Rhythm, Balance, and Visual Weight
a photograph is visually balanced. When all the elements and the positive and negative space are arranged in such a way, there's equal weighting. No one area of the composition overpowers another on the visual narrative is written with rhythm and harmony. On the other hand, when one object is visually heavier than another, so it stands out and dominates while other objects recede into the background. There's imbalance, which leads to tension. Based on this observation, you might think that a balanced, evenly weighted composition is the best route to go on most of the time, I degree. But remember, photography's storytelling and sometimes a quirky or tension filled composition that takes the viewer outside their comfort zone is preferable to dull predictability. So the choice between balance and imbalance, as always, comes down to this story you want to write with your camera. Symmetrical balance occurs when visual objects on one side of an axis near perfectly reflect those on the opposi...
te side. The visual weight is evenly distributed across both halves of the frame. Symmetry evokes a sense of formality and elegance. Think of the classic wedding photograph where the bride and groom are standing to attention or the group shot of board relatives in a military precision line. In both examples, you see decorum, but you also see the negative sides of symmetry status on predictability. Toe absent dynamism, you need asymmetrical balance. Now asymmetrical balance occurs when a weighty element on one side of the axis is balanced by several smaller, less weighty elements. On the other side, it's the mix of unequal parts that gives the image visual energy. Another type of symmetry often encountered in photography, is translational symmetry. Now a perfect example could be seen in a viaduct where the regular art is repeating across the image space. Creating a recognisable pattern gives the image a sense of visual rhythm. A more subtle form is often used in portrait photography rather than relying on obvious Patton. In this instance, rhythm is created by posing the model in such a way that implied lines mirror and repeat. The famous image of Christine Keeler, taken by photographer Lewis Morley, is a classic example of translational symmetry. Notice how the angles of the arms match and former double mirrored V shape the same with the placement of the hands. Similarly, there is a symmetry in the angle of the legs and mirroring horizontal lines accentuated by the chair. Nothing in this image is coincidental. The photographer has carefully positioned the model to create rhythm and balance no.