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Rule of Thirds in Video: The Essential Guide

05 Oct

The post Rule of Thirds in Video: The Essential Guide appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The rule of thirds is a simple composition technique that can instantly enhance your videography, but how does it work? And how can you use it to improve your videos in post-production?

In this article, I’ll explain everything you need to know about the rule of thirds, from the basics – what it is and how to follow it – to more advanced techniques, such as how to apply the rule to real estate footage, landscape footage, wedding footage, and more.

I’ll also explain how to adjust your compositions in VideoProc Vlogger, the just-launched, beginner-friendly video editing software from the company behind the popular VideoProc program. (Bonus: It’s completely free!)

So if you’d like to improve your videos in the field and in the editing room, then let’s dive right in, starting with the essentials:

What is the rule of thirds in videography?

The rule of thirds is a compositional guideline designed to make your visuals more balanced and dynamic.

Specifically, the rule states that the best compositions position key elements a third of the way into the frame. It comes with helpful gridlines:

The idea is simple, at least in theory. When faced with a scene, you – the videographer – should position key elements somewhere along the gridlines, and when possible, at the intersection of two gridlines.

(These intersections are known as power points, because they improve your compositions even further.)

So if you’re shooting a mountain at sunset, you might position the horizon line along the lower horizontal gridline, then make sure that the camera pans until the main mountain peak falls across a power point. Make sense?

The rule of thirds isn’t really a rule – just a guideline. But it is a great way to make your videos look professionally composed, and it’s a technique used all the time in movies, TV, commercials, and more.

In other words: You don’t need to follow the rule of thirds religiously. But if you can learn to incorporate it into your shooting – if you can learn to think in terms of the rule of thirds gridlines as needed – then your footage will improve dramatically.

Now, you can apply the rule in two basic ways:

You can plan out your shots using the rule of thirds, then keep your subjects aligned with the gridlines while recording.
You can record, then crop to satisfy the rule of thirds (when editing).

If possible, it’s best to nail the composition in camera; that way, you don’t lose resolution during post-production. However, if you’re shooting at high resolutions and exporting at low resolutions, or you aren’t too obsessed with pixel-perfect quality, you can always adjust your footage to use the rule of thirds after your shoot is over, as I discuss in the next section:

Applying the rule of thirds in VideoProc Vlogger: step by step

VideoProc Vlogger is a powerful new program designed to make video post-production quick, easy, and intuitive, plus it costs nothing. You can download the software here.

And in VideoProc Vlogger, literally anyone can use the rule of thirds to enhance their photos; all it takes is a few simple clicks. Here’s how it works:

Step 1: Prepare your footage for editing

Once you’ve launched VideoProc Vlogger and started a new project, you’ll need to bring your clips into the Media Library.

Simply drag and drop the relevant files onto the Library panel:

Or tap Add Video and browse through your files for the relevant footage:

Then drag the clips down to the Timeline:

And you’re ready to go.

Step 2: Add horizontal and vertical guides to approximate the rule of thirds

VideoProc Vlogger allows you to easily create guides on your preview screen. Our goal is to recreate the rule of thirds gridlines, like this:

First, you’ll need to identify the dimensions of your frame. For this example, I’m working with a 1920 x 1080 (HD) video. (If you’re not sure, you can always check the desktop file, or you can click the little i Info button on the clip thumbnail in VideoProc.)

Second, take the width and divide it by 3. Do the same for the height.

To use my example, 1920 divided by 3 equals 640, and 1080 divided by 3 equals 360.

Next, make sure the Show Rulers button is selected:

Tap the Horizontal Guide button:

Then place two horizontal guides: one at around 640 pixels, and the other at around 640 x 2 (1280) pixels.

Finally, tap the Vertical Guide button and place two vertical guides: one at around 360 pixels and the other at around 360 x 2 (720) pixels.

And there you have it: a rule of thirds grid, right in your Preview panel.

If you’re worried about accidentally adjusting your guides, you can always hit the Lock Guide button:

Step 3: Use the rule of thirds to evaluate (and crop) your footage

Once you have your rule of thirds gridlines in place, I recommend playing through your footage, paying careful attention to key elements, including:

Horizon lines
People
Bright, eye-catching objects
Any other main subjects

Ask yourself: Are these key elements frequently aligned with the rule of thirds gridlines? If the answer is “Yes,” then you’re doing great – but if you come across a clip where the answer is “No,” you can simply select the Crop tool:

Then adjust your footage until it’s rule-of-thirds compliant.

Pro tip: If possible, ensure the aspect ratio of the crop matches the original aspect ratio of the footage; otherwise, you’ll need to scale the footage (and you’ll lose parts of the frame in the process).

When should you apply the rule of thirds in VideoProc Vlogger?

While you can technically use the rule of thirds at any stage in your editing process, I highly recommend you add the gridlines and evaluate your composition at the very beginning of your workflow.

Compositional arrangement tends to affect everything about a recording, from its mood to its ideal color grade to its ideal speed, so it pays to determine exactly how your composition will look before proceeding with any other edits.

Case studies: how to apply the rule of thirds in real-life situations

Up until this point, I’ve explained how to use the rule of thirds, but I haven’t talked much about common situations you’ll run into when filming and how you can use the rule of thirds to enhance your footage.

Let’s take a look at a few likely scenarios:

Real estate videography

In real estate filming, you’ll want to pay careful attention to a few features, including major appliances, eye-catching furniture, wall lines (i.e., the point where one wall ends or intersects with another), and floor lines (i.e., the point where the floor intersects with the wall).

Aim to position wall lines along vertical gridlines and floor lines along horizontal gridlines:

real estate videography with rule of thirds

You can also position appliance and furniture edges along the gridlines and (ideally) at power points, like the kitchen island in the example above.

By the way, it’s generally better to pan than to capture static shots, but make sure you move into the final composition. In other words, pan until the scene meets the rule of thirds, then cut.

Night videography

Shooting at night can go many different ways, but I do recommend you think about the horizon line; as I discuss in the next section, you’ll want to position it along the top or bottom horizontal gridline.

This clip could use a bit of rule-of-thirds adjusting:

For instance, I might crop at the top to emphasize the foreground (and get rid of the boring sky).

I can also align interesting subjects with the horizontal gridlines, like the busy road on the left-hand side.

Landscape videography

When filming landscapes, always check the horizon line. In rare cases, it can work to place this dead-center – but in general, I recommend positioning it along the top or bottom horizontal gridline.

Which option is better? That depends on the scene. If your footage includes a lot of foreground interest, such as a river, rocks, or even a rustic cabin, then you’ll want to minimize focus on the sky by positioning the horizon along the top gridline:

mountain landscape scene with rule of thirds

But if your footage contains very little foreground interest and/or a beautiful sky, the reverse is the way to go.

Food videography

In general, your food compositions should feature a main dish or main food item, often surrounded by other supporting dishes, food items, or utensils.

You’ll want to position your main subject along a gridline or at an intersection point. You’ll also want to pay attention to the table edge; if it’s present in your composition, it may sit most naturally along a horizontal gridline.

Here, you can see the pitcher of syrup, which sits along the top gridline, positioned above the dessert, which sits along the bottom gridline:

Wedding videography

While wedding scenes include a lot of variation and can be somewhat unpredictable, you might aim to put the happy couple along the two vertical gridlines. Check out this clip, where the bride and groom start in the center of the screen…

…but eventually align perfectly with the rule of thirds gridlines:

Starry sky videography

As with landscape videography, you’ll need to check your horizon lines. You’ll likely want to position the horizon along the lower horizontal gridline; that way, you can emphasize the beautiful sky:

However, in situations with especially interesting foreground elements, you might position the horizon along the upper horizontal gridline instead.

Rule of thirds in video: final words

Now that you’ve finished this article, you are well equipped to use the rule of thirds in your own videography.

Just remember my tips on composition, and be sure to download VideoProc Vlogger so you can evaluate (and adjust) your compositions after shooting!

Digiarty, the creator of VideoProc, is a paid partner of dPS.

The post Rule of Thirds in Video: The Essential Guide appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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The 500 Rule in Photography: What Is It and How Does It Work?

23 Sep

The post The 500 Rule in Photography: What Is It and How Does It Work? appeared first on Digital Photography School. It was authored by Jeremy Flint.

the 500 rule in photography: a quick guide

Do you want to create beautiful photos of the night sky? The 500 Rule is a great astrophotography technique that’ll help you render sharp stars, consistently. Best of all, it’s ultra easy to use.

So if you’re new to the 500 Rule, you’re in luck; this article will guide you through the main principles, explain how to use it, and highlight the importance of applying it in your nighttime photography.

Let’s get started.

What is the 500 Rule?

The 500 Rule is a popular guideline for photographing stars. Its main aim is to capture stars as razor-sharp pinpoints rather than star trails – by helping you calculate the longest shutter speed you can use without noticeable star streaking.

You see, photographing sharp stars – as opposed to slight star trails – requires a reasonably fast shutter speed. If your shutter speed gets too low, your stars will start to streak. And while this can look nice when done carefully, unintentional star trails can become messy.

beautiful astrophotography without star trails

Why is the 500 Rule important?

Truthfully, the 500 Rule, despite its name, is really more of a guideline. But it’s still plenty important, because it helps you capture striking images of the night sky without streaky stars.

You see, when you’re photographing at night, your camera is often starved for light – and so the longer you can make the exposure, the better. But go too long and you get star streaks, which is where the 500 Rule comes in; it provides you with a cutoff point that you can’t (or shouldn’t) go past when doing astrophotography.

The 500 Rule: the basic calculation

So, how does the 500 Rule work?

In principle, the 500 Rule is easy to calculate. Simply take 500 and divide it by the focal length of your lens. The result is equal to your maximum shutter speed.

For example, when using a lens with a focal length of 24mm, you would divide 500 by 24, which gives you 21 – or a shutter speed of 21 seconds.

And when using a 50mm focal length, you would divide 500 by 50, for a maximum shutter speed of 10 seconds.

It is important to remember, however, that the 500 Rule is only an approximation of the best exposure time to use. It won’t always guarantee that your images will be free of star trails (and later on in this article, I discuss some situations where the 500 Rule can fail).

astrophotography with star trails — An image with star trails; note that I did *not* use the 500 Rule.

When to use the 500 Rule

The most popular time to use the 500 Rule formula is when shooting night scenes of static stars or the Milky Way. When photographing the night sky, the conditions are very dark, and you will need to adjust your camera settings to compensate for the low light. Usually, if you want to capture a bright enough image of a night scene, you will need to increase the exposure time accordingly (and you should keep the ISO low to minimize noise).

This is exactly the time to apply the 500 Rule. By using the maximum shutter speed, you’ll get sharp stars – and you’ll also get a well-exposed image with the minimum amount of noise.

astrophotography mountain photo without star trails — An image using the 500 Rule (without star trails).

Generally, you’ll want to use a fairly wide-angle lens when photographing the night sky because it’ll offer a broader field of view. I recommend a shorter focal length lens such as a 14mm, 16mm, or 24mm to capture more stars in the scene.

For your convenience, I’ve calculated out the maximum exposure times for each of these focal lengths:

14mm | 500/14 = 35 seconds
16mm | 500/16 = 31 seconds
24mm | 500/24 = 20 seconds

Dealing with crop-sensor and Four Thirds cameras

The 500 Rule is a great concept, one that you can use with any camera. However, the basic 500 Rule calculation mentioned above applies solely to full-frame cameras, and you’ll need a different formula for crop-sensor and Four Thirds cameras.

If you use a crop-sensor or Four Thirds camera, the maximum shutter speed can be calculated as follows:

500 divided by the crop factor multiplied by the focal length.

So first multiply the focal length by the crop factor (which gives you the effective focal length). Then divide 500 by the result.

For a Canon APS-C camera and a 24mm lens, this would be 500 divided by 1.6 x 24 = 13 seconds.

For Nikon APS-C camera and a 24mm lens, this is 500 divided by 1.5 x 24 = 14 seconds.

The Four Thirds crop factor is 2, so with a 24mm lens, you get 500 divided by 2 x 24 = 10 seconds.

Should you always use the 500 Rule for astrophotography?

You shouldn’t always use the 500 Rule. Sometimes, the suggested maximum shutter speed can still result in star trails in your images. For example, according to the 500 Rule, a 12mm lens should let you photograph down to around 40 seconds or so without star trails, yet an exposure time of over 30 seconds can show star movement. The same is true of an ultra-wide 14mm lens.

So if you want to record sharp stars, you may want to avoid using the 500 Rule with such lenses.

Alternatively, you may be someone who prefers to shoot star trails. If that’s the case, there is no need for you to use the 500 Rule. Instead, use an ultra-long shutter speed to record the curve of the stars as they move. You’ll generally need to apply a shutter speed of 30 seconds up to an hour or more.

(The longer the exposure, the larger the star trail!)

Also, the 500 Rule does not take into consideration other factors such as light pollution, haze, and the angle of the stars. Therefore, even after making your 500 Rule calculation, it’s best to experiment with the shutter speed for optimal results.

The 500 Rule: final words

The 500 Rule is a great technique, and you can use it to achieve beautifully sharp shots of stars. It’s a clever method of finding the maximum exposure based on your camera type and lens focal length, and it really is a brilliant way of improving your photos of the Milky Way and the night sky.

If you own an APS-C or Four Thirds camera, be sure to adjust the calculation for the relevant crop factor. Above all, enjoy shooting the night sky!

Now over to you:

What do you think of the 500 Rule? Do you plan to use it in your astrophotography? Do you have any tips? Share your thoughts in the comments below!

The post The 500 Rule in Photography: What Is It and How Does It Work? appeared first on Digital Photography School. It was authored by Jeremy Flint.

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New FTC rule will penalize companies making false ‘Made in USA’ claims on their products

12 Jul

On July 1st, the Federal Trade Commission (FTC) issued a new rule that will penalize companies making false or misleading claims about where their products are manufactured. As a result, marketing departments slapping the ‘Made in USA’ label on their products, and advertising them as so, will need to prove that they are ‘all or virtually all’ made in the United States.

This change could affect certain brands in the photography world, including drone manufacturer Autel, who proudly claims certain drones of theirs are ‘Made in the USA, with foreign and domestic parts and labor’ – many of those components being manufactured in Shenzen, China, the same region where DJI, who has received criticism and even been blacklisted for its ties to the Chinese government, produces its popular UAVs.

Even if this new ruling prevents Autel from saying its products are ‘Made in the USA’ on any level, their CEO Randall Warnas told us ‘this has not been something that [Autel has] needed for [its] success, and will be fine however the ruling turns out.’

Autel’s Evo II Dual drone, which it claims is ‘Made in the USA, with foreign and domestic parts and labor.’

There’s an important distinction to be made when labeling a product ‘assembled in America’ as opposed to ‘made in America,’ as this thorough article written by Jeremiah Karpowicz of Commercial UAV Expo explains. Historically, the FTC has struggled to uphold its standards, without being able to dole out consequences. But this latest ruling could change that.

In light of the ruling, we contacted both Autel and DJI for comment. DJI chose not to comment on the matter, but Warnas said:

‘The FTC is doing the right thing by making “Made in USA” mean something, and more clarity on how this can be accomplished is appreciated. Globalization over the past few decades has been accelerated with the Internet and cell phones that keep information at our fingertips at all times. As the world shrinks, we will surely encounter more blurring of these lines that the FTC is trying to address.’

The North American Free Trade Agreement (NAFTA) initially took effect in 1994. Congress had given the FTC authority to penalize fraudulent ‘Made in the USA’ claims but it would take effect after the Commission issued an official rule. That last part never came to fruition as it turned out to be a bipartisan issue – some in Congress thought those making these fraudulent claims shouldn’t be fined.

‘The final rule provides substantial benefits to the public by protecting businesses from losing sales to dishonest competitors and protecting purchasers seeking to purchase American-made goods,’ said Commissioner Chopra.

The FTC released a notice of proposed rulemaking on June 20th and received over 700 comments—most of them in favor of of the FTC enforcing their ‘Made in the USA’ standards. Commissioners Rohit Chopra and Rebecca Kelly Slaughter, joined by Chair Lina Khan, issued a statement outlining the implications of this new rule. Small businesses, who otherwise may not be able to afford legal recourse from imitators who manufacture products outside the U.S., but claim that they’re ‘Made in the USA,’ will have an advantage now that the Commission can seek civil penalties up to $ 43,280 per violation.

‘The final rule provides substantial benefits to the public by protecting businesses from losing sales to dishonest competitors and protecting purchasers seeking to purchase American-made goods,’ said Commissioner Chopra. ‘More broadly, this long-overdue rule is an important reminder that the Commission must do more to use the authorities explicitly authorized by Congress to protect market participants from fraud and abuse.’

In order to legally display a ‘Made in the USA’ label on a product, businesses must adhere to the following three components:

Final assembly or processing of the product occurs in the United States,
All significant processing that goes into the product occurs in the United States and
All or virtually all ingredients or components of the product are made and sourced in the United States.

It’s unclear whether these new guidelines would prevent Autel from continuing to claim its products are ‘Made in the USA.’ Autel didn’t confirm whether or not this will change any of its plans going forward, but it will undoubtedly make Autel and others think more critically about applying the ‘Made in USA’ label going forward when global parts are used to manufacture the hardware, considering there’s now a financial penalty hanging over their heads.

The Made in the USA Labeling Rule, which will be published in the Federal Register, can be viewed here.

Articles: Digital Photography Review (dpreview.com)

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The Weekly Photography Challenge – Rule of Thirds

05 Jun

The post The Weekly Photography Challenge – Rule of Thirds appeared first on Digital Photography School. It was authored by Sime.

Join in our weekly photography challenge! This week your challenge theme is ‘Rule of Thirds’ – read on, have fun!

We haven’t explored the rule of thirds in over a year, and sometimes its good to get back to your roots. If you don’t know what the rule of thirds is, you can read all about it over here on THIS article on our blog.

When you post your photo, make sure you include a hashtag #dPSThirds

The Weekly Photography Challenge – Rule of Thirds

“The rule of thirds is a compositional guideline that breaks an image down into thirds (both horizontally and vertically) so you have nine pieces and four gridlines. According to the rule, by positioning key elements along the gridlines, you’ll end up with better compositions.” – Read the full article

Here’s my personal exploration o the rule of thirds! I got a gig as the staff photographer for one of the Red Bull Air Race series in London (Sure, my name tag had someone else’s name on, but it’s all good!) Peter Besenyei’s Edge 540 slicing the third.

Here’s a great article with a shed-load of examples for you, well worth a read and afterwards, explore what’s around you and share your own photograph that explores the ‘rule of thirds’ – that article (click!)

But how do I upload my photos?

Upload your photo into the comments field below this post (look for the little camera icon in the Disqus comments section below this post) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

The post The Weekly Photography Challenge – Rule of Thirds appeared first on Digital Photography School. It was authored by Sime.

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Rule of Thirds in Photography: The Essential Guide

02 Jun

The post Rule of Thirds in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.

The rule of thirds is perhaps the most well-known “rule” of photographic composition. Use it carefully, and you’ll take some truly stunning images.

But what actually is the rule of thirds? Is it really that helpful? And when can you break the rule for a great result?

In this article, you’ll discover everything you need to know about the rule of thirds. And by the time you leave, you’ll know how to use it like a pro.

Let’s dive right in.

What is the rule of thirds?

The rule of thirds is a compositional guideline that breaks an image down into thirds (both horizontally and vertically) so you have nine pieces and four gridlines. According to the rule, by positioning key elements along the gridlines, you’ll end up with better compositions.

Here is a visualization of the rule of thirds:

And to follow the rule, simply use the gridlines to position essential compositional elements.

So when shooting a flower, you would place its stem along the right or left vertical gridline:

And when shooting a sunset, you would place the horizon line along the top or bottom horizontal gridline.

(Note that your camera may actually offer a grid overlay, which you can activate in the menu; that way, you don’t have to imagine the rule of thirds. Instead, you can see it as you look through the viewfinder!)

The rule of thirds also identifies four power points at the center of each gridline intersection:

Here, you can position points of interest, such as a head (when shooting a portrait), a flower (when shooting a still life), or the eye of a pet, as shown in the image below:

As you can see, using the rule of thirds isn’t actually complicated. That’s what makes it so powerful – it’s a simple way to improve your compositions, and it requires literally zero art training or photographic experience.

I will say right up front, though:

Rules are meant to be broken, and just because you ignore the rule of thirds doesn’t mean that your composition is uninteresting or bland or otherwise bad. Despite its name, the rule of thirds is a guideline, not a hard-and-fast rule. You can absolutely create beautiful compositions without using the rule of thirds.

Also keep in mind that it’s just one composition technique among many. There are plenty other “rules” and guidelines worth considering, such as symmetry, the rule of odds, triangular compositions, and more.

At the same time, the rule of thirds is an excellent way to get started with composition. It consistently produces great results, and even professional photographers use it all the time in their work. Plus, as a wise person once told me: if you intend to break a rule, you should always learn it first. That way, you can make sure you break it as effectively as possible.

Why is the rule of thirds useful?

Now that you know how to follow the rule of thirds, it’s important to understand why it matters and what exactly it can do for your photos.

Really, the rule of thirds is about two things:

Balance
Dynamism (movement)

First, by positioning key elements at rule of thirds intersections or gridlines, your photo becomes more balanced. Your key elements create visual interest in a third of the composition, while also balancing out the empty space in the remaining two-thirds. This looks great and feels right to the viewer.

Second, compositions that include key elements smack-dab in the center of the frame often feel very static and boring. There’s nowhere for the viewer’s eye to wander; instead, the viewer looks at the shot, sees the subject at its center, then leaves.

But the rule of thirds encourages dynamism, where the viewer sees a key element off to the side, then takes a visual journey throughout the rest of the image.

In other words:

A rule of thirds composition provides a more engaging photographic experience.

Also, the rule of thirds draws on the way humans naturally view images. Studies show that people’s eyes usually go to one of the intersection points rather than the center of the shot – so the rule of thirds works with this natural way of viewing an image.

When to use the rule (with examples)

By now, you should know that the rule of thirds is useful pretty much all of the time. As long as you have distinct compositional elements to work with, you should consider applying the rule.

For instance, in landscape photography, you can position the horizon along the top horizontal gridline:

Also note how another key compositional element – the structure on stilts – is positioned at the upper-right power point of the frame. Thanks to this, the whole shot feels balanced and dynamic.

In portrait photography, you generally want to position the subject’s body along a rule of thirds gridline:

And it’s also a good idea to place the head of your subject at one of the intersection points (and the eyes, which are a natural point of focus for a portrait). In the photo below, the tie and flower also offer a secondary area of interest, and they’re aligned with a second intersection point:

man with microphone following the rule of thirds

In wildlife photography, you can align the subject’s head (and eye) with a power point:

And in flower photography, subjects look great when the stem follows a rule of thirds gridline and the petals sit atop a power point:

Quick tips for working with the rule of thirds

While it’s easy to use the rule of thirds in your compositions, it may take a little time and practice for the rule to become second nature.

Try to get in the habit of asking two questions for every photo you take:

What are your points of interest (i.e., the areas of the photo that stand out and that you want to emphasize)?
Where are you intentionally placing those points?

That way, you can determine your points of interest, then you can immediately place them along a rule of thirds gridline or power point.

And your composition ends up beautifully balanced.

Make sense?

Also, if you fail to use the rule of thirds in a shot, it’s not the end of the world. After all, you can always crop your photos later on! (Just make sure to keep the gridlines in mind when editing.)

By the way, if you want to start practicing the rule of thirds immediately, you can always pull up old photos and do some test cropping. See what impact it has on your photos; you might be impressed by the results.

Breaking the rules: should you do it?

As I explained above, it is possible to break the rule of thirds and end up with beautiful photos.

In fact, sometimes you can end up with an even stronger composition by ignoring the rule. So while I encourage you to learn the rule of thirds, once it’s ingrained, experiment with breaking it.

One of my favorite times to break the rule of thirds is when photographing symmetrical subjects. If you’re photographing a succulent or flower from above, the symmetry looks even more striking when perfectly centered in the frame:

This shot of a corridor is also roughly symmetrical, which increases the composition’s intensity:

man in corridor with cello breaking the rule of thirds

And note that an image can both break and follow the rule of thirds at the same time. For instance, while the image above is mostly symmetrical, a key element (the man playing his cello) is positioned at an intersection point.

Bottom line:

Learn the rule of thirds. Then break it. And above all, have fun!

Final words

Now that you’ve finished this article, you know all about the rule of thirds, when to use it, and when to think about breaking it.

So start practicing! And watch as your compositions improve.

The post Rule of Thirds in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.

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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 Space in Photography: A Comprehensive Guide (+ Examples)

31 Mar

The post The Rule of Space in Photography: A Comprehensive Guide (+ Examples) appeared first on Digital Photography School. It was authored by Megan Kennedy.

In this article, I’m going to answer all your questions about the rule of space in photography:

What it is. How it works. And how you can use it for amazing results.

Specifically, by applying the rule of space to photography, you can embrace the quieter moments in visual imagery – and you can amplify the impact of your subject by balancing positive and negative compositional elements.

Let’s dive right in.

A photograph of a softly focused fly demonstrating the rule of space in photography — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/2 | 1/8000s | ISO 500

What is the rule of space in photography?

The rule of space in photography is a method of incorporating visual absence to give a subject room to breathe.

Although the rule of space is more like a guide than a rigid rule, it is a handy compositional device. It’s a great way to add a sense of vastness, depth, and/or motion to a photograph.

Why is the rule of space important?

To understand the rule of space, we first need to take a brief look at positive and negative space.

Photographers use the terms positive space and negative space to contrast impactful and more subtle areas in a photograph.

Generally, positive space refers to specific subjects that command a viewer’s attention. Negative space, on the other hand, is less visually demanding and provides a frame for the main event in an image.

For example, in the image below, the clouds represent positive space, whereas the sky and dark shadows create the negative space that frames the main subject:

rule of space in photography clouds — Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/10 | 1/500s | ISO 100

So where does the rule of space in photography fit in?

In general terms, the rule of space governs the use of negative space within an image. By understanding the nature of the rule of space, a photographer can harness the intent of a subject, as well as add depth and perspective to the image.

The rule of space is important because it aids a photographer in articulating the energy of a photograph – and it guides the viewer’s eye by sculpting key visual events and affording the subject more room to move.

Working with the rule of space: the basics

To work with the rule of space in photography, first consider the behavior of your subject.

Ask yourself: What is the subject doing? Is it moving or stationary? How does it occupy space?

At the same time, visualize what you want to convey in the photograph. Is it movement? Perspective? Depth? Narrative?

The nature and behavior of your subject plus your intent should together determine how you apply the rule of space.

Perspective

One of the main ways the rule of space can impact a photograph is through perspective. Abundant space around a subject can make the subject appear smaller or larger depending on the camera angle.

For example, a subject photographed from a high angle, surrounded with minimal detail, can seem smaller and more immersed in negative space:

a cat in an apartment window rule of space in photography — Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/5.6 | 1/200s | ISO 100

Conveying momentum

The rule of space in photography can help you create the impression of movement.

To convey action, the rule suggests that space should be left either in front of or behind the subject (or both).

For example, if a subject is moving across a scene, you can aim to capture both the subject and the negative space surrounding the subject. The extra space conveys the subject’s movement, adding the momentum a tight crop may lack.

airplane flying — Allowing a subject room to move adds momentum.
Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/10 | 1/640s | ISO 250

Adding depth

The rule of space in photography is not limited to highly active subjects; it works for stationary subject matter, too!

For example, in portraiture, your composition can be governed by pairing the gaze or gesticulations of the subject with negative space. A subject’s gaze naturally directs our attention – we want to see what the subject sees.

But when a gaze is met by negative space, the viewer’s eye will often naturally return to the original source of the gaze. The rule of space provides an organic way of adding depth and directing viewer attention.

You can also use the rule of space with non-human/animal subject matter – based on their movement, perceived gesticulations, and extensions. By following the momentum, composition, or behavior of a non-human subject, you’ll find ideal placements for negative space.

In the example below, I surrounded several blossoms with negative space; this additional room suggests growth and depth. It also highlights the detail in the individual florets.

pink flowers rule of space in photography — Leaving extra room around specific flower heads to articulate their elemental composition is one way to emphasize non-human subjects through the rule of space.
Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/2.5 | 1/1250s | ISO 200

Rule of space challenges

The process of applying the rule of space to photographs is not that difficult in itself. However, a tendency to cram each image with as much visual information as possible can get in the way of exploring negative space.

Instead, deliberately and mindfully take a minimalist approach. You can also zoom out or physically take a few steps back from a subject to refocus on the rule of space.

Tips and techniques for working with the rule of space

Here are a few tips for working with the rule of space:

Tip 1: Use other compositional rules, too

Applying the rule of space to your photography doesn’t have to come at the cost of other compositional rules.

In fact, combining compositional tenets with the rule of space in photography can increase the chances of creating a successful photograph.

Compositional rules such as the rule of thirds, leading lines, depth of field, and repetition can all be used in conjunction with the rule of space to create engaging imagery.

lightning striking above a city — Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/5 | 30s | ISO 100

Tip 2: Let it breathe

The rule of space is all about giving a subject or a scene room to breathe.

So step back, zoom out, or even try a wider lens; that way, you can add a sense of spaciousness to your photos.

Tip 3: Experiment with different camera settings

Your choice of camera settings can help follow the rule of space more effectively.

For instance, you might use a shallow depth of field to surround a subject with negative space. You could also try using a slow shutter speed and panning your camera while leaving space before or after a subject to amplify movement.

fence with shallow depth of field rule of space in photography — You can amplify perspective with the rule of space in photography.
Canon 5D Mark II | Canon EF 100-400mm f/4.5-5.6L IS II USM | f/5.6 | 1/125s | ISO 200

The rule of space in photography: conclusion

The rule of space aims to create a mindful harmony of positive and negative space.

And by applying this rule, you can emphasize and frame positive subject matter while generating an evocative balance of weight and weightlessness within an image.

So the next time you’re out with your camera, remember the rule of space – and do what you can to apply it in your images!

Now over to you:

Have you been using the rule of space in your photos? How are you going to change your compositions to improve your use of space? Share your thoughts (and photos!) in the comments below.

Rule of space FAQs

What is the rule of space?

In visual art, the rule of space guides your inclusion of negative space within an image.

What is negative space?

Generally, negative space refers to areas in a photograph that are not occupied by the main subject matter. Often, negative space serves as a frame to emphasize the key subjects in an image.

How do photographers use the rule of space in composition?

The rule encourages photographers to make use of negative space. There are many ways to do this. You can focus on coupling subjects with negative space by selecting minimalist backdrops, or you can pair the gaze of a portrait subject with additional negative space.

Who are some photographers that use the rule of space?

There are countless photographers who make use of the rule of space. For example, photographers Martin Parr and Helen Levitt made striking use of the rule, as well as Hiroshi Sugimoto, Michael Kenna, and Eric Kim.

When can I break the rule of space in photography?

Photography is all about developing personal creative instincts and approaches. That’s why compositional rules can be broken. The rule of space in photography is simply a guide – so if an image looks better without extra space, then go with your instincts. And if you aren’t sure, try taking a series of photos with different spatial approaches and analyze the results.

The post The Rule of Space in Photography: A Comprehensive Guide (+ Examples) 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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Back to Basics: What is the Reciprocal Rule in Photography?

16 Jan

The post Back to Basics: What is the Reciprocal Rule in Photography? appeared first on Digital Photography School. It was authored by Adam Welch.

There are extremely few true “rules” in photography. This is an odd thing to say, especially in an article explaining the “Reciprocal Rule”. In an effort to do you and I both a favor, I think it’s best to get this out of the way right here at the beginning. Whenever we refer to the Reciprocal Rule in photography as…well…a rule, just know that it’s meant as more of a helpful guide rather than an iron-clad rule. Got it? Good.

Now, onward to the good stuff!

In photography, motion is both our friend and enemy. Intentional or anticipated movement from our subjects or camera can result in magically extraordinary photos. At the same time, unintentional motion, specifically unwanted camera shake, can rob our images of sharpness and depth.

Falling short of the Reciprocal Rule requirements. 1/200th of a second at F/5.6 with a 300mm lens.

We’ve mentioned the Reciprocal Rule quite a few times in other articles, but today we’re going to dig a bit deeper and learn more about how to use this extremely simple technique. It very well could be one of the most useful bits of knowledge you can possess when it comes to helping you prevent unwanted camera shake.

What is the Reciprocal Rule?

Banish all thoughts of grade school math and algebra class from your mind when you read the word “reciprocal.” True, the Reciprocal Rule hints at mathematics but the technique itself is incredibly simple.

Simply put, for full-frame image sensors (more on this in a bit) the Reciprocal Rule states that your slowest shutter speed when shooting handheld should not be longer than “1” over your selected focal length in millimeters.

Reciprocal Rule in photography formula

Not so bad, right?

In order to reduce the appearance of inherent camera shake when hand-holding your camera, just don’t allow your shutter speed to dip below the reciprocal of your focal length.

Author’s Note: In mathematics, the word “reciprocal” is generally considered interchangeable with “multiplicative inverse”…which sounds much cooler.

It’s here where our previous discussions of the Reciprocal Rule in photography have ended but that is not the case today! Let’s drill down a little further and examine how the Reciprocal Rule works.

A caveat on reciprocal vs reciprocity

Talking about the Reciprocal Rule in photography can be tricky at times because it sometimes gets confused with another photographic principle called “reciprocity.”

Reciprocity, or more specifically reciprocity failure, is a phenomenon photographers sometimes had to manage back in the pre-digital photography days of film. Simply put, film emulsions become less light-sensitive as they are exposed which requires adjusted exposure times based on the type of film and the duration of the metered exposure.

Each of these 35mm frames is approximately the size of a modern full-frame digital sensor.

Fortunately for us, digital camera sensors don’t suffer from reciprocity failure. However, there are times when autocorrect or well-meaning individuals sometimes confuse the Reciprocal Rule and reciprocity failure as being one and the same when they absolutely are not.

Why does the Reciprocal Rule work?

While the Reciprocal Rule centers around estimating exposures based on your focal length, it is not actually dependent on that variable. In fact, the reason why the focal length of your lens matters is because longer focal lengths result in more constrained angles of view (field of view). The tighter your angle of view, the more noticeable camera shake becomes.

Long focal length camera lens

So, shorter focal length lenses can achieve relatively long handheld exposures over longer focal lenses due to their wider angle of view – not their optical focal length. The Reciprocal Rule is useful because it takes into consideration the progressively decreasing angle of view produced as focal length increases.

Check out this quick video where I breakdown why the Reciprocal Rule works.

Sensor size and the Reciprocal Rule

First, a bit of backstory on sensor sizes, but I promise it will come back around to the Reciprocal Rule.

If you’ve been involved in making photos with a digital camera for any length of time, then you likely have encountered the phrase “crop factor” when talking about digital camera sensors. Albeit there are exceptions, today almost all consumer photography lenses center around the standard 135 film format, commonly known as 35mm.

This is where the concept of “full-frame” digital sensors originated as they are roughly the same dimensions as those of a frame of 35mm film, give or take. Therefore, mounting a lens of a focal length based on the 35mm full-frame film standard to a cropped sensor camera, the field of view becomes inherently more narrow (cropped) due to the smaller sensor size.

Essentially, a cropped sensor will “zoom” a full-frame lens and cause it to have a longer effective focal length.

Hasselblad medium format digital sensor and full frame Sony A7r sensor

Every camera manufacturer’s cropped sensor has a crop factor you can use to approximate the resulting focal length of a full-frame lens when used on a cropped-sensor camera. For example, Canon’s cropped sensor (APS-C) has a crop factor of 1.6x because a full-frame Canon sensor is approximately 1.6x larger than that of its cropped-sensor counterpart.

Canon 5D MK3 compared to Canon 7D MK1 sensor

So, my 50mm lens is considered a true 50mm lens when mounted to my full-frame sensor 5D MKIII. However, if I were to mount that same 50mm to my cropped sensor 7D, it would instantly become approximately an 80mm lens (1.6 x 50mm) instead of 50mm.

The reason why sensor size and crop factors become important when using the Reciprocal Rule in photography is due to their effect on the effective angle of view.

The Reciprocal Rule states that I should use a shutter speed no slower than 1/50th of a second with a 50mm lens and full-frame camera.

A cropped sensor camera with that same 50mm lens would dictate a faster shutter speed be employed since the crop factor has changed the effective focal length of our lens to 80mm.

This results in a reciprocal of 1/80th of a second minimum shutter speed.

Without going much further down the rabbit hole on sensor sizes, just know that the opposite is also true when using sensor sizes larger than the full-frame standard. The resulting “reverse crop factor” would be less than 1x. It would mean that a full-frame sensor camera lens would now produce a wider angle of view, thus, increasing the duration of your allowable handheld shutter speed.

The effects of image stabilization

Another aspect to consider when talking about the Reciprocal Rule is that of image stabilization. More and more often today, manufacturers are building better and more efficient image stabilization into their cameras and lenses. Many of these image stabilization systems offer upwards of 2-stops of reported stabilization (meaning you can shoot 2-stops or more slower shutter speeds).

Lens image stabilization

This means that we can incorporate the approximate stops of image stabilization (should you have it) when making use of the Reciprocal Rule.

It’s actually quite simple.

If you engage your lens or camera’s image stabilization, you are effectively lengthening your allowable handheld shutter speed by ever how many stops the stabilization states it will compensate. Feel free to adjust the shutter speed of the Reciprocal Rule and see if you can manage even longer shutters due to the stabilization.

Final thoughts on the Reciprocal Rule

There are very few absolutes when it comes to making photographs. Every photographer is different, and what works for one might very well not work for another.

This is especially the case when dealing with techniques such as the Reciprocal Rule in photography. Although it attempts to help us prevent unwanted camera shake by providing a quick and easy baseline shutter speed based on our lens, it should not be considered a true “rule.”

Granted, some of us are simply better at holding our cameras more steady than others, but there is no replacement for practice and optimal body mechanics when it comes to producing less shaky photos.

The next time a tripod is not handy or practical, use the Reciprocal Rule to help you increase your odds of getting a sharper photo each and every time you’re shooting from the hip.

Back to Basics: Understanding the “Sunny 16 Rule” in Photography

12 Sep

The post Back to Basics: Understanding the “Sunny 16 Rule” in Photography appeared first on Digital Photography School. It was authored by Adam Welch.

sunny-16-rule-in-photography

In life, we are sometimes met with certain inalienable truths; water will always flow downhill, there will always be an unhappy baby on your flight, and the milkshake machine at your favorite fast food place will always be broken when you need it the most. There are also some self-evident truths that we must accept when it comes to photography; one being, one day, you will need to set your own exposure manually. If you’ve been shooting exclusively in Auto Mode or Aperture and Shutter Priority Modes, this can be an enormous challenge.

Take heart! I’m about to show you one of the easiest and most long-standing methods for calculating exposures. Using it will help you almost always get a usable baseline exposure when shooting your camera in full manual mode. Yes, really.

It’s called the Sunny 16 Rule, and it’s going to be your best friend.

Back to Basics: Understanding the "Sunny 16 Rule" in Photography

You may very well have heard of it before but never fully understood how simple it truly is to implement (and modify) this handy little formula to fit the situation in which you find yourself shooting.

Getting to know the Sunny 16 Rule

Understanding the Sunny 16 Rule couldn’t be more simple. It’s all based around the relationships between our three key elements of exposure: ISO, aperture, and shutter speed.

Sunny 16 had its roots in film photography when it was used to help photographers figure out their exposure when a light meter wasn’t available. However, it works perfectly well with digital photography too. In fact, since we have the added convenience of on-the-fly ISO adjustments with our digital cameras, the Sunny 16 Rule becomes even more universally useful.

sunny-16-rule-in-photography

As you might have guessed, the concept of the Sunny 16 Rule begins with bright sunlight and setting our aperture to…*drum roll*…f/16. Bright sunlight refers to unobstructed sunlight on a cloudless day; think noon with a clear sky, and its brightness is virtually constant.

After we’ve got our aperture set to f/16, we can now dial in our shutter speed based on the ISO we happen to be shooting. To calculate your shutter speed based on Sunny 16, all we have to do is put “1” over our ISO. This will be your shutter speed.

Keep in mind that some cameras measure exposure in full, half or third stops and your shutter speed might not be exactly the same as your ISO. For example, in half-stop increments, if you are shooting ISO 400 then your exposure would be (for slight underexposure) f/16 at 1/500th of a second. At ISO 100 your settings would be f/16 at 1/125th of a second. For ISO 800 it would be 1/1000th of a second and so forth.

As far as ISO settings are concerned, it is a good practice to “set it and forget it.” There’s not much need to adjust the ISO as we can vary our exposure using our aperture settings – unless the scene dictates otherwise…more on this in just a bit.

Back to Basics: Understanding the "Sunny 16 Rule" in Photography

Why the Sunny 16 Rule is so useful

The reason the Sunny 16 Rule is such a fantastic concept is due to the fact it gives us a usable exposure setting based on what will likely be the brightest light you will encounter – the sun.

Once you know what your shutter speed will be at a given ISO and f/16 in bright sunlight, you can essentially estimate any exposures for darker environments. The reason for this is that ISO, aperture, and shutter speed are all connected. You can adjust each relative to the another so that you can control your exposures based on the needs of a particular scene. If you’d like to learn a little more about how ISO, aperture and shutter speed relate to one another, have a look at this great article on understanding the exposure triangle.

Perhaps one of the best things about working with the Sunny 16 rule is that it’s a great way to teach yourself to read light and adjust your exposure based around the creative requirements for your photo. Let’s look at some considerations to take into account when you need a little more control over your photographs when basing your exposures around the Sunny 16 concept.

sunny-16-rule-in-photography

How to modify the Sunny 16 Rule

Years ago, when I first heard of the Sunny 16 Rule, my first thought was “That’s great, but what if I don’t want to shoot at f/16?”

Indeed, a great question.

What happens when you need a more shallow depth of field than f/16 can produce? Alternatively, what if the indicated ISO-based shutter speed just isn’t fast enough or slow enough for your subject? Furthermore, you definitely won’t always photograph in blazingly bright sunlight (ironically not ideal for most photography).

The good news is that the Sunny 16 Rule is incredibly flexible.

Remember, the Sunny 16 Rule does nothing more than eliminate variables in your exposure to produce a baseline camera setting which you can then manipulate given your particular needs.

Virtually identical exposures in direct sunlight based on the Sunny 16 Rule with constant f/16 apertures and ISO-dependent shutter speeds.

For example, let’s say you’re shooting a subject that requires a more shallow depth of field, like a portrait or still life that is in bright sunlight. At ISO 100, your resulting Sunny 16 exposure would be f/16 at 1/125. For reference, here’s a sample photo I shot at those settings in direct afternoon sunlight.

Back to Basics: Understanding the "Sunny 16 Rule" in Photography

Needless to say that if I open up my aperture to f/2.8 (five full stops wider) in order to better blur the background, the resulting image will be completely overexposed, and looks something like this:

Yes…there is a photo there.

So, how to remedy this problem? Since we are working from the Sunny 16 Rule, all we have to do is apply some basic photographic principles (remember the exposure triangle?) to normalize our exposure based on our new, wider aperture.

Seeing as we opened up our aperture by five stops, we simply need to increase our shutter speed by five stops to compensate.

So if my initial shutter speed were 1/125th at f/16, my new adjusted shutter speed setting at f/2.8 would be 1/4000th. Here is the resulting exposure:

Blurred background and a normalized exposure based on the Sunny 16 Rule.

The same is true in the case of fast-moving subjects. If you’re experiencing unwanted subject motion at, say, 1/125th of a second at f/16, and you want to try a faster shutter speed of 1/500th of a second to help arrest the motion, you need to compensate for the faster shutter speed with a corresponding wider aperture setting to allow more light to come into the camera. In this case, 1/500th of a second – two full stops faster than 1/125th – so we would open our aperture by two stops from f/16 to f/8.

Some adjusted Sunny 16 baseline exposures

If you’re wondering about lighting situations other than bright sun, here’s a quick (but by no means definitive) list of baseline aperture adjustments derived from the Sunny 16 Rule. I’ve listed Sunny 16 at the top as a baseline exposure at ISO 100 and 1/125th of a second. To adjust your exposures for varying degrees of brightness, all you need to do is change your aperture.

Direct bright sunlight with harsh shadows: f/16 at 1/125th of a second and ISO 100
Indirect bright sun with soft shadows (shade/cloudy): f/11 at 1/125th and ISO 100
Overcast skies with little to no shadows: f/8 at 1/125th and ISO 100
Dusk/morning light: f/4 at 1/125 and ISO 100

I also want to point out the elephant in the room which is holding a big neon-yellow sign that reads, “Why not just bump up the ISO?”

In short, you can adjust your ISO settings to compensate for more or less light in the scene. Modern cameras are becoming better and better at reducing high ISO digital noise. The Sunny 16 Rule was based on the fact that most film cameras are limited to the ISO of the film used. In these cases, the ability to read and understand light becomes paramount.

The concept of Sunny 16 gives us digital shooters a way to nail exposures (or come close) every time in-camera without constantly checking our images after each shot.

Final thoughts on the Sunny 16 Rule

Of course, as with most things, the Sunny 16 Rule isn’t a true “rule” in the sense that you must follow it to the letter. Instead, it is a rule in the way that gives something to relate one thing to another; in our case it allows us to relate the luminance of available light to our camera settings to achieve predictable and reproducible results.

Sunny 16 is also a great learning tool to help us understand the nature and measurement of light. Going further, it is a guide that is extremely versatile once you understand just a few basic principles of exposure. I, for one, feel as if I don’t use Sunny 16 enough in my work. I think that is about to change.

Do you practice the Sunny 16 Rule? How has it affected your shooting? Let us know in the comments below!

The post Back to Basics: Understanding the “Sunny 16 Rule” in Photography appeared first on Digital Photography School. It was authored by Adam Welch.

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