engages the viewer emotionally, sparking questions and encouraging exploration. Without tension, a composition may be pleasing, but it won’t linger in the viewer’s mind. Overall, both tension and balance are needed to create a perfectly composed image.
So, next time you compose an image, don’t just ask yourself if the frame is balanced. Look deeper: is there enough tension to make someone stop, look, and wonder?
Edward Weston was supposedly quoted as saying: "Consulting the rules of composition before taking a photograph, is like consulting the laws of gravity before going for a walk." That much we can agree on. However there must be more to making a memorable photo (unforgettable in your words) than tension or any other attribute which catches the eye.
Now don't get me wrong... I've looked at your website and you do great work. I'd gladly hire you if I had a hotel resort and needed photography services. But the images in your article here, in my opinion, are neither eye-catching, nor particularly interesting, and certainly not unforgettable.
So there must be another ingredient required to raise an image to that level? Possibly the subject matter itself dictates the level of interest the viewer has in our images? I'm simply not that interested in wildlife images; other folks live for them. Not to say there aren't valid compositional techniques which elevate the quality of a photo, but I suspect there are some unfortunate realties that we photographers must learn to accept when dealing with the labels we place on our images, or have placed upon them by other people.
I do agree with you. I suppose if we go deeper there is a third element to take into consideration, personal bias or emotional attachment which makes the image relatable and memorable to each and every one of us. Going down, its probably a chicken and egg situation because to have a personal bias or emotional attachment the subject or what I would label it as tension has to first be recognisable. Therefore to a certain degree, it is still subjective to whether or not an image is memorable to someone even if you have included the subject tension.
I feel like memorable images are often a result of becoming a memorable photographer. That's why art galleries are so keen on the personal story of the artist, as much if not more, than the art itself. A photograph without a good story is gonna be forgotten quickly. There's just too much of it. An artist without a story is no better. But when I start following a particular artist whom I find interesting as a person, the impressions of his work start sticking in my mind.
For example, I don't have an image such as Ansel Adams' Half Dome stuck in my mind because it's a totally one of a kind image, or that it's technically magnificent, or produces tension or emotion... I have it stuck in my mind because of the larger story we all have of Ansel Adams as the pioneer of landscape photography in the 20th century. If you want to make memorable images, become a memorable person, even if it's just within your community (social or business). That's a critical part of sales and marketing, too.