HORIZON

Probably the most common photographic
situation in which the frame must be divided
cleanly and precisely is the one that includes the
horizon line. In landscapes of the type shown
on these pages it becomes the dominant graphic
element, the more so if there are no outstanding
points of interest in the scene.
Plainly, if the line of the horizon is the only
significant graphic element, placing it becomes
a matter of some importance, and the simple
case is when it is actually horizontal (no hilly
contours). There is a natural tendency to place
the line lower in the frame than higher, related to
the association of the bottom of the picture frame
with a base. We explore this later, on pages 40-43
(Balance), but a low placement for most things
in principle gives a greater sense of stability.
This apart, the question of the exact position
remains open. One method is to use the linear
relationships described on the preceding pages.
Another is to balance the tones or colors (see
pages 118-121 for the principles of combining
colors according to their relative brightness).
Yet another method is to divide the frame
according to what you see as the intrinsic
importance of the ground and sky. For instance,
the foreground may be uninteresting, distracting,
or in some other way unwanted, while the skyscape
is dynamic, and this might argue for a very low
horizon, almost to the edge of the frame. There are
examples of this here and elsewhere in this book
(cropping, as discussed on pages 20-21, is another
opportunity to explore these considerations). In
the shot of Lake Inle, the form of the clouds is
definitely worth making part of the image, but
the clouds are too delicate in tone simply to use a
wider angle of lens and include more of the dark
foreground. They can register properly only if the
proportion of the ground is severely reduced so
that it does not overwhelm the picture.
If, on the other hand, there is some distinct
feature of interest in the foreground, this will
encourage a higher position for the horizon.
Indeed, if the sky has no graphic value and the
foreground has plenty of interest, it may make
more sense to reverse whatever subdivision you
choose, and place the horizon much closer to
the top of the frame.
There is, needless to say, no ideal position
even for any one particular scene and angle
of view. Given this, and the kind of decisions
just mentioned, there may be good reasons
for experimenting with different positions.
There is little point, however, in simply starting
low and moving progressively higher without
considering the influences and reasons. As the
pair of photographs shot in Monument Valley
illustrates, different horizon positions can have
equal validity, depending on the circumstances
of the picture, and also on personal taste.