Even # of Elements Counterpointing -- Does at Dusk
This is an example of a few things. First, it is the counter-pointing of two elements, the heads of the does, one facing forward, the other facing to the side. Odd numbers of elements are easier to compose, but counterpointing helps with even numbers of elements.
This also is a color photo so underexposed that it is really monochrome. It has been made into an abstract nature photo. Making a photo abstract often reveals the effectiveness of the composition because all the distractions of color are removed. Its all shapes here and they seem to work. The monochrome also makes the point that is is dusk.
Note that the heads are outside the third lines on the right and left as well. This creates tension right and left because it violates the rules a bit -- it certainly stretches the rules.
Photographers should not be afraid to experiment and challenge convention. At some time in the past, all rules were created the first time. Why not play the edges and see what you can find? This isn't film anymore, there is no financial risk in experimenting with new compositional strategies.
Three Elements -- Buck, Doe and Fawn at Dusk
This is another example three elements working along the third lines. Note that the lines fall along the spines of the animals giving the picture a direction. In this case it was not possible to set the heads on the intersection points, but they could be organized in a balanced way around those third points as was done here.
This was taken at sunset, and the light was very dim. That is why this photo is soft. This technical problem is overcome by the power of the composition and this apparent "deer family" picture.
This illustrates another point as well. People attribute emotions to animals that animals themselves do not have. At the time of year this was taken, whitetail bucks form herds separated from the does and fawns. Interest in the does will return with the rut, but that was months away. This is really not a family, but it is an oddball buck that follows the does.
This illustrates another basic principle. Photos are not emotional, they elicit emotions. Many times these emotions really have no basis in reality. Perhaps that is the better part of artistic expression.
Experiments in Light and Pattern -- Deep Woods Spider
This is an example of venturing into new territory. Certainly the third lines and the intersection points were used as a guide, but this is very different.
This is one of my visual experiments where a part of the picture is very literal, and the remainder is abstract. It's a hybrid composition. It is about line, form and color. It is also an unusual way to approach lighting. Note that the out of focus spider web intersects and points roughly to the spider in diffused light. The spider is tack sharp in contrast. There are also soft bubbles of light in the bokeh. On the right is a fairly focused strand of web pointing to the spider.
One of the principles of effective composition is "contrast". In this case, the contrast was created with soft focus versus sharp focus, and dim light versus bright light.
I believe this composition works, at least it works for me. While it appears to violate the rules of composition, in many ways it follows them. This is jazz and not classical. It is the kind of stretching outside the rules I advocate if you are to find your own voice as a photographer.
This picture was taken in the deep woods, hand held, under mottled and diffuse light. A fairly strong beam of light illuminated the spider. By wandering around this subject, and shooting toward the light sources (for the most part), I got some soft iris flare in the bokeh. I shot this at a fairly long focal length to create a very shallow depth of field.
Cross Lit Spider Web in Deep Woods
This is an experiment is capturing a spider web that was almost perfectly cross-lit. This is illustrated by the shadow of the spider on the face of the web. By moving around, I could adjust the reflection of light in different areas of the web. With the light focused on the lower left hand side of the photo, the circular web is evident, but it fades away from this corner. This sets the focus on the spider. The reflection on the web also is changed by the spider tugging on it as it weaves new strands.
This composition also conforms to the rule of thirds, but the subject itself is novel. I cropped it to a square because the web was round. Round subjects (radial subjects) lend themselves to square frames.
Eye Contact -- Bear Along Tree Line
This picture of a black bear follows the rule of thirds closely.
This picture also illustrates an important basic strategy of effective wildlife photography. It is my belief that eye contact, and good focus on the eyes is essential. Here the bear was walking toward me. I took this picture at about 30 yards, then picked up my shotgun and drove him off.
Eye contact creates an emotional effect on viewers. There are many good nature photos that don't have direct eye contact, but the eyes should be looking at something and be in strong focus. Even with butterfly photos, sharp focus on the eyes is important.
Dramatic Lighting -- Cat by Fireplace
This is another example of using the thirds rule and light to set the focus of the picture.
Our cat Boat was resting in front of the fire on a winter evening. Her eyes are in perfect focus while the remainder of the photo is quite soft and the light relatively dim. While Boat is not looking directly at the camera, she has her eyes slightly averted to the left. I think the existing light is far more effective than a flash picture would be in this case.