Composition – Introducing Flow

April 2, 2011 • Tim Parkin

Last issue I took a look at the concept of balance in composition. The second main concept that I want to cover is the concept of ‘flow’. Flow describes the natural directionality in a  composition and it also describes the way the eye will flow around a photograph.

Firstly it may help to cover a few psychological/perceptual ideas that pertain to composition and how our eye moves around a picture. Research has shown that our eyes find it impossible to ‘scan’ smoothly across an area with no features. In fact our eyes cannot move smoothly at all, they jump from place to place in movements called ‘saccades’ and when our eye is focussed on one particular point, they can only see within 2 degrees. The only way we can build up a picture of the whole composition is by jumping from one place to another and ‘remembering’ the details of the whole.

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3 Responses

  1. LensView

    Well written and inspirational. Thanks, Tim!

    On April 6, 2011 at 11:04 am • Reply
  2. Seamuscamp

    Your linear analysis in the first image is more convincing than I usually find such to be. There really do seem to be patterns in the image that might induce the eye on particular paths.

    The second image is, for me, totally unconvincing. perhaps because the subject matter is so lacking in focus or rhythm. It’s a bit like ley-lines – take any two points on a map, extend the line, and something or other is sure to fall on that extension; if you are that way inclined, the three points assume a mystic significance.

    Perhaps its just me – a lack of sophistication in how and what I appreciate.

    On April 6, 2011 at 3:20 pm • Reply
  3. adamp

    I sort of agree with Seamus, in that the flow lines in Tim’s image are quite strong. As to Charles’ picture of the trees, I saw quite distinct diagonal zones more or less following Tim’s super imposed diagonals, but not a zig-zag. So this appeared to me to be a layered composition with a pleasing progression of colour from warmish green at the bottom to cooler blue higher in the top left corner. However I also see a sort of open ovaloid in the middle, following the russet tones of the shrubs around the centre group of trees with its perimeter broken by the trees on the left. Would I have seen what Charles did? Probably not – I would probably have gone in closer and homed in on a smaller area.

    What Tim didn’t mention is the (potentially) strong injection of “flow” by using the technique of lead-in lines. Much favoured by photo-club judges (and why not) they can indeed be a major factor in guiding the viewer to where the photographer wants. But maybe that will come in a later article! Rgds., to all, Adam

    On April 8, 2011 at 10:45 pm • Reply

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