Successful creation or rule of the golden section

Impressing the moment - this is the moment the creation of the artist or photographer. In addition to inspiration, the master must follow strictly defined rules, which appear: contrast, placement, balance, rule of observance of the third and many others. But the rule of the golden section is still recognized as a priority, it is also the rule of thirds.

Just about the complex

If in a simplified form to present the basis of the rule of the golden section, then in fact - this division of the reproduced moment into nine equal parts (three vertically to three horizontally). Leonardo da Vinci introduced it specially for the first time, building all his compositions in this peculiar grid. It was he who practically confirmed that the key elements of the image should be concentrated at the intersection points of vertical and horizontal lines.

The rule of the golden section in the photo is subject to a certain correction. In addition to the nine-segment grid, it is recommended to use the so-called triangles. The principle of their construction is based on the rule of thirds. To do this, from the extreme upper point, the diagonal is drawn to the lower one, and from the opposite upper one, a beam dividing the already existing diagonal at one of the internal points of intersection of the grid. The key element of the composition should be displayed on the average of the resulting triangles. Here it is worthwhile to make a remark: the above diagram of the construction of triangles reflects only their principle, and, therefore, it makes sense to experiment with the above instructions.

How to use a grid and triangles?

The rule of the golden section in photography operates according to certain norms, depending on what is depicted on it.

The horizon factor. According to the rule of thirds, it should be placed along horizontal lines. In this case, if the imprinted object is above the level of the horizon, then the factor passes through the lower line, and vice versa.

The location of the main object. A classic arrangement is that when the central element is at one of the intersection points. If the photographer selects two objects, then they should be diagonally or in parallel points.

Use of triangles. The rule of the golden section in this case deviates from the canons, but insignificantly. The object does not have to be located at the point of intersection, but is as close to it as possible in the middle triangle.

Direction. This principle of photography is used in a dynamic photograph and consists in the fact that two thirds of the image space must remain before the movable object. This will provide the effect of moving forward and indicating the goal. Otherwise, the photo may remain misunderstood.

Correction of the rule of the golden section

Despite the fact that the rule of thirds in the existing theory of composition is considered classic, more and more photographers tend to abandon it. Motivation is simple: an analysis of the paintings of famous artists shows that the rule of the golden section is not maintained. With this statement, you can argue.

Consider all the famous Gioconda, which the opponents of using the rule of thirds cite as an example (forgetting that da Vinci himself was at the root of his practical use). Their arguments are that the master did not consider it necessary to arrange the key elements of the picture at the intersection points, as required by the classical image. But they overlook the factor of horizontal lines, according to which the head and torso of the depicted are arranged in such a way that the silhouette as a whole does not "cut the eye". In addition, in this work, the spiral is used to a greater extent, which theorists of photography forget about in most cases. And so it is possible to refute the statements concerning almost every creation, given as an example.

The rule of the golden section can be used, and you can abandon it if you want to emphasize the disharmony of the composition. However, it is impossible to assert that it is not a key element in the formation of an art object.