The Secrets of Photography

#7 Focus
on
You
WELCOME
Welcome to your lesson from the New York Institute of
Photography—we’ve been educating photographers since 1910.
 Our Mission

F
or over 100 years, NYIP has been
providing high-quality training in
the art, technique, and business
of photography. We offer a unique
combination of online education and
personal coaching. Our online, accred-
ited certificate programs allow you to
engage in course work at your own pace.
Affordable tuition with flexible, interest-
free payment plans and a no-risk refund
policy make NYIP the best value in photo-
graphic education.

We have trained more successful pho-

tographers than any other school in the
world. Through NYIP’s combination of
mentorship, course work, and assign-
ments, you’ll develop the skills you need

We’ve been training

to take your photography to the next
level—and beyond. Our comprehensive
courses contain hundreds of hours of

photographers training covering every facet of photog-

raphy—from aperture to histograms and

since 1910.
lighting to portfolio editing.

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Our Students

T
here’s NYIP graduate Matthew
Lewis Jr., a Pulitzer Prize winning
photographer who spent twenty-
five years at the Washington Post.
Lewis personifies the storytelling tradition in
great news photography. His famous images
include Jacqueline Kennedy at President
Kennedy’s funeral, scenes at the March on
Washington in 1963, and policemen beating
marchers during the Poor People’s Campaign
in 1968.

Other notable NYIP graduates include

the profound documentarian W. Eugene Smith
and
famed celebrity photographer Douglas Kirkland.
Paul Gilmore, who studied with NYIP, was
the first photographer to shoot moon
rocks, while Richard Weede shot several
of the most famous photographs of Elvis
Presley. Jim Edds is a successful storm
chaser and photographer who shoots
extreme weather events for TV and maga-
zines. Each studied the same material, but
found their own stories to tell through
unique images. Other notable NYIP gradu-
ates include the profound documentarian W.
Eugene Smith and famed celebrity photogra-
pher Douglas Kirkland.
 “You don’t take a
great photograph,
you make it.”
—Ansel Adams

The goal of this lesson is to pro-

vide you with the basics of how to
take great photographs with any
camera—a DSLR, a point-and-shoot,
smartphone, or a tablet. There are
tricks the pros use to take great
photos, and there are lots of them in
this lesson.

We’ll train you to see and think

like photographers do.
 Burn Your Manual

W
hile we don’t really advo-
cate that you burn your
camera manual, we do
suggest that you spend
reading it only when you have a specific
question about camera function. The rea-
son we suggest avoiding your manual is
because your point-and-shoot, like many
of today’s electronic gadgets, has suffered
from feature creep. The designers and
engineers figure out new things they can
add to new cameras to differentiate their
product from others on the market. But
as far as we know, there is no button or
dial which can teach you to see and think
like a photographer.

Using any digital camera, you can learn

efficiently by doing. That is, taking hun-
dreds of photographs, looking at them,
and thinking about how to take better
ones. It was one thing, years ago, when
we paid to develop every roll of film. With
digital cameras, of course, there’s no cost
to shooting thousands of images.

At NYIP, we believe it’s

the eye behind the machine that matters.
We train you to
see and think like a photographer.
What’s Next?

F
irst, we’ll look at the “one eye” that
Cartier-Bresson mentioned, and
how you can develop your own.
Next, you’ll explore what you want
to photograph. That’s because figuring
out what you want to do is like unlock-
ing a secret. Why do you want to take
photographs? What are you planning to
do with them? When and where do you
want to take them? All questions with
critically important answers.

Many emerging photographers think

they would like to specialize in a certain
area of photography until they spend
some time doing it. Someone might think
they’d like to be a landscape photogra-
pher until they realize they have to sit for
hours on location waiting for the right
light. Another person might be perfectly
suited to shooting still life while another
is better with people and lifestyle.

We’ll take a look at some of the common

subjects, and offer tips that will help you
get the best results photographing the
things that are most likely to interest
you—such as portraits of people (includ-
ing kids and pets) and travel photos.

Finally, we’ll share with you our favorite

ten tips for taking great photographs.

We can promise you that you will take

better pictures after you read this lesson.
How do we know? From experience;
we’ve been teaching photography
for over 100 years, and our successful
students speak for themselves.
 The Photographer’s Eye

Y
ou’ve probably looked at stunning photo-
graphs in magazines, books, and websites
thought: “I wish I could take beautiful pic-
tures like that!” But simply looking at beauti-
ful pictures doesn’t help you take better pictures.
(Though it can inspire and motivate you!)

You see a photograph that seems beautiful,

but you can’t exactly explain why it’s beauti-
ful. Even if you knew the technical details—the
ƒ-stop or the type of lens the photographer
used—those details don’t help you produce bet-
ter pictures, any more than knowing the names
of the paints and brushes used by Michelangelo
would help you produce a beautiful painting.

When it comes to taking pictures

that are beautiful or powerful,
the main ingredient is
learning how to see like a photographer.
When it comes to taking pictures that are beautiful
or powerful, the main ingredient is learning how
to see like a photographer. We’re going to give you
three simple guidelines that will help. By follow-
ing these guidelines, you will start to develop a
sense of how things you see will look in a photo-

PHOTOGRAPHER
graph—that means developing a sense of how the
three-dimensional scene in front of your camera
EYE OF THE

will translate into a two-dimensional photograph.

This skill is what we call the photographer’s eye.
New York Institute of Photography’s
Three Guidelines for
Great Photographs

» The basic principles of

good photography remain
unchanged from the early
days of photography.
 © NYIP Student J Lai 

1 A Good Photograph Has a

Clear Subject or Theme 2 A Good Photograph Focuses
Attention on the Subject 3 A Good Photograph Simplifies

Every good picture is about someone or something. It may tell a story The viewer’s eye is immediately drawn to the subject. The viewer doesn’t have There should be no distractions in your photograph. The picture includes
about a subject. The subject is clear and unambiguous. Whoever looks at to hunt for the subject or guess what it is. We call this emphasis. In this lesson, only those elements that draw the viewer’s eye to the subject, and it
the photograph should immediately see what the photographer intended you’ll learn a number of ways you can give emphasis to your subjects. excludes or diminishes those elements that might draw the viewer’s atten-
to be the subject of the picture. tion from the intended subject. Anything that distracts from the photo’s
subject is eliminated, hidden, or minimized.
As you absorb the three guidelines
you’ll find yourself looking at photo-
graphs in a new way. More importantly,
you will find yourself seeing the world
around you with a fresh perspective.
Eventually, you will find yourself mak-
ing vastly improved photographs.

You will start to see the world with the

eye of the photographer.

These Three Guidelines are the foundation

on which your progress as a photographer will rest.
So let’s explore each one in detail.
 1 A Good Photograph Has a
Clear Subject or Theme.

« The Golden Gate Bridge.

The Golden Gate Bridge is an icon of the

San Francisco Bay area. While the subject
is clearly the bridge, the moody sky and
strong sidelighting combine. The bridge
shares the scene with the sky and the city
skyline to the left of the bridge—all these
elements combine to give us a real sense
of the bridge within it’s environment,
San Francisco. There’s nothing we would
remove from this picture, no information
to distract us or interrupt the beautiful
setting the photographer has presented.

© NYIP Student J Reed 

« Here’s a very different type of photo.
The subject

The subject of this picture is clearly the

young girl enjoying a summer day. The
photographer has used a technique
called panning—that uses a relatively
slow shutter speed to blur the back-
ground just a bit while keeping the
subject sharp. It’s great for eliminating
distracting backgrounds.

The subject is large in the foreground.

Nothing interupts our experience of the
girl. The photo is timeless and goes be-
yond an identifiable subject to touch on
the themes of carefree youth and a world
where nature hasn’t lost its importance.
The Number One Question that you
must ask yourself whenever you are
about to capture an image:

What do I want to be
the subject of this photograph?
or
What is the subject (or theme)
that I want this picture to express?
Remember, the subject of your photo is
going to look a lot different in a two-di-
mensional format than it does as you look
at it in front of your camera. If you’re mak-
ing a portrait, you see the vitality of the
person in front of your camera. You see
varied expressions. Chances are good that
you know your subject. The challenge is
to capture that vitality in a photograph.

The beautiful landscape in your viewfind-

er may include warm sun on your face,
a gentle scent of lilac, and even some
sounds of nature. You won’t have those
features in your photograph so you’re
going to have to work hard to capture
an image that stimulates your viewer
visually without those other sensory
supports, as this picture does beautifully.
2 A Good Photograph Focuses
Attention on the Subject.

Usually there is one principal subject of interest in a photograph.

It may be a person, a thing, or a group of people or things.

In many situations you’ll do best by placing your

subject large and upfront in the frame. This photog-
rapher uses selective focus to ensure the viewers
attention is on the subject.

»»Focus attention on the subjects in your pictures

»»Position your subject within the frame to focus attention on it
»»Frame your subject using other elements in the scene
»»Use color to make your subject prominent
These are all techniques—tricks of the trade—used
by professional photographers to draw the viewer’s
attention on the subject. You’re learning to employ
these techniques in your pictures, too.
3 A Good Photograph
Simplifies.

« Close-up

This photo employs the most common

method of making sure your subject is
clear to your viewer—make your subject
large and put it upfront in the frame. The
famous war photographer Robert Capa is
credited with having said, “If your pictures
aren’t good enough, you’re not close
enough!” Fortunately, for most of us this
isn’t as dangerous a piece of advice as it is
for combat photographers. (Capa, by the
way, died on the battlefield in pursuit of
pictures that work.)

This picture uses a technique called

shallow depth of field that requires a
large aperture opening in your camera.
The large aperture produces a shallow
depth of field that keeps the subject
clearly defined against a background
that might be distracting. Here, a large
lens aperture throws the background
out of focus. (This may not be a tech-
nique you can accomplish with a
smartphone or a tablet. Where various
lens choices are not readily available.)
«  ere’s an example of a photo that
H
needs to show the wide environment.

Sometimes, you want your viewer to

As you’re taking the photograph, it’s
natural that you concentrate on your
subject, where it is in the frame, and if
it’s moving, what it’s doing. However,
see the subject very clearly in its set- to become a good photographer it
ting, as with this picture of a photog- is essential that you train yourself
rapher at work. This kind of picture is to consider the rest of the photo-
often called an “environmental” potrait. graph that surrounds your subject.
It might have been possible to get
closer to the photographer, but in this So as you peer through the
image the photographer has cleverly viewfinder, there are three key
used the reflecting water in the fore- questions to ask yourself.
ground and the mountains at the top
to frame and help tell the story.
1 What is my subject?

For many beginning photographers,

Have I focused attention on my
it’s easy to miss the extraneous
elements in the background and 2 main subject?
elsewhere in the photo that will
distract the viewer from the image Have I eliminated anything
after the photo has been made. 3 distracting and everything that is
unnecessary?
But bear in mind that simplification
means eliminating elements that By consciously asking yourself these
distract from the subject. It does three simple questions, we guarantee
not necessarily mean eliminating all you will see a noticeable improvement
background of all sorts. Where the in your work right away. From now on,
surroundings contribute to our under- make these three questions your basic
standing of the subject, they are es- guidelines for every picture you take and
sential; they should not be eliminated. for every picture you study.

Where the surroundings contribute to our

understanding of the subject,

they are essential

and should not be eliminated.
 What Do You Want
to Photograph?

N
ow it’s time for you to ask your-
self some questions. What kind
of photographs do you want to
take and why?

»»  o you want to record moments

D
with your family and friends?

»»  o you want to photograph

D
your first born child (or grand-
child) growing up?

»»  o you want to take photo-

D
graphs that could win a prize in
a contest or get published?

»»  o you like to take pictures

D
when you travel?

»»  o you take your camera to the

D
baseball game, when you go
hiking, in nature, or on other
types of adventures?

Your answers are important because

depending on what you want to pho-
tograph, there are different skills you’ll
want to learn. If you’re interested in
photographing people, for instance, then
you need to know a bit about portraiture,

FOCUS ON YOU
including the basics of posing and light-
ing the human face and body.
The Clock

H
ow much time are you willing to
spend taking pictures? If you’re
traveling, can you get away from
your family or friends for a while
to explore the surroundings by your-
self? Are you willing to get up early and
spend some time with your camera while
the rest of the family is still sleeping?

Taking time to look for photographs, and

sometimes taking the time to set up a
picture, is one of the main things that
distinguishes the professional photogra-
pher from the snap-shot maker. A tourist
with a camera might spend an afternoon
at, let’s say, the Spanish Steps in Rome. A
professional might spend the entire day,
or perhaps a number of days, looking
and waiting for the right opportunity.

But whatever your level of commitment is

to making your photographs, we’re going
to help you move your work forward. Take
the three points we’ve outlined so far,
and add on what’s to come.
See the World Around You

F
or most of us, it’s easier to take exciting pic-
tures when we visit faraway lands than it is
in our own backyard. That’s because travel
awakens us to new things. But there are beau-
tiful and striking images in the familiar world that
surrounds each of us, whether that’s a big city, small
town, suburb, or farm.

Consider this: If you have always lived in the United

States and then were to visit Kyoto, Japan, your camera
would rarely leave your eye. You would find a thousand
fascinating images every moment. But remember, the
Japanese tourist who visits your neighborhood will find
thousands of fascinating images, too.

The reason you “see” exciting things in Kyoto and the

Japanese tourist “sees” things here is that it’s easier
to notice things in a world other than your own. It’s
easier to note things when you see them with a dif-
ferent eye. The trick is to learn to apply this new way
of seeing to your own surroundings.

What you need to do is start to see your own world with

the same sense of newness and strangeness that the
visitor from Kyoto would have on his or her first visit to the
United States.

After you do this, you’ll discover that some of the

most beautiful photographs imaginable are within a
one-mile radius of where you’re sitting right now.

As one recent NYIP graduate wrote us: “The biggest

thing I learned is how to look at something I may see
every day, but now I can look at it with a photogra-
pher’s eye and see the beauty or story in it. The daily
ride to work is now an adventure to see all the things
I have been missing.”
 Composition
Seeing Creatively

N
ow let’s return to NYIP’s
Three Guidelines for Great
Photographs. In particular, it’s
time to delve more deeply into
the implications of Guideline Two: How
Can I Add Emphasis to My Subject?

The tricks that photographers use to

add emphasis to photographs are
often presented as techniques for
composition. Once again, the trick is
to see the possibilities before you and
understand how to draw the viewer’s
attention to your subject once it has
been reduced to two dimensions.

“Seeing“ means more to photographers

than just perceiving things with their
eyes. This type of looking at things might
better be called creative seeing. It’s recog-
nizing things that have the potential for
being the subject of a good photograph.

Snapshooters just click away without real-

ly becoming aware of the possibilities for
making outstanding pictures out of the
subject matter before them. But to make
an effective picture, you must be aware—
to “see“ the possibilities for that picture.

DEVELOP YOUR EYE

 So how do you develop this creative breeze, the breakfast coffee cup soak-
eye? Start right where you are as you ing in a mountain of sudsy water, or the
read this. Relax your mind—don’t think colorful trash can on the sidewalk. Simple
about what you’re having for dinner things can make beautiful pictures if your
tonight or the tasks ahead of you at mind is alert to the possibilities.
the office. Look in front of you. Observe
the texture of objects. Notice—really Your visual sensitivity can be developed.
notice—their shapes, their lines, their And as this skill matures, people who look
colors. Next, concentrate on just a at your pictures may comment, “You have
small area in front of you. Then zero-in a good eye.“ With your increased aware-
on just one or two objects. Don’t be ness, not only will your pictures improve
in a hurry. Now turn your chair in an- but you’ll also increase your appreciation
other direction and repeat the exercise, and enjoyment of the world around you.
slowly looking at various elements.
Camera Position
Take a leisurely walk outdoors and
try to carefully observe parts of the It’s often been noted that probably
scene. As you look at a scene, observe 90–95% of all photographs are taken with
the light. Really look at it. Notice its the camera about five feet off the ground.
direction and color, and look at the That’s because most pictures are taken
shadows it casts. Notice its color and by people who are standing and holding
direction. You’ll find that light is one the camera to their eye. Professionals will
of the most important aspects in kneel, even lie on their stomachs and rest
creating an effective photograph. the camera on the ground, if necessary,
to find a camera angle that will show a
You’ll start to discover that there’s a subject in an interesting way. The more
photographic subject to be found in even you move around with your camera, the
a torn window screen flapping in the more interesting angles you’ll find.

Light is one of

the most important aspects

in creating an effective photograph.
So once you have found a potential
subject, move yourself right, left, up,
down, back, and forth until the elements
are framed in an attractive and meaning-
ful arrangement. You want the elements
to guide the viewer’s eye and support the
idea you had in mind when you decided
to take the photograph.

To make a great picture depends on your

recognizing the opportunities for power-
ful pictures, and then to compose those
pictures most effectively before you click
the shutter.

Earlier, we introduced you to

NYIP’s Three Guidelines for mak-
ing a good photograph.

»»  good photograph should

A
have a clear, unambiguous sub-
ject—one that is immediately
noticed by the viewer.

»»  good photograph should

A
focus attention on the main
subject of interest.

»»  good photograph should

A
simplify—it should include only
what is necessary, and it should
eliminate or minimize what is
distracting.

These Guidelines are the most important

facets of composition, and the following
ideas build on them, concentrating on
techniques that will enable you to com-
pose your pictures most powerfully, and
help you develop your eye.
Rules of Composition Focus Attention on the Main Subject

Y
ou may have heard that there are rules There are many techniques you can use to draw
of composition, but there really are no the viewer’s attention to the main subject and
strict rules. We prefer to regard these emphasize it. You can do it by the way you place that
so-called “rules“ as additional guide- subject within the four borders of the picture frame,
lines. Following the guidelines can help you by the way you relate other objects in the picture to
achieve the magnificent images you want. it, by the way you focus on it, by the way light falls
upon it, and other simple techniques.
Emphasis Through Placement
It has been said that the major difference between composition is all about—the way you arrange
the real world and a photograph of the real world elements within the borders of the picture.
is the four borders that limit the photograph.
Where the real world is continuous and the viewer The first and most important decision you must
can shift attention to any part of the panorama, make is where to place the main subject. Snap-
the photograph captures a segment of that world shooters almost always place it dead center in
within sharply defined borders, top and bottom, the picture. This “bull’s-eye“ placement certainly
left and right. How the photographer places the does emphasize the subject, and it does make
objects within those borders determines the focusing easier, but it tends to produce a static,
success or failure of the picture. That’s what boring picture. Placing the subject off center usu-
ally makes a more powerful and pleasing image.
Rule of Thirds
An almost never-fail guideline to placement of the If dead-center, head-on placement is dull, static, and
subject is known as the Rule of Thirds. (We’d like to uninteresting, does this mean that you should never
call it the Guideline of Thirds, but it’s been called a place the subject in the center? Never say ”never.” There
“rule“ for too long to change it.) To follow the rule are several types of subjects that work well when they’re
of thirds, you mentally divide your viewfinder into a centered. If the subject is symmetrical and you want
grid with two evenly-spaced horizontal and vertical to emphasize that symmetry, centered placement will
lines—the way you would draw a tick-tack-toe grid. do it. Centering the subject also works if the subject is
Then compose your image so the main part of the surrounded by radial lines. And centered placement is
subject is at or very close to one of the points of effective when the subject is in the middle of two diago-
intersection of these lines. Or if you have a horizontal nals that make an X or a V. If it’s a single subject that fills
subject, place it on or close to one of the horizontal the frame, centered placement works just fine. But unless
lines, or place a vertical subject on a vertical line. you have a good reason to place the subject otherwise,
you are best off to follow the time-honored rule and place
When you have any doubts about subject it off center. You’ll find that this Rule of Thirds placement
placement, think Rule of Thirds. It really works. will work for the majority of the photographs you make.
Balance
Balance is something you must be concerned with Asymmetrical balance distributes the elements
when placing a subject off center. If all the elements in a less rigid manner. Rule of Thirds composition
that attract the eye are on one side, the picture is based on asymmetrical balance.
may seem ready to tip over, and this can be visually
disturbing. The picture may need something of less Balance implies equal weight among the elements in
importance on the other side to balance it. the frame, but here we’re talking about visual weight.
Large objects seem to weigh more than small
There are two types of balance: symmetrical objects, and dark objects more than light colored
(also called formal balance) and asymmetrical ones. The position of the elements is critical. A heavy
(informal balance). Symmetrical balance weight on one side can be balanced by a lighter
places the subject in the center with all other weight on the other side if the lighter object is at a
elements arranged evenly around it. The right greater distance from the center of the picture.
side is like a mirror image of the left side.
Emphasis Through Relative Size Emphasis Through Framing
The most obvious way to emphasize your subject When the subject does not dominate because of
is by being sure it appears larger than the objects its relative size, one way to focus attention on it
around it. It should dominate the image. Many is by framing it with another object. Doorways,
photographers stand so far away that the subject arches, fence posts, branches of trees—you can
appears very small—sometimes it’s so small that it is find creative framing elements everywhere. To
not recognizable as being the subject of the picture. be effective, a frame should surround the sub-
Get in close or use a longer focal length to make ject on two or more sides. A few leaves poking
your subject compellingly large. down from the top of a picture does not work
as a frame, but leaves surrounding the subject
on three sides really emphasize it. Generally, the
frame should be sharply focused, but an out-of-
focus blur sometimes works very well, especially
when it completely surrounds the subject.
Emphasis Through Lighting and Contrast Emphasis by Leading Lines
No matter what else is in the scene, the viewer’s eye Lines in a photograph can direct the viewer’s
is irresistibly drawn to the lightest, brightest area. attention and lead the eye to the center of inter-
By making sure the important part of the picture est. Such lines are referred to as leading lines. A
is brighter than the rest, you can draw attention road, a fence, a bed of flowers, a row of chairs,
to what you want the viewer to look at. It’s like the or even a shadow can all act as leading lines.
spotlight that illuminates the star on a stage. The
light commands the viewer’s attention. Intersecting lines are even more powerful in
emphasizing the subject. So are converging lines
The bright area of a photograph is also noticed that point like an arrow, leading the viewer’s
because of its contrast with its surroundings. eye to a subject, even if it is relatively small.
But a very dark subject amidst lighter surround-
ings will also call attention to itself because
of its contrast. Contrast, therefore, is another
way you can emphasize your subject.

Be very sure that there are no unwanted areas of

high contrast in the picture as they will compete
with the subject and distract the viewer’s eye.
Emphasis Through Focus
The viewer’s eye is always drawn to the area of
sharpest focus. That’s why we’ve stressed that you
should always focus carefully on your subject. If
you focus on the subject and use a large aperture,
you may be able to throw everything around it
out of focus. You need to be fairly close to the
subject for this to work. If you are very close, the
background can turn into a soft blur of color. At
other distances, the background objects will be
blurred, but distinguishable. Either way, selec-
tive focus is a powerful compositional tool if
you’re able to accomplish it with your camera.
Emphasis Through Color
Some colors seem to fairly leap out of the picture,
while others remain quietly in the background. You
can use this to your advantage when composing
your photograph. The “warm“ colors—red, orange,
and yellow—are the colors to look for if you want
to emphasize your subject. Have your friend wear a
red jacket and he will immediately be noticed as the
subject of your photograph. Or use a background
of cool blue, green, or violet to recede behind your
subject. Yellow flower against a blue sky—pow! You
get the idea.
Your Subject
To emphasize the main subject in a picture, as
you look through the viewfinder ask yourself:

Shall I emphasize the subject by…

»» Placing it off center?

»» Making it larger?

»» Framing it?

»» Using contrast?

»» Using colors?

»» Using selective lighting?

»» Using selective focus?

»»  sing leading lines or

U
converging lines?

Don’t think you have to use just one of

these techniques in a picture—use as
many as necessary to make the viewer
say, “Wow!“
Common Compositional Faults and How to Avoid Them

L
et’s go on to discuss some com- Be sure not to crop off just the tips of
mon problems that frequently things—the tip of a finger, a flower petal,
occur when you try to compose a squirrel’s tail. If you’re going to crop, do it
pictures in the viewfinder. These significantly so it doesn’t look like a mistake.
are things that call attention to them-
selves and give unwanted and unintend- Watch the Background
ed emphasis to the wrong things in your
photographs. If you are aware of these We pointed out that very bright areas
pitfalls, it’s easy to avoid them. attract the viewer’s eye. Because of this,
always be alert to distracting bright areas
Picture Cropped Too of light that are not part of your subject.
Close or Too Loose Things like spots of sunlight bursting
through the leaves, or pieces of white pa-
A major decision you have to make as a per on the ground, will make the viewer’s
creative photographer is what to include attention jump from the subject to the
in your photograph and what to leave distracting blobs.
out. All the elements in the picture
should have a reason for being there. If Don’t include fragments of things
they don’t add meaning to the composi- at the sides of the frame, such as the
tion, they are distracting and detract arm of a person or a small twig.
from the photo. So move your position or
change your focal length so you can crop Have you ever seen a picture where
them out. a tree or telephone pole seems to
be growing out of a person’s head?
But don’t crop so closely that you crowd This false attachment may be all
the subject. When the subject is touching right for Salvador Dali, but not here,
or almost touching the borders of the please. This error happens when
picture, it’s visually uncomfortable for the you don’t observe what’s going on
viewer. Leave space for the viewer’s eye in the background. To avoid a “tree-
to move around, unless your subject mat- growing-out-of-the-head“ picture, take
ter is such that the discomfort of a tight the camera away from your eye and
crop will add emphasis and the right study what’s behind your subject.
mood to the photo.
Moral: When shooting, always carefully
observe the background behind your sub-
ject before you release that shutter.
Look Ahead
Before we leave this introductory lesson,
there’s one more point we want to cover.
That’s the future, and the speed with which
it’s coming at us, and the dazzling innova-
tions we’re seeing on a regular basis.

N
ew products and applications
for digital photography have
popped up all over the place.
What new consumer innova-
tion will be announced next month?
Next year? What digital photography gear
will be old hat a decade from now? We
can’t tell you what new innovations will
surface at the next Consumer Electronics
Show, but we guarantee that there will
be all kinds of inventive gadgets, new
markets for photography, and digital im-
aging possibilities beyond our ability to
envision at this time.
Whether in print or on the Web,
When things are changing this fast, it’s
an exciting time to be a photographer. good ­content is still king,
While we can’t predict the future, we can and good pictures are always going to be
make you two promises. Whether in print
or on the Web, good ­content is still king, at the heart of our craft.
and good pictures are always going the
be at the heart of our craft. Photography
technique is as important now as it was
back at the dawn of photography.

Here’s a second promise. The

power of photography will
continue to grow! Please visit us
at nyip.edu and request a copy
Acknowledgements: NYIP Course materials are written by NYIP staff and faculty, Director
of our course offerings today. of Education & Product Development Jay Johnson, and Curriculum Developer Steven
Evans. The Lessons were designed and illustrated by Curriculum Designer Keith Gallagher.

New York Institute of Photography is a registered trademark of

Distance Education Co. LLC in the United States and/or other ­countries.
© 2014 Distance Education Co. LLC. All Rights Reserved.
Visit the New York Institute of Photography online.
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