Composing Better Images

Want to increase the "keepers"—those photos that you're proud of and want to share with others? Improving the composition of your photos will dramatically boost their number.

Composition embodies a number of concepts, but the first to consider is simplicity. Start with the subject of your photo. It may seem obvious, but you should always know what you want it to be. If you don’t, viewers of the image won't either, and they won't know what you're trying to say with the photo. At the start, think: one subject, clearly indicated.

Then, always consider the impact the background will have on an image. It shouldn't detract from the subject by being confusing or cluttered. In Image 1, taken in Burkina Faso, I incorporated a very strong background—the mosque—to create an environmental portrait that enhances my subject.

Think about your angle, about where you are in relation to your subject. Crouching low or getting up high—putting yourself somewhere other than at eye level—will often improve an image. Image 2 offers a much more dramatic look at tanning pits in Morocco than a straight on shot. Also, varying your perspective will keep your repertoire of shots more interesting.

One of the simplest ways to add interest to your compositions is to turn the camera. A lot of shooters fall into the habit of shooting almost all their photos as horizontals. Consider a vertical image when your subject suggests it; that's what I did with Image 1. Tall or elongated subjects or strong vertical lines should point you toward a vertical shot. I usually suggest to workshop students that they shoot most of their images as horizontals and verticals for a while so they gain a sense of which orientation works best for the image.

The Closer the Better
An important element in composition is distance. As Robert Capa suggested, "If your pictures aren’t good enough, you’re not close enough." Getting closer often assures more intimacy with your subject as well as a tighter, more refined composition. Beginners frequently stand back because they are perhaps unsure of their cameras or are unwilling to call attention to themselves. Advanced shooters know that there is no hiding behind cameras; they step forward. I suggest that you work toward cutting in half your comfortable working distance. I frequently work very close to my subjects, generally in the range of two to seven feet. For the photograph of hands taken at a Bhutan festival (Image 3), I crouched low from about two feet away from the people and used a wide-angle zoom, the 17-35mm f/2.8D ED-IF AF-S Zoom-Nikkor. Another way of "getting closer" is to use a telephoto lens. For the photo of the blue and yellow macaw (Image 4) I used a 70-300mm f/4.5-5.6G IF-ED AF-S VR Zoom-Nikkor.

Composition not only means deciding what to include in the frame and how to place it, but also what to leave out. In fact, I think one of the most important challenges for any photographer is deciding what stays and what goes. In my workshops I refer to this kind of thinking as "the border patrol." With every image, consider what's happening at the edges of the frame; check that you're not accidentally cropping out a part of the image or subject that's important, or, more likely, including something in the background that detracts from the photograph. For Image 5—two caimans in Brazil—I deliberately included the full reflection of both animals and placed the pair in the upper left of the frame so they're looking into the negative space of the rest of the image. In the portrait of the woman in Pisac, Peru (Image 6), I deliberately included the strong lines of the background of ancient Incan terracing.

This kind of observation and awareness is a skill that takes some time to develop, but once you start paying attention to the borders and the backgrounds, I promise you your images will improve.

Leading the Way
The photo of vegetables in a market in Egypt (Image 7) is an example of employing not only a dramatic and attention-getting angle, but also using a compositional classic: leading lines. It's a much more dynamic composition than a square-on shot showing the bowls of vegetables as static horizontal lines. Here the leading lines take your eye through the composition, from lower left to upper right.

You can also use lines in an image to lead the viewer’s eye to the subject, as in Image 8, in which the line of the prayer beads leads you to the hands of the supplicant. This photo was made in Lhasa, Tibet.

Here's a quick way to add dynamic interest to your compositions. It's the time-tested rule of thirds, and it suggests, correctly, that a photograph in which the subject is off-center will be more compelling.

To bring the rule of thirds to your compositions, imagine that the lines of a tic-tac-toe game were placed over the scene you want to photograph; then visualize the points at which the lines intersect. One of those four intersections will be the best place for your subject. Knowing which of the four will be best, or deciding that it may not matter which you choose, is where your instinct and judgment come into play. I chose the lower right intersection when I took the photograph of a Gurunsi tribal chief in Burkina Faso (Image 9).

Speaking of lines, it's usually a good idea to keep the scene's horizon line away from the center of the frame. Keeping it close to or on a rule of thirds line will usually result in an image that's less static, less generic. (Another key to horizons is to keep them straight. You'd be surprised how many shooters tilt the horizon without even realizing it. Grid lines available in many Nikon cameras can go a long way to helping; turn them on and you've got a horizon check for each image. They can also assist you in recalling the rule of thirds.)

Finally, although we may call these ideas rules, they're best used as starting points. As Edward Weston said, "Consulting the rules of composition before taking a photograph is like consulting the laws of gravity before going for a walk." So think of what I've said here as starting points for your consideration. I know I do. The detail image of bright dyes in a Peruvian market (Image 10) shows that the rule of thirds need not be adhered to exactly. Although the hand is not in a rule of thirds spot, the strong diagonals of the pots and the placement of the spoon allow the image to work compositionally.

Perhaps the best thing about putting the rules of composition into practice is that the better you know them, the better the results when you intentionally break them.