Mastering Street Photography Composition: The Power of Geometry

What’s poppin, people? It’s Dante. Today, we’re going to be discussing the geometry of street photography.

I’ve been practicing street photography for the past decade, traveling the world, and I’ve mastered the art of composition. And I’m really eager to share some of my advice and tips with you, because I believe a lot of street photographers struggle with composition.

Composition often comes second when we’re on the streets—it’s chaotic, unpredictable. But in order to create stronger photographs, one must synthesize content with form. Life is out of our control, and it’s difficult to put order to the chaos within the frame. However, through practice, persistence, and repetition, we can improve our composition.

Intuition & Composition

Ultimately, composition derives from intuition—that gut instinct when you press the shutter. It’s an intuitive practice. As much as we have two eyes that allow us to perceive the world with sharp visual acuity, the photograph is a result of our instincts.

“The moment you press the shutter derives from your gut. Let your gut instinct guide your compositional decisions in the moment.”

Take this scene in Jericho: climbing the Wadi Qelt mountain range with a group of Palestinian men, the car broke down, and I had to respond quickly. I saw the scene as a visual problem to solve—foreground, middle ground, background. I included the car in the foreground to fill one-third of the frame, breaking up the image while adding depth and visual interest. That small decision transformed a flat moment into an elevated photograph with shape and form.

Visual Problem Solving in Composition

Street photography is like solving a visual puzzle. You respond quickly, recognize patterns, and make compositional decisions in the moment. There are two approaches:

Plug in a foreground element instinctually – reacting to a moment as it happens.
Work back to front – setting the stage and waiting for elements to align.

For example, at a bus stop in Philadelphia, I was intrigued by light and shadow play. But what anchored my composition was a circular sign on the left-hand side. That first compositional decision dictated how the middle ground and foreground aligned. I waited for a man to enter the frame, and at the instinctual moment, I pressed the shutter.

“Position and perspective determine the result of the photograph. The photographer is responsible for where they position their physical body in relationship to the moment and the background.”

By dropping to a low angle, you can dramatically alter composition, making the form and gestures clearer and more impactful.

Using Layers, Shapes, and Forms

I believe a great composition is easy to read. When composing a scene, I think about:

Foreground, middle ground, and background
Shapes and geometry
Triangles, circles, leading lines
Frames within a frame

Take this moment in Zambia, where I woke up early to catch the sunrise with my host brothers. I was drawn to my host brother, Bob Boaglia, playing against the wall, casting a shadow. To make the composition more interesting, I included a hand in the foreground, adding depth and layers.

“When you see the world as shapes, you begin solving the visual puzzle intuitively.”

By using triangles and leading the viewer’s eye through the frame, you create a visual feast.

The Power of Triangles & Leading Lines

A good composition guides the viewer’s eye through the frame. Using triangles and vanishing points, you can create visual rhythm in an image.

In a scene outside a Palestinian mosque, I photographed two men sharing a moment. But instead of just focusing on them, I filled the background with a third element—a man smoking a cigarette. Now, the viewer’s eye moves left to right and back again, making the image more dynamic.

At a beach in Napoli, I used watermelon as a visual anchor while working back to front. By filling the frame with layers, I created a spiral composition, where the eye follows the watermelon, the men, and the sea.

“Leading lines and vanishing points add depth. They guide the viewer’s eye to something visually interesting.”

The Rule of Thirds (And When to Break It)

The rule of thirds is a fundamental tool, but it should be used intuitively. In Jericho, I framed two boys on opposite thirds, naturally following this rule. But I didn’t think about it—I felt it.

“The rule of thirds isn’t a law—it’s a guide. Composition should be intuitive.”

On the flip side, centering a subject can be just as powerful. In Bandra, Mumbai, I photographed a mother and daughter playing. By centering them, I emphasized the symmetry of the hands, flowing hair, and circular wheels in the background.

Frames Within a Frame

One of my favorite techniques is using natural frames—doorways, windows, mirrors—to contain the subject within the composition.

In Mexico City, I framed a worker through a doorway, aligning him with the mural.

In Jericho, I used a window to frame a boy rolling a tire, adding depth and separation.

By framing your subject, you create visual impact and lead the viewer’s eye directly to the focal point.

Patience & Playfulness in Street Photography

“Composition derives from intuition. You must be present in the moment, not overanalyzing every decision.”

A playful attitude is essential. I don’t take myself too seriously when I’m out shooting—I respond intuitively. For example, in a refugee camp in East Jerusalem, I was initially drawn to the light and color of a watermelon stand. By waiting and being present, I captured the moment when a man lifted a watermelon onto his head—a perfect decisive moment.

Patience and fluidity are key. Sometimes the best moments occur when you let go of control and embrace the spontaneity of the street.

Final Thoughts: Solve the Visual Puzzle

Street photography is about positioning yourself in relation to the world. It’s about synthesizing content with form and making split-second compositional decisions.

Take, for example, a golden hour scene at Bandra Fort, Mumbai. Observing the way birds flew through the geometric forms of the fort, I worked back to front, anchoring my composition with a man at the window. Then, I waited for the perfect moment—a bird flying through the frame—to complete the visual puzzle.

“When you recognize the world as shapes, you start making these relationships intuitively.”

So, go out there, train your eye, trust your intuition, and practice daily. Street photography is a game of patience, persistence, and presence.