This article has benefited greatly from conversations with Claus Møller and Henrik Bruun. Their thoughts on composition and painting have been a tremendous help.
Composition through shapes may sound a little abstract. If it does, stay with me. This is an advanced subject, but even if you do not consciously think about geometry when taking photographs, you are still responding to shapes and patterns in the frame. Learning to recognise them gives you another way to make deliberate compositional choices.
We can broadly divide shapes into two categories: geometric and organic. Geometric shapes include circles, rectangles, squares and triangles. They tend to have clearly defined edges and are often associated with human-made structures, although geometric forms also occur in nature. Organic shapes have a more natural, flowing appearance. They are often irregular or asymmetrical and can be found in plants, animals and landscapes. I explore them further in my article on organic shapes and photography.
As photographers, we can use both types of shape. Organic forms may suggest softness, movement or calm, while geometric forms can create structure, order or tension. These are not fixed emotional responses, of course. Context and composition matter. In this article I want to focus on geometric shapes and how they can bring coherence and visual interest to a photograph.
It is also useful to distinguish between actual and implied geometry. A rectangular window or doorway is an actual shape. Three people arranged in the frame may create an implied triangle, even though no triangle is physically present. The choice depends on the scene and what the photographer notices.
Why shapes affect the way we read an image
Shapes help us organise what we see. They can create a sense of balance, movement, stability or tension, often before we consciously identify the individual elements. By recognising these relationships, we can guide the viewer’s attention and create a more deliberate visual experience.
Circles: movement and continuity
Circles are interesting because they have no obvious beginning or end. They appear in nature, in architecture and in everyday objects: ripples on water, flowers, wheels, paintings, the Moon and the Sun. Once you start looking for them, you will find circles and circular patterns everywhere.
The Ferris wheel below, photographed by Gary Plummer, is a good example. The circle becomes an oval because of the viewing angle, creating a sense of depth. Its curved form contrasts with the rectangular frame of the photograph. That contrast gives the composition much of its visual appeal.
The radiating structure of a Ferris wheel also guides the eye towards the centre. Repetition creates rhythm, while the circular arrangement suggests movement and continuity.
Circles can carry symbolic meaning, but they can also work purely as visual forms. A group of circles might suggest connection, separation, cooperation or competition, depending on how they are arranged.
Rectangles and squares: balance and structure
Where circles can suggest movement, rectangles and squares often provide a sense of structure. Their straight edges and right angles can create order, repetition and rhythm. They also work naturally as frames within a photograph.
The sailing ship Buque escuela Guayas, photographed by Jens Jensen, is a good example of how implied frames can work together with diagonal lines. The slow shutter speed introduces movement, while the masts and ropes create a network of geometric patterns. Repetition gives the image a sense of direction and visual rhythm.
Triangles: stability and tension
Triangles can be quite subtle. They are often implied rather than outlined, but they appear in many compositions. Look for three points that connect through the arrangement of objects, lines or people. A triangle can guide the eye and create a sense of structure.
Triangles can suggest stability or instability. A broad triangle with a wide base often feels grounded, while an inverted triangle can create a more precarious impression. These are visual tendencies rather than fixed rules, and the effect depends on the surrounding elements.
The Isbjerget housing development in Aarhus is a good example of geometric forms working together. The photograph below uses the openings in a white structure as frames within the frame. The negative space becomes part of the composition, while the rectangles, triangles and curved shapes create a complex relationship.
The frame helps define the negative space. The positive shapes enclose it, while the outer boundary of the photograph contains the whole arrangement. I find it interesting how children often notice these relationships more quickly than adults. Perhaps we become so used to recognising objects that we stop seeing the shapes they create.
If you enjoyed this article, read more about organic shapes and photography.
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