In any event, what’s important to think about is one of my favorite “personal pearls of wisdom”…consider the scene and its outcome. In effect, it can tie the two parts together. One way to work around centering the horizon line is to use elements to break the horizon. Non-moving in the sense that its important to move the viewer around the frame giving him lots of things to discover. Second, it can leave your photo non-moving and static. first, it can look like someone has spliced two photos together. Placing your horizon line in the middle can have two effects. Btw, who was the first person to tell us that was a real “no-no”? I think he or she has dressed up in their parent’s clothes and are playing hide-in-seek!!! When you’re reading all the rules to becoming a good photographer, and I say this lightly, placing the horizon smack dab in the middle is high up on the list. In my classes we work a lot of ways to create Visual Tension, and showing a subject and it’s reflection is one of the ways. It will change the dynamics of your composition by becoming more of a graphic/symmetrical statement showing the subject in a mirrored reflection. Putting the horizon line in the middle is often used when you’re reflecting the image in some body of water. As I always told my kids…”Color outside the lines”. One never knows until it’s tried, and I’m the first one to encourage trying. There are times when it will work, and it just all depends. These are the people you want to stay away from. Putting the horizon line in the middle of the frame is to many, breaking a cardinal rule.
Btw, if the sky is not dramatic and just blue, the viewer will quite possibly tire of it and move along. Putting my subject in that right corner will also generate Visual Tension. I will often put my subject in the bottom right corner of my frame to give the feeling of being alone and small in relation to the infinite reaches of the sky above. It will bring attention to a dramatic sky, and it will create a feeling of being small in the scheme of things…as in the vastness of the world around us. Putting the horizon line low in the frame will do two things. Another way to help with the focus is to shoot from a higher POV and then when you tilt the camera down it will extend the DOF.īreaking through the centered horizon line. Switching to a wider lens will also help keep everything in focus from the foreground to the background. One way that sometimes corrects that distortion is to switch to a wider lens so the tilting up or down is at a minimum. When I talk about this to my online class with the BPSOP, and in my “Stretching Your Frame of Mind” workshops I conduct around the planet, I always warn my fellow photographers that when they tilt the camera up or down the vertical lines close to the edge of the frame will bend either in or out. Putting the horizon high in the frame will accentuate whatever you put in the foreground while at the same time intensifying the feeling of distance. Once again I want to start off by saying that there’s no set rule as to where to put that pesky horizon line run from anyone that tells you any different. What rule says you can’t center the horizon line?
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