Framing Empty Space

Overview

This is lesson 3 of 10 in Seeing Through Photography. Students build on earlier learning about photographic viewpoints and framing by comparing symmetrical and asymmetrical compositions, then deliberately using negative space to simplify a subject and shape the viewer’s attention. They work in pairs to make photographs from worm’s-eye and bird’s-eye viewpoints, including a short written response in Hei mahi.

Learning intentions

• WALT compare symmetrical and asymmetrical photographic compositions.
• WALT use negative space to simplify and emphasise a focal point.
• WALT experiment with worm’s-eye and bird’s-eye viewpoints.
• WALT explain how compositional choices can change mood and emphasis.

Success criteria

• I can identify whether a composition is symmetrical or asymmetrical and explain why.
• I can place a focal point off-centre or near the edge of the frame.
• I can use negative space intentionally rather than leaving it by accident.
• I can describe how negative space changes the mood and emphasis of my photograph.

Curriculum links

• Visual Arts: developing practical knowledge of visual art elements and principles, including space, balance, emphasis, contrast and viewpoint.
• Visual Arts: developing ideas through photographic practice and making deliberate compositional decisions.
• Visual Arts: communicating and interpreting by explaining how visual choices affect meaning, mood and viewer response.
• Te Mātaiaho learning competencies: thinking critically, managing self, participating and contributing, and communicating ideas.

Lesson structure (60 minutes)

1. 0–7 min · Hook and retrieval. Open with the opening comparison slides showing a centred symmetrical image beside an asymmetrical image with a strong area of empty space. Ask, “Which image feels calmer, more tense or more dramatic—and what makes you say that?” Students silently choose one image, then discuss their reasoning with a partner, recalling viewpoint and framing from previous lessons.

2. 7–17 min · Model and analyse. Use the composition teaching slides to define symmetry, asymmetry, positive space, negative space, focal point, bird’s-eye view and worm’s-eye view. Teacher models placing a simple object in the centre, then near an edge, using a framing template to show how the balance and emphasis change. Students annotate two exemplar photographs on the composition analysis and planning sheet, identifying the focal point, negative space and likely mood. Check understanding through cold-call questions and thumbs signals.

3. 17–22 min · Demonstrate the practical task. Refer to the practical instructions slides while demonstrating safe, respectful movement around the school and how to hold a device steadily from a low or high viewpoint. Show three possible arrangements: a small subject surrounded by empty space, a subject cropped near an edge, and a subject balanced against a large area of plain texture. Students choose a partner, collect a device and select a framing template or use the template shape printed on their worksheet.

4. 22–42 min · Photographing challenge. Pairs make a minimum of four photographs: one worm’s-eye view and one bird’s-eye view, each explored as symmetrical and asymmetrical compositions. At least two photographs must place the focal point off-centre or close to the frame edge, with negative space used intentionally. Teacher circulates, asking, “What is the eye noticing first?”, “What could you remove?” and “How does this empty area contribute?” Students record their strongest composition and one rejected choice on the planning and reflection section. In wet weather, students photograph ceilings, floors, windows, blank walls, doorways and objects against plain surfaces.

5. 42–52 min · Pair critique and refinement. Display the critique prompt slides and ask pairs to show one selected image to another pair. Partners respond using “I notice…”, “The negative space makes me feel…”, and “The focal point is emphasised because…”. Each photographer identifies one possible refinement, such as moving closer, changing viewpoint, rotating the frame or increasing the area of negative space, then makes a final version where practical.

6. 52–60 min · Hei mahi and plenary. Students complete Hei mahi on the worksheet: “Describe how negative space changes the mood and emphasis of your chosen photograph.” Require one visual observation and one effect statement, such as “The plain wall gives the subject isolation, which makes the image feel quiet.” Invite two or three students to share. Finish with the plenary and self-check slide and ask students to rate their success against the criteria using a fingers scale from 1–4.

Resources

• the full Seeing Through Photography deck
• the composition analysis and planning sheet
• Cameras, tablets or phones
• Framing templates made from card or paper
• Projector or interactive display
• Photograph exemplars showing symmetry, asymmetry and negative space
• Pencils and erasers
• Plain objects or surfaces for wet-weather photography
• Device storage or shared digital folder

Assessment

• During analysis, listen for accurate use of symmetry, asymmetry, positive space, negative space, focal point and viewpoint.
• During photographing, use questioning to check that students are making intentional choices rather than simply documenting objects. Photograph selections and worksheet notes provide evidence of practical understanding.
• Assess the Hei mahi response for a clear description of how negative space affects mood and emphasis, supported by a specific feature of the image.

Differentiation

• Provide visual definitions, exemplar annotations, a framing template and the sentence starters “The negative space…”, “The focal point is…”, and “This creates a mood of…”.
• Use UDL by allowing students to plan through drawing, annotation or verbal discussion before photographing, and to share their interpretation orally or in writing.
• Pair students strategically, offer a choice of accessible locations and stable surfaces, and allow students who find high or low viewpoints physically difficult to use photographed examples or adjust the camera angle safely.
• Support students who need additional structure with a required sequence: choose one subject, remove distractions, select a viewpoint, place the subject off-centre, photograph, review and refine.
• Extend confident students by creating two images of the same subject with contrasting moods through different amounts, shapes or directions of negative space.