By Gary A Fink

1 August 2007

Often a person with a camera will be drawn to an image or elements in a scene that inspire them to take a shot. When the film or digital image gets printed, it wasn't what they envisioned... why is that?

Simply put it is because the photographer failed to enter the subject and see what elements of that image caught their attention. Granted, a macro photograph does bring the viewer into the element in greater detail but what is it that gets the attention?

There are four elements to a successful photograph... subject, theme, composition and exposure. Without any of these, the image lacks appeal and isn't successful (except as a document).

Subject: Naturally, you didn't stop in the first place if you didn't have something that caught your attention but how do you capture that something so that others too see your vision?

Simply put, remove distractions and bring the attention to that one element that captured your attention in the first place. This can be done in numerous ways. You can get closer or zoom in on the subject to remove anything outside of it that may tend to cause the viewer's eye to stray from it. I like the long lens in particular for such things as the image point of attention is also the point of focus and everything else falls off in softer clarity or diminished 'acceptable focus' as it may better be termed. Few people find interest in blurry backgrounds so the eye will fall on the clearer part of the image.

What is it about your subject that give the attention to it,... is it a hat or color or shape? Bring your point of focus to that special thing that is most important to you - your viewer will naturally be drawn to it too. This may suggest actually getting closer and removing the distractions. Remember the rule of thirds? It does work but remember too the first rule of photography is that there are no rules. You do have a large playing field.

How about creating tension? If your subject is perhaps a predatory animal the 'rules' suggest giving space in the direction of it's view or movement but what if you close in on that to cause the viewer to wonder what is it that this animal is looking at? This may well be what sells your image to your audience... the tension it created.

Theme: Tell a story with your image without saying a word.

The cover image shows a Buck discovering what well may be his offspring. It's a nurturing image, Fatherhood and the curiosity of the fawn too as it's tail is dropped in a passive posture showing that it is unsure of this meeting at this moment. A story can unravel in the mind of the viewer and this makes the image just that much more successful.

If you can cause the person who is looking at your image to think about it or you or why you even took it (I've often thought, 'why is this person a judge?' when entering contests)... you are stimulating a thought or story. Shoot for your intended audience just as you might win a photo contest because you shot for the judge.

How do you shoot for theme? Ask yourself why you are stopping to take the shot you have in your viewfinder. If it is a subject that you can approach by all means look at it from other angles and vantage points - the one you are in just might not be the best way to view it.

Let's talk about wildlife for a moment. This subject is probably something many of us would love to photograph but successful photography of wildlife is actually planned. Flash will put a sparkle in the eye of any animal but having the best angle of light for your exposure is the most desirable aspect of your image's success. That means studying your subject, knowing it's habits and feeding preferences, approach avenues to water or feeding grounds, defensive postures or positions if it is exposed to predation... the list goes on and on or, and this should make you chuckle, go to a good zoo. Animals are great story tellers.

Composition: Ah... the educator of success.

In itself the word suggest rules and yet I did mention that first rule didn't I?! So, what am I saying or about to do but toss that proverbial bolt into the gears.

If you don't follow some criteria that has repeatedly proven successful then you risk controversy. Controversy is good in the journalistic or artistic expression so by all means be creative... be controversial... don't read anymore of this.

... hmmm... you're still here so I'll go on.

You are telling the story so you need to decide what best does what you need to do with your image. You may need to put your subject high, low or to one side more than in the middle but remember that for some, the middle is really the way to go - hence rule #1, no rules. When would I do that?

Design or patterns can sometimes be centered like the lights at night on a tall building. I actually laid down on the concrete under my tripod to make this image... people were walking by giving me blankets and stuff.

Placement of your subject (see the feathers) can produce dreamlike otherworldly images that succeed in their spectral intensity and mind-boggling patterns, I so love macros for this reason.

Composition is the consideration of the creator but you must also consider your viewer's natural responses... Orientals generally read top to bottom, Westerners left to right... view your audience and shoot for them. Toss out traditional views for tension and impact - abstract images too make great corporate logos and hangings.

Finally, Exposure... the great manipulator of light.

The nice thing about digitals these days is that they can give you histograms of your image (that little graph that shows you that wow... I sure overexposed THIS one) and instant gratification or frustration depending on what you are trying to photograph.

Most photographers know that learning photography is best accomplished by shooting slides - they don't let you be wrong. However, slide education is an expensive tutor and there are cheaper ways to learn.

Correct exposure depends on one element: LIGHT. If you don't know your film there's just not going to be success save by chance or your camera's auto metering being at the right part of the image when the shot is made.

Exposure for slides is based on the darker side of the image being made and slide film has at best maybe 1 1/2 stops of latitude - anything else is either over or underexposed. Film is more forgiving with as much as 7 stops of latitude in favor of the lighter side. Digital wants to meter off white but like film, reacts to different elements (artificial light, shadows/shade or bright sun to name but a few)

You can use Program (P) which will automatically compress your shot by choosing the fastest speed and open aperture to provide a narrower depth of field.

You can use Aperture Priority (A or AP)which will allow you to choose your depth of field and provide you with the best overall shutter speed for the area metered.

You might want to control your shutter speed by choosing Shutter Priority (S or SP)and let your camera select which opening would best suit your speed. Again sacrificing something for something else (photography is the marriage of compromise and creativity).

Then, there is Manual (M) which lets you decide if your image is going to be what you want or some kind of mistake you made all by yourself... encouraging, isn't it?!

Fortunately your camera may have a meter and, if the meter is accurate and calibrated properly for the time of day you are shooting, most often your exposure will be good (enough).

There is so much to proper exposure (using ND filters, polarization, color intensifying, flash theory) that books have been written by hundreds of notable photographers and camera manufacturers about the subject. It would not be wasted money to buy a book about light exposure to improve your exposure concept and understanding.

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