scene is important but not always possible. When you can work only with available light, you may find that you choose your perspective based solely on what the light is doing.
People view photographs according to a lot of subconscious rules. Knowing these rules helps you decide which perspective would best capture a potential viewer's attention. Most good compositions are designed to keep a viewer's eyes within the frame for the longest time possible. Using contrast is one way to accomplish that task. (Refer to Chapter 10 for more on controlling contrast.) Typically, eyes go immediately to the spot on the image that has the most contrast. From there they move around the image following the lines and gradients that make up the image. (To see the lines and gradients in their basic form, squint while viewing an image; check out Chapter 3.)
Figure 8–3 presents a case in which light dictates perspective based on placing the subject in the area with the most contrast. A window just out of the frame on the right side lights the subject and the scene. The wall has a semigloss quality and reflects the light from the window, creating a highlight similar to a spotlight. With the perfect perspective, the reflected light ends up behind the subject — the female model. Because she's fairly dark compared to her surroundings and was placed in front of the lightest spot in the room, she's in the exact area your eyes go to when viewing the image (though, I'm sure the bright green mask helps draw your attention to her as well). The reflection also causes a natural
If you don't have any interesting light falling into your background, you can always position the subject in a well-lit area in front of a background that's covered in shadow.
Another way that light can dictate perspective is when a photographer includes the shadow of a subject as part of the background. If you're using available light and can't move your subject, you have to find the right perspective by moving your camera. If you want to take a picture of a tree lit by the sun, for example, you can wait for the sun to move and change
Figure 8–3: Creative use of available light can add interest to your compositions and draw attention to your subjects.
Here are some more suggestions for using available light to create interesting compositions:
Approach your subject from an angle that places your key light source to the side of your subject for a more dramatic composition.
Be aware of how the light affects what's behind you if you're photographing a reflective surface like a shiny car or a person wearing sunglasses. Changing your angle could create a smoother highlight or a more appealing reflection, or it could reveal details about the environment. You control the effect of this light by moving around and viewing the changes that occur in the reflective surface.
When shooting a backlit scene (a scene that has a key light source behind your subject), find an angle where the subject or an element in the scene blocks the light in order to have a normal amount of contrast in your exposure.
Making the light source visible in your frame cuts down on contrast and provides a softer overall feel. In most cases, it also causes
Considering Techniques to Get the Shot
Sometimes you have more time and control over getting a shot you're happy with, but other times you have to get the shots on the fly. In those hurry-up situations, a well-trained photographer will have an idea of what to expect and will be prepared for the decisive moment. In order to prepare yourself for these types of situations, be sure to familiarize yourself with the techniques discussed in this section and get some hands-on experience using them. Before you snap a shot, look around and notice what options you have for getting a higher angle or for getting closer.
Keep in mind the basic rules of composition as discussed in Chapter 1. If you're familiar with your camera, its settings, and how to focus it, you'll have more time to concentrate on getting the best composition. I'm usually disappointed in myself when I capture a great moment and later discover I'm not satisfied with my composition.
You often can improve your composition by making quick adjustments to your perspective. Searching for something to stand on may provide you with the extra height needed to reveal more detail in the scene, or you can kneel and shoot from a low angle. I've been known to lie down on busy sidewalks to get a shot. (Don't be too embarrassed to do these things; it's the photographers with the million eye-level images who should be embarrassed.) If your subject moves and ruins your composition, move with it to regain your desired composition. Always be aware of the elements in your frame and their relationships with each other.
In a more controlled photo shoot, you can take time to perfect your composition and should consider everything. Here are some tips for getting the shot you want:
' Move things around as necessary, if possible. If your subjects are smaller objects, they're (usually) moveable. While you look through the viewfinder, have an assistant or friend move things around until you have the desired composition.
' Move your camera if the subject isn't movable. If you're shooting buildings or mountains (or other large immovable structures), move the camera until you're satisfied with the composition. Many architectural photographers bring a ladder to their shoots in order to achieve maximum depth and to have more control over their perspective.
' Try holding the camera instead of using a tripod. For instance, when photographing people, I prefer to hold the camera in my hands. The tripod offers you a fixed perspective, but it also requires you to rely on directing the model in order to achieve the right composition. If you don't need a fixed perspective, try holding the camera so you can move around to tweak the composition instead of asking the model to move over an inch.
' Take several photos. When you have time, shoot from multiple perspectives to give yourself options and the chance to compare results. I often find that my second or third composition works much better than the original.
Moving the subject or yourself
A photographer's distance from the subject is as important as the subject's distance from the other elements in the frame. Keep the following tips in mind when you're deciding whether you need to move your subject or your camera:
' The closer a light source is to the subject, the darker the background appears (and vice versa).
Experiment with factors like these in order to become familiar with the ways a shot can come together.
If you use an on-camera flash as your key light source when you photograph a person leaning against a wall, the person and the wall both will be fairly sharp and will receive the same intensity of light during the
