Vertical vs Horizontal (1.4)

Requirement

c 20 photographs twice

Purpose

• To break the habit of always shooting in horizontal orientation (interia caused by camera design)
• To show that you can make most scenes work vertically as well as horizontally, although for each situation one orientation is likely to be more effective than the other

Technical learning

• The Golden Section is a classical way of dividing the frame since it tends to produce most people’s idea of balance within an image
•  The Rule of Thirds is approximates the Golden Section. However, it is a rule to guide not follow slavishly. 
•  You can discover other coherent ways of dividing the frame (a) by studying painters or photographers or (b) by using formats other than 3:2 such as 4:3, 16:9 or panoramic

Exercise instructions

Select a compact location – photograph the same scene twice. Take 20 images in vertical format.  Choose the settings for yourself, e.g. street scenes, landscapes. Take next 20 shots in horizontal format. Shoot a horizontal version of the vertical shot.

Images and Review

Bending the rules slightly, I have been taking vertical and horizontal of scenes simultaneously over a number of weeks. Here are 15 examples.

(1) The buildings and cafe at the Tate Modern, London

The subject becomes the cafe and its customers,
the buildings provide just the back drop

The buildings are the subject, the cafe
and its clientele provides 
foreground detail and balance

(2) Regent Street, London seen from Piccidilly Circus

The height of the buildings and curve of the street
have equal weight. Pedestrians add balance, interest 
and sense of motion

The landscape view emphasises
the curve of the street

(3) Office building at St Giles, London

The subjects are the building 
and the bus. The composition
is static. 

The subject is the view down the 
street, of which the bus and the building
are an important part. This composition 
is more dynamic

(4) Memorial to cyclist at Southwark Bridge

The landscape view shows the epitaph 
as well as its curbside context 
and provides some colour contrast

The portrait view focuses on 
the words of the epitaph

(5) Reuter's statue outside the Royal Exchange

The portrait view emphasises
height and allows more detail of
the statue dedication

The landscape view emphasises

width and includes more of the pattern 

of the windows of the background

building. This view has more rhythm.

(6) One of the many exits from Bank Underground station

More vertical detail encourages
the eye to move up and down. 
The space looks more narrow.

More horizontal detail encourages

the eye to move diagonally. 

The space looks wider.

(7) Shop at Soho street corner

Empahsises the height and 
shape of the building on the corner. 
The focal point is the shop
entrance.

Inceases perspective by adding 
a view down one of the streets.  
(Must exclude the detail at the edge
of the frame: adds nothing but
distraction).

(8) Watching the departures screen at Waterloo Station

The subject is the act of 
an anonymous traveller checking
the departure board

The subject becomes the rush hour, 

of which departure board 

 watching is a part

(9) The Millenium Bridge leading to St Paul's Cathedral

The subject is the flow of  people
over the bridge towards St Pauls

The dome of St Pauls is the subject.
The rails and people provide foreground
interest

(10) Waiting for the train at Bond Street Tube Station

Not a huge difference between
the vertical and horizontal view ...

... except this landscape shot 
provides more information on the
platform and completes the 
semi-cylindrical shape of the 
tunnel

(11) Tower and Blackfriars Bridges seen from the Millennium Bridge

More information on the sky

More information on Blackfriars Bridge

(12) Roundabout at Museum of London, London Wall

Rising multi-story office
blocks seen from the curve
of roundabout at the end of 
the walkway above London
Wall

The curve

of roundabout, with a partial view 

of the buildings in the background

(13) St Paul's Cathedral from the South Bank

Spectator looking at St Pauls
from the South Bank? 

Probably not, rather
looking at her outstreched
companion

(14) Building in St Giles High Street

Yellow cladding on office buldings
in St Giles High Street

Contrast of yellow and red cladding
on adjoining office blocks

(15) People on the balcony at Tate Modern

Spectators on the balcony
- positioned at lower end
of the frame for balance

Now positioned at lower end
of the frame. Keeps sense of height
but also adds width