When is it smart for an expert to put the main thing *noton a Rule of Thirds line, but right off to the side, for a strong, unusual look?

The Rule of Thirds is a compositional guideline where an image is divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines. Placing the main subject, which is the primary focal point of the image, or other key compositional elements along these lines or at their intersections typically creates a balanced and aesthetically pleasing composition. An expert intentionally places the main thing not on a Rule of Thirds line, but right off to the side, meaning very close to the frame's edge or corner, to achieve a strong, unusual look when specific artistic or communicative goals outweigh the conventional balance of the Rule of Thirds. This deliberate extreme off-center placement is smart in several specific situations. First, it is used to emphasize negative space. Negative space refers to the empty or open space around and between the subject(s) in an image. By pushing the main subject to the periphery, the expert makes the vast expanse of negative space a dominant compositional element, which can convey a powerful sense of isolation, vastness, contemplation, or scale. For example, a tiny human figure placed at the far edge of a wide landscape emphasizes the immense scale of the environment. Second, this technique creates compositional tension and can evoke a sense of unease or anticipation. When the subject is nearly exiting or entering the frame, it disrupts the viewer's expectation of a central or balanced subject, generating a dynamic feel. This tension can be employed to suggest an unfolding narrative, impending action, or a fleeting moment, engaging the viewer psychologically. For instance, a person's face mostly obscured and visible only at the very edge can create intrigue and a sense of something hidden or partially revealed. Third, it is effective for drawing the viewer's eye along a specific path or emphasizing context. When the subject is positioned at an extreme edge, it can serve as a destination point after the viewer's eye travels across leading lines or a significant portion of the frame, guiding them through the scene and revealing more of the environment before reaching the subject. This helps tell a visual story or establish a strong sense of place. For example, a long, winding road leading to a small car placed near the corner of the frame forces the eye to follow the road first. Fourth, extreme off-center placement effectively highlights the surrounding environment or context over the subject itself. By minimizing the subject's presence in the frame and pushing it to the side, the expert intentionally emphasizes the larger scene, its details, or its atmosphere. The subject then acts as a point of reference for scale, allowing the environment to dominate and convey the primary message. An example is a large cityscape with a small, distinct building placed far off to the side to emphasize the city's overall expanse rather than the building itself. Fifth, this technique is used to create mystery or suggest elements beyond the frame. Placing a subject partially out of view or at the very edge implies that there is more to the scene than what is shown, inviting the viewer to imagine what lies outside the frame. This can deepen engagement and add an enigmatic quality to the image. For instance, a hand reaching into the frame from the very edge, with the person it belongs to unseen, evokes curiosity about the source. In essence, an expert utilizes extreme off-center placement not as an accidental deviation but as a deliberate and powerful compositional choice to achieve specific artistic and communicative effects, overriding the Rule of Thirds when these unconventional outcomes are the intended message.