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Chapter 3: Viewpoint and

Clearly defi ned vision seemly relationships between all composi- tional elements. GOOD COMPOSITION relies on thoughtful selection of subjects and creative use of The essence of the photographer’s craft is space. It’s the art of presenting your vision to carve out a small piece of the world and in a clear, uncluttered arrangement of artfully give it a context that supports and shapes, lines, and . The challenge advances the narrative of the . is creating the perception of depth in a That context is contingent on positioning the two-dimensional translation of our three- , selecting a , and directing its dimensional world. Selecting and arrang- gaze with pinpoint accuracy. Knowing your ing elements in a pleasing composition subject and what you want to say about it enhances the sense of space in any photo- also is important. The disposition of compo- graph. And it’s almost entirely dependent on sitional elements will either help or hinder the viewpoint and perspective. clarity of the message, so you must decide which elements to leave in and which to leave Viewpoint is the position of the camera and out. The line of decision between in or out is its relative to the subject. It can the boundary of your viewfi nder’s frame. be high or low, left or right, close or distant. Perspective refers to the way objects relate Renowned landscape photographer Gary to one another in a composition. It’s also Ladd, the foremost authority on photograph- heavily infl uenced by the way objects relate ing the Grand Canyon, had this to say about to the lens, affecting the sense of depth and controlling context: “ is a selec- proportion in a photograph. Finding the tive stressing of the desirable, and a conceal- viewpoint and perspective “sweet spot” is the ing of the unwanted or unneeded. Landscape cornerstone for a balanced composition with photography at its best is an idealization

Selecting the right viewpoint and perspective provides a sense of space to a photograph. Overlapping foreground, middle ground, and background compositional elements creates the illusion of depth.

Viewpoint and Perspective 37 of reality. It directs our atten- the subject and accurately convey situation by juxtaposing it with tion away from the ordinary and the message you intend. contrary elements. Through the art toward the quietly spectacular .” Familiarity with your subjects is of selection, you’re able to inter- pret the same subject in a number The story told in a photograph another useful factor in providing of ways. It can be depicted as is almost always quoted out the right context for them. Pho- ornate or simple, serene or of context because no lens is tographers always want to oper- dynamic, delicate or powerful, all capable of capturing the entirety ate from a position of knowledge depending on the camera position of a subject’s earthly context. Nor regarding their subjects. The more and lens you choose. would we want such a lens. It’s you know about your subject, the the photographer’s purposeful better you can depict it in proper When you’re in the fi eld with your mission to control what an image context, especially if a realistic por- camera, be alert and receptive reveals about the subject, not trayal of the subject is your goal. to all the stimuli around you. simply to include whatever fi ts Ansel Adams, arguably the great- This is the time to tap into your within the frame (see the discus- est landscape photographer of imagination, mining for ideas to sion of snapshots in Chapter 2 ). the 20th century, understood the creatively present your subject. The “language” of visual com- advantages of being informed. Be sensitive to the rhythms of munication gives photographers “A good photograph is know- the moment, and don’t get too the power to shamelessly skew ing where to stand,” he said. attached to preconceived notions reality or subtly slant the message “A great photograph is one that about the image you are pursu- by merely changing the context fully expresses what one feels, in ing. Surprises are welcome gifts. surrounding the subject. We have the deepest sense, about what Accept them graciously. creative license to communicate is being photographed .” Knowl- Many variables go into the making the story in any way that suits us. edge of your subjects elevates of a good photograph, but rarely This doesn’t mean that you the emotional content of your do they all fall perfectly into place, always have to tinker with reality photography by putting more of especially if you’re photograph- or avoid representing your sub- yourself into every image. ing outdoors. Nature has a way jects in an honest and straight- Vital to selecting a viewpoint and of changing your plans. Allowing forward manner. Photography’s perspective that is appropriate to yourself the freedom to respond to history has produced many fi ne your subject is having a clearly situations as they unfold can lead examples of candid, sincere defi ned vision of what you want to even better images. that are considered to accomplish in the photograph. masterpieces of the medium. You may simply want to make Always operate But certain techniques that help a statement about the subject’s establish context will make it beauty, a common theme of many from a position of easier to create images that photographs. Or you might decide knowledge regarding refl ect your personal views about to show the irony of your subject’s your subjects.

38 Focus On Composing Photos Viewpoint is the position of the camera and its angle of view relative to the subject. Perspective refersje to the way objects relate to one another in a composition.

The Illusion of Depth

The challenge of photography is creating the perception of depth in an image. The photographer must decide how much depth is appropriate to the scene and then translate that vision to the fi nal image. In this case, the desired effect was to create a landscape evoking the sense of wide-open spaces in Monument Valley. A low viewpoint and a 24mm wide-angle lens with a downward angle of view combine to produce a perspective that exaggerates the foreground and minimizes the background. This optical effect gives the illusion of distance, depth, and spaciousness.

Viewpoint and Perspective 39 The right lens come in a broad array of focal lengths that will help you realize your vision. They are generally grouped into three different categories—wide-angle, standard, and telephoto—each with its own inherent qualities that affect the way it “sees.” Lens char- acteristics impose their own view on a scene, so part of the compo- sition process is shaping the lens’ view to suit your creative vision. The lens serves two main pur- poses in photography. It gathers light from a scene, focusing it onto a common point—the camera’s sensor; and it controls the amount of light striking the sensor. The quantity of light passing through the lens is controlled by the size of the in the lens’ diaphragm mechanism, often referred to as “f-stop.” Aperture is one of the variables, along with speed and ISO, which measures basic image . And, as we’ll see later in this chapter, aperture size infl uences another A wide-angle lens and a camera position important factor in composition, close to the foreground wildfl owers adds depth of fi eld. to the sense of depth and perspective of Besides focus and exposure this landscape. control, the lens also adds

40 Focus On Composing Photos its own optical effects to the lengths will serve you well in esti- the way objects in a composition arrangement of compositional mating which lens is best suited relate to a wide-angle lens. elements. The lens’ angle of view to each situation. Close subjects appear much carries along with it an optical Any lens with a of larger than they do to the bias that may make your scene 35mm or less is considered a naked eye, whereas more dis- look remarkably different when wide-angle lens, with lenses tant objects seem to recede into viewed through a lens because of 20mm or less known as the background. When using lenses don’t work the same way “ultrawide.” The wide-angle lens wide-angle lenses, be aware of as the human eye. Depending on takes its name from the increased this effect and how it changes focal length, lens can rear- angle of view that it offers. Within with the angle of view. At times, range lines in a composition and the wide-angle classifi cation we you can take advantage of this distort the perception of depth fi nd lenses with focal lengths effect by incorporating its exag- and space between objects. as short as 8mm, including gerated perspective into the Angle of view is the precise fi sh-eye lenses with coverage scheme of your composition. measurement of a lens’ fi eld of of a full 180-degree angle of At others, it may distort objects vision. A change in focal length view. A primary advantage of too much, making it inappropri- equals a change in the angle of wide-angle lenses over lenses ate to your subject. You must view, measured in degrees. The with longer focal lengths is their decide how much is shorter the focal length, the wider ability to include more of a given too much. the angle of view. perspective within the frame. Wide-angle lenses excel on Because our eyes see things in Another is the increased depth of grand landscapes and pano- three dimensions, we have a fi eld they provide. ramic views where their angle decided advantage over lenses. Distance is exaggerated in scenes of view is capable of taking in Evidence suggests that the when viewed through lenses of a wide swath. They relate very human eye has an angle of view short focal length. Everyone is well to foregrounds, by exag- of at least 140 degrees, roughly familiar with the warning on a gerating the size of objects equivalent to a 15mm lens. Of car’s sideview mirror, “OBJECTS closest to the camera and adding course, our eyes don’t come IN MIRROR ARE CLOSER THAN a sense of three-dimensional with the accompanying distor- THEY APPEAR.” Convex curvature depth. A common compositional tion inherent in most wide-angle of the mirror widens its angle technique known as “near/far” lenses, but this gives you a point of view so we can see all the or “forced perspective” places of reference. Getting accustomed way across the lane next to us. foreground subjects of strong to the ways your camera lenses The perspective created by this interest extremely close to the affect spatial relationships is part curvature distorts the way objects camera position, thereby juxta- of the learning curve. Familiarity relate to the mirror. It’s similar to posing them against other objects with the effects of various focal or landforms in the background.

Viewpoint and Perspective 41 This combination of close and effective at isolating a subject by A ’ value lies in its distant objects is an effective defocusing objects in front and ability to interpret a scene in technique to illustrate spacious- behind it. Placement of the subject a way that is faithful to what ness in a photograph. It presents within a narrow zone of sharp your eyes see, with little or no elements of the vast and the focus makes it the obvious focal distortion of subject and space. intimate in a single image. point in a composition. Isolating Because of their direct and the subject using a shallow depth- uncomplicated nature, lenses Telephoto lenses have just the of-fi eld technique has the added in the standard focal length opposite effect on depth. Their benefi t of simplifying the com- category are generally a good longer focal lengths tend to position, reducing the number of choice for people photography shrink the apparent distance elements you have to account for, and portraits. Medium focal between objects. Telephotos and focusing singular attention lengths also give photographers come in a broad range of focal on the main subject. It can solve tighter control over depth of fi eld, lengths, from about 70mm to a lot of problems with surround- depending on what the subject as long as 2000mm, with an ings that are too busy or chaotic, and situation calls for. Using angle of view rarely exceeding making the main subject in the small such as ƒ/16 40 degrees. The characteristic composition diffi cult to identify. or ƒ/22 can keep everything in effects of telephoto lenses are sharp focus from foreground useful for compositions that need In between the extremes of wide- to background; choosing large to bring distant objects closer. angle and telephoto lenses are apertures such as ƒ/2.8 or ƒ/4 By optically compressing the the standard lenses. In the 35mm allows for a much narrower zone space between foreground and to 70mm focal length range, they of sharpness, selectively focus- background, telephotos have generally cover an angle of view ing on only a small section of the the power to artifi cially fl atten between 40 and 60 degrees. overall scene. the appearance of a scene. The Lenses in the standard category compressing of spatial gaps are sometimes called “normal” The magic of lens optics empow- allows the photographer to cre- lenses because their optical ers you to compose scenes that ate closer relationships or juxta- makeup comes closest to rep- grab viewers’ attention and pull position between objects that are resenting spatial relationships them in for a closer look. Under- otherwise too far-fl ung to draw a similar to the way our eyes see standing how different focal connection. The longer the focal them. There is nothing remarka- lengths alter the interpretation of length, the more pronounced the ble about the realistic perspective reality lets you see beyond the compression effect. they bring to a composition, but obvious. Their characteristics and among the various focal lengths, optical effects are tools to help you Another inherent quality of long standard lenses offer the most construct your view of the world. focal length is shallow depth of versatility. Put lens optics to work for you. fi eld. Telephoto lenses are very

42 Focus On Composing Photos Wide-angle lenses = 8mm to 35mm Standard lenses = 35mm to 70mm Telephoto lenses = 70mm to 2000mm

The shorter a lens’ focal length, the wider the angle of view.

GET TO KNOW YOUR CAMERA’S Digital sensors come in various sizes depending on camera make and model. The size refers to the sensor’s physical dimensions, not the number of , and has a profound effect on lens focal length. The combination of image sensor size and lens focal length determines a lens’ angle of view. Most high-end DSLR have large full- frame (24 x 36mm) sensors that have no effect on lens focal length or angle of view. But the smaller sensors (15 × 22mm) often used in less expensive cameras multiply a lens’ relative focal length and reduce its angle of view. This multiplier effect can turn a wide-angle into a normal lens or a short telephoto into a long telephoto. For example, a smaller sensor with a 1.5 multiplier turns a 24mm lens into 36mm. A 200mm lens becomes 300mm with an accompanying reduction in the lens’ angle of view. Consult your camera owner’s manual to fi nd your sensor’s “” or multiplier effect.

Telephoto Lens Compression

Telephoto lenses provide photographers the optical power to shrink the distance between foreground and back- ground, creating closer relationships between compositional elements. Here, neighborhood homes on a distant hill- side are brought into closer proximity of the church steeples in the foreground using a 300mm lens. A small aperture of ƒ/22 maintains a wide depth of fi eld to keep everything in sharp focus from foreground to background.

Viewpoint and Perspective 43 Near/far or forced-perspective composition exaggerates the size of foreground objects, juxtaposing them against a harmonious background.

A compresses overlapping formations in Bryce Canyon, creating spatial relationships between otherwise disparate compositional elements.

44 Focus On Composing Photos Finding your viewpoint adjustments are easily made by your inspection. Police the area in or out to perfect your around your subject for any So far, we’ve identifi ed some of chosen viewpoint. If and “hand of man” distractions that the considerations that come into arrangement of elements appear might pull on the viewer’s eye, play when choosing your view- similar to your visualization of such as Styrofoam cups, soda point or camera position, such the scene, set up your and cans, or cigarette butts. They can as subject, light, and . These mount the camera on it. If what you disrupt the fl ow of your com- initial assessments can all be see through the viewfi nder doesn’t position and are much easier done with the naked eye. Once move you, continue exploring. to physically remove from your you’ve established your starting scene now than to take them out Usually, the fi rst place you set point based on these factors, it’s later using digital methods. time to refi ne your viewpoint. up is not the best. By tweaking Let’s begin with the important camera position and focal length, This is also the time to inspect step of arranging your composi- you can fi nd the sweet spot where your composition for the visual tional elements. all of the composition’s important nuisance known as a “merger.” elements fi t together harmoni- Mergers occur wherever lines Start by identifying the important ously. Perhaps shifting the camera intersect in a composition. elements present in the scene you slightly to the left or right relieves Normally, a composition contains plan to photograph—the promi- tension created by overlapping many of these little intersections nent objects, lines, and shapes. elements, or maybe lowering or where lines cross or tones meet Then make a preliminary selec- raising the height of the camera and blend together. Egregious tion of the lens and focal length on the tripod will achieve the mergers can create an annoy- appropriate to the scope of the angle of view that best serves the ing interruption of the viewer’s scene. Choose a focal length that subject. Sometimes the best view- experience, but slight adjustments comes closest to your vision for point may be only a step away. in camera position will usually the scene and frames it the way eliminate these unsightly tension Distribution and arrangement you imagined it in your mind’s makers. Most often, minor merg- of compositional elements inside eye. Did you visualize a broad ers are of little consequence in that little rectangular frame will panorama or a narrow abstrac- the grand scheme of an image, determine your next steps in tion from the scene laid out and they’re not necessarily always capturing the image. Put your before you? Look through your bad. In fact, some mergers critical eye to work, exploring camera’s viewfi nder to check can be important to the motion the scene through the view- your instincts on the camera posi- created by the leading lines in fi nder. Carefully scrutinize every tion and lens you’ve chosen. a composition. But be aware of square centimeter of its space to their presence and placement, Framing your scene with a zoom prevent accidents from showing minimizing or eliminating them if lens really pays dividends at up in your images. Don’t let they are disruptive. this point in the process. Minute anything within the frame escape

Viewpoint and Perspective 45 Often, the most unfl attering alters spatial relationships when exploring the potential in mergers occur where elements between objects in your scene. a scene, prefer to “work it.” That in a composition intersect with Even the smallest of incremental is, they move in and around the the vertical and horizontal edges changes in viewpoint creates a scene for an extended period of of the viewfi nder’s frame. Look parallax that can dramatically time, alert to the varying condi- for unwanted objects around the affect a composition’s lighting, tions. Changing camera positions periphery such as tree branches balance, and structure. in sync with the shifting direction or power lines sneaking in at the of the light allows you to look The most noticeable difference edges of your scene. Pay par- for different arrangements of the between one viewpoint and ticular attention to the corners of same elements. Keep in mind another is often the background. the frame. In visual design, the that distinct and unusual perspec- Carefully inspect backgrounds, corners of a photograph are con- tives can make a photograph paying close attention to how sidered prime real estate, often more interesting. Try working they affect your subject. A messy reserved for placement of impor- your scene from several other background with too much tant eye-controlling lines and angles and various lens focal texture or overly complex detail shadows. To make good use of lengths to discover its full poten- introduces unwanted busyness these areas, don’t waste valuable tial. This also gives you more that interferes with the fl ow of the corner space on inconsequential options when you get back to the composition. If your subject can- intruders or counterproductive computer with a digital card full not be easily moved to a different mergers. We’ll examine mergers of images. setting, options for improving the more closely in discussion of background are limited. Often, Too often, photographers don’t leading lines in Chapter 5 . lower camera angles bring the get the most out of a scene Be deliberate in your assessment open sky into play, which pro- because they fail to stick with of all the lines, shapes, colors, vides a smooth alternative to a the situation long enough for light, and shadows that you have chaotic background. Alterna- it to reach its peak. As the day arranged. Make certain that tively, you might utilize a shallow progresses, highlights and shad- your main subject is predomi- depth-of-fi eld and selective-focus ows advance and retreat in a nantly featured with none of the technique, or move the camera constant state of fl ux. Awareness supporting elements encroaching to a different viewpoint offering of changing conditions will keep on it. Feel free to experiment with a change in background. We’ll you and your camera on the other camera positions, being explore these solutions more in move. And even though a zoom mindful of lighting conditions and the “ and Focus” lens makes fi ne-tuning your giving priority to the light’s inter- section of this chapter. compositions a breeze, don’t action with your subject. Survey rely on it exclusively for compo- Consider also that your subject different angles and observe how sitional adjustments. Use your may have more than one good the act of changing positions feet as well to move in closer. viewpoint. Many photographers,

46 Focus On Composing Photos Climb to a higher position or viewpoint, lens, and perspective necessarily the best one. Experi- lay on your stomach to get a presents an almost unlimited mentation with alternatives will ground-level perspective. Com- number of options. Sometimes lead you to the best vantage bining the many variables of the most obvious viewpoint isn’t points.

Carefully scrutinize every square centimeter nder within the viewfi frame to prevent accidents from appearing in your images. Eliminate distractions that pull attention away from your subject.

Mergers

Mergers occur wherever lines intersect or elements overlap in a composition. Although not always bad, be aware of them and eliminate or minimize mergers by tweaking camera position or repositioning your subject. Egregious mergers can occur around people in a photograph, so pay close attention to background objects that appear to be protruding from your subject. Also, be careful of cutting off limbs and tops of people’s heads at the edge of the frame. The rule of thumb for photographing people is always crop just above the joint—ankles, knees, or waist.

Viewpoint and Perspective 47 The corners of a photograph are considered prime real estate, often reserved for placement of important eye-controlling lines and shadows.

Leading lines and geometry add energy to this scene of London Bridge. The diagonal line entering the frame in the upper left corner provides a strong fl ow to the composition.

48 Focus On Composing Photos Assignment: Viewpoint Parallax

The term “parallax” refers to the apparent change in position of an object when the person looking at the object changes position. To dem- Unusual onstrate the parallax effect, try this simple experiment: Close your left perspectives eye and hold your hand out at arm’s length with your thumb up. Using only your right eye, visually align your thumb with a distant object can make a such as a tree. Now, holding your thumb in place, close your right eye photograph and open your left. Notice how this throws off the alignment of your much more thumb and changes its spatial relationship to the tree. This is parallax interesting. in action, and the change in viewpoint is only the short distance from one eye to the other. So imagine the parallax shift and accompanying compositional changes that occur by moving your camera to a different position several feet away. Even the smallest of incremental changes in viewpoint will create a parallax that dramatically affects the structure of your composition’s spatial relationships and balance.

Unusual perspectives add interest to any composition. This bug’s-eye-view of desert marigolds was created using a wide-angle lens. The camera was nestled on the ground beneath the fl owers before tripping the shutter.

Viewpoint and Perspective 49 The power of perspective lengths without changing camera The fi rst and most basic decision position, the perspective remains affecting perspective is selection of The concept of perspective is the same. When you change focal appropriate camera orientation— diffi cult to explain, but we all have lengths you are simply changing horizontal or vertical. This is a experienced it. At its most basic the framing of your scene. fairly easy choice. Let the predom- level, photographic perspective inant lines of the composition help Finding just the right combination is simply the effect that makes you decide. If your scene includes of viewpoint and lens will place one object appear farther away a lighthouse, trees, or other tall, you in the best position to control than another. The real world upright objects, employ a verti- perspective. Perspective, as we’ve is three-dimensional, having cal orientation, also known as learned, refers to the way com- length, width, and depth. Because “portrait,” to take full advantage positional elements relate to each photographs are two-dimensional of their lines. To accommodate other and how, collectively, they representations having only width subjects with strong horizontal relate to the lens. We use the char- and length, a sense of depth lines, such as roads, fencerows, acteristics of perspective to defi ne must be introduced using lens or a long horizon, choose a relationships of size and space in and depth-of-fi eld techniques. horizontal or “landscape” cam- a composition. It’s the glue that In reality, of course, perspective is era orientation. By playing up the holds each element in its rightful an optical illusion created by the long lines in your compositions, place, conferring importance on photographer. you’ll avoid wasted space at the selected parts while downplaying edges of the frame. Before we go any further with others. The right perspective is the what perspective is, it may be ingredient that turns a composi- The frame boundaries are your helpful to understand what tion into considerably more than primary tools in controlling the perspective is not . A common the sum of its parts. scope of your composition. Learn- misconception equates perspec- ing to crop your scenes through “Our eyes must constantly tive with lens focal length. Some the viewfi nder saves time and measure, evaluate,” said famed people believe that by changing pixels. When it comes to fram- photojournalist Henri Cartier- the lens or zooming in and out, ing a scene, correctly Bresson. “We alter our perspec- they’re changing perspective. Not in the camera beats lopping tive by a slight bending of the so. The only way to alter per- off parts of the scene later on knees; we convey the chance spective is to change viewpoint, the computer. In-camera crop- meeting of lines by a simple shift- essentially moving the camera. ping simply means making sure ing of our heads a thousandth of Adjusting lens focal length can you have allowed just the right an inch. We compose almost at give you a different view of a amount of buffer space on the the same time we press the shut- scene, but it doesn’t affect per- periphery of the scene—no more, ter, and in placing the camera spective. If you view the same no less. Consider moving the closer or farther from the subject, scene through 10 different focal camera closer to the subject and we shape the details .”

50 Focus On Composing Photos recomposing if too much wasted cropping through the view- to get the composition right in space exists around the edges. fi nder and employing all of your the camera at the time of expo- frame’s dimensions. Make sure. Any post- exposure crop- In an ideal world, every photo- sure to archive your original fi les ping should be identifi ed during graph would be perfectly com- and only work on copied fi les. the composition process and posed and cropped at the time Modern photo editing and fi le thoughtfully integrated in your of exposure. In reality, however, viewfi nder technique in the fi eld. many images could use some management computer pro- improvement after the fact. The grams, such as Photoshop, Composing a frame-fi lling scene standard dimensions of an image Aperture, and Lightroom, are through the viewfi nder actually straight out of the camera are not powerful tools with a marvelous gives you as much control over necessarily the best crop for every capability for manipulating any the appearance of the fi nal composition. Sometimes, trim- aspect of a digital photograph. image as any software. Great ming off only an inch or two of The “digital ,” as it’s effects can be achieved with basic wasted space at the edges of the called, is another step in the pho- camera gear simply by employing frame helps contain the viewer’s tographic process where digital fundamental techniques of sound eye movement, preventing it from fi les can be altered to bring out composition. Using perspective to drifting into useless areas of a the full potential in a photo- design a pleasing and harmoni- composition. And some com- graph. It offers you opportunities ous composition makes every positions cry out for the extreme to make simple adjustments to pixel count in the overall success treatment of a more radical crop exposure, color, and contrast, or of the image. the ability to rearrange the ele- into a long, narrow horizontal Intentionally distorting a subject ments in your compositions and or vertical. Thoughtful cropping with an extreme lens perspective completely remake an image. strengthens a mediocre composi- introduces unusual visual effects tion by accentuating the predomi- Those mastering these programs similar to the near/far technique nant lines in the scene. Cropping are capable of turning the mun- discussed earlier. Getting up close a photograph is an art in itself dane into the fantastic and the to any object with a wide-angle and, when skillfully done, can normal into the bizarre. Modify- lens, for example, exaggerates showcase any subject’s attributes ing a photograph on a computer and stretches its normal size and more prominently. But be aware monitor can be just as artistic shape. It’s a fun way to experiment that cropping an image on your and creative as photography with your lenses and comprehend computer using fi le management itself. But developing a reliance the effects of different focal lengths. software throws away pixels that on computer software to correct It lets you interpret an old subject you can never get back. mistakes made in the fi eld is not in a completely new way. The You’ll make better use of those good practice. The software is alternative reality that you create pixels by doing most of your there if you need it, but a in a photograph has the power to photographer’s primary goal is change people’s perceptions of

Viewpoint and Perspective 51 the world. No expensive computer camera position and a down- often bisecting a scene with the program is necessary. ward angle of view produces a horizon line through the middle. perspective that naturally empha- As we’ll see in Chapter 4, this is When you impose your perspec- sizes foreground. Opting for not always good for composi- tive on a scene, camera position a low camera position with an tional balance and appeal. and lens focal length should be upward angle of view brings more adjusted to suit perspective. Pay Utilizing techniques that express emphasis to the background. particular attention to the way perspective will help you reveal Using a straightforward, eye-level the foreground and background more about the subject, create the camera position tends toward relate to the other objects. For illusion of depth, and give your the ordinary and predictable, example, selecting an elevated images greater visual impact.

Forced perspective is expressed in this scene using a wide-angle lens and a close camera position to exaggerate the foreground rock. Tilting the camera downward plays up the near/far relationship between the immediate foreground and the distant background.

52 Focus On Composing Photos Perspective

Often, lens focal length is confused with perspective, but the only way to alter perspective is to move the camera to a different position. In this example, we view the same scene through three different focal lengths without moving the camera position. Adjusting focal length or changing lenses provides a very different view by changing the framing of your scene, but perspective remains the same.

Viewpoint and Perspective 53 HORIZONTAL VERSUS VERTICAL Often, professional photographers strive to capture the same scene both horizontally and vertically so they can offer their clients a choice. It always seems to happen that when only a In-camera cropping simply horizontal composition is submitted to the client, means making sure you’ve the art director invariably calls wanting to know if a vertical version is available, or vice versa. allowed exactly the right Shooting both orientations of the same scene is not always as simple as turning the camera amount of buffer space sideways. It can present a challenging exercise on the periphery of in recomposing. Capturing the vertical ver- sion of a predominantly horizontal scene also the scene—no more, no may require readjustment of camera position and lens focal length to properly rearrange the less. Make adjustments existing elements into a pleasing composition. But, again, this gives photographers additional by zooming optically or options when they get back to their computers moving the camera position to download and edit their images. forward or back.

54 Focus On Composing Photos The Art of Cropping

When skillfully done, cropping plays up the prominent lines and shapes of your composition. Camera manufacturers use standard sensors with uniform dimensions, and images are assigned these dimensions by default. But the image dimensions that come straight out of the camera are not necessarily the best for every composition. Some, as in this example, demand a long, narrow horizontal or vertical crop to accentuate the most powerful parts of a scene. Experiment with cropping your images, but be sure to make adjustments only to copies of your original fi les. Always archive your originals.

Forced Perspective

Intentionally distorting a subject with an extreme angle of view forces a different perspective and introduces unusual visual effects. Getting up close to this saguaro cactus with a 24mm wide-angle lens exaggerates and stretches its normal size and shape. Lens optics let you interpret old subjects in completely new ways. The alternative reality that you can create in a photograph using basic camera gear has the power to change people’s perceptions without resorting to expensive computer programs.

Viewpoint and Perspective 55 Depth of fi eld and focus “Focus point” is the precise spot where objects are only acceptably in the scene that is selectively sharp in front of and behind the Depth of fi eld and focus play chosen to be in sharpest focus, focus point. This apparent sharp- pivotal roles in delineating a visual usually your main subject. The ness is the determining factor in hierarchy among compositional subject and anything else at that establishing the limits of depth of elements by calling attention to same distance from the camera fi eld. The transition from razor the sharpest parts of a scene. will be razor sharp. Be critical sharp to acceptably sharp is grad- In addition to the integral parts with your focus point to make ual, and the boundaries of the of composition we’ve already sure the most important elements depth of fi eld are not well defi ned. examined—lens, viewpoint, and are in sharpest focus. Objects gradually become more perspective—depth-of-fi eld tech- unfocused and blurry the farther Generally, the zone of focus niques provide another means to they are from the focus point. enhance the perception of depth includes an amount of space and bring emphasis to your sub- jects. Your selection of lens settings for aperture and focus point puts you in direct charge over depth of fi eld in your photographs. The term “depth of fi eld” defi nes the fl oating zone of sharpness around the focus point in a pho- tograph. This distinct zone can expand or contract and move closer or farther away in relation to camera position based on the combination of aperture, focus point, lens, and distance.

Depth of Field

This steer wrestler was photographed using a 400mm telephoto lens, a medium aperture of ƒ/5.6, and focus point about midway between the camera position and the grandstand at the opposite end of the rodeo arena. The result is a razor-sharp subject at the point of focus, which is isolated from the busy background by defocusing the rodeo fans. However, the out-of-focus shapes and elements behind the cowboys are just recognizable enough to help set the scene by adding to the rodeo arena’s environment.

56 Focus On Composing Photos The factors discussed in the managed by tangible changes limited depth of fi eld. Ascend- following sections govern the in aperture size or f-stops. ing through the f-stops from depth of fi eld in a photograph. As alluded to earlier in the ƒ/2.8 to ƒ/4 to ƒ/5.6 and so discussion of lenses, large on, depth of fi eld expands Aperture f-stop numbers—ƒ/22, ƒ/16, in your image with each or ƒ/11—correspond with subsequent click to the next This part of the photographic smaller apertures that pro- smaller aperture. When you process is affected more by duce the widest depth of fi eld. reach ƒ/22, you’ve attained the practical decisions you Small f-stop numbers—ƒ/2, maximum aperture depth of make than by artistic ones. ƒ/2.8, or ƒ/4—correspond fi eld, depending on the other Depth of fi eld can be strictly with larger apertures producing factors mentioned later.

A 300mm lens at ƒ/7 with a focus point midway into the scene produced this image with only limited depth of fi eld. Flowers in the center of the composition are in sharp focus, while fl owers in the foreground and background are out of focus.

Viewpoint and Perspective 57 Focus point technique for keeping everything In instances where you’re unsure in a scene in focus using almost of attaining the necessary Focus point represents the spot any focal length lens. However, amount of depth of fi eld for your of sharpest focus. The zone of selecting a focus point close to composition, try bracketing your acceptable sharpness extends to the camera position changes focus point in the same way pho- cover about one-third of the space the dynamics of overall scene tographers use exposure brack- in front of this point, and about sharpness by throwing midground eting to assure getting the best two-thirds of the space behind the and background out of focus, exposure. That is, make several focus point. Maximum sharpness even at smaller aperture settings. identical exposures of the same from foreground to background Similarly, focusing on a distant scene using slightly different can be achieved by focusing on object will defocus the foreground. focus points. By adjusting focus at a point roughly one-third of the Sometimes achieving the best various points around your main way into a scene using a small depth of fi eld requires a compro- subject, you’ll ensure getting at aperture. This is known as the mise among the variables of focus least one exposure with adequate “,” and it offers point, aperture, lens, and distance. depth of fi eld. the photographer a dependable

Focus point at front of Focus point at front of scene. Aperture ƒ/5.6. scene. Aperture ƒ/22.

58 Focus On Composing Photos Focus point midway into Focus point midway into scene. Aperture ƒ/5.6. scene. Aperture ƒ/22.

Focus point at back of Focus point at back of scene. Aperture ƒ/5.6 scene. Aperture ƒ/22.

Viewpoint and Perspective 59 Lens focal length wide-angle lenses with short aperture provide a narrow zone focal lengths produce extensive of sharp focus to accomplish You can vary the depth of fi eld depth of fi eld. Keeping this in the desired result. If your plan from any viewpoint by using mind helps you capture your is to emphasize a cluster of different focal lengths. A basic vision by selecting the right lens fl owers against a harmonious guideline to remember is this: for any situation. If your goal is background, short focal length Telephoto lenses with longer to pick out a small blossom and and small aperture will maintain focal lengths offer inherently isolate it from a chaotic thicket, sharpness throughout. shallow depth of fi eld, whereas long focal length and large

A narrow zone of sharp focus isolates the red Indian paintbrush bloom from the busy background of purple lupine blossoms.

60 Focus On Composing Photos Subject distance Moving the camera closer to your subjects shrinks the zone of sharp focus. In extreme close-up or where the front of the lens is mere inches from the subject, the zone of sharp focus can be minimal. At these times, when depth can be measured in millimeters, smaller apertures will expand the zone and add the necessary depth of fi eld to maintain sharpness. Conversely, focusing on a dis- tant object widens the depth of fi eld with an expanded zone of sharpness. The degree to which your background is out of focus A macro lens with close-focusing ability depends not only on the cam- era’s distance from the object but allows for much closer camera positions. also the object’s distance from Here an aperture of ƒ/7 provided enough the background. depth of fi eld to keep the cactus Contrary to common thinking, it isn’t always necessary to keep blossoms in sharp focus, but allow the everything in your composition busy background of cactus spines to be sharply focused. Although acute front-to-back sharpness works softly defocused. Shallow depth of fi eld best for certain styles of photog- raphy, such as landscapes, some- and background shadows help isolate the times isolating only the subject in vivid red blossoms.

Viewpoint and Perspective 61 a narrow band of sharp focus is of sharpness. Almost all DSLRs So much of the exposure process the best composition. Sports and offer a depth-of-fi eld preview on modern DSLRs can be pro- particularly button that stops down the lens grammed to allow the camera benefi t from the subject isolation diaphragm and allows you to see to automatically select appropri- brought on by selective focus and through the viewfi nder where the ate aperture and shallow depth of fi eld. sharpness zone falls at various for average exposure. Taking aperture settings. Use it to check control over these functions Because most DSLR camera-and- whether the effect is what you yourself is the best way to learn lens arrays include some form of want. This function gives you a how they affect the outcome of autofocus (AF), double-checking sneak preview of exactly how your your images. To give yourself the your focus point safeguards scene will look. If you preview ultimate decision-making power, against discovering later that the scene using small apertures, switch off your camera’s auto- your subject isn’t sharp. Don’t however, the view will appear matic or program mode and set always assume your AF function fairly dark, making it diffi cult to it to manual control, which allows has locked onto the focus point determine how much depth of you to select aperture and shutter you intend. Looking through fi eld you are actually getting. Be speed. If you’re not quite ready the camera’s viewfi nder, posi- deliberate in your assessment. to attempt fully manual exposure, tion the AF focus area over your Once again, familiarity with your try setting your camera’s expo- subject and depress the shutter photo equipment will benefi t you. sure mode to aperture-priority. button a couple of times to trig- This option allows you to select ger the AF. This fi ne-tunes your You can achieve maximum depth the aperture and the camera focus point and assures that the of fi eld in an image with total matches it up with the appropri- AF has locked onto the precise sharpness from foreground to ate shutter speed. This at least location where sharp focus is background and edge to edge by allows you more control over an most critical in your composition. selecting a short focal length, a important factor in controlling A small tweaking of the AF can small aperture, and focusing on depth of fi eld in your images. mean the difference between infi nity. This combination ensures having your subject in or out of total sharpness throughout the To gain control over these impor- focus. scene. Through experimentation tant steps in controlling depth of and observing your results, you’ll fi eld, it helps to know and under- Closely inspect your subject develop a better understanding stand the symbiotic relationship and the other elements of your of the correlation between these between aperture and shutter composition and identify the zone factors. speed in the exposure process.

62 Focus On Composing Photos A fast shutter speed of 1/500 of a second was necessary to freeze the hovering hummingbird, but a relatively large aperture of ƒ/3.5 allowed only a shallow depth of fi eld. Flowers closest to the lens are mere inches from the hummer, but are not in focus.

Assignment: Get to know your lenses

Here’s a good exercise to learn the characteristics of various focal lengths and their effects on a scene. It’s a technique employed by pho- tojournalists who specialize in developing detailed stories about news events. To help tell their stories, they use a variety of lens focal lengths, usually wide angle, standard, and telephoto, from a variety of distances. As you make your approach toward a subject, stop and photograph it using all three focal lengths at each point where you set up your tripod. It forces you to adapt your way of seeing a subject to each focal length.

Viewpoint and Perspective 63