Presented by:

Steve Stacey

Taking photographs is more of the photographer’s vision than the

type of camera used.

Don’t just take pictures. Make pictures.

Point-and-shoot technology has progressed to the point that just

about anyone can take pictures that are in focus, properly

exposed, and fairly well lit, freeing you to concentrate on artistic

aspects.

The challenge that remains is to compose a good picture by

controlling how the subject is seen and what emotions are felt by

the viewer. This can be done through composition.

The guidelines for good composition have been paved

throughout the centuries. The Greeks understood it and mastered

it. The eye flows to the guidelines of composition. Photography is

the plan, placement and arrangement of the elements to

develop a work of art. By following a few simple guidelines you

will be able to tap into the magic formula, just learning to shoot

better.

Learning to shoot better

You are in charge

You know that good feeling you get when you snap a great

shot? Well, just follow these guidelines, and you’ll start to see

things differently through the viewfinder—and take great shots

more often.

Be a picture director.

Take an extra minute to compose your photograph so that the

reason you are taking it is clearly evident. Control your canvas by

moving subjects, props, or your angle to add context and see

things in a better way.

Content

1 Introduction

2 Patience

2 The Rules

The Magic Formula:

Just Learn to Shoot Better.

Master Gardener Level II

July 2010

Composition

PAGE 2 COMPOSITION

You need lots of time to shoot, study, edit and wait.

BETTER LIGHT

LESS WIND

THE RIGHT MOMENT

STUDYING THE RIGHT ANGLE

While digital photography is sometimes known for it’s

spontaneity I’ve found that most successful photographers

also have the ability to sit with a scene or subject for a

considerable amount of time until the situation is right to

get things just as they should be to get the picture perfect.

Darren Rowse

Patience comes into play in many forms of

photography:

Landscape - there are many aspects of landscape

photography that takes patience ranging from

scoping out the perfect place to shoot from to waiting

to get the light just right before shooting.

Portraits - studio portraits can be a little more

predictable than candid portrait shots but in both

cases people are unpredictable beings and getting a

pose just right or capturing an interaction between two

subjects can take considerable time to get right.

Wildlife - taking photos of animals is even more

unpredictable than photographing people and as a

result there can be long waits to both find them in the

wild but also to get capture them in a the right

position, light and framing.

Macro - similarly taking macro shots is generally not an

overly spontaneous thing to do, especially when your

subject is a moving one (insects for example) and

when you’re shooting in a natural environment when

the light changes and wind blows.

Patience

Have patience and you'll capture

some stunning flower photographs.

Image by code poet.

“GOOD THINGS COME

TO THOSE WHO WAIT.”

PAGE 3 COMPOSITION

THE RULES

What is the subject?

One “rule” in photography is that one subject is better than two

and also better than none. You must definitely have a subject,

which means you are not shooting without thinking of

something.

Practice simplifying the composition for every photograph. As

you compose a scene, think about how you might be able to

zoom in or move closer to the subject to effectively crop out

unnecessary elements. Also, think about how you might be able

to move to view the subject from a different angle to provide a

less cluttered background. You’ll quickly discover that when it

comes to photography, quite often less is more.

It is also a great idea to include a photograph of the employee – grab your

digital camera and surprise the employee at his desk. Or, if you want a

more formal look, plan a photo session.

THE RULE OF THIRDS (THE GOLDEN RULE)

It’s one of the first things that budding digital photographers

learn about in classes on photography and rightly so as it is the

basis for well balanced and interesting shots.

The "Rule of Thirds" is a time-honored technique professional

photographers use to improve composition. Imagine a tic-tac-

toe grid over the image you want to take. Use the intersection

of those lines to place your subject slightly off center, and bring

interest up or down.

Horizontal subjects on horizontal lines,

vertical subjects on vertical line.

THE RULES

SIMPLICITY

RULE OF THIRDS

DIAGONAL RULE

FRAMING

BALANCE

IMPACT MERGERS

SIMPLICITY

PAGE 4 COMPOSITION

The theory is that if you place points of interest in the

intersections or along the lines that your photo becomes more

balanced and will enable a viewer of the image to interact

with it more naturally. Studies have shown that when viewing

images that people’s eyes usually go to one of the intersection

points most naturally rather than the center of the shot - using

the rule of thirds works with this natural way of viewing an

image rather than working against it.

DIAGONAL RULE

Strong lines in your composition can greatly enhance its

effect on the viewer, literally leading their way into the scene.

Lines can be the visual way of saying "look here!", or "X marks

the spot". They can keep a viewer's eye from wandering or

from being distracted. By leading into the frame, lines can

create depth and add a 3-dimensional feel to your

composition, emphasizing distances and relationships

between foreground and background objects.

PAGE 5 COMPOSITION

FRAMING

Some common techniques for using lines are:

Diagonal lines often work better than horizontal or

perpendicular ones

Intersections of lines form immediate power points.

These can be lines intersecting inside the

composition or the intersection of a line with a frame

boundary or corner

A common mistake is for lines to point out of the

frame, leading the viewer away from your subject

and making them wonder what else is out there. Be

aware of the directions of strong lines in your

composition.

Combine leading lines with Rule of Thirds to further

enhance your composition's focal point

Framing is the technique of drawing attention to the

subject of your image by blocking other parts of the

image with something in the scene.

PAGE 6 COMPOSITION

The benefits of framing pictures include:

1. giving the photo context (for example framing a scene

with an archway can tell you something about the place

you are by the architecture of the archway or including

some foliage in the foreground of a shot can convey a

sense of being out in nature).

2. giving images a sense of depth and layers (in essence

framing a shot generally puts something in the foreground

which adds an extra dimension to the shot).

3. leading the eye towards your main focal point (some

‘frames’ can draw your photo’s viewer into the picture just

by their shape). Some also believe that a frame can not

only draw the eye into a picture but that it keeps it there

longer - giving a barrier between your subject and the

outside of the shot.

4. intriguing your viewer. Sometimes it’s what you can’t see

in an image that draws you into it as much as (if not more

than) what you can see in the picture. Clever framing that

leaves those viewing your image wondering a little or

imagining what is behind your frame can be quite effective

(get it wrong and it can also be quite annoying!).

Formal Balance

Good balance is simply the arrangement of shapes,

colors, or areas of light and dark that complement one

another so that the photograph looks well-balanced.

Balance in photographic composition is a matter of

making pictures look harmonious. Each element in a

picture has a certain amount of value in respect to all the

other elements. Every tone, mass, shape, tree, rock figure,

building, line, or shadow contributes a certain amount of

weight that must be arranged correctly in the composition

to give the impression of balance

Composition is kept in balance by two different methods:

symmetrical, or formal, balance and asymmetrical, or

informal, balance.

BALANCE

PAGE 7 COMPOSITION

IMPACT

Formal Balance

Informal Balance

Symmetrical, or Formal, Balance

Symmetrical, or formal, balance in a photograph is

achieved when elements on both sides of the picture are

of equal weight. The idea of formal balance can be

related to a seesaw, when there are two equally

weighted objects on the seesaw and they are equal

from the pivot point, or fulcrum, the board will be in

balance.

Pictures with formal balance do present an air of dignity.

Formal balance does not always mean a picture has to

the seesaw in perspective. The forces or weights are to

be symmetrical.

Asymmetrical, or Informal, Balance

Asymmetrical, or informal, balance is usually much more

interesting than symmetrical balance. In asymmetrical

balance the imaginary central pivot point is still presumed to

be present; however, instead of mirror images on each side of

the picture area, the subject elements are notably different in

size, shape, weight, tone, and placement. Balance is

established by equalizing the element forces in spite of their

differences.

Asymmetrical balance is introduced when the presumed

weight of two or more lighter objects is equalized by a single

heavier object placed on the other side of the imaginary

pivot point. Asymmetrical balance is more difficult to achieve

than symmetrical balance but provides for

Informal balance

Photo composition with impact provides the greatest interest

factor in your photographs. It is about capturing the attention

of your viewer's eye and having them be compelled to look

closely at your work. You see the results of impact in the

advertising arena. There life depends on getting your

attention.

You do not need to make every image have high impact.

That can be wearing for a viewer and it can overwhelm your

subjects. But having impact in at least some of your photos will

lift the quality of all of them.

Impact means finding a composition that is uncommon and

unexpected.

PAGE 8 COMPOSITION

DETAILS

EXAMPLES OF HIGH IMPACT

Shooting in pieces can be stronger than the whole.

Although the first and natural inclination is to shoot the

entire subject, shooting tightly composed details can

create captivating photos. Detail photos are often

more interesting than the full subject because you can

show the viewer things that they have never noticed

before.

Look for picture elements such as form, color, texture,

or shape.

When shooting details, be aware of the fact that you

can shoot an increasing level of those details. For

example, you can shoot just a part of a tree with an

interesting shape, like a specific branch, a few leaves,

a single leaf, a bug on a leaf, the veins in a leaf, well

you get the picture.

Sometimes the best things come

from the road less traveled.

Mergers

Another type of details to look for are mergers.

What are they? They are the details you need to

look for in shooting the photo. Are there any

distractions in the picture like things growing out of

the head or items you do not want in the scene.

Observe the background objects and make sure

you are getting what you want. In family

photographs watch everyone, paying attention to

details and for children can sometimes be a

challenge.

when we cut people in half or trim their heads or

feet, we've committed a border merger.

PAGE 9 COMPOSITION

EXAMPLES OF DETAILS MERGERS

I hope this has been of help to you. Our goal is to give you the knowledge to take the best photos you can. Now go and capture your

garden in a way you have never done before. I can’t wait to see them.