Rosanne Pennella: 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.