Landscape photography and portrait photography denote separate genres. The question now arises – must we always shoot a portrait, as a portrait, and a landscape, as a landscape?
In this article, we will break down how this type of compositional question can be answered by you – the photographer. We’ll look at some common misconceptions regarding both styles, and also discuss how best to use them.
Art history’s canon has dictated the way images (or paintings) are viewed, read, and ultimately understood. The traditional impression of what a portrait or landscape essentially comes out of these stereotypes.
Historically speaking, long before the invention of cameras and photography, a portrait that was painted would have been painted as a portrait. But rules and regulations have no place in art, so in the early 20th century we saw this tradition falter.
As with all historical narratives, it takes a while for them to die out. People are hesitant to change. But we’re here to tell you that you should embrace the change and think more about the image outside of history’s canon.
The benefits of landscape or portrait photography
What will framing a photograph, as either a portrait or landscape, do for your shot? Similar to most photographers when they started out, I too was someone who followed the rule of thumb without really questioning why I shot landscapes in landscape mode.
Was it right for me to allow tradition to dictate how I framed images?
It all comes back to the notion of creating a visual language. My intent was to let my photographs speak for itself. More importantly, my goal was to present an image that stands out in an overly saturated image-cluttered world.
Using landscape or portrait modes when shooting particular images inform the shape and form of photographs. These modes determine how your image is seen.
Landscape will normally mean that your photograph is read from side to side, or left to right, and vice versa. Portrait will normally mean that your image is read from top to bottom. Think about how your eyes move across an image. Think about your subject in the shot and how you want it to appear within the frame.
Ask yourself questions when looking through old shots. Where is my subject in the image? Does the proration of landscape or portrait accentuate the image? Does it frame your subject or enhance the message or feeling you were hoping to convey?
The simplest and easiest way to answer these questions is to look at how the image you’ve shot flows. Do dominant lines connect? Is there a height or space that leads the shot? How does the image unfold?
Following dominant lines is always an obvious place to start. Dominant lines are a great way to lead your viewer through a photograph and make images both accessible and interesting. It allows the production of a visual language.
What I am proposing in case you hadn’t already noticed is that you disregard the labels. I never standby and question whether I should shoot landscape or portrait.
Disregard the labels and think with a frame. Look at how the lines or forms move in your shot. Assess what angle you want the subject to appear in. Generate flow by letting the image dictate what it wants for itself.
Try the art of framing by shooting a staircase. I love shooting staircases. If you can, shoot subjects that are walking down the stairs or shoot an empty staircase. Either way, these provide a great backdrop to practise a plethora of compositional techniques.
Try standing at the top of the stairs and getting low. Shoot in portrait mode. Now try landscape. You’ll notice that the staircase frames itself. Shooting in portrait gives an image that is more haunting. The lack of or knowledge of what is outside the image creates a feeling of enclosure – whereas, if shot as a landscape – you leave nothing to imagination. You simply provide all the answers for your viewer – the narrative is halted even before it even has a chance to begin.
We refer to this style of shooting as boring.
Forget the Lingo
Forget the labels!
In photography, as I often tell my students, there is no right or wrong way to shoot. You have to feel the shots, these always come out looking the best.
So how do I feel my shot, you ask?
The easiest way to sound out an image is to ask yourself how you want your eyes to be guided throughout the image. As is often the case, it’s a good idea (especially when starting out) to consider what or who your subject is going to be before you start shooting.
Consider who your subject is going to be in the photograph. Look at the shape or guidelines that fall into play with your subject.
A crucial part of determining whether or not you want to shoot landscape or portrait will come down to what kind of scene you’re shooting.
My top tip for when you really can’t decide what you shoot is as follows:
Shooting in landscape will cause you to cut through a scene. If you’re shooting a busy or congested area, look for a lead or a similarity in a shot. For example, when shooting street photography, if your subject is located in a busy street look at head placements. Are there any lines (not necessarily straight) that follow a left to right reading? If there is, you’ve got yourself a frame!
Cutting through the add-ons will prove to be a powerful tool. Giving your photograph the entire scope of view will give your photograph that drama that you’re looking for. It will also open up feelings and emotions within the frame that revolve around questions regarding the ways in which images are built up.
If you read an image from side to side, it’s important to make sure you follow the frame’s flow or movement. If you’re in a congested space, this style of shot could definitely help you. If you’re looking to create drama, ambiance or a visual language, make sure that you give the viewer a story (from side to side) so that a narrative is produced.
When shooting portraits, my general rule is that the eyes will sink. Generally, when reading a portrait image, your eyes will start at the top and drift downwards. A portrait-style shot would be well-used in empty or void spaces where the eyes have the tendency to want to drift. I often think that portrait shots are read much quicker than landscapes.
You want the drama to flow throughout the image. There isn’t necessarily always going to be a subject that is drawing the eyes within the frame. Leading the eyes from top to bottom should take the viewer on a journey, but the drama can come from elsewhere.
Framing so the sides of your shot are clipped is a great way to leave out visual aids that explain a shot. If you’re snapping a scene, try thinking about how the eyes move across a portrait shot. Include only a few details in order to leave the viewer with more questions than answers.
If you’re shooting a subject that doesn’t move – such as a building – portrait shots can be a great way to simply document the drama that building has without the need for the photographer to add any themselves. Sometimes the portrait is just enough to invoke the beauty that is within the frame.
Final Thoughts
When considering whether to shoot landscape or portrait, the most important thing to do is forget everything you know about either. Disregard the stereotypes and make your own decisions when shooting in order to achieve the best results.
As always I’ve included some handy tips, pointers and tricks for those that get stuck. Don’t feel like you have to follow these guidelines. These are just ideas that I’ve had when experimenting. Feel free to try them.
Deciding which way to shoot is normally a process of trial and error. The easiest way to learn these skills is to get out and try them out for yourself. In no time, you’ll be able to decide whether a shot deserves a portrait or landscape setting. Eventually, you’ll be producing captivating shots that have drama, speak for themselves and involve the viewer.
Images from Pixabay.