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Perspective in Photography: 4 Vantage Points for Unique Compositions

18 Aug

The post Perspective in Photography: 4 Vantage Points for Unique Compositions appeared first on Digital Photography School. It was authored by Katie McEnaney.

perspective in photography: 4 different vantage points to try

As photographers, we often fall into the bad habit of shooting everything we see from eye level.

We walk around, something catches our attention, and we take a picture – right from where we are standing, without bending down, moving to the side, getting up high, etc.

(Sound familiar?)

But if you want to create stunning, eye-catching, original compositions, you need to get out of your eye-level (or tripod-level) rut. You need a change in perspective.

And that’s what this article is all about. I’m going to give you several easy tips for working with perspective in photography. By the time you’re done, you’ll be ready to bend, climb, move, and contort like a pro.

Let’s get started.

1. Get low

The easiest way to change your perspective for dramatic impact?

Get down low.

I use this all the time in my own photos, and it’s a favorite trick of many professional shooters. A low angle presents the world from a completely different point of view, one where the viewer feels small and the rest of the world looms large:

wide-angle leaves from low down perspective

So get your camera down toward ground level, and see how it impacts your perspective. Don’t be afraid to lie flat in the grass, soil, or mud; you might get dirty, but it’ll be worth it!

Also, quick tip: Getting down low allows you to emphasize the foreground of your composition. You can use a wide-angle lens to feature foreground elements, which will then pull the viewer right into the image. Take another look at the shot above; do you see how the leaves act as a foreground anchor, guiding the viewer into the image and toward the background tree?

A low perspective can also change the way your viewer feels about or reacts to your subject. Getting low can make your subject appear taller or more imposing. Subjects viewed from below can look commanding and powerful. Even a simple sunflower can seem to tower above its surroundings:

Plus, a low angle can completely disorient your viewer. This near water-level shot (below) becomes a study in color and texture, as the water and the fallen autumn leaves interact with each other. From eye level, this would simply have been a photograph looking down into a storm gutter. But getting low simplified the composition, providing the viewer with a startlingly unique perspective.

2. Get up high (and shoot downward)

Shooting from up high does the opposite of getting down low. Instead of making the viewer feel small and the subject loom large, a high perspective makes the viewer feel huge and the subject look tiny:

tourists looking at an iceberg from a ship

Notice how the high vantage point gives the photo a sort of “giant looking down into a toy world” perspective? Photographers love to use this angle when shooting objects that are actually very large (e.g., mountains, icebergs, trees). It creates an interesting juxtaposition between what the viewer believes about the subject (i.e., that it’s huge) and what the viewer actually sees (i.e., it’s tiny).

Getting up high is also a great way to emphasize geometry – the lines, circles, squares, and dots that make up the scene. So if your subject is very graphic, with lots of obvious lines and curves, try a high vantage point; it’ll likely work well.

Unfortunately, a high perspective comes with a major issue:

Getting above a subject is not an easy task. It often requires a lot of creativity, and there are times when it just won’t work. Here are a few methods of getting up high (but be mindful of the appropriateness of each method given the situation):

Climb stairs
Climb on a roof
Shoot from a window
Shoot from atop a parking garage
Use a drone
Hold your camera as high as possible

Obviously, some high perspectives are easier to manage than others. If you want to shoot from above a building, you’ll probably need a parking garage or a drone – but if you want to shoot a flower from above, you simply need to stand tall and point your camera downward.

Make sense?

3. Shoot upward

This perspective is similar to getting low, as discussed above – except rather than shooting directly at your subject from the ground, you shoot up. It’ll emphasize the height of your subject and can often evoke a sense of wonder and awe:

The classic “up high” subject is trees, but you can shoot upward at plenty of subjects, including:

Birds
Planes
Architecture
Clouds
Flowers
Power lines

Note that some of these suggested subjects aren’t actually tall; instead, you just have to creatively work your angles by getting down on the ground and pointing your camera upward.

Pro tip: If you plan to shoot a lot of photos from below, bring a camera with a tilting screen. Constantly shooting upward can really hurt your neck – so a tilting LCD will prevent a lot of pain.

4. Go for the lateral

Low angles and high vantage points can be awestriking, but don’t forget to think laterally, too.

In other words: Before hitting the shutter button, walk a few steps to the right and left. It may not seem like a big deal, but a few feet can make a huge difference to the final photo. For one, you’ll get a different view of your subject. You’ll also get a different foreground and a different background, both of which can make or break a composition.

Personally, the first view and the first angle I try is often not the best available. It takes a bit of work – moving right and left, trying out different foregrounds and backgrounds – before I get the shot I want. Sometimes, it even pays to walk completely around the subject (and you can take a few test shots along the way). That’s what I did for this shot of the Chicago skyline:

I also positioned the spray from the fountain directly in front of a building to make it more visible. You see, in addition to changing the foreground and background, moving your feet can change the way different objects in your photograph interact with each other.

Take a look at the two shots below. While the top photograph looks nice, moving just a few feet to the right and squatting down allowed me to feature the foreground lights with the actual Capitol building in the background. This juxtaposition of elements improved the storytelling ability of the photograph:

Christmas lights Capitol building with actual Capitol building in the background

Photography perspective: final words

Hopefully, you now feel equipped to revolutionize your compositions (just by moving your camera and your feet!).

Do not fall into the trap of shooting everything you see at eye level. Instead, take the time to explore your subject and consider changing your perspective. Get low and see what changes, get up high and explore a new view, or move laterally and watch different interactions occur and disappear between objects.

Now over to you:

What is your favorite photographic perspective? Do you have any tips for great results? Share your thoughts in the comments below!

low down perspective in photography road stretching into the distance

The post Perspective in Photography: 4 Vantage Points for Unique Compositions appeared first on Digital Photography School. It was authored by Katie McEnaney.

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Video: How to improve your compositions, from a photographer who worked with Ansel Adams

27 Apr

Born in 1949, award-winning photographer Huntington Witherill has been a fine art photographer since 1970. Witherill was fortunate enough to have worked with the famous Ansel Adams, among other notable photographers like Wynn Bullock, Steve Crouch, and Al Weber. Over the past 50 years, Witherill has learned a lot about photography. He recently chatted with Marc Silber of Advancing Your Photography to discuss composition.

In the video below, Silber asks Witherill the core areas he considers in terms of composition. Witherill replies, ‘Well, I think as an overriding sort of mantra for composition, I always like to refer to the way Edward Weston described composition, as being the strongest way of seeing.’ Witherill pays attention to everything in a scene, rather than what attracted him to the scene in the first place. When out shooting, it’s common to be drawn to a specific element of a scene. However, when making a composition, you don’t want to ignore everything in the scene. ‘Finding the strongest way of seeing is really, to my way of thinking, intellectualizing within myself what it is that attracted me to the scene in the first place. And then, doing my best to include all of that within the photograph itself and eliminate everything else out of the photograph,’ Witherill says.

In the video above, Witherill refers to an article he wrote in 2019, ‘The Strongest Way of Seeing.’ In this article, Witherill writes, ‘When it comes to the art of creating successful photographs, formulating an effective composition must surely be at (or near) the top of the list in terms of relative importance.’ He goes on to say when discussing whether or not there are prescribed rules of composition which could always prove successful, ‘As it also turns out, knowing where best to point your camera requires a skill set whose precepts appear to be instinctively derived, rather than intellectually prescribed. What might work in one situation can often prove disastrous in another. As such, employing a formulaic approach to composition will, more often than not, prove ineffectual.’

However, that is not to say that trying to improve your composition or that learning more about composition is a fool’s errand. While Witherill doesn’t believe that composition is a skill that can be taught in a rote fashion, he believes there are steps you can take to make it easier to ‘see’ composition in the field. Witherill likes to squint at a scene, which makes it easier to see the overall shapes and arrange a composition, as you are no longer able to focus on the finer details.

To learn more of Huntington Witherill’s tips for composition, watch the full video above. To view more of Witherill’s work, visit his website. For more videos from Marc Silber, visit the Advancing Your Photography YouTube channel.

Articles: Digital Photography Review (dpreview.com)

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15 Rule of Thirds Examples (to Improve Your Compositions)

27 Apr

The post 15 Rule of Thirds Examples (to Improve Your Compositions) appeared first on Digital Photography School. It was authored by Megan Kennedy.

In this article, we share 15 rule of thirds examples – so you can see this helpful compositional rule in action.

If you’ve been struggling to understand the rule of thirds, or if you’re simply looking for rule of thirds inspiration, you’ve come to the right place.

Let’s get started!

1. Focus

The rule of thirds was designed to simplify artistic composition. The rule suggests that you break down scenes into nine equal parts separated by two evenly spaced horizontal and vertical lines, like this:

Rule of thirds examples - a macro photograph of a fern in black and white — The grid overlay allows you to easily visualize the rule of thirds.
Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/2.5 | 1/80s | ISO 100

Important compositional elements can then be positioned along the lines of the grid, in the off-center rectangles, or at the grid’s intersections.

In this photograph of a native fern (above), the sharpest point aligns with the top-left intersection of the rule of thirds grid. This composition generates more interest and depth than a centered subject, engaging the viewer and guiding the eye.

2. Lines

people with rope rule of thirds example — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/160s | ISO 125

In this street scene, the majority of the subjects are positioned in off-center rectangles. Additionally, the two white road lines roughly align with the two horizontal gridlines. This distribution of subjects activates the edges of the photograph, adding a sense of expansion and narrative.

3. Pattern

rule of thirds example pattern in window — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/100 | ISO 250

The pattern in this decorative window suggests an overall uniformity. However, the clearest pattern elements are only visible in the upper-left corner of the rule of thirds grid.

This invites the viewer’s eye to explore the various intricate perspectives that make up the scene.

4. Insects

Rule of thirds example - a bee on a flower — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/4.5 | 1/1000s | ISO 400

Here’s a fun rule of thirds example with an insect!

Insects can be tricky to photograph, but applying the rule of thirds can help create a more dynamic composition. If you compose with an insect off-center, you’ll capture a more natural image that alludes to the movement and life of a living creature.

5. Motion

Rule of thirds examples - a Boeing 737 on approach to land at Sydney International Airport — Canon 5D Mark II | Canon EF 100-400mm f/4.5-5.6L IS II USM | f/16 | 1/400s | ISO 200

One of the main reasons for observing the rule of thirds is to discourage photographers from placing a subject at the center of a photograph. With the help of the rule of thirds, you can create more engaging interactions between the image and the viewer.

We know the standard trajectory of an aircraft. But in the example above, by framing the subject off-center, I was able to generate a clear sense of motion.

6. Depth

Rule of thirds example - flowers in black and white — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/250s | ISO 100

There are many ways to increase the sense of depth in a photograph. By offsetting the sharply focused main subject (i.e., by following the rule of thirds!), you can achieve a sense of spaciousness and three-dimensionality throughout your image.

7. Narrative

car wash window rule of thirds — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/7.1 | 1/100s | ISO 100

A lot is happening in the center of this image. However, the driving figure behind the central feature is positioned off to the left, creating a shadowy clue to the story behind the photograph.

8. It doesn’t have to be perfect

Rule of thirds example - ducks fly ahead of a large storm cloud — Canon 5D Mark IV | Canon EF 100-400mm f/4.5-5.6L IS II USM | f/11 | 1/500s | ISO 100

Despite its name, the rule of thirds is more like a guide than an unbreakable law. In the image above, three ducks make their way across a thunderous cloudscape. However, while one of the ducks is precisely aligned with the right vertical of the grid, the other two ducks are positioned independently on either side.

Nevertheless, the offset position of the ducks counterbalances the weight of the storm clouds, creating a dramatic juxtaposition. It just goes to show that the rule of thirds can be a flexible guide rather than a rigid rule.

9. Directing the eye

rule of thirds flowers — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/2.2 | 1/800s | ISO 200

In this image, the emphasis is placed squarely on select areas of the flower. By positioning the subject away from the image center, you can draw the viewer’s eye toward the frame’s corners.

10. Weight

grassy landscape — Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/7.1 | 1/100s | ISO 100

Every element in a composition has a weight, one that’s based on perceptions and real-life experience.

Darker, denser subject matter feels heavier than lighter, airier subject matter. Using the rule of thirds to group darker or lighter subject matter together in one area of an image can emphasize this weight. In the image above, lighter areas toward the bottom contrast with a dense area of shadow in the top third of the frame.

11. Balance

Rule of thirds examples - a canopy of tree branches and leaves — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/6.3 | 1/125s | ISO 100

The canopy of leaves creates an engaging pattern, punctuated by the dark branches of trees – the heaviest of which are positioned toward the edges of the image.

With the help of the rule of thirds, this balance of lightness and heaviness creates an interesting and harmonious composition.

12. Less can be more

Rule of thirds examples - a black an white photograph of an empty carpark — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/6.3 | 1/250s | ISO 100

These rule of thirds examples can be a handy reminder that less is often more. By organizing subjects in accordance with the rule of thirds grid, you can give an image room to generate its own visual momentum.

13. Adding detail

a black and white macro photograph of a white lily. — Canon 5D Mark IV | Canon EF 50mm f/1.8 II with extension tubes | f/1.8 | 1/640s | ISO 100

This macro image of a lily contains plenty of information around the central area of the composition. However, additional off-center details make the most of the image space, adding a sense of expansive detail to the photograph.

14. Abstraction

Rule of thirds examples - an abstracted image of a leaf — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/1.8 | 1/40s | ISO 320

Even abstract photography can benefit from the rule of thirds. Here, I’ve positioned an out-of-focus leaf so it intersects with the rule of thirds gridline.

15. Space

Rule of thirds examples a grassy field in black and white. — Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/8 | 1/160s | ISO 100

When a scene is full of information, incorporating an area of reduced activity can add more depth.

So rather than aligning a subject with the rule of thirds grid, try aligning the grid with an emptier portion of the scene. This allows the viewer to visually digest the image and better grasp the scene’s context and behavior.

Rule of thirds examples: final words

As these 15 rule of thirds examples have demonstrated, having a good grounding in compositional theory can be highly useful!

So while the rule of thirds is more like a guide than a strict rule, use it to help you arrange the various elements of your photos.

Now over to you:

Do you use the rule of thirds in your photography? Share some of your own rule of thirds examples in the comments below!

The post 15 Rule of Thirds Examples (to Improve Your Compositions) appeared first on Digital Photography School. It was authored by Megan Kennedy.

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The Rule of Odds in Photography (An Easy Trick for Better Compositions)

03 Mar

The post The Rule of Odds in Photography (An Easy Trick for Better Compositions) appeared first on Digital Photography School. It was authored by Rick Ohnsman.

When you create a photograph, you’re hoping to manipulate the mind of your viewer.

While photos are simple, two-dimensional representations of reality, you – as the photographer – hope to let the viewer see what you saw, feel what you felt, and experience the world as you did.

And that’s what the rule of odds in photography is all about:

Tapping into the brain of the viewer to create a more pleasing composition.

So if you’d like to make better photos, read on!

The rule of odds in photography - three tulips — The choice of three tulips for this shot was very purposeful. I tapped into the rule of odds!

What is the rule of odds in photography?

The rule of odds states that, whenever possible, a composition should have an odd number of objects, not an even number of objects. So an image should have three flowers rather than two, and five people rather than four.

Why?

The rule of odds taps into the brain’s propensity to create order.

You see, when viewing a group of objects, we unconsciously want to group them in pairs.

But when we’re faced with three, five, or seven objects in a photograph…

…we have a group that can’t be easily organized.

With an odd number of objects, one may become dominant. At the very least, the viewer will look longer at the image, moving between the individual elements.

That is the power of the rule of odds in photography:

It creates a composition that makes the viewer’s brain work a little harder and look a little longer.

The rule of odds in photography - three umbrellas — Three repeating shapes play to the rule of odds. You can line them up…

three flowers in an implied triangle — …or arrange them to form an implied triangle, as with these three flowers.

Three, five, or seven objects can work well.

Once you move beyond these single-digit numbers, we tend to treat all of the objects as a group – even if they’re odd.

the rule of odds in photography - five bottles — Five objects also adhere to the rule of odds!

Creating compositions with the rule of odds

Certain genres of photography give you, the photographer, complete power over your composition.

So you can arrange and compose your scene to include an odd number of subjects.

You can also arrange the odd number of subjects in pleasing ways; for instance, you can include strong compositional elements such as lines and triangles. In fact, these compositional tools are one more way to tap into the viewer’s brain as it works to find lines and patterns.

Often in still life compositions, we have the ability to arrange our subjects, choosing what, where, and how many objects are placed.

And that makes it easy to apply the rule of odds, as I did in the photo below:

rule of odds still life with lantern — When you set up a still life photo, you have full control over what to include and exclude. Here, the lantern, gloved hand, and pickaxe are the three key elements in this composition, so it follows the rule of odds.

Of course, it’s not enough to think only about the number of objects. You still need to think about natural pairs, because while a cup, a saucer, and a spoon might make a pleasing composition, a cup, a saucer, and a screwdriver would likely puzzle your viewer – even though it follows the rule of odds!

violin, music, and flower still life — It was no accident that I chose a stem of flowers with three roses. And note the three objects in this light-painted still life: the violin, the sheet music, and the flowers.

Flowers can make great subjects for tapping into the rule of odds. If you are arranging the flowers in the scene yourself, think about using a group of three or five rather than an even number.

If you’re shooting flowers in nature, perhaps you can frame your shot to include an odd number of subjects. (You could also clone out a flower afterward.)

three flowers together — This was a matter of framing the shot to include just these three flowers.

three leaves with water droplets — In this case, I framed the shot to only include three leaves.

tree before a lake — This triple-trunked tree was a perfect rule of odds subject.

The rule of odds for other subjects

Out in nature, perhaps shooting landscapes, you usually don’t have the option of moving around subjects.

Instead, spend time exploring your scene – and find compositions that take advantage of the rule of odds in photography.

When shooting outdoors, see what you can do to create compositions with an odd number of major objects, be it mountain peaks, trees, rocks, or clouds.

Note that you can still apply the rule during post-processing; if you have four elements instead of three, you can always clone one out, as I did in the image below:

four birds cloned down to three — The three posts worked well for this rule of odds shot, but four birds were on the front post. No problem; just clone one out! Do you agree that three is better than four?

Whether you’re composing in the field or editing on your computer, the rule will usually still apply. An odd number of objects will create a stronger image.

three seagulls for the rule of odds — There was a whole flock of gulls perched on this fence, but cropping down to just these three let me follow the rule of odds.

the rule of odds in photography - three Canada geese — This shot was mostly about the great reflections in the water, but the three geese worked with the rule of odds and enhanced the story.

groups of rocks on the sand — Three or five? The top shot was the original composition. There are six rocks, but because two of them are closely grouped, you could consider them five objects. Still, I think the cropped version – with just three rocks – is better.

seascape with huge rocks — When you can’t move objects, such as in landscape photography, you can still take advantage of the rule of odds. Just keep it in mind when composing your shot.

four trees on the left and three trees on the right — The simpler shot at the right has just three objects. It works better than the shot at the left with four.

windows in a row of five — The same goes for architectural photography. Here, the five-in-a-row repetition works well.

the rule of odds in photography -three bikers in a race — We’re used to a first, second, and third place winner in sporting events. So not only did the rule of odds improve the composition, but it also helped tell a story!

The original shot contained six kayak racers. I cloned one out to drop the count to five.

Exceptions to the rule

Do photography for a while, and you’ll hear all kinds of “rules” – the rule of thirds, the reciprocal rule, the left-to-right rule, and all manner of other compositional and camera operation rules.

Of course, there are always exceptions to the rules. And there are times when it’s good to break the rules for an even better composition.

So when should you break the rule of odds?

First, when photographing people, you shouldn’t always stick to the rule. If you’re shooting a couple, then it wouldn’t make sense to have a third person (and this, in fact, would lend a new meaning to the rule of “odds”).

Of course, should that couple have a child, great; the group of three would make a nice rule of odds composition. Then, if the couple were to have another child, you’ll have to find a different way to pose them that works around the rule of odds.

Here’s another time to break the rule of odds:

If you’re taking a photo of Mount Rushmore. Who are you going to leave out to adhere to the rule of odds?

Therefore, the rule of odds should be like the rule of thirds. Use it when it works to enhance your composition, but don’t feel constrained by it if your subject just doesn’t permit its use.

five men in front of a train — It was just luck that this group consisted of five guys, but it was helpful for composing the shot.

three police officers with lights and guns — Triple threat. There just happened to be three individuals in this group, and who was I to argue?

The odd one

Perhaps you’ve heard the song on Sesame Street, “One of these things is not like the others.” It’s a little game the show uses to teach children observational thinking.

Well, you can play a similar game with the mind of a viewer.

Simply seek out scenes and compositions where something in the image is odd, different, out of place, or doesn’t match.

Such images can be powerful. They engage the mind of your viewer, drawing attention to the odd object and making your viewer look a little longer at your photo.

The rule of odds in photography - one dark tree in front of lighter rows of trees — Which of these things is not like the others? The nonconformist tree makes for a more interesting image.

Does the power of an “odd one out” image have anything to do with the number of objects in your photo? It might, or it might not. Perhaps it doesn’t conform to the standard definition of the rule of odds.

Still, it’s a powerful technique, and a great way to make captivating photos that engage your viewer.

The rule of odds in photography - one pink flower surrounded by yellow flowers — Where does your eye immediately go in this shot? Yeah, I confess that I colored the one flower pink – but the point is that the odd one out immediately becomes the focus of attention.

The rule of odds in photography: Final words

When someone tells you your photos are odd, take that as a compliment!

Seriously, they aren’t likely to say that, but if you can find ways to embrace the rule of odds in photography, you will have another trick in your bag.

Not only is it hip to be square, but it’s also cool to be odd!

Now over to you:

What do you think of the rule of odds? Will you try it out in your compositions? Do you have any rule of odds photos that you’re proud of? Share your thoughts and images in the comments below!

What is the rule of odds?

The rule of odds states that an odd number of objects in a photograph (3,5,7, etc.) will be more engaging to the viewer than an even number of objects.

In what kind of photography is the rule of odds most easily used?

Probably still life photography, where you have full control over the number of objects in your shot and how they are arranged.

Can I use the rule of odds in landscape photography?

Yes, you often can! Even when you can’t move objects in your scene, you can carefully compose and frame your image to capitalize on an odd number of subjects.
Sometimes, you can also crop your image in editing or add/remove objects to create an odd number of subjects.

What is the “odd one out” method of composition?

A good technique can be to look for things that break the norm or “stand out” because they’re different from the rest of a photo. Such objects will immediately draw the viewer’s eye and become the focal point in your photo. Think of a red flower in a field of yellow ones, a fork in a line of spoons, and maybe a baby chick in a carton of eleven eggs, and you’ll get the idea.

The post The Rule of Odds in Photography (An Easy Trick for Better Compositions) appeared first on Digital Photography School. It was authored by Rick Ohnsman.

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How to Use Leading Lines for Better Compositions

29 Nov

The post How to Use Leading Lines for Better Compositions appeared first on Digital Photography School. It was authored by Anne McKinnell.

Leading lines refer to a compositional technique where the viewer’s attention is drawn to lines that lead to the main subject of the image. A leading line paves an easy path for the eye to follow through different elements of a photo.

Usually, these lines start at the bottom of the frame and guide the eye upward and inward, from the foreground of the image to the background, typically leading toward the main subject.

Where can you find leading lines?

The easiest place to find a leading line is on a road. Roadways are inherently leading because they go somewhere, giving us a feeling of motion. The lines often point so far inward that they reach a vanishing point – the place where two or more lines converge at theoretical infinity.

Leading Lines: Avenue of Oaks, South Carolina, by Anne McKinnell — The leading lines of the road converge to create a sense of infinity.

When leading lines, such as roads, connect the foreground to the background of a scene, they help create depth and dimensionality, which draws the viewer into the image.

Leading lines are all around us in cities and in nature. Your job, as the photographer, is to find them and arrange them in your photograph so that they lead toward something, even if that something is infinity.

Leading Lines: Sunset at Ross Bay, Victoria, British Columbia, by Anne McKinnell — The logs on the beach draw the viewer’s eye into the frame and lead up to the house.

When you’re setting up a shot, take a moment to examine the scene for its prominent lines. Clear your mind, relax your eyes, and notice where you’re naturally drawn to.

Pay special attention to human-made objects such as:

roads
fences
boardwalks
bridges
bricks
anything in a row, such as lamp posts
buildings
doorways
window panes

In nature, pay particular attention to:

rivers
shorelines
waves
sand dunes
trees
tall grass
cliffs
rocks
sunrays

Leading Lines: Boquillas Canyon by Anne McKinnell — The soft leading line of the river’s edge creates depth in the image.

What’s the best way to use leading lines?

Once you’ve identified your strongest lines, consider how you can use them to enhance your composition.

Depending on your intention, you might:

Create depth and perspective by positioning a strong line leading from the foreground to the background
Create a visual journey from one part of your image to another
Place your subject where the lines converge to give the subject more importance in the frame and draw the viewer’s attention directly to it
Make a cyclical composition, with the lines leading the eye in a circular motion and never out of the frame

Arranging the elements in the frame may involve the use of different lenses to change perspective. However, you can accomplish this simply by moving yourself so that the point of view you choose is purposeful.

Leading Lines: Japanese Garden by Anne McKinnell — The leading line of the path takes the eye directly to the maple tree.

How to use leading lines for better compositions: final words

Leading lines are the key compositional element that carries our eye through the photograph. They can be used to tell a story, to place emphasis, and to draw a connection between two objects.

Use leading lines creatively and with expressive purpose to help you tell your unique photographic tale.

The post How to Use Leading Lines for Better Compositions appeared first on Digital Photography School. It was authored by Anne McKinnell.

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How to Use Framing in Your Compositions to Improve Your Photography

05 Nov

The post How to Use Framing in Your Compositions to Improve Your Photography appeared first on Digital Photography School. It was authored by Simon Bond.

Photos look great when framed on the wall, but that is not the only way to use frames in photography. The world is full of frames, and they can be used in your photos to make the composition stronger.

In this article, you’ll learn how to find frames. You’ll also learn how you can work with frames to enhance your images. So let’s use framing in your compositions!

a paper frame in the composition — For this photo, traditional Korean paper, called Hanji, was held in front of the camera and used as a frame. The person in the photo is making this traditional paper, so the frame adds context to the image.

What is framing?

Framing, as the name suggests, is when you surround your main subject with a border of some kind.

The frame could literally be a picture frame you hold up in front of the camera. However, there are lots of other ways you can create frames in your compositions. For instance, you can photograph through a window frame, a doorway, or a gap in a wall. And you can always create your own frame, which you’ll learn about in a moment.

Why add a frame?

A frame is used in your image to draw the eye to your main subject. The subject could be a model standing in a doorway or architecture framed through a window.

Plus, a frame can add to your image. The right frame can add context, which creates a further narrative element.

framing in your compositions architecture — Architecture can provide strong framing opportunities for your photos.

Where to find frames

Here’s the next question:

Where can you find a frame that will work for your photo? I’ve already mentioned a few classic ideas, but let’s look at those (and others!) in more detail below:

Doorways: One of the easiest frames to find is a doorway. You can position your main subject in front of the door and use it as a frame. Alternatively, you can photograph through the door and use it as a frame for the background scene.
Picture frames: Hold a frame in front of your camera or ask someone else to hold it for you. Then use this to frame something interesting.
Windows: This is similar to a doorway, but doesn’t run to the ground.
A wall: Here, you need to look for a gap in the wall to use as a frame. This can work well when the foreground (the wall) complements the background behind it.
Lensballs: One of the reasons a lensball is an effective photography tool is because it always provides a natural frame, with the outside of the ball framing the inside.
Photograph through: Look for objects you can photograph through, such as a plant pot or a tube. These will give your photo a circular frame.
Nature: There are plenty of natural frames. A cave entrance or a tree tunnel can work well.

framing in your compositions archway — A wide-angle lens was used to capture the archway in front of this temple, which created a great frame.

How to photograph with a frame

On the face of it, photographing with a frame is easy:

Simply compose a photograph in front of something like an arch or window.

However, you need to consider some key compositional and technical questions. For instance, what’s the subject in the frame? And how large or small should your frame appear?

Focal length: The focal length you choose will depend on how much you want to compress the area surrounding your frame. It will also depend on how far back from your frame you’re able to stand. For instance, when photographing indoors, a wide-angle lens may be needed to fill the photo with the frame of a window or doorway.
Subject: Just because you have a natural frame does not mean you have a good photo, especially if the subject behind it is uninteresting. Look first for your main subject, and then look for available framing options. If you’re taking portrait photos, this will be easier than if you’re photographing a landscape; you can, of course, always ask your model to stand within the frame.
Narrative: What will your frame tell the viewer about the rest of the photo? Is it possible to adapt the frame in some way so it better suits the scene behind it? How much of the area surrounding the frame will you include, and how will that affect the story you’re trying to convey?

framing in your compositions light painting frame — There was no frame for this photo until the light was painted in!

Creative framing in your compositions

When a frame isn’t available, you have another option:

Create your own!

This creative approach to framing in your compositions can lead to the best results. That’s because you’ll have more control over the frame itself. You can control the size and shape of the frame. You’ll also be able to precisely match the frame to the image you are trying to create.

The following are some possible ideas for more creative framing:

Card or paper: Choose the color, cut out the appropriate shape, and make your own custom frame.
Copper piping: Placed close to the lens, this will create a flare-like effect when the sun shines off the metal, and this flare can be used as a frame.
Plant pot: Cut out the bottom of a plant pot and use it to photograph through. A wide focal length will likely be needed to catch the edge of the pot as you photograph through it.

framing in your compositions net — Always look to see how a frame can add more of a story to your photo. In this image, the fishing net is used to frame the fisherman.

Get framing!

Now that you know all about framing in your compositions, it’s time to get out and practice what you’ve learned.

Do you enjoy using frames in the photos you take? Is there another approach you use when looking for frames? Have you ever tried creating your own frame so that it matches the photo you’re taking?

Share your thoughts in the comments! And if you have photos with frames, please share them, too!

The post How to Use Framing in Your Compositions to Improve Your Photography appeared first on Digital Photography School. It was authored by Simon Bond.

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8 Vital Tips To Crop Your Photos For Stronger Compositions

29 Jun

The post 8 Vital Tips To Crop Your Photos For Stronger Compositions appeared first on Digital Photography School. It was authored by Kav Dadfar.

Even the best photos can be ruined if they are not cropped properly. It’s easy to get carried away with cropping since you can take away more and more of what may seem like a useless portion of the image. This can quickly lead to cropping way too much. Or, the opposite can happen if you are worried that you’re taking away too much. Believe it or not, sometimes even the professionals need tips to crop their photos better. So here are 8 tips to crop your photos better so that you can avoid making mistakes.

Tips-To-Crop-Your-Photos — f/2.8 – ISO 160 – 1/100 sec

1. Tell the complete story

If you’re taking a photo of two people
playing catch, you would never dream of cropping out one of the people or the
ball. The photo would no longer make any sense!

Take the subjects into consideration when
cropping out elements. Are they interacting with anything in the frame that
would change the context of the subject’s actions if removed? This is a
surefire way of knowing whether or not you are cropping too much from the
image.

2. Remove partial elements

There may be something in your frame that isn’t fully in view, like an elbow or a stray tree branch. Without the entire element in the frame, sometimes these partials can be distracting from the subject and should probably be cropped out.

Just like your image is trying to tell a complete story, you don’t want any unnecessary details distracting the viewer from what you are trying to get across in the image. Photobombs are funny, but only in the right context, so consider removing that random person in the background that you didn’t intend to be there in the first place.

3. Keep the subject at eye level

A portrait becomes much more engaging when the subject seems like they are at a more natural eye level. Concerning portraits, this may actually be one of the more important tips to crop your photos.

Cropping too tightly on the subject will
create a close-up shot that seems unnatural and even uncomfortable to look at. Keep
things in proportion by allowing the subject’s eyes to stay at a more natural
level in the frame.

Additionally, your subject will seem to want a little breathing room. When cropping at eye level, make sure that you are giving the frame enough space so that their gaze doesn’t seem interrupted by the edge of the frame.

4. Centering the subject is not a requirement

Just like you’re trying to tell the entire story by keeping important elements within the frame, that might also play into your composition as well. Apply the rule of thirds (or other compositional rules) to help you determine where your subject should rest within the frame. This will help you lay out other elements in frame as well, making sure that you don’t accidentally cut something out or when you don’t realize that you have centered your subject.

In fact, when cropping appropriately, you can even fix any composition problems that you might not have considered when snapping the image in the first place.

5. Try to avoid cropping limbs

While it may be a good idea to crop out part of your subject, try to avoid cutting off the limb of your subject. Cropping limbs creates an eerie effect and shows that you hadn’t considered your framing when taking the shot. Similarly, you wouldn’t want to cut off any piece of your subject that doesn’t make sense, like half of their ear or the tip of their nose.

6. Crop out the errors

You might think that a true photo would include leaving the image as it stands, mistakes and all. However, cropping properly can mean that you cut off portions of an image that distract from the subject or are just simply wrong.

For example, maybe you have accidentally captured your camera strap in your shot. Would you really want to leave that in?

So one of the best tips to crop your photos is to remove anything that wasn’t your intention to include. Of course, ideally, you should spot these errors when taking the photo, but if you didn’t, and you can crop to correct, then you should.

7. Crop consistently

If you’re shooting a series of portraits, landscapes, or anything else of the same subject, then it’s important that you crop all of the photos in the series consistently. The series is supposed to be a coherent, consistent set of photos aesthetically, which means the composition and cropping should all work together as a set.

Without uniformity, when the photos are looked at in a group, if they are not composed and cropped consistently, then it is going to have a jarring effect. For scenario shots, like a landscape, keep the rule of thirds of the Golden Triangle rule in mind as well to help with consistency.

8. Cropping doesn’t always have to be right-angles

The majority of the time, cropping will involve right-angles to give you square and rectangle shapes. However, there is no hard rule that says this is the way it has to be. To wrap up these tips to crop your photos, you can also be creative and crop an image as an oval, hexagon, or any other shape that may lend itself better to the image.

Depending on the subject, the composition, and how you want your final image to look, cropping in various other shapes than right-angles may look intriguing.

Conclusion

Sometimes the difference between a good photo and a great photo comes down to the way you crop it. The great thing about digital photography is you can adjust photos without fear because you can always return to the original by using software like Lightroom. So experiment with your cropping, and you may see a big improvement in your photography. Also, share your before and after results in the comments section!

The post 8 Vital Tips To Crop Your Photos For Stronger Compositions appeared first on Digital Photography School. It was authored by Kav Dadfar.

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A Quick Guide to Amazing Bird Photography Compositions

16 Nov

The post A Quick Guide to Amazing Bird Photography Compositions appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Do you want to capture amazing photos of birds? If so, you have to master bird photography compositions.

Composition refers to the arrangement of elements within the photo. And it’s often the difference between a creative, compelling image, and an image that just falls flat.

In this article, I’m going to share with you everything you need to know about bird photography composition. I’m going to give you several tips that ensure you capture beautiful bird photography compositions, without fail.

Sound good?

Let’s dive right in.

amazing-bird-photography-compositions

The composition basics: Capturing a gorgeous bird photo

When you take a bird photo, everything in the frame matters.

The bird. The position of the bird. The position of the bird’s head. The background. Any elements behind the bird. Any elements in front of the bird.

It’s all important.

Because the key to a gorgeous bird photography compositions is keeping the shot focused on your main subject.

amazing-bird-photography-compositions

You want to make sure that the bird stands out in the frame. You want to make sure everything else in the photo emphasizes and enhances the bird.

So how do you do that?

A few simple ways, starting with:

Simplify the entire composition to make the bird stand out

If your composition is chaotic, then the viewer is going to get lost.

And that’s absolutely not what you want.

Instead, you should aim to simplify the composition as much as possible. The best compositions tend to include a bird and a background. That’s it.

A Quick Guide to Amazing Bird Photography Compositions

While it’s possible to create beautiful shots by including additional birds or interesting features (e.g., shells, flowers), I recommend avoiding that as much as possible. These mess up compositions more often than they enhance them.

Also, in the interest of simplicity: If there’s anything in the frame that’s distracting, get rid of it. So make sure there are no branches behind the bird. Make sure there’s nothing in the background that dominates the frame or draws the eye.

That’s how you’ll keep your bird photography compositions beautiful.

And speaking of backgrounds:

Aim for a uniform, simple background that makes the bird pop

If you want a beautiful bird photography compositions, then you need a beautiful background.

What does this involve?

First, the best bird photography backgrounds are simple. They’re also uniform.

Like this:

A Quick Guide to Amazing Bird Photography Compositions

Notice how the background is a nice uniform color.

It keeps the attention on the bird. It doesn’t distract.

To create a background like this, you want to start by ensuring a large separation between the bird and the background. One trick is to get down low, on the bird’s level; this will cause the ground behind the bird to fall away, creating a more distant background.

You should also make sure you use a decently wide aperture, such as f/5.6 or f/6.3 (the particulars depend on the size of your bird, because you don’t want to accidentally make parts of the bird soft!).

Finally, you should ensure that the background doesn’t include colorful elements that catch the eye. Before you take a shot, look behind your bird, and ask yourself: Will anything in the background dominate the frame? Will anything pull the viewer away from the bird?

If the answer is “Yes,” then you should consider moving slightly to the left or right so that you’re no longer stuck with a distracting background.

Use the rule of thirds to position the bird’s eye

Now that you know how to capture beautiful backgrounds, it’s time to look at your main subject and how to position it.

Generally speaking, you’ll have a single bird in your photos. And you need to position this bird carefully.

You don’t want to put it smack-dab in the middle of the frame. That’s a recipe for a boring, static composition.

Instead, I recommend you place the bird so that its eye falls along a rule of thirds power point.

What is the rule of thirds power points?

They’re simply points that are a third of the way into the frame, both vertically and horizontally.

The eye in this photo, for instance, falls along a power point:

A Quick Guide to Amazing Bird Photography Compositions

It’s a third of the way down, and a third of the way from the left.

Now, the rule of thirds is misnamed; it’s a guideline, not a hard-and-fast rule. But it is a great way to position your bird and will ensure that the shot feels a lot more interesting.

So use the rule of thirds whenever you can to position your bird within the frame.

Point the bird into the frame to add movement

I’ve talked about positioning your main subject using the rule of thirds, but there’s another aspect to positioning that you should always, always consider:

The direction the bird is pointing.

You see, most bird photos have some empty space in the frame.

And when they do…

…you want to point the bird into the empty space, rather than away from it.

amazing-bird-photography-compositions

You see, by making sure the bird is looking into the empty space, it adds a sense of completeness and a sense of motion to the frame. The viewer’s eye follows the birds line of sight, and everything feels satisfying.

Whereas if you point the bird out of the frame, the whole shot feels tense. The viewer wants to know what’s outside the frame, with no resolution in sight.

That’s why bird photographers love to point the bird into the frame. It’s far more satisfying, and can turn the shot into something powerful.

Capture the bird in a creative pose for increased interest

Now, when it comes to bird photography, you can capture birds in a normal standing pose.

And that’ll get you some nice photos.

But sometimes…

This isn’t enough.

If you want to create truly creative bird photography, you need to go beyond the simple standing pose. And capture the bird doing something interesting.

What counts as interesting?

For one, preening birds look really interesting. They appear wonderfully tranquil as they clean their feathers.

A Quick Guide to Amazing Bird Photography Compositions

And birds that are sleeping also give off a sense of peace that I love.

You can also go for action shots: Birds feeding, for instance, can create a lot of interest. You can capture photos of birds that are about to catch food, are currently catching food, or have just caught food. Think of a bird with a huge fish in its mouth.

It’s guaranteed to add interest.

Cool, right?

You can also go for shots of birds fighting or, as is a common bird photography practice, shots of birds flying. Photographing birds in flight can be a challenge, but a really rewarding one.

So whenever you’re able, don’t just take a standard bird photo. Go beyond this.

Make something unique!

A quick guide to amazing bird photography compositions: Conclusion

You should now have a sense of the best ways to capture beautiful bird photography compositions.

And remember:

Getting amazing compositions isn’t hard. You just have to use the tips that I’ve given you, and you’ll be taking stunning photos in no time.

Have other tips for gorgeous bird photography compositions? Share them in the comments!

amazing-bird-photography-compositions

The post A Quick Guide to Amazing Bird Photography Compositions appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Guide to Choosing Subjects and Compositions for Flower Photography

09 Jul

How does the budding flower photographer go about selecting subjects and choosing compositions? In this article, I will give a detailed answer to this question. First, I will discuss the different types of flower photography subjects. Then I will give guidelines for creating stunning compositions.

All throughout this article, I will emphasize producing clean, dynamic images.

flower photography macro tulip

Subjects

Choosing a subject in flower photography may seem easy – flower photographers shoot flowers, right?

While this is true, it’s important to consider several factors about any particular flower. Among these is the color of the flower, the condition of the flower (is it dying and/or dirty?), and the shape of the flower.

flower photography macro yellow orange abstract

Color

Considering color is simple. The more colorful the flower, the more interesting the image is going to be (generally speaking, of course). I like to use bright colors, placed before a brightly colored background.

flower photography macro tulip abstract

It can also be useful to think in terms of complementary colors. These are the red/green, blue/orange, and yellow/purple combinations. When they are placed together in the same frame, the results can be powerful.

Condition

Another important consideration is the condition of the flower. Before taking your photograph, you should inspect your potential subject carefully.

flower photography macro backlit

Ideal flowers are at peak bloom: petals spread wide, edges crisp and unblemished. I try to avoid photographing flowers that are on their way out because more often than not I’m disappointed with the resulting images.

The best flowers are also free of dirt. I often wipe dirt off carefully with my finger. If there are insects, I gently blow them away from the flower center. Another tactic is to obscure the blemishes or dirt by shooting soft-focus images or silhouettes.

This flower wasn’t in peak condition, so I chose to shoot a silhouette, emphasizing the shape over the condition.

Shape

This final aspect of flower photography is more difficult to explain, but it is important, so I’m going to give it a shot. Certain flower shapes are better than others for flower photography.

More specifically, the flowers that will get you the most pleasing images are often those with clear patterns and bold, dynamic shapes.

Consider the rose. It is one of my favorite flowers to photograph. Why? The petals are dynamic, flowing and changing. They also have a clear pattern, and therefore imbue your images with a sense of organization.

flower photography macro rose

Another flower that I love to photograph is the tulip. Its structure is simple but bold, and it has large petals that curve slightly. It isn’t chaotic or messy. The viewer’s eye can easily trace its shape without getting lost.

flower photography macro tulip

The rose and tulip sit in contrast to flowers such as zinnias, which are rather chaotic and therefore difficult to pin down in an image. Which is not to say that a good zinnia image is impossible; it’s just a lot more difficult.

Compositions

When composing flower photographs, it is a good idea to keep a checklist in the back of your mind. In every flower photography image, try to incorporate at least a few of the guidelines provided below.

Simplify

My first tip is the most important – simplify!

Figure out what it is about the flower that you like, and focus on that, removing any extraneous elements, be they extra flowers, stems, petals, etc. Make sure that any distracting elements are not present.

flower photography macro pattern abstract

Use Symmetry

While you shouldn’t always strive to use symmetry in your flower images, it can be a good starting point. Flower centers are often symmetrical or nearly symmetrical. This is something that you can use, composing with the flower smack-dab in the center of your image, anchored by its center point.

I used this flower’s symmetrical center to create a bold composition.

Have a Clear Point of Focus

Without a clear point of focus in your images, the viewer will be lost. Their eyes will wander from place to place without really being drawn into the image.

How do you create a point of focus? You ensure that at least one part of your image is sharper than the rest. You also compose with this point of focus in mind, making sure that the rest of your image merely complements this point of focus (rather than dominating it or detracting from it).

Here, the eye is drawn straight to the in-focus petals of this flower.

Use a Clean, Pleasing Background

Above, I discussed the importance of colorful subjects. But the subject isn’t the only thing that should be colorful. It’s also important to have a colorful background, or at least a pleasing one.

This can be a bit of a balancing act because you don’t want the background to overpower the subject. White and black backgrounds can work well, as can backgrounds that are a colorful but uniform wash.

I aimed for a uniform, calming background when taking this trout lily photograph.

Tilt the Camera

One last tip for creating dynamic compositions is to try tilting the camera.

Rather than having the flower sitting statically within the frame, by tilting the camera, you communicate a sense of movement. The flower seems to be emerging from the frame in a very pleasing way.

flower photography macro black-eyed susan

Notice how tilting the camera to shoot this Black-Eyed Susan resulted in a more energetic image.

Conclusion

When doing flower photography, it is important to carefully consider both the subject and your composition. By keeping your subjects colorful and clean, and by aiming for simple, clean compositions, your flower photography will instantly improve.

The post Guide to Choosing Subjects and Compositions for Flower Photography appeared first on Digital Photography School.

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How to Create Strong Compositions Using Color Contrast

05 Feb

Color contrast and composition

When I wrote about making dramatic images using shadow and contrast, a reader rightly pointed out that a couple of my photos were also good examples of color contrast.

This is interesting because it shows how two photographers can look at the same scene, and see different things. In those examples I saw textures, shadows, and tonal contrast, and instinctively converted them to black and white. But another photographer might place more importance on the strong colors, and make them the centre point of the composition.

Here’s the first of those images. The color contrast here is between the orange car and the blue sky.

Color contrast and composition

If you look at a color wheel, used by artists and graphic designers to show the relationships between colors, you will see that orange and blue are on nearly opposite sides. They are said to be complementary colors (as opposed to analogous colors, which are close to, or next to each other on the wheel).

Diagram by Wikipedia contributor Jacobolus

Using contrasting colors in a composition nearly always results in a strong image. The key is to keep the composition simple, and not to overwhelm it with too many hues.

Here are a couple more examples. The first shows dramatic red stripes on a lighthouse against a dark blue sky (I used a polarizing filter to intensify the colors). Red and blue are also nearly opposite on the color wheel.

Color contrast and composition

The second shows red flowers, against a green background.

Color contrast and composition

These three color combinations – orange/blue, red/blue, red/green – occur a lot in both natural and man-made environments.

Below is the second photo from the earlier article, mentioned above. It uses a different type of color contrast. The green apples are displayed against a grey background. The lack of color in the background makes the green of the apples seem more intense than it is in reality.

Color contrast and composition

This technique of placing a colored object against a dark or neutral background is another that you can use over and over. It’s very effective. Here are two more examples.

The first shows a work created by artist Chris Meek. The grey background emphasises the yellow paintwork, the only strong color in the image.

Image used with the permission of the artist

The second shows a display of pumpkins. The dark grey background emphasizes the intensity of the orange hues.

Color contrast and composition

The key here again is to keep the composition simple. Imagine each of the previous examples with a splash of red in the image somewhere. The red would pull your attention away from the dominant colors, and diminish the impact of the composition.

Another approach to using color contrast is to look for scenes with a limited color palette. Here’s an example – the image below is a portrait of a friend of mine, sitting in front of a gypsy caravan, that she made herself. The image is full of color, but they are mostly shades of two different hues – red and green, which we know are near opposites on the color wheel.

Color contrast and composition

Here’s another example. It’s a colorful image, but again there are two dominant hues – blue and red. The incongruity of the plastic sleeves the chef is using to protect his arms, combines with the color contrast to make a strong composition. The colours are more muted than the earlier examples with this color combination, but it still works.

Color contrast and composition

The images in this article have several things in common: strong use of color (in different ways), simple composition (simplicity often equals strength in design), and good observational skills.

It is is one thing to analyze these things in photos, it is another to train yourself to see them. To do so, you really have to think about the scene in front of you. What colors do you see? Does the light suit the subject? How can you simplify the composition to make those colors stronger? If you can figure out the answers to these questions, your images will be stronger.

Do you have any questions about color contrast, or any photos to show us? Please let us know in the comments below.

Mastering Composition

Mastering Composition ebook by Andrew S. Gibson My ebook Mastering Composition will help you learn to see and compose photos better. It takes you on a journey beyond the rule of thirds, exploring the principles of composition you need to understand in order to make beautiful images. You’ll also learn how to use colour to create photos like the ones in this article. Click the link to learn more or buy.

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