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The Importance of Balance in Photography and How to Achieve it

The Importance of Balance in Photography and How to Achieve it

Balance in every aspect of your composition and visual design in photography is a very important yet under-stated factor. As artists, we photographers not only create things that can be seen by other people’s eyes but instead we create visual experiences that most of the time, we aim to be satisfying or thought provoking to anyone who sees and experiences it. That is why photography goes way beyond merely pressing a button and creating an image because the images that come out of a photographer’s camera creates a perspective that depicts an entire world within it. 

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Balance is one of the most crucial and at the same time, most basic factors to consider in composition and visual design. How we choose to place our subjects and other relevant visual elements within the four corners of the frame has such a huge impact on the perception and the thought process of the viewer which is why it has so much to do with how satisfying our images are to look at. 

Balance in Various Forms

There are various aspects in which we should aim to achieve balance in composing our photographs. Balance is crucial in exposure because it dictates the amount of detail that we can see in a photo and also plays a role in the mood that a photograph can convey. Another crucial aspect is visual weight. This pertains to how much attention a particular object in a photo attracts and how it affects other objects in frame. This can either be because of sheer size compared to other visual elements, general brightness, or luminosity of the color of the object. To achieve balance, a visually heavy object on one side should be matched by another object (or space) with equivalent visual weight. This is not to be mistaken as automatically having the same size as the other element but instead the same visual impact.

Of course a perfect example of balance in visual weight is symmetry. In photography symmetrical balance can be achieved by aiming for the right angle in which everything is aligned to make all sides equivalent to each other. It is hard enough to find objects with perfect symmetry in the world, and it is another endeavor to be able to capture it in perfect symmetry. However, achieving balance in visual weight does not alway have to have perfect symmetry. In asymmetrical balance photography merely has to be composed in such a way that even though one side is not the mirror image of the other, they draw equal attention to each side. 

Balance in Various Forms

Another crucial aspect of balance in photography is balance in color. Balance of color in photography can come in a number of ways. White balance in photography means achieving the right color temperature of the photography that will give you a truly neutral white. This is often seen in a spectrum of colors between blue and yellow which are totally contrasting hues. When you achieve proper white balance photography can be considered color accurate. 

Another aspect of balance in colors is through contrast and color harmony. The presence of many colors in a certain photograph can either result to harmony between the different colors or conflict among them. 


Balance in Exposure

Exposure is one of the first and most crucial aspects of photography that any beginning photographer should master. The parameters through which we control the brightness of an image, namely shutter speed, ISO, and aperture, collectively known as the exposure triangle have everything to do with how we achieve balanced exposures to attain the right amount of detail. The concept of the exposure triangle is precisely a representation of how these exposure settings are used to achieve balance by using one side or factor to compensate for limitations of another. When the situation calls for a fast shutter speed, ISO or aperture can be used to compensate for the reduction in brightness that the former would entail. Of course in this, all three are interchangeable. The limitations on either of the parameters would depend on the context of the shot and what is being photographed. For example if a fast moving object is being photographed then the situation would necessitate a fast shutter speed and the other two aspects would compensate. On the other hand if a wide depth of field is necessary to have capture multiple layers of detail, then ISO and shutter speed would have to compensate for the limitation imposed on aperture. 

Balance in Exposure

However, there are a multitude of instances wherein even a good balance in exposure settings would not be enough to achieve a balanced frame. The most common of which are high dynamic range situations such as an outdoor shot where the sky is exponentially much brighter than the foreground. In such situations, various techniques on compressing the dynamic range are necessary. For photographing portraits this could mean using external light sources to illuminate the darker parts and thereby achieve better balance. However, for other situations such as in photographing wide vistas, high dynamic range (HDR) and exposure bracketing are necessary. Exposure bracketing is done by taking 3 or more consecutive exposures that have incrementally different levels of brightness. These exposures will later on be combined to extract the best detail out of each one to come up with the most balanced and most detailed shot possible. 

To simplify this shooting process, a smart camera remote trigger makes all the difference. The MIOPS Smart+ has built-in HDR and time-lapse HDR modes that will make setting up your workflow much smoother through the smartphone app interface. Meanwhile, the MIOPS Flex not only controls your camera to trigger the multiple incremental exposures but also creates an instant preview of your HDR images to give you the assurance that you need for the success of the shot. 

Balance in Visual Weight

Visual weight entirely relies on the angle of the camera and how that results to particular objects being placed in specific parts of the frame. In photography symmetrical balance is achieved through meticulous framing and composition that requires immense attention to detail and the use of proper tools. To make precise adjustments to specific axis of the camera angle, a geared precision tripod head provides efficient control. To be guided on levels and alignments, various display modes on your camera can provide assistance in making sure that your horizon is perfectly leveled and a standard grid on the camera’s screen can help with all the necessary alignment.

Balance in Visual Weight

To help you better monitor your frame especially when having to shoot from an unusually high or low angle, the MIOPS Flex acts not only as a remote camera trigger but also as a transmitter for live view monitoring. The device transmits your viewfinder feed onto the the MIOPS mobile app on your smartphone or tablet which will in turn help you to see the details and the alignment from a more comfortable position and possibly a much larger screen that that of your camera. 

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Balance in Direction

It is safe to say that for any photograph to have a dynamic composition and visual design, it would have to give the perception of depth and multiple layers within the frame. A static photograph would require a simple glance from the viewer but a dynamic photograph would entice the viewer to take a tour of the frame. This is why direction and how your viewers’ eyes are guided by your visual design as they go in and around the photograph is a crucial aspect of photography. The use of lines on an image often lead the viewers towards a particular portion of the frame and the coherence of the flow of the photograph depend entirely on where the lines will lead the viewer. One crucial detail about direction is the horizon on your images. If the horizon or any object that gives clues on the orientation of the horizon are seen, having it tilted towards one side puts an imbalance on the composition. The visual weight of the side towards which the horizon is tilted gets heavier and the perspective is thereby altered. This same principle also applies to vertical lines specifically those that are by context expected to be perfectly vertical. Tilting your camera up or down can distort the perspective of the image which can result to adding direction that may or may not contribute to the flow of the image. The convergence of lines created by this effect is not necessarily a bad thing but instead, something that should be used with caution. This adjustment allows you to manage the space taken up by objects in your frame and negative space that will be part of the image as well. When used properly to achieve asymmetrical balance photography will result to an image that creates a coherent visual experience for the viewer. 

Balance in Direction

Balance in Color

Color contributes so much to the overall beauty of an image. The abundance of colors may automatically be a source of visual impact to a photograph but balance in colors can make or break how satisfying the image can be. Without proper white balance photography can end up with unintentionally skewed context especially when photographing natural environments. A warmer treatment can illustrate unrest and activity while a cooler tone often suggests calm or gloom. Properly achieving balance in color is necessary to make sure that the image conveys the right message and the right context for the story that it tells. On the other hand, proper contrast of colors contribute much to how harmonious multiple colors in a frame will be and how they create a sense of order in the photograph. Achieving such balance depends on how we select our subjects and the colors present in the photograph, as well as how we find tune their specific hues in post production. 

Balance in Color

Balance is one of the most crucial aspects of a photograph and no matter how beautiful the subject or the location of a photograph can be, an imbalance in the various aspects can definitely make or break the beauty of a photo. 

Achieving Balance in Architectural Photography

Achieving Balance in Architectural Photography

Photographing architecture is a wonderful exercise of vision and visual artistry. Architectural photography takes many forms and styles depending on the artistic intent of the photographer as well as the purpose of the photograph. Some architectural photographs are taken simply to document the current state of a building or structure. Others are taken to showcase the intricate design that was put into concrete and steel.

The ultimate goal of an architectural photographer, however, is to both document the artistry of the creator of the structure while also infusing their own mastery in interpreting the image. Much like any other kind of photography, it is about finding the best way to portray the subject which includes finding the right angle and capturing the structure in the best light and environmental condition that complements the design. 

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An effective formula for compelling architectural photography is being able to satisfy the craving of the eyes of the viewers. It is said that when we look at photographs we automatically seek patterns and figures. Satisfaction comes from being able to identify such patterns and see the entire frame as one coherent flow of patterns. Part of visual design in architectural photography is in fact achieving balance in various aspects of the image through framing and visual weight, contrast, and of course exposure. 

What is Visual Weight? 

Think of how you perceive parts of an image. You can either see it as empty or full, smooth or rough, busy or serene, chaotic or organized. The features that govern this perception are of course brightness, texture, and contrast. Each visual element in the frame, as well as empty spaces, have visual weight and the key to a satisfying image is achieving perceptual balance from one side to the other. 

Visual Weight in Architectural Photography

Balance in Photography Through Framing

Framing is perhaps the most basic sense of composition in photography. It is basically what we put within the frame and consequently what we exclude. This also governs where in the frame we put our subjects or visual elements and how all other objects in the photograph interacts with the main subject. In architectural photography, it is not just about being able to put a building or structure within the frame.

While the most common requirement is to be able to capture the entire structure, framing and composition also includes where you place the structure and how you use space around it to complement it as a subject of a photograph. The proper use of empty spaces also contributes to how your audience perceives the size of the structure and how it relates to the environment around it. 

Filling the frame with the structure often gives the impression that it is big as it takes up a lot of space in the frame. Putting other visual elements around it, specifically ones that have certain standard sizes gives the image a sense of scale. For example, capturing a tall building with the figure of a human within it gives a clue of how big the structure is.

On the other hand, using a lot of empty space in the frame allows the negative space to overpower the structure. This gives the impression that the building is relatively small compared to the environment around it. By being able to achieve a certain balance in the use of space, one can give the right perception about size and scale. 

negative space in architectural photography

There are various ways to both create and reduce negative space. This can be done through proper use of exposure techniques that will help you manage the amount and impact of negative space to the entire photograph. When photographing buildings that are already occupied, foot traffic not only causes a lot of visual clutter in the scene but also takes away the intended effect of negative space.

To manage this, long exposure images can be done. By placing your camera on a tripod and allowing it to capture long exposures as people walk around the frame, the permanence of the background or the pavement takes precedence in the shot over the transient foot traffic. The duration of your exposures should depend on two things; how quick is the movement of the people walking about, and how bright are they compared to the background. Slower movement and brighter visual elements would mean a need for longer exposures to virtually erase them out of the shot. 

long exposure in architectural photography

On the other hand, you can also use the same principle to fill some empty spaces. This is a handy trick that can allow you to seemingly brush in detail with the use of slow shutter techniques. With a similar setup of having your camera on a tripod, you can make use of brief movements of people within your frame to use them as subtle details that will occupy an empty space.

At the same time, you can also use this to cover unwanted clutter that can be distracting to the overall visual design of your architectural photograph. By taking exposures of about 2 to 8 seconds long depending on how fast the movement is, you can use the moving element to leave a short trail that will emphasize a certain flow in your composition. This trail can also serve as that brush stroke that will cover up the unwanted clutter in frame. This can also be done by using other moving elements such as vehicles to leave a subtle trail.

clutter in architectural photography

To be able to achieve either, a few key tools are essential. For one, a camera with manual functions will be the most beneficial as it can allow you to manipulate the exposure settings and achieve the right effects. A sturdy tripod is important since doing long exposure images have to be done with absolutely no movement from the camera. To be able to do slow shutter exposures, a 3 or 4-stop ND filter is needed to allow the camera to shoot relatively longer even with the overabundance of daylight.

On the other hand, a 10, 12, or even 15-stop ND filter will come in handy when doing exposures of 30 seconds, one minute, or even longer. For a more efficient foolproof shooting process, using a camera trigger will be very beneficial. A camera trigger would allow you to remotely start your exposures without risking any camera shake from pressing the button. Smart camera triggers such as the MIOPS Smart+ and MIOPS Flex would allow you to use your smartphone as a way to control your camera and set it to precise exposure times through various long exposure modes. Both triggers also have different sensor modes such as a light sensor, sound sensor, and a laser sensor for automated exposures. 

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Balance in Photography Through Contrast 

Another aspect of achieving balance in photography is through contrast and texture. This is also closely related to the use of negative space. For a certain structure to standout in an image, it has to be surrounded by portions of the frame that are not as detailed and as textured as it is. Otherwise, the structure would just blend with whatever is around it and emphasis will be lost. Framing the shot so that a structure would be distinguishable from others around it is a basic requirement. On the other hand, other visual elements and surfaces can actually also reduce the contrast in frame. For example, rough textured clouds and turbulent water surfaces would have the same visual weight as the heavily textured architecture. This is where long exposure, again, plays a role.

texture in architectural photography

By using long exposure techniques to allow motion to render smooth textures onto the surface, contrast is achieved. This can be by softening the texture and getting rid of ripples in surfaces of water or by letting clouds scud to achieve a brushed-like appearance in the sky. By having a smooth surface complement the solid structures, you can give more emphasis to the architecture and even guide the eyes of the viewers as they experience the photograph.

Balance in Photography Through Exposure

Exposure is also one aspect of an image that requires balance. Photographing the exterior of buildings means having to deal with all the variances of lights and shadows in the scene. At the same time, shooting the interior details of a building also requires being able to manage the difference of the bright outdoors as seen from doors and windows, and the much dimmer indoor environment.

HDR in architectural photography

These imbalances in exposure are caused by limitations in dynamic range. Dynamic range is the range of light in the visible spectrum that a camera can record in just a single exposure. Any camera, no matter how advanced, has a much more limited dynamic range than what our eyes perceive. This is why whenever we photograph buildings with a bright sky in the background, we either get a silhouette of the building that is devoid of details, or an overexposed sky. In the same way, this is why shooting interiors with open doors and windows during the day would often yield images with the outside details blown out.

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Shooting and processing HDR images can be a solution to this problem especially when you are not able to wait for the right time-of-day to take a more balanced shot. Shooting HDR means taking 3, 5, or 7 consecutive exposures with varying levels of brightness. By combining these exposures, you can extract as much detail as you need for certain portions that would otherwise be too dark or too bright in a single exposure process.

The MIOPS Smart+ camera trigger also offers an automated way of shooting HDR images that is controlled by a smartphone through the MIOPS Mobile app. You can set your baseline settings and how many exposures you want the camera to take, as well as the difference in brightness of each shot. The MIOPS Flex camera trigger offers the same function as well. However, it has the added benefit of being able to process the HDR image and show you a real-time preview of your output on your smartphone and even save that result onto its own memory card.

balance in architectural photography

Visual design in architectural photography is almost entirely reliant on balance. The goal of the shot is always to showcase the beautiful man-made structures. Given an unpredictable environment, the challenge is to make the surroundings of that structure complement and give emphasis to the structure as a subject. By using compositional techniques, exposure techniques, and high dynamic range methods, one can achieve better balance in photography. 

Blog Credit: Nicco Valenzuela

Nicco started his photographic journey in 2007 practicing the craft as a hobby. Currently, he shoots for various local and international architectural firms and construction companies. Out of his love for sharing his knowledge, Nicco began writing about photography and various pieces of gear.

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[faq q1="what is balance in architectural photography?" a1="Part of visual design in architectural photography is in fact achieving balance in various aspects of the image through framing and visual weight, contrast, and of course exposure. " q2="what is visual weight in photography?" a2="Think of how you perceive parts of an image. You can either see it as empty or full, smooth or rough, busy or serene, chaotic or organized." q3="how to negative space in architectural photography?" a3="using a lot of empty space in the frame allows the negative space to overpower the structure. This gives the impression that the building is relatively small compared to the environment around it."]