3. LEARN BASIC LIGHTING AND COMPOSITION

Lighting

The etymological definition of the word "photograph" is "transcribe light." It's easy to understand, therefore, that light is the most important element of photography. You should always be conscious of your light source, and compensate for low light with a flash (your camera will probably do this for you, but keep it in mind). If you're outside, try to keep your back to the sun so that it illuminates your subject and doesn't throw a glare across your lens.

Watch for dark areas and shadows, and try to use a flash to "fill" them up. Many Automatic 35mm cameras have a "force flash" function which allows you to make the flash work even when the camera reads that there is enough light to expose the film. It is often better to seek out shadows or shoot on an overcast day and "force" your flash to fill the immediate subject with light and not have too much contrast, which can make for a harsh look. Chemical film is not as flexible or adaptable as the human eye, so don't think that it will look the same in a picture as it does to the naked eye. There is an art to choosing good light that comes with practice.

The best lighting conditions are generally the early morning or evening. At high noon, the light is too "flat" or stark, which washes out the color and depth of the image. Remember that the flash is only good for a maximum of 8 to 10 feet, a flash won't help you get those concert shots from the 15th row. For concert photos, get a super high-speed film (800 ASA or higher-ask for advice at your local camera store). The images will be grainy, but visible, as opposed to 24 shots of a dark cloud of smoke. And to cure "redeye" from flash photography, you can get a camera that has a "redeye double flash," or you can just ask all your subjects to look about a foot above your head. Make sure they're in a co-operative mood first.

Composition

Composition is arranging the elements of the image within the frame for the best effect, and involves the ability to "see" pictures, or what the visual world will look like when rendered in 2 dimensions.

Develop your natural fascination with the visual world. Look at the composition of paintings, drawings, and famous photographs to see how images are balanced within the borders. Walk around your subject entirely and come closer and then try walking further away before committing to a vantage point. You are the artist, and you have to remember to look at all the elements in the frame, not just the subject.

At the most basic level, watch for trees or poles growing out of people's heads, double amputation, partial decapitation (this means cutting people's heads off), too much headroom, too much background and not enough subject, and other common errors which occur because the photographer looks only at the person standing in front of him/her. Don't be afraid to fill the frame with your subjects-get in their faces if you can't zoom in.

A very common error that is easily solved is known as "centeritis." This is the tendency for the subject to occupy the exact vertical middle of the frame and for the horizon to occupy the exact horizontal middle of the frame like a freakin' cross. This composition is dull, static, and uninteresting.

The solution is to remember the "rule of thirds." The way to follow this rule is to mentally divide the screen in three equal sections vertically, and then three horizontally (like a tic-tac-toe grid). Align your vertical subject matter 1/3 of the way over from the left or right, emphasizing background in the remaining 2/3. Then align your horizon 1/3 of the way from the top or bottom, emphasizing a cool sky or a cool foreground, depending on what you've got. This composition is more dynamic, interesting, and better balances subject and background, or context.

Other elements of good composition:

  • Eye level - take the eye level of your subject for a more intimate portrait, especially with pets or children (this means, get down so that the camera is at the same height as the subject's eyes); high angle is distancing and low angle is menacing (you can also use this to your advantage if that is the effect you want)

  • Visual themes - watch for repetition of color, line, shape, texture, or perspective, as these can make for more compelling images. An example would be a picture of a girl in a purple dress with lilacs (these are purple flowers) in the background or foreground, or a number of doorways of similar shape and size but of different colors, etc.

  • Line and movement - watch for lines which naturally lead the eye toward the subject, such as railroad tracks, rivers, winding roads, railings, and fences.