In a previous podcast, we spoke about the importance of considering design elements in both original composition and post-production cropping.  One of the more common design elements is a line. 

Line elements can be implied, or they can quite literally divide the entire frame.

For landscape images, the most common division of an image results when one chooses to include the horizon.  And depending upon how dynamic the rest of the scene, the horizon line often enough becomes the dominant design element.  The purpose of including the horizon in one’s photos is generally to GROUND the viewing experience, to provide a FRAMEWORK by which we judge direction. 

The natural tendency is to place the horizon low in the frame, usually parallel to the bottom of the picture.  In general, placement of design elements lower in the frame creates a sense of stability.  That said, the question of exactly where to place the horizon line is frequently a matter of aesthetic appeal and personal taste. 

But let’s review a couple of rules of thumb. 

One rule is to look for existing lines of color and/or luminance contrast.  In this case, the clouds and their reflections created a series of implied lines. 

Because the implied lines converged towards the sun, there is also a focal point in the image. 

Quite frankly, I feel the vertical placement of the horizon within the frame is a little high, but in the end I felt like compromising the reflections created different problems. 

Perhaps, the most challenging aspect of the composition is the horizontal nature of the reflection pond.  After taking the shot, I knew that the far edge of the pond would be more visually pleasing if it were more diagonally to the horizon.  Truth was that I - along with my tripod - were quite literally  stuck 12” deep in muck.  I had to wait for someone to come along to help extricate me from the quick sand I found myself. 

Another rule of composition is based on the rule of thirds, meaning about the horizon is placed about 1/3 of the height of the image up off the bottom picture. 

Honestly, there are probably as many rules as there are photographers.  Just to mention one more that I like attempts to balance tones or colors or luminance according to their relative brightness, intrinsically balancing the relative importance of the ground and sky.  I am frequently drawn to reflections of the landscape in water.  And often enough I seek out compositions that are highly symmetrical. 

Needless to say, there is no ideal position for the horizon, even for a specific scene and angle of view.  Experimenting with different positions will facilitate you seeing different design elements that may not have been initially apparent.