Shooting moving subjects is always a challenge. The time is short and usually you don’t have a second chance, so you must think and act fast. One of the most important rule that you’ll have to consider when shooting moving subjects is to give them space to ‘move into’. The main idea behind this is to frame in that way so the subject will have space in front of it. Some call the space in front of a moving subject the ‘active space’ in a photograph. Alternatively the space behind your subject is often called ‘dead space’.
The reason that this compositional technique is used is that when someone views an image and sees that your subject is moving in a direction, their eye naturally moves in that direction too. It’s something instinctive. Working with the way your viewer will instinctively view your image helps to create balance, drama and anticipation in your shot. This technique of creating active spaces in action shots can be applied in many types of photography including sports (cars, bikes, people etc), wildlife (photographing a running animal) or any other subject matter that is moving.
As with moving subjects, the same rule applies when taking photographs of people. If your subject is looking left, place him/her on the right – allowing him/her to look into the photo. This will create a sense of balance and depth. Similarly, if your subject (be it a person, dog, elephant, whatever) is facing a certain direction, the space should be given to that side.
Of course, as with every rule there are times to break this one, but in general you will find that it works well.
Next time when you are about to press the shutter button on your camera, take a moment and ask yourself: “What is the focal point in this picture?” Some other ways to ask the same question might include – What is the central point of interest? What will draw the eye of the viewers of this picture? What in this image will make it stand out from others? What is my subject?
The reason a focal point is important is that when you look at an image your eye will generally need a point of interest or something that will really hold attention. Without it you’ll find people will simply glance at your shots and then move on to the next one. Once you’ve identified a point of interest or focal point you then should ask yourself how you can enhance it.
A focal point can be virtually anything ranging from a person, to a building, to a mountain, to a flower etc. Obviously the more interesting the focal point the better – but there are other things you can do to enhance it’s power including. Basically there are 6 techniques to enhance the focal point in an image:
Position: Place it in a prominent position, you might want to start with the rule of thirds for some ideas.
Color: using contrasting colors can also be a way of setting your point of interest apart from it’s surroundings.
Blur: If you really want to get tricky you might want to play with slower shutter speeds if your main subject is still and things around it are moving.
Size: making your focal point large is not the only way to make it prominent, but it definitely can help.
Shape: similarly contrasting shapes and textures can make a subject stand out, especially patterns that are repeated around a subject.
Focus: Learn to use Depth of Field to blur out other aspects in front or behind your focal point.
Keep in mind that a combination of above elements can work well together.
Lastly, don’t confuse the viewer with too many competing focal points which might overwhelm the main focal point. Secondary points of interest can be helpful to lead the eye but too many strong ones will just clutter and confuse.
There is a rule in photography that says if you want to improve your photographs 100 percent, move closer. It’s true. The one sure way to keep from including too much extraneous information in a photograph is to fill the frame with your subject and nothing but your subject. Filling the frame from edge to edge leaves little doubt about what your intended target was. There are two ways to get closer: Use a telephoto lens or walk closer to the subject.
While empty spaces can be used effectively in photos to create stunning results you’re much more likely to get a positive appreciation from those looking at your photos if your shots are filled with interest. This technique is particularly important when taking pictures of people whose facial features tend to disappear when you move away from them. While it can be appropriate to take shots that put a person in context with the environment that they are in, if they get lost in the picture you might as well just take a shot of the scene and leave them out of it.
The simple act of making your subject bigger in the frame involves the viewer at a much more intense level. A chin-to-forehead portrait of an interesting face, for example, immediately puts the viewer eye-to-eye with your subject. A very tight shot of a bear, even if you made it with a long lens at the zoo, creates breathless drama.
A common problem here is that we often think we’re filling the frame when in fact we’re not even close. What’s happening is that when you’re standing in front of a scene, you’re concentrating so intently on your subject that your brain is tricked into thinking your subject is closer than it actually is. The solution? As soon as you think you’re close enough to your subject, take a few steps forward and try again. Just before you snap the shutter, roll your eye around the frame and see if there’s anything you can eliminate. When in doubt, take a few more steps closer.
Vertical lines have the ability to give a variety of different moods in a photograph ranging from power and strength to growth. As horizontal lines can be accentuated by shooting in horizontal format vertical lines can be used very effectively by swapping the way you hold your camera into a vertical framing. This lengthens the vertical subject further which can emphasize it’s height. The other option is to break this rule and frame your vertical subject horizontally which will give it the sense that your image can’t contain it.
It is important to attempt to keep your vertical lines as much in line with the sides of your image as possible. This is not always possible if you’re shooting looking up an image as the subject will taper off towards the top – but attempt to keep it’s center as straight as possible. Keep in mind the Rule of Thirds when you have strong vertical lines in a photograph. Placing a line directly in the middle of a shot will effectively cut your image in half. This can be used with dramatic impact but also can leave your image looking segmented. Also keep an eye out for vertical lines that are repeated in patterns in your images as they can be used to great impact – particularly if they are contrasted with other shapes and lines going in different directions.
Diagonal lines generally work well to draw the eye of an image’s viewer through the photograph. They create points of interest as they intersect with other lines and often give images depth by suggesting perspective. They can also add a sense of action to an image and add a dynamic looks and feel.
Consider how you might use diagonal lines to lead the eye to your photograph’s main subject or point of interest. Studies have been done into how people view images and many of them say that a natural way into an image is by traveling left to right and so a diagonal line starting at the bottom left and moving to the top right of an image can be quite useful and natural. Of course you wouldn’t want to split your image into two with a harsh line from corner to corner. Look for for patterns and curves between shapes that might do this naturally. Rather than making a line go from the very corner to the opposite corner it’s often good to make them off center and go to either side of corners. Keep in mind that numerous diagonal lines leading in different directions and intersecting with one another can add a sense of action to your photo but adding too many diagonal lines might make it chaotic and confusing.
As with both horizontal and vertical lines – diagonal lines that are repeated through out an image can create very effective patterns that can easily become the subject of a photograph themselves. A recently plowed field or the ridges on a sand dune might be good examples of this.
When considering the composition of an image one of the elements that photographers look for are ‘Lines’. The lines that can be found in images are very powerful elements that with a little practice can add dynamic impact to a photo in terms of mood as well as how they lead an image’s viewer into a photo.
Basically we will consider three types of lines, ‘horizontal’, ‘vertical’ and ‘diagonal’. Each one has a different impact upon a photo and should be looked for as you frame your shots. Learning how to use lines in photography takes time and practice to become good at it. A good way to practice is to go back through older images that you’ve taken and look for lines that worked well and those that didn’t. Then next time you go out with your camera, before you frame your shot ask yourself what lines are in front of you and how you might use them to add something to your next shot by working with them rather than against them.
Horizontal line in an image conveys a message of ’stability’ or even ‘rest’. Horizons, fallen trees, oceans, sleeping people – all of these subjects have something about them that speaks either of permanency and timelessness or rest. Horizons are the most common horizontal line to be found in photographs and they often act as a dividing point in a photograph – in effect an anchor that the rest of the image is formed around. If you want to accentuate the calming stable impact of a horizon one effective technique to use is to shoot your images with horizontal framing (with the longest part of your cameras frame from left to right. Alternatively if you want to reemphasize horizontal lines shoot with you camera in a vertical framing. Also keep in mind that unbroken horizons can lead to a photograph feeling static and a good strategy is to use other shapes in the landscape you’re photograph to break things up and give a point of interest (mountains, trees etc).
Horizons should generally not be placed in the middle of your frame. This leaves an image feeling unsettled compositionally. A much more effective technique is to place them in the upper or lower third of your frame (read the Rule Of Third lesson). Layers of horizontal lines can create rhythm or patterns in an image that can become the focus of an image in and of itself.
In the next lesson I’ll talk about ‘vertical’ and ‘diagonal’ lines.
