Using Frames in Photography: Learning to See What’s Already There
Ready to learn a little bit about frames in photography?
When I first started learning about the rules of composition, I loved discovering that some of the most beautiful photographs weren’t created by adding something to the scene—they were created by noticing what was already there.
So, I’m sharing a little series about some of the simple principles of composition that can help you create more intentional, meaningful images.
Today, we’re talking about using frames in photography.
And no, I don’t mean the kind of frame you hang on your wall.
I mean using something within the scene to naturally frame your subject.
So, What Is a "Frame"?
A frame can be almost anything.
The opening between a tree trunk and a branch. A doorway. A window. A bridge. Curtains. A hole in a wall. Tall grasses. Leaves. An archway.
They are everywhere, if you know how to look for them.
And that is really the secret.
Learning to use frames begins with learning to see them.
Why Use a Frame?
There are many reasons to use a frame in an image.
A frame can:
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Draw your eye directly to your subject
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Help isolate your subject from a busy background
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Hide things you don't want included in the photograph
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Add depth and dimension to an image
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Create a sense of place
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Give your photograph a more intentional, layered feeling
And frames don't have to completely surround your subject.
They can be natural—something found in the environment, like trees, plants, or grasses.
They can be man-made—a doorway, a window, a bridge, or even a set of curtains.
And sometimes, they can even be human. Your arms, hands, or another person can create a space that naturally draws attention to your subject.
Once you start looking for them, you'll begin to see frames almost everywhere.
A Natural Frame
The image below was taken using a natural frame—the ivy archway that stretched across an entire walkway at one of my favorite places to photograph when I lived in Illinois.
I placed my subject, beautiful Maddie, right in the middle of the walkway and used the ivy surrounding her to create the frame.
Notice how your eye naturally travels through the opening and lands on her.
The ivy gives the photograph depth, while also helping to separate Maddie from everything happening around her.
The frame isn't there to compete with her.
It's there to lead you to her.
When the Frame Doesn't Surround the Entire Subject
The next image was taken at just the right time of year, when the grasses were growing tall and the surrounding plants and trees were in bloom.
I used the tall grasses as a natural frame.
But as you can see, they don't completely surround my subjects.
And that's perfectly okay.
A frame doesn't have to form a perfect box around your subject to work.
Here, the grasses frame the sides and continue behind them. They create layers within the photograph and gently guide your eye toward the people in the center.
This is one of my favorite things about using frames: they don't have to be perfect to be effective.
Sometimes a little bit of framing is all you need.
A Man-Made Frame
For the next image, I used a completely different kind of frame—curtains.
Our little Santa was waiting for her turn to go on stage at one of the dance performances I photographed when I lived in Illinois.
There are several things that help her stand out in this photograph.
The color of her suit.
The color of the curtains.
And most importantly, the fact that she is standing between the two curtains.
The curtains create two strong lines that naturally lead your eye toward her.
This is one of my favorite images, and it is a wonderful example of how simple a frame can be.
Sometimes, you don't need an elaborate setting.
You just need to notice what is already there.
When the Frame Creates an Illusion
And then there is this image—another one taken back when I lived in Illinois, at what I affectionately called the grotto.
The grotto was a long stone structure that looked as though water once flowed through it and into a beautiful pond. It was a favorite spot for photographers because there were so many ways to use the structure creatively.
For this image, Maddie stood at one end of the structure while I stood at the other.
The structure is at least 20 feet long, and the stone walls surround her for much of the image.
The result?
Your eye immediately goes to Maddie.
That was exactly what I intended.
And here's the fun part:
Maddie is actually about four inches taller than the top of the stone structure.
But she looks as though she fits perfectly inside the frame.
Why?
Because photography is about more than simply what is physically in front of your camera.
Your camera settings, your perspective, where you stand, how you pose your subject, and the way you compose the photograph all work together to create the final image.
A little creativity can change the way we see reality.
Start Looking for Frames
So the next time you're outside with your camera—or even just walking around without one—look around.
What could you use as a frame?
A doorway?
A tree?
Tall grass?
A bridge?
A window?
Curtains?
Your own hands?
Remember, your frame doesn't have to surround your subject on all four sides. It can be natural, man-made, or even human.
And it can be subtle.
A good frame can add depth, draw your eye toward your subject, and help hide distractions you don't want in your photograph.
But here's the thing:
Seeing frames takes practice.
We don't naturally walk through the world thinking about composition.
So before you even take your camera outside, try something different.
Take a walk.
Don't photograph anything.
Just look.
Look at the spaces between trees. Look through doorways. Notice the way branches overlap. Look at windows, fences, arches, grasses, and buildings.
Start noticing the little openings and shapes that surround you.
You may be surprised by how many frames were there all along.
And once you learn to see them, you'll start seeing possibilities for photographs everywhere.
That's one of the beautiful things about photography.
Sometimes, creating a meaningful image isn't about finding something extraordinary.
It's about learning to see the extraordinary in what was already there.
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