So now that my home law practice has closed on its very first case, I thought to myself, Self? You know hes right! Why not just write it all out and give away the cheats and call it what it is? Ive covered many topics already in my list of photographic articles, why not do the cheats on Nature Photography Composition? So, these are just a few of the little tricks used by some of the top professional and advanced amateur photographers in the field.
Be Selfish
Remember your first date with the one that caught your heart? Well composing a well thought out scene to photograph is much the same. Beauty is all in the eye of the beholder and that is what you are hoping to be beholding in the final print. What it comes down to is understanding that you need to be totally attracted into the scene, it must move you emotionally before you can even hope to show it to someone else and hope for the same reaction.
Ive worked with 4 photographers, all standing side by side pointing their cameras at what appeared to be the same scene, and yet, when I took a moment to peer through their view finders I found a very different image in each one. What had happened is that each of them saw the same basic scene, but each one was drawn in by something uniquely attractive to them personally.
I went a step further to learn why by asking them each what made their individual compositions so attractive to them. It was as if I were listening to each one described the love of their life. That was very compelling to say the least. What it really comes down to, is that you must make a photograph with your heart first, then your eyes, then the rules that follow.
What this creates is the opportunity for drama or impact within the photograph. What that is, is entirely up to you alone. This harkens back to a statement made by the first Cheat writer, Ansel Adams when he pointed out that there are always two people in a photograph, the subject, and the photographer.
You must put yourself into your photographs.
Someone else once told me that I should be creating photographs that I feel are good enough for me, not what I think someone else would think are great. This is the key to communicating through your art, and in fact where it becomes art and not a mechanical reproduction of a person, place or thing.
Maturity Prevents Premature Exposure
What the heck does that mean? Basically it means, that before you squeeze off a shot on a scene that you have emotionally connected with and are ready to do the deed, you need to make sure that the scene is mature enough to be taken. You need to sit back and ask yourself if anyone else will see what you see in the shot. Are you going to fill the frame with color, patterns, textures, shapes and light only to have someone else ask, Uh, ok What is it?
You want to hear the Ohhs and Ahhs or Wows when people look at your images, and to be totally honest, you want to put that image away and come back to it a week later and be totally swept off your feet again. How do we do this? The first step is to understand the basic rules of composition and use them to mature your composition into something that most anyone can understand.
The Rule of Thirds If you dont already have a grid on your view screen imagine a tic-tac-toe grid and place the subject of your scene anywhere except the center box to give your subject an environment to work in. If you have an element in the scene that acts as a line, try never to run it 90 degrees vertical, rather run it diagonally through the scene to add interest and possibly a leading line element to the main subject.
Leading Lines Leading lines are exactly what they sound like, they are lines that lead you to a point of interest in the over all image. There are two powerful types, Diagonal and S-curve. The S- Curve not only leads you to a subject, but also a more scenic route through the scene so you can stop and see other little things on the way in.
No upstaging allowed This is often where many less experienced photographers go astray. It is possible to have other subjects compete for attention in your photograph. You want the point of the most impact to demand all of the attention of the viewer, however there are times you need a supporting element that points attention to the subject. Just look for the scene-stealers and get rid of them if possible.
If you keep these three points in mind, you will have gained 75ore control of your images, but the 25eft is just as important. You need to understand lighting, perspective and color too. There are countless articles you can find on these subjects alone and all worth your time to research in more depth.
I always try to make all of my landscape photos as unconventional as I can. Where I live in Colorado, you cant sneeze without hitting another nature photographer and with that much competition for attention in the market place, I need to make my work stand out from the crowd. I think about how a plain snapshot of the scene would look, and then I try to make my shot it as wildly different from that as possible!
To achieve this I use every one of the rules mentioned above in a variety of combinations, but the one that always pays off, is my connection to the scene I am photographing.
Comedy Action or Drama
So when we think about creative landscape photography, we want to think impact! Try different angles to uncover obscure relationships between your characters, and shoot at different times of day to explore uncommon themes. The hours on the borders of dawn and dusk are most productive! Think about the graphical elements in your photograph. Look for unusual patterns, colors, textures, lines, contrasts, and shapes.
Just like any powerful novel or entertaining movie, our creative juices in a photograph become a dramatic visual story and require three basic elements. Our landscape photo needs a cast of characters, a central theme, and strong relationships between the characters. This interaction is what we usually call Drama! What we really want in a creative landscape photo is "Dramatic." The central theme leads to the main relationship. And once I know the relationship, I have identified the characters! Sound familiar? I try to keep all my attention on just one character one subject.
Heres a handy survey I found used not only by myself, but many successful photographers to help prepare a composition. It will also help you slow down and take the time to carefully build the scene!
You need time to ask yourself;
- What is it that draws me to this scene?
- How can I best present this with impact and emotion as a photograph?
- How can I isolate the main theme or subject?
- What equipment will I use or need?
- Are there any complications
- Things I dont like,
extreme lighting,
fast moving elements,
awkward angles,
bugs, dust, snow, rain,
wind etc.
How will these things affect the outcome of the photograph? How will I minimize them, or how can I use the complications to make more impacting photograph?
To help you take a really dramatic photograph, you need to ask yourself, "Self? What's the ONE thing here that really moves me and why?" Then you need to ask one more very important question that will make the difference between shooting just whats in front of you, or creating a uniquely dramatic photograph; What If?
It is the what if factor that makes the difference between a point and shoot moment and a truly creative venture. Try it for yourself, the next time youre taking landscape photographs.
K.I.S.S. Keep It Simple & Sexy!
It is very essential to remember the three essentials of a well composed story; characters, themes and relationships! In a maturely composed photograph, the subjects are your characters, the theme is the emotion you are feeling about the scene and what you want to capture, and the relationships add the drama.
To command attention, I try to simplify the number of "things" in my photo so the three essentials remain strong. A good example is a Three Ring Circus. There are a lot of things going on at all times and it is very hard to focus on all of it so you make yourself focus on just one thing, yet you still end up getting distracted. So you listen to the Ring Master to cue you to what is the most important thing you need to watch. In many cases, the circus uses spot lights to isolate the real thrills!
The same thing often happens when we compose our photos. If there are too many items in the composition, we can strain our emotional message and dilute the significance of the story our landscape photographs are telling. This is where you become the Ring Master and Spotlight Operator to point out the main subject and keep it simple and sexy!
Working your Subject
Most of the time, I find if I am truly taking my time on a shot, Ill be trying out different views of my subject, and different perspectives with respect to other elements that I may want in my landscape photograph. I am "working all the angles - working my subject!"
Slowing down will lets me explore my subject from all possible vantage points. Down low, up close, adding different foreground elements, standing on something for a new perspective, investigating all possibilities for capturing something unique and dramatic!
Light can reflect in many different ways, depending on where YOU are to see it. So I try to keep moving, recomposing, using the one eye method I probably look like a complete weirdo to people who may see me doing my thing, but, hey, artists are supposed to be "eccentric!"
If you have traveled to an exotic place and are photographing the dramatic landscapes there, you owe it to yourself to make your time there really count. Investigate the scenery as thoroughly as you can! You may never have the opportunity to shoot creative landscape photography of this place again, so maximize every moment.
The Difference between a snap shot & photograph is a Tripod!
You had to know that sooner or later I would have to get all technical and mention a piece of equipment. So, the hottest tip I can give you is not really one of those, hey I never thought of that myself. types of tips, but you've been working too hard trying all these techniques to be disappointed with your efforts just by missing this one thing.
I have to include it to help give you the best chance to make sure the other secrets will work, so you'll be consistently creating better photographs.
If you suffered the lack of sleep and got up extra early to get the perfect light, spent a fair bit of time thinking about how to capture the shot, how to compose it, defining it and more it would be a sin if you wasted the perfect moment by taking a chance using only your "steady" hand. And if you got up and out as early as I tend to do in the morning, you probably had enough coffee to make your eyes float and make a Squirrel look sedate its time to say, gimme a tripod, please!
Of all the photography in the world, landscapes lend themselves pretty well to careful composition and the sensible use of a tripod, because you can more-or-less plan your shot. One of my editors once offered me the quote, The Difference between a snapshot and a photograph, is a tripod! She was 100 orrect beyond the point of obvious.
My main reason for using a tripod is not only for the tack sharpness I get from a steady platform, but the ability to compose my photograph, then take a step back to resize the over all scene I am working with. Many times I find myself at the location I plan to work in and frame up my first scene, before the light is how I want it, so I have the opportunity to step back and consider other compositions. I will grab my back-up camera and a standard lens and go to the right or left, higher or lower and finally closer or further from the scene to consider a wide range of other possibilities.
Use a GOOD tripod. Mine is a well used but very nimble Bogen / Manfrotto set up. Its lightweight, and sturdy. And will hold the camera in positions I could never find myself in to get just the right perspective to the subject. My tripod accepts several different types of heads from Ball to Pan and Tilt heads, all of which offer various capabilities. I use the pan and tilt because it makes me slow down and take my time to think through every step before pressing the shutter release.
Whether you only have a car roof, a table, or a steady boulder, for support, you can use this tiny wonder to guarantee sharp, clear and awesome creative landscape photography.
The Girl with Kaleidoscope Eyes
This is a topic that many photographers tend to be very sensitive about. Its like picking out underwear or shoes. Its very personal.
I meet many photographers who approach photography like magicians - bound by a code to keep trade secrets! So if I am really giving away some true secret that should be guarded and never let out, I'm about to be in a heap of trouble because, I am about to share some of the real and often debated secrets of creating really impacting yet natural photographs. Abra-cadabra Ala-kazaam, Poof!
We all know Mother Nature doesnt always look like the Supermodel or Mr. Perfect we dream of. Just like any of those, there comes a time for a little camera magic and light bending and blending by using photographic filters or special effect tricks. When it comes to what is Natural or believable it turns out there is a fine line between reality and fantasy. I tend to lean more into reality thus I use filters or tricks that either corrects for the lack of tonal range my digital camera or film will render. I use a circular polarizer and a Graduated Neutral Density Filter almost exclusively in the field, but there are a few others that can work well without crossing over into the world of the un-real! Still, they create more opportunity to use my imagination and get really creative!
Imagination means were creative and we like to find novel ways to solve problems, so when Nature doesnt cooperate with my plans, I try to be resourceful. As in any dramatic production, I've found the use of props can drastically improve the show! Here are a few examples of my "tricks" that help me make landscape photography that is much more than a snapshot: They'll work for you too, guaranteed!
If I ever need a little ambiance, or a little more "atmosphere", I breathe on the lens and get it foggy. As the fog evaporates, I take the shot!
In situations where there is a lot of contrast from sunlight streaming into a dark space, the shade of a canyon, for example, and you are shooting from the darkness, throw a little dirt in the air to create those wonderful "sunbeams."
I cannot count the times Ive been accused of cheating a little, but some photographers use special effects filters on a regular basis to create extraordinary yet far from believable results however they are presenting their work in that manner, so I dont really think this is much different except that I am keeping the effects I create realistic and as natural as possible.
I have been known to bring a small spray bottle full of water on my many shoots. If there was no dew overnight, I can instantly create my own, by gently spraying a fine mist of water on or around my subject. This works very well with Macro compositions yet, if I am creating a large landscape, a thin glistening of water on my main foreground subject can really bring out the colors in the foreground while adding more interest and completing the impact I want to communicate to the viewer.
Remember to ask, What If?
The points Ive offered here are only a few of what really stood out to me as I browsed through countless websites and photography forums looking at the work of amateur and professional photographers alike. While there, I found many consistent traits both positive and negative. In many cases I find the point and shoot approach, the carbon copy approach, and finally the cram it all in there approach. I have even found at least one of these in my own work from time to time.
The key is to consistently ask your self over and over again, WHAT IF? What if I lower my perspective, what if I over expose it this time or under expose it, what if I try vertical over horizontal, what if I experiment in one way or another just to make this image different from the countless others I have seen before by other photographers.
In music, a singer will attempt to make a song their own even if it was originally performed by a well known and respected performer before. We hear them on the radio all the time, and in many cases we find the newer version as good if not better than the originals rendition. So go out and make your own interpretations of your scenes. Make it yours by asking yourself, What if?
You Only Learn By Doing!
When I was a Kid I tried to learn Karate by reading books, needless to say no matter how well written those books were, nothing compares to getting out there and taking the punches and learning by doing. There are two schools of thought on this, you can prescribe to. You can get out on your own and learn through your errors and critiques when you present your work online or you can attend a workshop or two and learn under the guidance from experienced photographers with hands on, or as I like to call it eye in the viewfinder instruction. In either, you will learn and grow over time, but I have found the workshop approach more rewarding in every way.
So like Nike has says, Just Do It!
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