Tips/advice for improving my composition skills.

[CanonKen]

Hi,

Technically, I consider myself an advanced photographer. I have been shooting with SLR's for 20 years, and DSLR's for 10. It is rare (if ever) I blow a shot due to a technical issue, even tough stuff (nighttime, flash, telephoto work, too much/little DOF, etc.). In other words, the mastery of the equipment is a non-issue.

What I struggle with is nailing my composition. I can locate interesting subjects, and as I said above, get a very high-quality capture. When I get home and look at my files, I often find myself wanting in the composition of the scene. I know and use the basics (rule of thirds, getting down low/high, etc.), but I just have trouble really getting...creative.

Any thoughts (other than shooting more pics!) on good resources to learn more? Looking at pictures helps a lot, but I would like to keep learning and growing. I just upgraded to a Canon 6D and I have good lenses covering 17-400mm, so there is zero excuse for me to not be able to do anything.

 

[cplittleton]

CanonKen wrote:

Hi,

Technically, I consider myself an advanced photographer. I have been shooting with SLR's for 20 years, and DSLR's for 10. It is rare (if ever) I blow a shot due to a technical issue, even tough stuff (nighttime, flash, telephoto work, too much/little DOF, etc.). In other words, the mastery of the equipment is a non-issue.

I wish I were that good; I blow 5%-10% due to technical issues. But I'm driving that number down, so I can't complain, I guess.

What I struggle with is nailing my composition. I can locate interesting subjects, and as I said above, get a very high-quality capture. When I get home and look at my files, I often find myself wanting in the composition of the scene. I know and use the basics (rule of thirds, getting down low/high, etc.), but I just have trouble really getting...creative.

Any thoughts (other than shooting more pics!) on good resources to learn more? Looking at pictures helps a lot, but I would like to keep learning and growing. I just upgraded to a Canon 6D and I have good lenses covering 17-400mm, so there is zero excuse for me to not be able to do anything.

I took a 'project' photo class at my local community college about 10 years ago. It had a Photo 101 class as a prerequisite, which I took with my niece as an elective for her and a way into the system for me. At the time, credits were cheap ($45 each, I think) so my total investment for both classes was around $300 plus supplies (film was still taught at the time).

Once in the project class, I was able to pick a topic and complete a portfolio based on the theme. This did two things for my compositional skills:

1 - it made me stay within my defined boundaries and improve both technical and compositional skills within those boundaries. We did weekly critiques as a class and hearing what others said really helped me grow.

2 - Doing the critiques on other student's very diverse efforts was a real eye-opener. Even if their topic / theme had no interest for me, I had to look at the pictures with a critical eye and provide feedback to the other student.

We also had a talented instructor to provide a more "professional" critique and guide our critiques of our classmates. If your community college doesn't have something similar, try a photo tour that provides critique time (not just run from location to location shooting). I would guess that the right tour guide on the right tour would facilitate a similar approach.

Sometimes I find I need to look at other folk's work with a critical eye and have them look at mine with that same type of critical eye - I can't do it all myself.

CPLittleton

 

[Tom Rogers]

Some people find that learning to use one focal length helps to think about what you are doing. I went to Big Bend NP and set the zoom on 20mm, and did not allow myself to move it. I brought home the highest % of "keepers" that I have from previous trips involving four continents. If you don't shoot mainly landscapes, try some other FL, but resist changing it. If you have a prime lens, use it.

 

[vander]

This might not help you, or maybe it will, I'm just going to go over what I try to do. They are certainly not hard and fast rules I follow constantly, but I'd say this is the basis on how I begin to assess a scene and how to shoot it and when I'll pull out a camera.

1. I don't even both to pick up the camera unless I feel like it is an inspiring day. I've tried to force myself to pick up a camera and just shoot but that never amounts to many if any keepers, so when I get that anxiety and built up feeling where I need to shoot, then something good usually comes out of it.

2. I don't bring the camera up to my eye unless something has caught my attention first. This is where the elements of design come into play. A scene needs to have at least one of those interesting elements in order for it to be good. And of course the lighting/shadows need to be there as well.

3. Depending on how the scene makes me feel determines how I will frame it and compose it. You generally cannot go wrong with the rule of thirds, as you've said you know about and use, but if you can break it successfully, please do.

4. Angles. Don't just stand in one place and shoot. Get high, get low, change foreground elements and depth of field.

5. Try to understand and bring out whatever you saw which made you pull out the camera. I find many people don't see the shot and understand what they saw in the first place and just start shooting without giving much context as to why you pulled out the camera.

6. Remember, a snap shot is usually something that you'll walk away getting and understanding. A piece of art or a great photo will be ones that you can show anyone and they'll understand it or feel like they are there. The audience is looking at your photo and if they don't get that sense of being there, the photo might be lost on them. If you can't convey the scene properly then the photo is just another snapshot. Highlight and pull those emotions out so your friend upon seeing the photo will get that similar sense you did walking up on the scene.

7. Go through the photos, highlite the ones you like but be objective, very objective. I usually try to process and keep only 1 of a series shot. The best one. And when I mean series I mean standing from the same spot, not just one for the day.

8. Revisit the photos the next day. I quite often in the excitement of opening the shots start processing right away. I need to remove myself from the real life awe of what I just captured to the processing of the image and how to bring it out even better. I find I almost always want to re-edit what I've shot if I try to process too quickly. I usually find the next day after a good sleep puts me where my head should be to objectively process the image. I've found hidden gems that I skipped over because I was trying to process too quickly and missed it entirely.

9. Ask friends or family which one(s) they prefer and why. This might also help. Sometimes we are too close to our photos and are focused on something we only get, not understand the whole scene. I always ask my wife to review anything I shoot of people. She is much better at understanding what people will like and their face and expression. I'm more technical and review based upon lighting/sharpness/composition etc. But the two of us together usually makes for a happy client.

Just a few ideas.

--
Check out my photo galleries !!
http://www.vandervalk.ca

 

[CanonKen]

Very nice, and good advice.

I do go out, and find myself inspired, taking dozens or hundreds of pictures. On the flip side (the discipline), I went for a 4 mile walk today with my camera, and did not take a single picture (experience taught me they would all be junk).

It is a hobby, so I don't force myself to take pictures, it is a way to relax and use my brain.

 

[Nerv0usT1ck]

I've transitioned from being a painter for years, and a few years in art school, to holding a camera in my hands to express myself these days. Composition goes a lot deeper than where you arrange your subject. The rule of thirds is definitely a great starting point, and a great way to avoid the bulls-eye mentality of your basic point and shoot owner, you need to dissect the scene a little bit. If you are shooting a family, for instance, where are their eyes going? The viewer will instinctively follow a model's glance, as a clue to view what is important. Lead lines are also important. Everyone always wants to know where train tracks are heading. you cannot help but follow them as far as the image will allow.

Think about balance, too. Strange items can properly balance an image. A guy I share studio space with captured an image of a model lying down, low in the frame. Usually, I would have panned this composition as a waste of space above the model. But, blurred in the distance, was a single light, that perfectly added a sense of depth to the image, and it worked very well to my eyes.

I'm sure youve checked out any number of photographers to help you with your composition issues, but take a moment to google a few of the old masters from the days before film. Check out Edgar Degas, for scenes unvolving people, and Claude Monet for landscapes. Then, move on to Piet Mondrian, when you're ready to expand your view of how colors relate to one another.

....Oh, and since this is a website involving cameras, I fully support the earlier suggestion of using a prime to train your eye. Once you take away the ability to zoom, all you have left, is the ability to frame. Good luck!

 

[Tom Axford]

Nerv0usT1ck wrote:

I'm sure youve checked out any number of photographers to help you with your composition issues, but take a moment to google a few of the old masters from the days before film. Check out Edgar Degas, for scenes unvolving people, and Claude Monet for landscapes. Then, move on to Piet Mondrian, when you're ready to expand your view of how colors relate to one another.

I would echo this advice. Photographers often forget that composition existed long before photography. Art galleries are a very good place to see good composition and also to think about what makes a good composition. It is definitely not an easy subject, however!

Another practical thing that is worth doing is to experiment. With digital cameras it is very easy to take a number of shots of the same scene from slightly different angles and with different compositions and then compare them later at your leisure. Which ones do you prefer and why? Also, check with your friends/family to see which they prefer and why.

If you can't immediately decide which you prefer, then make prints of them and stick them up on your wall so you can look at them every day. After a while you will get a better idea of which ones you like and which you don't.

- Just a few suggestions which I hope may prove useful.

 

[Clueless Wanderer]

Cropping images in photoshop can be good practice for composition.

Take 10 images and crop them in a way that makes them look different or gives off a different feel to the original. Each time save the crops as a copy and do at least 3 different crops to each image (maybe ratio change 3:2 to 4:3 or 1:1, rule of thirds to golden ratio, crop having the rule of thirds intersecting lines enhance a different part of the image, etc, etc....). come back in a day or two and decide which crop of each image looks the best, then try and work out why.. Even if you don't get any answers your still getting composition practice and improving your 'Eye'.
I have images that are 'meh' but with careful cropping they then pop out of the screen, turning them from delete'rs to keepers.

 

[robertorinehart]

Good advice! this helped me out too

 

[Elliern]

CanonKen wrote:

Hi,

Technically, I consider myself an advanced photographer. I have been shooting with SLR's for 20 years, and DSLR's for 10. It is rare (if ever) I blow a shot due to a technical issue, even tough stuff (nighttime, flash, telephoto work, too much/little DOF, etc.). In other words, the mastery of the equipment is a non-issue.

What I struggle with is nailing my composition. I can locate interesting subjects, and as I said above, get a very high-quality capture. When I get home and look at my files, I often find myself wanting in the composition of the scene. I know and use the basics (rule of thirds, getting down low/high, etc.), but I just have trouble really getting...creative.

Any thoughts (other than shooting more pics!) on good resources to learn more? Looking at pictures helps a lot, but I would like to keep learning and growing. I just upgraded to a Canon 6D and I have good lenses covering 17-400mm, so there is zero excuse for me to not be able to do anything.faux insider

I consider myself still a newbie. But since retiring a year ago, I finally have the time to work on my photography skills. One thing that has helped me tremendously is joining 2 local camera clubs. Each club is a little different. One is only nature photography. However, both have several members who are professionals and semi professionals as well as several who are members of the local artists guild. Through monthly critiques and contests plus outings shooting a variety of subjects, my composition is improving. (I have NO artistic skills...I must learn them from others). It is an inexpensive and enjoyable way to learn a variety of styles and techniques and improve my skills. Perhaps this would work for you as well. Just a suggestion.

Ellie

 

[NancyP]

I am in a slump right now, so I sympathize. At least I can fill up my slump with learning more post-processing.

Do you have another hobby or other area of expertise? A subject which you meant to learn about but never had time? You might try documenting your hobby subjects in as many ways as possible. Love cars? There are a million interesting angles and parts in cars. I have been meaning to check out the farm machinery museum an hour from my house - I like seeing how things work, and it might be a great place to learn and shoot at the same time. I am a birder and nature lover, and sometimes my best shots come from trying to document the same subject over hundreds of shots and multiple observations - sometimes the one-off shot works too. My photo in a local exhibit was a one-off of a bright red mushroom being eaten by a grasshopper - I cropped it some, did a little selective exposure and sharpening change, and that small amount of work turned it into a nice photo. My original intention was not artistic, though - I wanted to document the mushroom for later speciation.

 

[happysnapper64]

Hi Ken. I posted a thread a week ago asking how to get "it" back. It is on the Open forum page 4. "How do I get "it" back?" I got a lot of good advice about improving my eye for a shot, also ways to get by when the creativity seems to go, as it has for me lately. I don't know if any of it will help, but it could be worth a look. I also did a part 2, but most of the good ideas came in the first part. Hope it helps.

 

[D Cox]

Check out this web page.

http://animationresources.org/?p=2033

These materials from the 1950s are aimed at illustrators rather than photographers, but the suggestions will help.

Don't take anything you read about composition as laws that you have to obey, but as a starting point for your own thinking.

 

[D Cox]

CanonKen wrote:

Hi,

Technically, I consider myself an advanced photographer. I have been shooting with SLR's for 20 years, and DSLR's for 10. It is rare (if ever) I blow a shot due to a technical issue, even tough stuff (nighttime, flash, telephoto work, too much/little DOF, etc.). In other words, the mastery of the equipment is a non-issue.

What I struggle with is nailing my composition. I can locate interesting subjects, and as I said above, get a very high-quality capture. When I get home and look at my files, I often find myself wanting in the composition of the scene. I know and use the basics (rule of thirds, getting down low/high, etc.), but I just have trouble really getting...creative.

There are in my opinion two kinds of photographs:

1. A picture of something interesting

2. An interesting picture of something

From your account, you are shooting type 1 only.

 

[Mark S Abeln]

CanonKen wrote:

What I struggle with is nailing my composition.

Classically, the three things which were considered to lead to beauty in works of art include:

• Unity. All the parts of an artwork relate to the others, and possibly on several levels of meaning. Landscape photographers often have problems with unity — is a telephone pole really adding to the scene? And this is one reason why many landscapers will use a telephoto lens to isolate their subject, rather than a wide angle lens to 'get the whole scene in'. Classic portraits will emphasize the face, while everything else is lost in shadows, highlights, or blur. Still-life images often include objects that have a unifying symbolic meaning.
• Symmetry and proportion. Having regular patterns by showing symmetries can be interesting; aligning your camera precisely with the symmetries of your subject is perhaps better than having a symmetrical subject slightly but clearly off-centered, which is more distressing than having it definitely off to one side. It is interesting to have three or more differently-sized subjects related to each other in proportion. You can divide the image into zones: half the image is shadows, ⅓ is mid tones, and 1/6 is highlights, and so this forms a harmonic proportion; you can do this with color also. Pay attention to the subject and how it relates to the aspect ratio of the entire image, and even how it relates to the matting and frame: some subjects withstand certain crops better than others.
• Color. Colorful objects are often considered more beautiful. For this reason, black and white photography can be rather difficult, but it shows off your skill. On the other hand, capturing good color can be very rewarding, especially if you avoid overexposure and color shifts, and most especially if the color is due to your subject and lighting and not due to the saturation adjustment in software.

As someone else mentioned, you can select attractive subjects, but you can also compose ordinary objects in extraordinary ways — that is artful.

 

[Brev00]

The problem is with your keeper rate. It is too high. If you are going to follow your hunches and unlock your creativity, you will fail a lot more often. Knowing how to do something is one thing. Looking inside and reacting to the moment is another. There is no textbook or technique for your dilemma. Forget it all and find your muse, what will take you from one shot to the next. A little zen and the art of photography. There is no answer except to be open.
--

brev99

Explore brev99’s 6,815 photos on Flickr!

www.flickr.com

 

[Ron Innocencio]

Take an art class.

 

[jezsik]

A while back, I wrote a few articles for DPReview on this very problem. Hopefully you'll get some inspiration. I'd appreciate any feedback you may have, too.

The Rule of Thirds: A Simple Way to Improve Your Images

Shoot Close Up For Impact!

How to Use Composition to Improve Your Images

 

[S Stanmore]

Keep all of your lenses in a box, except for the 50mm. Mount that to your camera and leave it on. Forget about being 'creative' as in experimenting in a 'random' fashion with angles. As you probably know a 50 gives a close to human eye perspective scaling... What you see is what you get in terms of scale from foreground to background elements in the frame. It also gives you the opportunity to work the effective shallow DOF at this focal length if you deem fit.

Now stick with it for weeks... how many depends on you really. When you are shooting spend 99% of your time working out what should, and shouldn't be in the frame. Take time, not pictures ... I wouldn't be suggesting this if you were a newcomer to photography. Composition is not just be about the elements in the frame, and their relationship to one another. It's also about the light fall within the frame, and the 'moment' that is being photographed. The edges of the frame are important too - what runs in and out of the edges can make or break an image, leading a viewers eye in or out too.

Photo = Light, Graphy = Writing (anc. Greek). You can have the 'perfect' arrangement in the frame, have the 'perfect' subject at it's most perfect moment ... but it's not going to be right for you unless the lighting is just as 'perfect'. Accept this, but also accept that the 'rules' of lighting (as with composition), are crutches - flimsy crutches. Leave then in the box with all those other lenses. The light must be what you envision as the best possible light for the image you can envisage in your minds-eye. It might be flat or dramatic, it doesn't matter ... what matters is it's exactly the light *you* want - Exactly. If a subject and the environment within the frame you wish to photograph is not lit well as you want it to be, light it as your minds-eye wants it to be, or wait/return when the ambient is right.

If the subject is not 'presented' well enough, direct it, arrange it, or wait for it to be so... At this point in your experience as a photographer, taking more shots will not help you. Taking shots that have been considered on every level - Framing, lighting, timing, will be your way to 'progress'.

Forget what anyone else thinks. Do not seek out feedback from any body. Do you own thing, and do not settle for anything less than the 'perfection' you can imagine is possible in the image.

Start to shift your mindset to one that makes pictures, rather than takes pistures. Making might mean spending hours or days in pre-production to bring together what you need. Then hours with the subject and the camera to reach / direct / encourage / arrange the subject to the state your minds-eye imagines. It might mean weeks of waiting for the conditions to be 'right' - months even as the season's play their part.

In a nutshell: Use the lens that is closest your eye... the 50mm ... and elect to think of any other focal length as a 'gimmick' for a while. Then only use it - only switch on the camera - when everything as as perfect as you want it to be ... And accept that making it so may require effort, expense, planning, and/or waiting.

 

[dachshund7]

Elliern wrote:

I consider myself still a newbie. But since retiring a year ago, I finally have the time to work on my photography skills. One thing that has helped me tremendously is joining 2 local camera clubs. Each club is a little different. One is only nature photography. However, both have several members who are professionals and semi professionals as well as several who are members of the local artists guild. Through monthly critiques and contests plus outings shooting a variety of subjects, my composition is improving. (I have NO artistic skills...I must learn them from others). It is an inexpensive and enjoyable way to learn a variety of styles and techniques and improve my skills. Perhaps this would work for you as well. Just a suggestion.

Ellie

I second this. I had the same experience - it's very rewarding to be exposed to other photographers and a nice community. The critiques are done by outside judges, and composition is always discussed. It's a humbling experience that really helped me to see an image.

I once showed one of my pictures to a friend who I consider to be a much better photographer than myself. Instead of heaping praise like my mother would do, she said, "There's nothing in the foreground or the background." There really was nothing interesting in the picture other than the main subject. This has stuck with me ever since.

I also scan the websites of pros and many of the photographers who post here. I will sometimes list what I like about an image. Often it's the simplicity and perfect use of light. But studying the masters, old and new, is a good kick in the head and has the effect of humility and inspiration. One thing I learned is that for landscape, using a wide-angle lens effectively can be the key to getting an image with an interesting foreground, middle, and background. I also agree that using one focal length for a period of time is a good exercise.

I also have to say that I've looked for good books on the subject of composition and haven't found one. Does anyone have suggestions?