The Golden Section: What a 12th Century Italian Mathematician Can Teach Photographers About Composition

By Rob Wood (Admin) / August 29, 2010

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A lost of people know about the rule of thirds, the s-curve as well as other elements of photographic composition. Let's have a look at something that is a little more advanced in the world of image composition that was discovered by a 12th century Italian mathematician called Fibonacci.

Introducing The Golden Section

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The Golden Section is simply a compositional rule that dictates that a well composed image can be achieved by dividing the frame by 1.6 several times.

By doing this, you get a pattern like this:

La famosa espiral

Image courtesy of Nam Nam

The Geek Explanation





Fibonacci is most famous for developing a series of number sequence which adds the previous two numbers:

0,1,1,2,3,5,8,13,21,34,55…

When you divide successive numbers, you come up with 1.6 which is a key in mathematics to proportions (hence its relationship to photography). When you apply the Fibinacci sequence to a rectangle you get a tiling with squares whose sides are successive Fibonacci numbers in length. Each square is roughly 1.6 times as big as the last. Like this:

How to Use the Golden Section

Images speak louder than words, so have a look at this image and the one below it to see an almost perfect application of the Golden Section in action. The proportions and composition are textbook Golden Section.

NatAmerSD--_MG_0684

Photo by DJ Flickr

Golden_Section_SD--_MG_0684

Photo by DJ Flickr

Now, this one is a lot more difficult than say, the rule of thirds to apply to your photos. However, with practice you will get better. The great thing is that the Golden Section adds another tool to your arsenal of composition.

Fibonacci Numbers
Photo by James Michael Hill

Fibonacci
Photo by Alex Decarvalho

About the author

Rob Wood (Admin)

Rob is the founder of Light Stalking. His love for photography pushed him into building this fantastic place, and you can get to know him better here

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