| Wildlife photography offers particular challenges in | | | | other. In this you should be guided by the way the |
| composition, especially for beginners. You not only | | | | animal is facing. If it is looking to one side, position it a |
| have to create a compelling composition (which is | | | | little towards the other side so it is looking toward the |
| tough enough in itself), you also face a subject which | | | | centre of the frame. So, if your wildlife subject is |
| may or may not want to cooperate. | | | | looking right, position it a little to the left. Not too far; you |
| I can't help you much with an uncooperative subject. | | | | don't want half of your photo to feature nothing but |
| Rest assured that with practice and experience, you | | | | empty space. |
| will find that you become much quicker at composing | | | | In a non close-up, where the photo shows a lot more |
| and exposing a photo so that you get the shot before | | | | space around the animal, it becomes more critical that |
| the critical moment passes. There are a couple of | | | | you use that space effectively. In situations where the |
| simple tips that can make things a little easier. | | | | animal is featured with a lot of background, it may be |
| First, practice your photography in places where the | | | | better to think of the picture as a landscape |
| animals are used to having people around and are less | | | | photograph, and compose it accordingly. Some of the |
| likely to become jittery at your presence. This does not | | | | tried-and-true techniques like the Rule Of Thirds |
| have to be a zoo or other enclosure. Most national | | | | (google it if you are not familiar with it) are a good way |
| parks have campgrounds and picnic grounds where | | | | to help you position your subject within the overall |
| the wildlife is used to being around people, and may | | | | frame of the picture. |
| even come closer looking for food. You have a much | | | | For a landscape style photo, it may look quite |
| better chance of a shot if you can get close without | | | | unbalanced to position your subject in the centre of the |
| frightening the subject away. | | | | picture. It is usually better to position it to one side or |
| Second, try to organise your exposure before you set | | | | the other, and it is now even more important to have |
| up the shot. If the light is fairly constant, it is possible to | | | | the animal facing toward the centre of the picture. The |
| point your camera in the right general direction and | | | | eyes of the subject have the power to guide the |
| work out the best aperture and shutter speed settings | | | | viewer to look in the direction the subject is looking. So |
| for the photo. Then when you approach the subject, | | | | if the animal is on the left and looking left, the visual |
| you can concentrate on composition without having to | | | | flow of the composition will lead out of the picture, |
| waste time working out your exposure. | | | | instead of into it. If the subject is on the left and looking |
| These simple tips may help to take some of the | | | | right, the viewer will follow the gaze of the subject into |
| frustration out of wildlife photography, but what about | | | | the centre of the picture. |
| the composition itself? Many people simply don't know | | | | Naturally it helps if there is something of interest in the |
| where to start. If that sounds like you, don't be | | | | centre or to the right to catch the viewer's attention |
| discouraged. Like I said at the beginning, composition | | | | and add interest to the composition. If the subject is |
| can be tough; even for a photographer with years of | | | | looking into the composition, it makes sense that it is |
| experience. | | | | looking at something, not just at empty space. Almost |
| Let's start by breaking it down into two categories; | | | | anything will do...a tree, a beach, an impressive sky; as |
| close-up and non close-up photos. | | | | long as it adds impact to the composition. If there is |
| In a close-up photo, the subject fills most of the frame. | | | | nothing of interest to work with, you might consider |
| A lot of people get in a tangle over whether to position | | | | zooming in closer, so there is less emptiness in the |
| their subject in the middle or to one side of the | | | | composition. |
| composition. In my experience it is quite acceptable to | | | | These simple guidelines are intended to do nothing |
| have the subject right in the centre, as long as you | | | | more than give you some ideas. Nature is not |
| allow some head-room so it doesn't appear too | | | | governed by the rules of composition, and a wildlife |
| cramped within the confines of the composition. A | | | | photographer must be flexible to get the best result |
| central position is especially suitable when the subject | | | | out of each situation. Above all, trust your own |
| is looking straight at the camera, but often works just | | | | judgement, your own sense of visual balance, to |
| as well if the subject is facing a little to one side or the | | | | create a satisfying composition. On the other hand, if |
| other. | | | | you are struggling to get started, think back to these |
| The more space you have around the subject, the | | | | guidelines; if you can position your subject well, the rest |
| more you should consider putting it to one side or the | | | | of the composition will fall into place. |