WildlifeCampus – Wildlife Photography with Daryl Balfour 1
Module # 3 – Component # 2
Advanced Composition
Preface
This course was written by world-renowned wildlife photographer Daryl Balfour, and has
been the basis for a regular feature published in Africa Geographic. This is the first time
his material has been available over the Internet, and in course form. In addition to the
invaluable insights and tips on a vast range of topics, this course is filled with hundreds of
examples of his own work demonstrating various techniques, common mistakes and
moments of brilliance. Each Component also includes a quick self-assessment.
Introduction
Previously I discussed the basic elements of composition and the importance of
guidelines such as the Rule of Thirds. Now we move on to other compositional aids
and techniques, all of which should assist you in improving your images given a little
forethought and planning.
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Breaking the Rules
As with most of life’s little rules, many are made to be broken, with the proviso
that you know and understand the potential outcome. But it is not much good going
out and breaking all the rules of photography, including those of composition, until
you have a good grasp of the basics. Once these have become almost instinctive in
your photography, you can start playing around, seeing the rules as a challenge and
becoming more adventurous. It is only by experimenting that you will really begin
to advance and develop a style of your own.
One of the primary things to remember when composing your shot is to find a
centre of interest and the need to present a simple and understandable message,
avoiding or eliminating elements that vie with the subject for the viewer’s
attention. This can usually be done quite simply by changing your framing of the
image by zooming in a bit, moving closer or changing position completely. A tree or
branch behind your subject, appearing to grow out of the top of its head, for
example, can spoil an otherwise good image. Likewise a stray limb poking into the
frame from one side, distracting the eye from the main subject. Remember it is
your decision as to what you include and what you exclude in your image, but you
need to make this selection consciously.
Make it a habit to scan the edges of the frame in the viewfinder before pressing
the shutter release, to make a last minute check that you have not missed an
unwanted element that will spoil your shot when you eventually get it back from the
lab.
Verticals
One of the most important lessons to learn is to vary your framing and shoot
verticals whenever possible. Often the subject matter will dictate the need for a
vertical shot, such as a close-up of a giraffe for example, but don’t neglect to look
for vertical compositions even when the shot may look like an obvious horizontal at
first glance.
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Vertical compositions can help to eliminate dead ground and wasted space at the
edges of your image, and may help you make a tighter framing of the subject. This
is of particular relevance if you are hoping to sell or publish your images – most
books and magazines are structured along vertical, or portrait, lines. A full-page
reproduction, or a cover, typically requires a shot that has been composed
vertically.
When shooting wider shots, whether horizontal (landscape) or vertical (portrait)
compositions, try to find lines or elements that will lead the viewers’ eyes into the
frame and towards the focal point of the image, preferably from left to right or
bottom to top. It may be necessary for you to move your position somewhat to
take advantage of potential “lines”, such as the banks of a river or shoreline of a
lake or ocean, and it usually helps to set your camera on a tripod to compose
accurately once you have found your best shooting position.
The great American landscape photographer Ansel Adams once summed it up
perfectly with the comment that: ”If the original viewpoint is not right, all
technical procedures (thereafter) have small meaning.”
Framing Elements
Another easy way to improve composition is to use some sort of framing element,
such as the arch of a rocky outcrop, the boughs of a tree or simply a few leafy
branches hanging in to the top of the frame to add interest to an otherwise
nondescript or burnt-out sky. Be careful however to limit the amount of detail in
these framing elements, as they should not hold enough interest to detract from
the subject itself.
Adding Depth
Remember too that photographs are two dimensional, having only height and width,
and that it is up to you to add depth by means of perspective or by introducing
additional compositional elements such as secondary subjects in the foreground,
mid-ground or background.
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Once again, you may find yourself having to move position in order to obtain the
best perspective, or change lens focal length either by zooming or changing
lenses. One of the easiest ways of introducing perspective is by using lines that
converge in the distance, diminishing scale where objects of the same size appear
to get smaller as they recede into the distance, or simply by overlapping elements
of the composition. I often find that by moving my position to take advantage of
side lighting more than front lighting I can simply use the play of light and shadow
to create the illusion of depth.
The importance of creating a three-dimensional impression is most critical in
landscape photography, or wildlife photography where the landscape is an
important element of the composition, and it is here that the elementary Rule of
Thirds is most important, and hardest to ignore. The inclusion of foreground
elements however, especially when using wide-angle lenses, can work to good
advantage here, though it is important that you ensure that this element
contributes to, or adds to, the overall composition.
Look at Photos
One of the simplest ways for you to learn more about composition, and particularly
composing for sales, is to study successful images in the books and magazines you
would hope to publish in. Try to understand how the photographer has framed his
shots, why he (or she) did it that way, and what makes the image work. Look for
components other than the main subject that complement the composition, or
contrasts in colour, shape and texture that make the subject stand out
dramatically.
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Daryl Balfour
Daryl Balfour is regarded as one of the world’s leading wildlife photographers and authors,
and while he specialises in African subjects he is also known for his work in a wide range
of other areas. He studied zoology at university level, and later became a newspaper
investigative and photo-journalist. However, in 1989 he became a full-time professional
wildlife photographer, and enjoys sharing his knowledge and experience with fellow
travellers. This has led to him also working as a specialist safari guide, taking VIP guests
to remote regions, particularly on photo safaris.
Daryl lives with his wife Sharna in Swaziland and South Africa, but their expeditions
throughout Africa and much of the rest of the world take them away from home for up to
10 months a year. These travels include trips to remote parts of Africa, Alaska, Canada
and Antarctica.
A regular contributor to Africa Geographic magazine, Daryl has contributed articles on
areas, plants and animals as well as specialist pieces on photographic techniques. His
photographs have also appeared in publications such as National Geographic, International
Wildlife, Outside, BBC Wildlife, GEO, Outdoor Photographer, Animan, Tier and Getaway.
Daryl has authored a number of best-selling coffee table books featuring his stunning
photographs, including:
o Simply Safari
o African Elephants - A Celebration of Majesty
o Chobe - Africa’s Untamed Wilderness
o Etosha
o This Is Botswana
o Rhino - The Story of the Rhinoceros and a Plea for its Conservation
o Okavango – An African Paradise
Both Daryl and Sharna have contributed, as principal photographers, to many other major
books, including The Spectacular World of Wildlife (Reader's Digest) and Wildest Africa
(New Holland). They were featured lecturers at the prestigious North American Nature
Photography Association’s annual summit in Las Vegas, USA in 2001.
Daryl continues to write, lecture, guide and of course photograph, and we are very proud
to present his Wildlife Photography Course here on WildlifeCampus.
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