| Digital cameras provide an excellent platform for | | | | distractions or intrusions (like the tree example I |
| photographers to plan their work and concentrate | | | | gave before). Usually an intrusion can be removed |
| on areas such as photograph composition. Despite | | | | from the composition simply by repositioning your |
| this, most photographs are not planned so | | | | viewpoint or by removing items. Take particular |
| perhaps it is not surprising that we often get | | | | care with roads (passing cars) and foot traffic |
| unintended results. In this article I will outline some | | | | (the unwanted expression of a person unrelated |
| of the elements that you should consider when | | | | to the shot) or unpredictable elements such as |
| planning your photograph. | | | | animals. Of course, these elements may be |
| One of the most common mistakes by new | | | | precisely what you are looking for in your shot |
| photographers is not to consider the various | | | | (eg the juxtaposition arising from different |
| image planes that will appear upon your | | | | reactions of supporters at a sporting event can |
| photograph. We may laugh at the tree growing | | | | make an excellent shot but capturing the different |
| out of the head of our portrait shot but in reality | | | | reactions in that case is the centre of interest |
| it may turn a potentially great memory into one | | | | that you wish to convey to the viewer). |
| that is cast into the bottom drawer. | | | | Landscape photography excepted, it is relatively |
| Professional photographers refer to this as | | | | rare to have the background plane as the centre |
| photographic composition whereby with a bit of | | | | of interest so take particular care about |
| forethought and planning, the various components | | | | background distractions. |
| of the photograph can be brought together to | | | | Think about the foreground. A photograph can be |
| form the picture. | | | | enhanced by clever use of this plane to draw the |
| Having decided what the centre of interest of | | | | eye of the viewer to the centre of interest. But |
| your photograph is, a simple trick is to think in | | | | be careful once again not to detract from or |
| three planes - the fore, middle and background of | | | | obscure the centre of interest. For example, a |
| the picture. You may wish to experiment where | | | | cluttered foreground or incorrect framing will |
| you place the centre of interest within these | | | | distract the viewer. |
| planes. | | | | In summary, most photographic compositions can |
| It is relatively common to place the centre of | | | | be improved with a little bit of planning and |
| interest in the middle ground and use the | | | | forethought. I would encourage you to think about |
| foreground to frame or draw attention to the | | | | your photograph hanging on a wall in a gallery |
| centre of interest, whilst the background frames | | | | being viewed by people you do not know. Would |
| the total picture. Keep in mind that different | | | | they be drawn to the centre of interest. Would |
| placement of the centre of interest may enhance | | | | the foreground draw them to that interest our |
| the viewing experience. My advice is experiment | | | | would they be distracted. How do the elements |
| so that you can get the sense of what could | | | | hang together. Is the background relevant or |
| work in different situations and then apply that | | | | does it overpower the picture. Next time you are |
| experience when planning your shot. | | | | about to take a shot, run through a quick |
| Once you have decided where to place your | | | | checklist that covers the fore, middle and |
| centre of interest, you should look for possible | | | | background. |