Wildlife Photography: Tips for Better Composition

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For a nature photographer, composition can be a daily challenge. In wildlife photography, the challenge is even greater. Not only are you trying to satisfy your own creative vision, but you also have to deal with a subject which may have no interest in having its photo taken.

“A Very Cute Puffin” captured by PictureSocial member Ulka Nast

I can’t help you much with an uncooperative subject. Rest assured that with practice and experience, you will find that you become much quicker at composing and exposing a photo so that you get the shot before the critical moment passes. There are a couple of simple tips that can make things a little easier.

First, practice your photography in places where the animals are used to having people around and are less likely to become jittery at your presence. This does not have to be a zoo or other enclosure. Most national parks have campgrounds and picnic grounds where the wildlife is used to being around people and may even come closer looking for food. You have a much better chance of a shot if you can get close without frightening the subject away.

“Moment of a Monkey” captured by PictureSocial member Dietmar Chromik

Second, try to organize your exposure before you set up the shot. If the light is fairly constant, it is possible to point your camera in the right general direction and work out the best aperture and shutter speed settings for the photo. Then when you approach the subject, you can concentrate on composition without having to waste time working out your exposure.

These simple tips may help to take some of the frustration out of wildlife photography, but what about the composition itself? Many people simply don’t know where to start. If that sounds like you, don’t be discouraged. Like I said at the beginning, composition can be tough — even for a photographer with years of experience.

Let’s start by breaking it down into two categories: close-up and non-close-up photos.

In a close-up photo, the subject fills most of the frame.

A lot of people get in a tangle over whether to position their subject in the middle or to one side of the composition. In my experience, it is quite acceptable to have the subject right in the center, as long as you allow some head-room so it doesn’t appear too cramped within the confines of the composition. A central position is especially suitable when the subject is looking straight at the camera, but it often works just as well if the subject is facing a little to one side or the other.

The more space you have around the subject, the more you should consider putting it to one side or the other. You should be guided by the way the animal is facing. If it is looking to one side, position it a little towards the other side so it is looking toward the center of the frame. So, if your wildlife subject is looking right, position it a little to the left. Not too far — you don’t want half of your photo to feature nothing but empty space.

In a non-close-up, where the photo shows a lot more space around the animal, it becomes more critical that you use that space effectively. In situations where the animal is featured with a lot of background, it may be better to think of the picture as a landscape photograph, and compose it accordingly. Some of the tried-and-true techniques, like the Rule of Thirds, are a good way to help you position your subject within the overall frame of the picture.

For a landscape-style photo, it may look quite unbalanced to position your subject in the center of the picture. It is usually better to position it to one side or the other, and it is even more important to have the animal facing toward the center of the picture. The eyes of an animal subject can have a strong effect on the direction in a composition; we tend to look where they are looking. So if the animal is on the left and looking left, the visual flow of the composition will lead out of the picture instead of into it. If the subject is on the left and looking right, the viewer will follow the gaze of the subject into the center of the picture.

Naturally, it helps if there is something of interest in the center or to the right to catch the viewer’s attention and add interest to the composition. If the subject is looking into the composition, it makes sense that it is looking at something, not just at empty space. Almost anything will do — a tree, a beach, an impressive sky — as long as it adds impact to the composition. If there is nothing of interest to work with, you might consider zooming in closer, so there is less emptiness in the frame.

These simple guidelines are intended to do nothing more than give you some ideas. Nature is not governed by the rules of composition, and a wildlife photographer must be flexible to get the best result out of each situation. Above all, trust your own judgment — your own sense of visual balance — to create a satisfying composition. On the other hand, if you are struggling to get started, think back to these guidelines; if you can position your subject well, the rest of the composition will fall into place.

What Lenses Work Best for Beautiful Background Blur?

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Here is a portrait that uses background blur to make the model pop from the background.

Background blur is an excellent composition tool to set your subject apart from their surrounding areas. It’s another way of saying “minimum depth of field”.

Newer photographers, with entry-level equipment, often find the idea of background blur difficult, because no matter what they do they cannot create the effect.

Blurring a background requires several elements of photography to be successful. First and foremost is the lens.

For that reason, in this article, we will concentrate on lens selection to create optimal background blur.

Quick Tip

Your first consideration when blurring a background is the focal length of the lens.

The longer the focal length, the more blur will be created at a given f-stop.

For example, at f/2.8, a 200mm lens will create more background blur than a 50mm lens.

Wide-angle lenses will not create a noticeable background blur effect at any f-stop.

Any lens wider than a “normal” field-of-view lens will create a negligible background blur, even when you have set the f-stop to the widest opening.

A normal field of view is between 50 and 55mm for a full-frame sensor and 28-34mm on a camera with an APS-c sensor.

A “normal” lens is one that closely mimics the field of vision for the human eye.

The lens in the image above is most definitely not a “normal” lens. A very long telephoto lens like this would create background blur even at smaller apertures!

What about the relationship between aperture and background blur?

The photographic term “fast lens” refers to the largest aperture available on the lens. A lens with a very wide maximum aperture is a faster lens than a similar lens with a smaller maximum aperture.

This fact of optics is why creating background blur with kit lenses is difficult to impossible. They generally have a smaller maximum aperture.

The lens above has a maximum aperture of f/1.4. This lens would be considered very fast, and it would be extremely efficient at creating background blur.

This Canon 24-105mm zoom lens has a maximum aperture of f/4. This lens is not as fast a lens as compared to the previous example, where the maximum aperture was f/1.4.

Some lenses display the aperture scale outside the lens (such as the Nikon 85mm).

Other lenses only display the aperture scale inside the viewfinder, such as Canon 24-105mm zoom lens.

Most lenses have variable apertures. The one exception is mirror lenses. They have a fixed aperture, usually around f/8.

Quick Tip

With a zoom lens (variable focal length), such as the Canon example, the lens will create more background blur at a longer focal length setting versus a shorter focal length setting.

For example, this Canon lens set at the maximum aperture of f/4 will create more background blur at the 105mm focal length setting versus the 24mm focal length setting (where it would create little to no background blur).

Conclusion: When selecting a lens for background blur…

  • A lens with a longer focal length works better than a shorter one.
  • A lens with a wider maximum aperture works better than a lens with a smaller one.
  • A “fast lens” is one that has a large maximum aperture (f/2.8 or larger).
  • Kit lenses, as a general rule, are not very fast and therefore do a poor job of creating background blur.
  • Wide-angle lenses are also a poor choice for creating background blur.
  • A lens focal length starting at a “normal” field of view (matching the human eye) and escalating toward longer focal lengths (telephoto) creates the best background blur.
  • When using a zoom lens (variable focal length), the longest focal length will create a better background blur than the shorter focal lengths at the maximum aperture.

Note: Some zoom lenses have a “variable” maximum aperture. You would want to consider this when choosing a focal length for background blur with a zoom lens.


Light Painting Photography Techniques: 7 Useful Tips

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Light painting is a fun photography technique where photographers use camera flashes, flashlights, and spotlights to paint light in a scene. It can easily qualify as the best/most fun night photography technique. Although many photographers have attempted it before, only a few have mastered the technique. Below are some very useful tips to consider when you want to perfect your light painting skills.

1. Try out different light sources

This is very important You shouldn’t try painting everything using the same light. To avoid odd and flat pictures, consider using different light sources, otherwise your work will defy the sole purpose of light painting, which is to create unique light impressions on different landscape parts at night.

2. Use dimmable light sources

For the best results, you need to choose dimmable light sources, because light painting relies heavily on light intensity. To get the best results, you must be able to alter light intensity whichever way you like to ensure every part of a photo gets the right amount of light.

3. Take care of the noise

It is important to note that long exposures create more noise. Because of this, take time painting in light, but don’t forget to factor in this small detail; it can be the difference between good and bad lighting photography.

4. Take multiple shots

To get the best light painting photos, you need to take as many shots as possible. Multiple shots help you treat different parts of a photo separately which should be the case in light painting.

5. Use flashlights that don’t have hot spots

Moving your flashlight beam randomly when taking light photos doesn’t make a big difference even if your flashlight has a hot spot (a bright circle located at the center of the beam). The hotspot does, however, make a big difference when you are considering fine details in scenes. If you don’t have money to buy the perfect flashlight, consider taping tissue paper or wax paper over your flashlight lens to eliminate hot spots.

6. Include night photography techniques

Just because you are light painting shouldn’t mean you forget typical night photography techniques. You must consider techniques like mirror lockup, cable release, long exposure noise reduction, etc., to ensure you get the best outcome.

7. Mix ambient light

You should also remember to incorporate ambient light—like street lights or moon light—to add mood to your photos. Using flashlights shouldn’t mean you ignore all other light sources.

Keep these tips in mind next time you head out for a light painting shoot.

The Photographer’s Palette: The Role of Color in Composition

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Colors are the silent narrators of the stories that unfold through photography. They can evoke emotions, guide the viewer’s eye, and create a compelling composition. Photographers, both amateurs and professionals, should consider color as an essential tool in their creative arsenal to enhance the visual storytelling experience. In this blog post, we delve into the importance of color in photography composition and how you can use it effectively.

The Role of Color in Photography Composition

Photography is a visual medium that relies heavily on composition, the arrangement of visual elements within a scene. A well-composed photo has a balance of elements that guide the viewer’s eye through the image, creating a visually pleasing and engaging experience.

One of these elements, often overlooked, is color. Colors can have different psychological effects on the viewer. They can stimulate emotions, highlight subjects, create depth, and even convey concepts and ideas. Understanding the role of color in photography can, therefore, elevate your compositions, taking your photos from merely “good” to “outstanding.”

Color Theory and The Color Wheel

Before diving into the practical aspects, understanding some basics of color theory can be beneficial. Central to color theory is the color wheel, which includes primary colors (red, blue, yellow), secondary colors (green, orange, purple), and tertiary colors – the result of mixing a primary and a secondary color.

Colors opposite each other on the color wheel are complementary colors, and when used together, they create a vibrant contrast. Analogous colors, those close together on the wheel, can establish a sense of harmony and cohesion.

Using Color in Photography Composition

  1. Complementary Colors: Complementary colors can make your subject pop, making the viewer’s eye immediately drawn to it. The stark contrast created by these color pairings can add a dramatic effect to your photographs.
  2. Analogous Colors: Using analogous colors can create a sense of harmony and consistency. These colors work well together and create a calming, peaceful effect. They are excellent for capturing serene landscapes, quiet street scenes, or intimate portraits.
  3. Monochrome: A monochrome color palette doesn’t mean just black and white. It involves using different shades, tints, and tones of a single color. This approach can produce a striking, impactful image by playing with light and shadows.
  4. Color and Mood: Colors can evoke a specific mood. Warm colors (red, orange, yellow) typically stir up feelings of warmth and comfort, while cool colors (blue, green, purple) elicit feelings of calm and relaxation. Use color to enhance the atmosphere or emotion you want to convey in your photograph.
  5. Color as a Leading Line: Color can be used as a leading line to guide the viewer’s eye towards your subject or a specific area in your image. Bright, saturated colors tend to draw attention, so use them strategically.
  6. Color for Depth and Dimension: You can use color to add depth and dimension to your photos. Warm colors appear closer to the viewer, while cool colors seem to recede into the background.

Understanding Color Balance and Post-Processing

In digital photography, understanding color balance is crucial. Cameras interpret colors differently than the human eye, so adjusting the color balance, usually through White Balance settings, can significantly influence the overall mood of your photograph.

In post-processing, tools like Photoshop or Lightroom can help correct color balance, adjust saturation and vibrancy, or apply color grading to further emphasize the mood or narrative you want to express.

Final Thoughts

In the world of photography composition, color is a powerful tool waiting to be fully exploited. Mastering the use of color takes practice and experience, but once you grasp its potential, your photos will never be the same. So, the next time you’re framing a shot, consider not just the subjects and shapes, but the colors and the story they can tell. After all, every hue in your palette is another word in your photographic vocabulary.

Diagonal Leading Lines in Photography

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Of all the lines used in photography, diagonals are the most dynamic. You can use them to create a strong impression of movement or you can use them to create a tremendous sense of depth. All images are created with lines—some vertical, horizontal and others converging—but knowing how to place them affects the mood and composition of the final image.

A sense of order is created with vertical and horizontal lines, implying stability and strength. Diagonals are unbalanced and appear to be unstable. What they communicate is dynamic, yet precarious. They always appear to be falling over or not quite secure. This is what lends itself to a dramatic image.

The easiest way to create diagonals is simply by tilting your camera. Slanted views of horizontals and verticals and can easily be created by the photographer. I find that a bit of tilt to my camera adds a little slant to the image and creates a perfect diagonal line.

Try capturing a simple image like a car or skyscraper by tilting the camera forty five degrees and see the effect you create. What happens to the image? The car looks as if it is going fast while skyscraper appears to be reaching for the sky. This effect is created simply by simply turning your camera

When shooting from high up from a bird’s eye view, you can really create some stunning images. Look for lines then tilt the camera. The bird’s eye vantage allows you great leeway, as there is no right way, no up or down; everything is two dimensional. Experiment with patterns and color, and you will arrive at some dramatic compositions.

Don’t be afraid to use crazy angles and change your viewpoint when shooting with diagonals. They will help give you a sense of depth and perspective. They tend to lead the eye to whatever focal point you decide, to a place where they end or disappear into nothing. Diagonals encourage the eye of the viewer to follow, almost like the Judas goat at the abattoir that leads the livestock to the slaughter. A set of footprints, a curved hedge, or river can be used to guide the viewers to the point of focus. But you must lead them to something that has a strong interest otherwise the viewer is left feeling that the image is incomplete.

Then there is the zigzag effect when using diagonals in patterns. The repeated pattern can also be used to drag the eye into the image over a larger area of the frame. These patterns are dynamic and, when used with horizontals and verticals, become even more dramatic.


I have always chosen diagonals as my favorite lines because they are so dynamic and add something to my images. Bottom line though, as you learn digital photography, you need to experiment and practice what you learn in order to master it. Happy shooting!

About the Author:
Wayne Turner has been teaching photography for 25 years and has written three books on photography. He has produced 21 Steps to Perfect Photos; a program of learner-based training using outcomes based education.