{"id":118512,"date":"2018-05-11T16:19:05","date_gmt":"2018-05-11T15:19:05","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=118512"},"modified":"2018-05-11T16:50:54","modified_gmt":"2018-05-11T15:50:54","slug":"photography-rules-worth-breaking","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/photography-rules-worth-breaking\/","title":{"rendered":"Photography rules worth breaking"},"content":{"rendered":"\t\t
\n\t\t\t\"photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

1. Don\u2019t worry about clipping<\/h2>\n

Clipped shadows or highlights mean that parts of an image will be totally white or black, and therefore completely lacking in detail. This is usually a bad thing, especially if the bright part of a sky is blown out. But photographers can be a little obsessive about detail. Differences in contrast play a very important part in composition. So if it suits the composition to have part of the frame totally white or black in order to complement the detail elsewhere, then this shouldn\u2019t be a problem.<\/p>\n

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Before. Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n\t\t

\n\t\t\t\"Accept\t\t\t

After. Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

2. Accept Photoshop<\/h2>\n

Photoshop is just cheating, isn\u2019t it? Many believe this, but it shouldn\u2019t be a question of right or wrong, rather simply a technical choice like any other. Besides, if we shoot raw then post-processing is an essential part of the workflow, and even black & white is an \u2018effect\u2019 of sorts. As long as, in Photoshop, we don\u2019t try to deceive and pass off an image as something it\u2019s not, then what is the harm with digital enhancement, or HDR, or even a touch of added cloud blur like this?<\/p>\n

\n\t\t
\n\t\t\t\"Photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

3. Shallow-focus landscapes<\/h2>\n

A solid stock-exposure setting for landscapes is to use aperture priority at f\/16, ISO 100. This way there\u2019s usually enough depth of field to ensure front-to-back sharpness, and the low ISO ensures maximum image quality. However, like all stock settings, it shouldn\u2019t necessarily be the default. At times f\/16 is unnecessarily narrow. When there are no objects too close to the camera, f\/8 may suffice. And as a bonus a mid-range aperture will often be closer to your lens\u2019s sweet spot for maximum sharpness. What\u2019s more, there could be times when minimising depth of field results in a more creative image by allowing you to isolate parts of the frame and blur the rest.<\/p>\n

\n\t\t
\n\t\t\t\"Photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

4. Free your exposure settings<\/h2>\n

All too often we equate technique with quality, as if it\u2019s the nuts and bolts of the image (i.e. the exposure, lens and camera sensor) that matter. Of course, good technique is important, but what matters most is the picture, not the tools. For example, we\u2019re told that in order to fully get to grips with exposure, we should shoot in manual for full control. This is a great way for beginners to learn the fundamentals. But if you\u2019re happy shooting in full-auto mode and it works for you, don\u2019t let anyone tell you otherwise.<\/p>\n

\n\t\t
\n\t\t\t\"Photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

5. High ISOs<\/h2>\n

Some of us get queasy at the thought of noise-inducingly high ISOs like 3200 or more, but it shouldn\u2019t always be a problem. Aside from the fact that low-light performance in cameras is rapidly advancing, we should also consider an image\u2019s final destination. Yes, ISO 3200 may be noisy, but does it matter if, after applying noise reduction, the aim is to make a small print or view it on-screen?<\/p>\n

\n\t\t
\n\t\t\t\"Photography\t\t\t

Credit: Getty Images – Alexandros Maragos<\/p>\n\t\t<\/div>\n\t\t\n

6. Include man-made objects<\/h2>\n

Is there anything more annoying than a stray telegraph pole in an otherwise untouched landscape? Distracting details like this can detract from the natural beauty of a scene. But not every image has to be perfect. Including man-made objects in a harmonious way can add to a composition, especially if the stark shapes contrast with the natural surroundings.<\/p>\n

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\n\t\t\t\"Photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

7. Tilt the horizon<\/h2>\n

If you\u2019ll excuse the pun, a wonky horizon is wrong on several levels. But there\u2019s a difference between a slightly skew-whiff horizon \u2013 which is never a good thing \u2013 and intentional tilt. Diagonal lines within a frame are often pleasing to the eye, so a little creative tilt can work very well for certain scenes.<\/p>\n

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\n\t\t\t\"Photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

8. Cut into the head<\/h2>\n

Unless you\u2019ve adopted the \u2018passport photo\u2019 approach to your portraits, a crop into the head is often a good thing, as you can come in close to an expression, emphasise the eyes and fill the frame. If we\u2019re being specific, the crop should be into the forehead and not too close to the eyes. But then again, that\u2019s just another rule worth breaking from time to time.<\/p>\n

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\n\t\t\t\"photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

9. Crop unconventionally<\/h2>\n

Cropping is as much about what\u2019s left out as what\u2019s included in the frame, so sometimes a daring crop can give an image extra impact. It\u2019s one way for a photographer to leave a definitive stamp on the image, and it can draw attention to certain parts of the subject, like the eyes and hair here.<\/p>\n

\n\t\t
\n\t\t\t\"Photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

10. Embrace the blur<\/h2>\n

Nobody wants to be accused of pixel-peeping, but we can get carried away with image sharpness and detail. Instincts tell us that a soft image should be binned. But sometimes, a lack of detail can be refreshing. Expanses of intentional blur can transform a scene into an abstract array of colour and tone without distraction.<\/p>\n

\n\t\t
\n\t\t\t\"Photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

11. Flip the frame<\/h2>\n

Of all the recognised masters of photography, Henri Cartier-Bresson was arguably the greatest at composing a frame. When scrutinising a composition, his advice was to flip the image upside-down. The idea is that it\u2019ll help you to view the image as a series of harmonious shapes while playing down its content. It\u2019s a trick that really works, and if an image looks good upside-down, why not keep it that way?<\/p>\n

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\n\t\t\t\"photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

12. Shake the camera<\/h2>\n

Any camera movement during an exposure will result in a soft image. We\u2019re told to avoid shake but as a visual effect, blur can be beautiful. So why not try turning a scene into a series of blurred streaks by prolonging the shutter speed then panning or twisting the camera, or even zooming?<\/p>\n

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\n\t\t\t\"Photography\t\t\t

Credit: Getty Images – Tim Grist Photography 2017<\/p>\n\t\t<\/div>\n\t\t\n

13. Shoot at midday<\/h2>\n

Midday is usually thought of as a photographer\u2019s no-go zone. The magic hours around sunrise and sunset are the best times to shoot outdoors, so what\u2019s the point of going out when the sun is high and the light uninspiring? Midday is certainly a challenging time to photograph, but if we can look for the right pockets of light or angle our subject so that the light from directly above falls on them in a pleasing way, it doesn\u2019t have to be siesta time for our cameras.<\/p>\n

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Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

14. No need for white balance<\/h2>\n

If you shoot in raw then you can change white balance in a raw editor (such as Lightroom or your camera\u2019s own raw processor), and achieve exactly the same results as if it had been done in-camera. Many photographers are happy to leave white balance to auto, then tweak things later if necessary. As such, setting the correct white balance in-camera is best practice, but by no means essential.<\/p>\n

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\n\t\t\t\"photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

15. Don\u2019t bother with mirror lockup<\/h2>\n

We\u2019re told that the clunk of the mirror can cause camera shake during a long exposure. But in reality, as long as you use a solid tripod, it will only cause a problem for shutter speeds in the range of about 1\/40sec to 3sec. For speeds longer than this the moment of shake isn\u2019t significant enough to have a noticeable effect on the exposure.<\/p>\n

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\n\t\t\t\"photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

16. No foreground interest<\/strong><\/h2>\n

We\u2019re often told with landscape photography that it\u2019s visually pleasing to include foreground interest \u2013 that is, objects that will add to the balance of a composition and help draw the eye onwards to the distant elements in the frame. This can be a fantastic compositional device, but it can also lead to lazy composing. If all we do when confronted with a new scene is look for a rock to stick in the foreground, we\u2019re not necessarily going to find the best angle, and besides, all our landscapes will end up looking the same. So why not try forgoing the foreground interest entirely? You might find a composition that more completely captures the essence of a place.<\/p>\n

\n\t\t
\n\t\t\t\"Photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

17. Mix your focal lengths<\/h2>\n

Certain subjects are conventionally suited to certain focal lengths. For instance, we\u2019re used to seeing wildlife pictures taken with long lenses, landscapes with wideangles and portraits with mid-range lengths. But why not play with this convention? The distorting nature of a wideangle isn\u2019t necessarily flattering, but it can result in an amusingly in-your-face portrait.<\/p>\n

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\n\t\t\t\"photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

18. Use dead space<\/h2>\n

Filling the frame is a good way to exclude unimportant details, minimise a cluttered backdrop or draw attention to your subject. But sometimes dead space can help to tell a story or add to the mood of an image. Here it emphasises the sense of diving into unknown waters.<\/p>\n

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\n\t\t\t\"photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

19. Don\u2019t focus on the eyes<\/h2>\n

The eyes are the gateway to the soul, so it stands to reason they should always be sharp. In general, this is a rule worth following for portraiture, because it usually doesn\u2019t matter if everything else is soft as long as the eyes are sharp. But at times, focusing elsewhere can yield creative results.<\/p>\n

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\n\t\t\t\"photography\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

20. Forget the rule of thirds<\/h2>\n

The idea with this rule is that we divide a frame into thirds both horizontally and vertically, then compose the scene to place points of interest along those lines. It\u2019s a useful compositional trick to keep in mind, but the fact that it\u2019s easy to remember means it can become something of a default for all compositions \u2013 a starting point that may lead to laziness or missed opportunities for more interesting framing, such as the centrally framed subject here. The composition should be arranged to suit the subject, not the other way around \u2013 although that\u2019s another rule that may sometimes be worth breaking.<\/p>\n

\n

James Paterson is an award-winning journalist, photographer, editor and trainer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For more details visit www.patersonphotos.com<\/a>.<\/h3>\n
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