Photo Tip: Five for Five

How many times have you taken what you were sure was the perfect shot, only to be disappointed when reviewing your work later on the computer? There's the trashcan you didn't notice in the corner; the stranger's elbow jutting out behind your subject. And why did that tourist have to step into the frame? These image-wrecking situations are easily avoided - if you notice them before you press the shutter button.

It's easy to be so preoccupied with capturing an interesting subject set in a stunning locale that you ignore small but distracting details like the out of focus pole jutting out from the bottom of the frame.

Photography is unique among most crafts in that more experienced practitioners often work a lot slower than those picking up a camera for the first time. Watch most any novice photographer as they approach a subject, hold the camera to eye level, take the picture and then move onto the next shot. A more seasoned shooter in the same situation puts a premium on trying different vantage points, re-adjusting camera settings, changing lenses, you name it.

And they are constantly evaluating and re-evaluating the scene via the viewfinder or on the LCD display. Does this process take more time? Certainly. But it's borne of an attention to detail that eliminates unwelcome surprises later on in the image review stage.

Before photographing this plaza, I took the time to ensure that the logo was centered, the horizon level, and that there were no pedestrians entering the frame.

In this article, I want to share with you an exercise that will slow you down, train your eye to better evaluate compositional elements and increase your ratio of keepers to rejects. I call it the Five for Five technique. The next time you go out to shoot, make yourself a promise. Once you pull the camera up to your eye, spend five full seconds looking carefully through the viewfinder or LCD screen before you press the shutter. Pay particular attention to each corner of the frame, looking for any elements in the scene that detract from your desired composition. If you find anything objectionable, adjust the camera position to remove it from view and then spend another five seconds repeating this process.

Moving closer to your primary subject for a tighter shot is an obvious way to create a different composition.

Once you take the photograph, don't pack up just yet. Compose and shoot four additional images of the same subject. Get down on your knees and shoot from below. Shoot from a side angle. Get closer. Try horizontal and vertical shots. The idea is to come away with five images captured from different perspectives and angles. And remember, before each press of the shutter you are still examining the viewfinder or LCD screen for five seconds.

Switching to a vertical format opens
up a wide range of compositional
alternatives. Here, I positioned the
camera so that the steps mimicked
the butterfly shape of the logo...
 ...while here I shot at an acute angle
with the camera just inches from
the wall.
 Getting down on one knee provides a vantage point distinctly different from that of a standing position.

From one location, I've captured five separate and distinct photographs. If you're used to shooting quickly and covering a lot of ground, this exrecise is going to be a drastically different way of working. But I guarantee that while you may come home with fewer images, your reward will be more thoughtful compositions and a  greater variety of images.

Amadou Diallo is a technical writer at dpreview, photographer and author of books on digital image editing and travel photography. His fine art work can be seen at

The views and opinions expressed in this article are those of the author and do not necessarily reflect the views and opinions held by or any affiliated companies.


Total comments: 111
By f8andshowup (8 months ago)

Great advice, lackluster photos.

Photo Maker
By Photo Maker (Nov 2, 2011)

Well intentioned and well done....

By hammerheadfistpunch (Sep 14, 2011)

But I'm slow AND my pictures aren't that great. Of well, i guess there is more to it than that.

By CoolHandLu (Sep 13, 2011)

Wonderfully practical exercise to get you to SLOW DOWN when photographing a static scene. It's something I've been guilty of time and again - I come across a subject (a building or a bridge or what have you), I frame the photo and I press the shutter, then move on. I rationalize this behavior in lots of ways (I've got a LOT of territory to cover today, can't spend too much time in any one place, the folks I'm with will get annoyed, bla bla bla), but the bottom line for me is that I need to build more discipline into my photography routine. The exercise this article suggests is a great place to start.

By Slynky (Sep 12, 2011)


I think I may already do this (to some degree) and I believe it's the very reason my wife hates to be with me now photographing something. I walk this and and that way. Study it. Hold the camera up to my eye, take it down, walk around more, study it. It's most likely because I don't have the "eye for art" that I wish I had but one things is for bores the hell out of my wife !

Thanks for the information.

By Maheanuu (Sep 13, 2011)

Yours Too! Mine sez she would rather stay home and watch the paint dry... But then hers end up in album after album and she has been the curator of the family since we became a family. My photography only started when the family begged me to start taking photo's in the States when I went there to provide care for my Mom. Little did they know that they were creating a monster. <grin>

1 upvote
Jeff Greenberg
By Jeff Greenberg (Sep 12, 2011)

>>I took the time to ensure...that there were no pedestrians entering the frame.

Why not person-people, too, if one wishes?

By hiall (Sep 12, 2011)

Needs more examples.

By Kwik-E-Mart (Sep 12, 2011)

Thanks. I will spend some time doing this. I think I'm a pretty good photographer now, but am always looking for ways to "see" better so I can capture better.

To those who feel the need to complain for some reason: "You don't practice until you get it right, you practice until you can't get it wrong." As with anything, practicing a technique like this won't result in your suddenly having to take five seconds to take a shot. What it will do is increase your awareness of what's actually in the frame and how it works. Slowing down intentionally allows that to grow. After some time doing something like this, you will be able to see much more in the frame in less time. But, I don't need to describe the value of practice to those of you with already perfect technique.

"I am always ready to learn, but I don't always like being taught." -Churchill

G Davidson
By G Davidson (Sep 12, 2011)

A nice and simple article containing a useful tip- slow down and be mindful of what you are doing and instead of 'missing shots' as you may fear, better ones will actually come to you. I think that this article is also introducing one of many forms of 'bracketing' that photographers tend o use to get just the shot they want out of a variety of 'takes'. You can bracket exposure, aperture, even time of day for the changing light, but it is easy to forget to vary the composition.

It's kind of a shame such a mundane subject was used for this, as none of the photos end up being very interesting, but as an emotionally neutral point of departure for trying out such a technique it works fine. I myself like to practice during walks near my place. I seldom get a remarkable shot (though it happens), but it helps hones the skills I use when I have less time to think, or may be overawed by the subject- a great photo needs to be carefully composed, to communicate without distractions.

1 upvote
DK Baker
By DK Baker (Sep 14, 2011)

Excellent point! I've found that opportunities for outstanding shots can pass very quickly, and not being in a sort-of autopilot using the camera - adjusting the settings relevant to the immediate situation - can lead to great disappointment and frustration.


By Pete_S (Sep 12, 2011)

Thanks for this mini series. It's good to keep the articles short and digestable. I've been a photographer for many years and understand the technical aspects inside out, but always welcome hints for improving compositional skills, my weakest point.

It's hard to understand the negativity and arrogance shown in some of these comments, it's almost as if the posters feel threatened by other people's advice.

By GordonSaunders (Sep 12, 2011)

Anyone who has joined a photography club will have heard comments like the snarling negativity so prevalent here. Most amateur photographers don't want to hear about or think about how to make creative decisions; they want to slavishly copy popular cliches. They are technicians who fear the new and meaningful so it isn't a surprise that they foam at the mouth when a well-meaning author points out their failings. Most of the posts in camera forums, here and elsewhere, are nit-picking bile produced by boy-toy lovers whose example photos (usually of sunsets taken from a car window) enervate but never educate. Keep up the good work of educating but don't expect many thanks.

By jeffcpix (Sep 12, 2011)

"If snapshooting was a valid technique, there'd be little difference between their work and the work of the average person on the street. "

Cell phone images of breaking stories would indicate that
content trumps technique and Weegee's advice still stands:
F8 and be there.

But for those situations where there's the opportunity to
take the time, why not? It's not like we're spending money
for film and processing.

By infosky (Sep 13, 2011)

Cell phone images are news worthy only. If there is another camera shooting at the same event, we are sure which picture will be shown on Time magazine.

Therefore content did not trump techniques. Content only trump no content. This is why you need to think before you shoot.

By MarceloSalup (Sep 12, 2011)

Way too simplistic for the kind of quality that I see in galleries here

By eNo (Sep 11, 2011)

I think taking time before each shot is important, but not just to look at what's in or out of the frame. Before you decide what belongs in the frame you need to spend perhaps more than 5 seconds deciding what the "point" of the shot is, what story you are trying to tell, then use that to decide what's important to the shot and what isn't. That in turn will lead you to decide what belongs in the frame.

By munchmeister (Sep 12, 2011)

Great point. Many of us waffle between photo journalists, satisfied with recording the image for "history" (our own or otherwise) or just to "get the shot" and the fine art or "message" photo ("beauty" or "unique"). Yet the why of the shot is important for either and, indeed, for any shot. The 5 for 5 is great advice to get us, as photographers, to think a bit harder about why we shoot something. Just my $.02. Thanks, eNo.

Chengdu nanhai
By Chengdu nanhai (Sep 11, 2011)

This really isn't the most helpful article for enthusiasts, and the bland sample photos certainly don't help illustrate the author's points much. Want to make a convincing argument? Use some interesting photographs. It seems the author had the article idea in mind, then simply shot a series of frames on the first thing that he/she came across. It's ironic that an article that preaches more meticulous work fails terribly short in meticulousness of selecting a photographic scene.

By GiovanniB (Sep 11, 2011)

Great article; in fact this is the way I've always worked since film days, and continue doing so in the digital era. Except that I'm not counting seconds, yet five seconds is a reasonable rule of thumb to start with.

Jeff Seltzer
By Jeff Seltzer (Sep 11, 2011)

Am I missing something? How is this an article on composition??! It's an article on "working the subject" but says nothing about what makes a good or bad composition. Dissapointing.

By thielges (Sep 11, 2011)

Thanks Amadou. Though some of the commenters here complain that this tip is too basic there are so many valuable basic tips that it makes sense to even seasoned photographers to review them periodically. I have a list of about twenty such basic tips that I refer to from time to time. Each is simple in its own but it is hard to keep all of them in mind all of the time. So sometimes I focus on one or two tips for a session and that helps it become an automatic reflex.

I think I'll focus on your 5of5 tip next. Keep 'em coming and and don't let the haters get you down.

1 upvote
By Photomonkey (Sep 11, 2011)

Very easy to organize when you only have one poor shot of every scene. :)

I thought this was a hobby? More photos =more fun with your hobby.

Alex Notpro
By Alex Notpro (Sep 11, 2011)

I'd like some tips on how to organize a photo collection when you have 5x more photos laying around.

By thielges (Sep 11, 2011)

Hi Alex - I won't burden you with the complexities of my overwrought workflow but here are some basics that help me keep the volume under control. Basically I trim down images throughout the process from shutter to gallery. Here are the opportunities in order:

- Cut 'em off at the source: don't shoot something you know will be uninspiring. It is easy to be too caught up in the moment and forget that the artifact you produce isn't the scene but a 2D approximation of the scene. Restraint

- review in the field and delete bad images in-camera. It helps to have a sharp OLED screen for this

- I shoot multiples of the same subject for the reasons stated in Amadou's article plus simply as AF safety. In the PC, I'll review that set and kill all but the one or two best. I might even delete a perfect photo if there are other perfect specimens.

- Grade photos and select the best. Usually that's 1-2% for me. Keep the other 99% but file them out of the way.

-regrade ruthlessly b4 showing.

1 upvote
inevitable crafts studio
By inevitable crafts studio (Sep 12, 2011)

i think alex's post was meant sarcasticly ^^

G Davidson
By G Davidson (Sep 12, 2011)

Even so it drew out a good tip. Whether you have too many shots from shooting quickly or from getting all these variations, what makes any photographer stand out in this age of digital endlessness is strict editing. Though I also think it depends on the way the photos are being shown- I'll show more to a friend than put in an online gallery, where my reputation will be watered down even though I think the subject is interesting.

I tend to think a good photographer will take a wider variety of images, even of the same subject, but end up showing less. The images will be less records of where they've been and what they've done and more independent images in their own right. It's the ego, with all it's silly games that needs filtering out.

Kurt M
By Kurt M (Sep 11, 2011)

Good tips :o)

There is no need to complicate things - taking a good photo is quite simple:

See - then shoot ;o)

See the composition or more accurate: See the subject/situation, and then take the shot using the possibilities it offers - I know it sounds more simple than it really is, but it's good to bear in mind, and often results in fewer, but better shots ;o)

A good shot rarely comes from pure luck - a good shot is a result of working the possibilities combined with skill, patience and a bit of luck...

John Sargent
By John Sargent (Sep 11, 2011)

Good advice for those taking photos of motionless inanimate objects and of landscapes, but not so appropriate for budding press photographers, street photographers, and photographers of swiftly moving sportsmen and women, as well as of children and animals. One suspects that Cartier-Bresson and Capa would have got nowhere had they stuck to rules as constricting as theseā€¦..

1 upvote
By tbcass (Sep 11, 2011)

You are simply stating the obvious and any half intelligent person would know that. That doesn't make the technique irrelevant. It just can't be used for all types of photography. You mention Cartier-Bresson, I'll mention Ansel Adams often considered the greatest and was one of the slowest working photographers ever. The fact is that types of photography that require working rapidly are rarely if ever going to have compositions as good as those who work slowly. They are often happy just to get the shot and rely on post processing to fine tune.

By Ednaz (Sep 11, 2011)

You suspect incorrectly. Cartier-Bresson's book is worth reading so you'll understand - what's described in the article is very much along the lines of how he looked at and photographed the world. The idea that he was grab-shooting is incorrect. He's talked about many of his "spontaneous" pictures, and while he didn't stage them, he did see them coming, visualize where the best angle would be, get there, how to make sure the reflection was captured, etc. The difference between people like CB and Capa and the rest of us is that they practiced and shot 10x what most of us do, and as a result could "do the work" faster than we can. If snapshooting was a valid technique, there'd be little difference between their work and the work of the average person on the street. I believe that for Capa and a few of the recent street photographers, you can see their contact sheets, and you'll see how many framings they captured, and how few they selected.

1 upvote
Amadou Diallo
By Amadou Diallo (Sep 11, 2011)

Photojournalists are, by necessity among the most adept at ruthlessly (and quickly) eliminating elements that distract from the intended narrative. If these pros were simply arriving at scene and shooting, without a clear and preconceived notion of precisely how to tell the story, the great news images that have shaped opinion and inspired society to action would never have been captured.

By Photomonkey (Sep 11, 2011)

Cartier -Bresson actually did stage some of his photos. This I heard first hand from a photographer who saw his contact sheets. His iconic image of a man leaping over the puddle in Paris has about 8 versions.
The romance of the street photographer has been elevated to mythic levels.

inevitable crafts studio
By inevitable crafts studio (Sep 12, 2011)

if you want to shoot like HCB, just never review on location, only guess the exposure but never look at the lightmeter, and shoot as much as possible.

then take your cf card and give it to a guy you trust, to sort them out and pick the best one, including as much pp as possible to get a well exposed picture :)

yeah and tell the guy to not crop your pictures.

i dont want to be one of the negative talking guys, so i changed my mind and say:

interrestingness of this article for me: 0%
interrestingness of this article to someone whos new to photography: probably pretty high

BUT interrestingness for a novice that read ONE single book about photography: <5% 

and i think thats the point of most of the "negative" posts

there are so many really needfull advices and rules in photography that you could pack this whole article in every other article by adding the sentence "... unless you didnt know, but if you want good results in what you are doing, just take your time and work carefully"

1 upvote
By asterox101 (Sep 11, 2011)

It's easy to say things like "slow down" or "think about composition".

What's nice here is that there is something concrete offered as a methodology for practicing observation of the frame.

The examples don't have to be stunning. They are demonstrating exactly what is intended - the practice of changing perspective and being mindful of the frame.

Since this is an article about a way to practice, the potential results will vary from person to person and will evolve over time.

I imagine there's a fairly wide variety of work and practice methodologies for advanced and professionals alike. Why disparage one practice technique if it's at all helpful to anyone unless it somehow encourages bad habits or you can put forth a superior one?

By astrobird (Sep 11, 2011)

good article to remember,could help us keep our composure during composition.

By iaredatsun (Sep 11, 2011)

I like the 'the out of focus pole jutting out from the bottom of the frame.' in the example shot.

Roland Karlsson
By Roland Karlsson (Sep 11, 2011)

Good reminder that taking your time is the key to good shots. Thinking is not a disadvantage :)

There are other ways to achieve the same and the actual example images dont inspire to use the technique though. So - I understand the critique some have had.

But - in its simplicity - the article actually might increase image quality by the readers here more than most articles. Take 5 images and think before each image. Simple rules.

By funnelwebmaster (Sep 11, 2011)


By voz (Sep 11, 2011)

A bee in here?

By Pangloss (Sep 11, 2011)

Thanks! An interesting article and very clearly illustrated with proper pictures.

By jeffcpix (Sep 11, 2011)

Some good ideas for those who haven't come up with them previously --
however, in that we're not paying for film anymore, I suggest
ALWAYS taking a shot as soon as the opportunity presents itself --
sometimes, that first shot is all you get.
Sure, if the opportunity arises to fine tune and explore alternatives, go for it.
But snapping first and thinking second can sometimes be rewarding.
You can always delete.

By wutsurstyle (Sep 11, 2011)

Thank you for sharing your tip! Not everyone is adept at composing shots, and suggestions for improvement are always welcome in my book.

khaled xerox
By khaled xerox (Sep 11, 2011)

Thank You for sharing

By kombizz0 (Sep 11, 2011)

what a great informative article.
Thank you for sharing

By FrancisGimenez (Sep 11, 2011)

great article... very short but so informative

Mostly Lurking
By Mostly Lurking (Sep 11, 2011)

Common sense.

1 upvote
By CanonKevin (Sep 10, 2011)

Thank you for the short and to the point tip.

By luxborealis (Sep 10, 2011)

I am really dismayed by the number of negative comments, often by people who feel they could have done better themselves. If you feel that way then rather than being an armchair critic, click on the link at the bottom "Write for us".

I've been shooting for 30 years and teach workshops and course throughout the year and I still got something helpful from the article - a small little trick to help newcomers to photography beyond simply saying "slow down". I think the idea of "Five for Five" is brilliant and will help others to learn photography by suggesting it to them.

By sh10453 (Sep 11, 2011)

Yes indeed.
It is sad that some people never learned the good old saying "if you don't have something good to say, then say nothing".

Would be nice to see them contribute & write some articles of their own, then see how it feels when they start seeing negative comments.
Technical critique (as taught in colleges, by photography departments) is one thing, being negative & mean-spirited is another.
But it's clear that the negative comments are coming from people who never took a college-level photography class, and have no idea what a technical critique is.

By pixel_colorado (Sep 11, 2011)

By saying "if you don't have something good to say, then say nothing", you are in fact guilty of the same.

By theoschela (Sep 10, 2011)

a very good intro article for when your camera is set for landscape/portrait/one shot - well done

inevitable crafts studio
By inevitable crafts studio (Sep 12, 2011)


Ashley Pomeroy
By Ashley Pomeroy (Sep 10, 2011)

I see some pretty dismal snapshots of an uninteresting plaza on a dull day. And the last few pictures are tilted clockwise in a way that suggests the tilt was unintentional; doesn't improve the image, at any rate. I understand that the intention is to illustrate a point, rather than show off some killer snaps, but the game has moved on. *Why not* illustrate the point with killer snaps?

On a deeper level I would rather start with a fantastic shot that has a bin in the corner of the frame - I can paint that out - than a fairly dull shot that doesn't have a bin. Just a lot of empty chairs in a dull plaza on an overcast day. And if it's really a great shot people won't care about the bin. Think of Eddie Adams' famous photo of a street execution in Vietnam; on a formal level it's ruined by a soldier rushing into the frame from the left, but it's a great shot. Admittedly its reportage rather than fine art, but what's going to last? What says more about us?

By Midwest (Sep 10, 2011)

Yes, one thing that this article illustrates well is, bad light makes for dull shots.

By TonGolem (Sep 10, 2011)

This is a nice approach to slowing down one's photography, thanks! My excercise for slowing down is also quite simple: shoot film. When I am back in the digital world I try to remember the preciousness of each single photo, even if it doesn't cost extra money.

Bob Tullis
By Bob Tullis (Sep 10, 2011)

I feel validated.

Street work for me isn't as easy as scenics, for a self-conscious trait. So honing skills were done with the landscape study. With a thirst after a time for something more, turning to the streets. . . for other than fleeting moments I often I raise the camera, and it will be about a minute before the shutter is pressed, sometimes it's just the beginning of working a scene for it's potential. I'll stand waiting until an element moves out of, or to a particular location within the composition.

While all this is going on, still a part of me wonders how odd that might look, what other photographers and observers about might think of it. But that's not as significant a distraction as it used to be, for the practice.

And it's time for more of that. . .

By brancaleone (Sep 10, 2011)

This article is a good reminder of pay attention before we push the trigger and carefully watch the composition through the view finder of LCD. But somebody believes that this practice is time consuming not hurt feelings keep doing what you like best. ::)))

By MrClick (Sep 10, 2011)

I beg to differ. This article is quite boring in my personal opinion... unless one is a newbie to this field. There is nothing much to learn at all. What the author suggests is something many of us simply do as second nature.

I think the comments to this article are more interesting and informative (both for enthusiasts and newbies!) than the main article above.

By xMichaelx (Sep 10, 2011)

"... unless one is a newbie to this field. "

Clearly, this is an article aimed at newbie's, so your own comment both validates the article's worth and makes your comment entirely worthless.

Perhaps you're a newbie to reading comprehension?

By MrClick (Sep 10, 2011)

most newbies generally do not take multiple shots as a habit. this article should be written for amateurs and enthusiasts... one or two levels above newbies.

By roblarosa (Sep 10, 2011)

You're right, most newbies generally do not take multiple shots. That's exactly why this article is intended for newbies. Why would amateurs and enthusiasts need to be reminded of something they're most likely already doing?

By funnelwebmaster (Sep 11, 2011)

MrClick speaks truth.

inevitable crafts studio
By inevitable crafts studio (Sep 10, 2011)

i think the behaviour described in the article is exactly opposite.

the experienced photographer doesnt need to take 20 shots from 20 angles, because he knows the gear and his eyes to see whats most apealing for him/her.

the tourist is the one that walks around and takes 15 shot of every location, because of a lack of practice.

also how often happened it that a static object was in the frame i didnt see at first: never

and honestly i cant imagine how someone could make a mistake like that^^ 

but i like this series, dont want to sound like bashing it ^^

1 upvote
By Tanngrisnir3 (Sep 10, 2011)

No, not really. I know several pros, and they do, indeed take a inordinate amount of shots of the same thing, due to changing light, atmospheric conditions, etc...

1 upvote
By ThePhilips (Sep 10, 2011)

> the tourist is the one that walks around and takes 15 shot of every location, because of a lack of practice.

Having lived for two years close to a touristic spot (Dresden's castle) I disagree on the factual basis: tourists take most of the time one single shot.

(Occasionally they take two: one of the attraction and the second of attraction with spouse/etc in frame.)

One moment they stare at it, then they snap it and then they have already moved on to next attraction.

Considering that my friends/colleagues always act surprised at me when I run around taking several shots (that's how I slow myself down) from different positions, I would argue that it is rather uncommon practice.

inevitable crafts studio
By inevitable crafts studio (Sep 10, 2011)

i live in vienna austria and i have been watching tourists my whole live, and to me they allways show th same behaviour, get out of the bus and take photos of everything that moves.

and i said experienced photographers, not "pros" ^^

my point is, by experienced, i mean photographers that know their lenses so good that they simply know how a picture will come out, so they only have to shoot that one picture, the 15- frames shooter pics out on the computer

i say :

DONT shoot more than one frame
DONT review on location

first treat photography like it was meant to sbe: like film, with a prime lens :)

By SM7 (Sep 11, 2011)

Who meant photography to be like that? I sure hope that's not where it's headed... :P

1 upvote
By iaredatsun (Sep 11, 2011)

I think you are assuming an audience for this piece other than for whom it was intended. The aim is clearly to get people to think around their subject and not settle for the first thing that comes to mind. This article is not aimed at seasoned pros.

By dccdp (Sep 10, 2011)

Simplistic but interesting. Interesting but simplistic. I can't make my mind about this article :)

Brent Lossing
By Brent Lossing (Sep 10, 2011)

Thanks for sharing your ideas. The pictures illustrate very well what you are trying to get across. One more thing that helps me slow down is to not start planning the next place I am going to be while I am taking a shot - force myself to be present where I am currently at (your technique helps to enforce that).

Thanks again for sharing,

Pavlo Boiko
By Pavlo Boiko (Sep 10, 2011)

Thank You, Amadou.
But seems like you always ignore "one third" principle. Why?

By sieem (Sep 10, 2011)

because not every photo has to use the "one third" principle. It's just that most photos look better if you don't center the object, but there are also many photos that look better if you don't use this principle.

Jim Cassatt
By Jim Cassatt (Sep 10, 2011)

When I shoot anything other that people, I almost always use a good tripod. Using a spirit level I make sure the camera is level. As suggested this very act slows me down and makes me ask is this picture worth setting up my equipment. If it is, then, like the author, I will try different angles.

By potpotdada (Sep 10, 2011)

thank you for the article! any tips in getting the perfect shot is always a welcome treat!

Bronze Age Man
By Bronze Age Man (Sep 10, 2011)

So if you take a pic from different angles it looks different & places a different emphasis in the picture, wow!

By John_Y (Sep 10, 2011)

Thanks for the article...This is very simple technique and as they say less is more. You have detailed a technique that will alow myself and others to "capture" a keeper. I constantly remind myself to slow down because often I get cought up in the excitement of the moment.

Total comments: 111