When you’re learning photography as an art form, it’s important to study other photographers. However, there is great photography, terrible photography, and everything in between. I’ve done a post all about Ansel Adams’ photography and everything I’ve learned from it if you want to check it out after this. No matter what, you can learn something exploring all of them, but it’s essential to know how to analyze the photos. Especially your own!
I have some of those cringe-worthy photos from the past. We have all experienced this, especially when starting in photography: we see something that excites us and click the shutter. Then, upon reviewing the photo, itching to relive how amazing it was, we are immensely disappointed. What we are seeing is not nearly as striking or beautiful as it was when we saw it in real life. Moreover, we look at other photographers’ work and feel the same.
In this post, I will discuss my photography pet peeves: the not-so-good photography elements that bother me the most. In the process, we will learn how to analyze photos to improve our photography in the future.
It’s not about the photographer.
To start, notice at the beginning that I didn’t say great/terrible photographers. It’s not about the photographer. We have all done one or more of these things at one time in our photographic journey. The best and only thing we can do is acknowledge it and learn from it. That is what I am here to help you do.
Merely a study and recommendation.
Finally, keep in mind that there are situations where these techniques are justified. In studying art, you’re introduced to the notion that you can break a rule once you’ve mastered it.
Ultimately, if you’re here to learn photography, I merely recommend studying and reconsidering these techniques before settling on them.
First, master the rules. Then, learn how to break them.
However, if you find success with these techniques, that’s great! Keep doing what you’re doing.
Let us begin with an example that slaps me in the face every time I see it.
1) Centered Subject Matter
More specifically, the centred horizon line bothers me, though a centred subject can be equally bothersome.
The Rule of Thirds is an essential element of composition in any art form.
Perhaps I’ll write more about it someday.
Ultimately, the rule of thirds involves dividing your frame into nine equal sections. You then use the lines and intersections as focus points for your subjects. Using this rule will create a more pleasant composition for the viewer.
The Fix
When composing your photo, consider where the most engaging elements of the image are and place them on a line or intersection. For example, set the horizon on the lower line to showcase a beautiful sky or on the upper line to showcase an interesting foreground. If you have a single subject, place them on one of the lines or, even better, on an intersection.
2) Crooked Horizon Line
This point bounces off the first one. When I look at a photo with a crooked horizon line, it takes all of my initial attention. You make a first impression within 3 seconds. My first impression is your uneven horizon line. It doesn’t matter what other beautiful elements you have in your photo; a crooked horizon line will steal the show.
The Fix
Getting the horizon line perfectly straight, especially when shooting without a tripod, is challenging. When shooting, I make a conscious effort to do the best I can. In post-processing using the crop tool, you can straighten out your photo manually or try out the Auto suggestion. Be careful with the latter; it’s not always perfect!
3) Overprocessing
Often in the form of oversaturated colours or limitless use of the sharpening tool, too much processing is easy to spot. The result is most often an unnatural, unrealistic photo.
We want to use processing to enhance a photo’s existing features or instil a specific feeling or mood into the image, not make it look fake.
The Fix
The best advice I can give here is to use a light hand at first. If you think you need to up the saturation by 30, try 15 first. Sharpen to 40 or 50 instead of 80 or 90. Just because the ability is there doesn’t mean you should take it that far.
Additionally, Lightroom has a tool in Develop to see the before and after side by side. Consult this comparison regularly when making your adjustments so you don’t unintentionally stray too far from the original.
Finally, sleep on it. I never like to be rushed when editing because I want to see it with fresh eyes multiple times before I can be happy with the final product. Give your eyes a break and come back to it the next day before hitting publish.
4) Underprocessing
But, wait, didn’t you say not to overprocess? Wouldn’t the best way to do that be not to process at all? Yes, but that can look equally terrible, primarily if you shoot in RAW format. Let me explain.
Shooting in RAW is meant to be processed.
If your camera gives you the option to shoot in RAW and JPEG simultaneously, look at a correctly exposed photo in each format side by side. Side note, I have another post talking about how to use the exposure triangle to expose your shots correctly, if you struggle with that. Looking at the two formats, you’ll notice that the RAW ones are lacklustre compared to the JPEGs.
There are a couple of reasons why:
- JPEGs are recorded with what is called an image profile applied to them. This image profile essentially adds expected edits to the image for you to be ready to view and use. RAW files are huge, with a ton more information than JPEG, but the contrast and colours are more muted and dull because there is zero processing. This gives the photographer greater control and flexibility when processing it to their liking.
- When given a choice, it is recommended to expose in favour of the right side of the histogram. That is to say, expose lighter rather than darker, without blowing out any highlights. There is more information and detail on that side, and we want to preserve as much of it as possible when shooting. However, this creates light shadows and often very little depth in the image.
If you have no idea what I’m talking about, don’t worry; it’s more advanced than necessary.
Understand that RAW files appear flat and dismal, so we want to liven them up through editing.
The Fix
Consider your primary subject carefully. Are the additional elements supporting the focal point? Do they add to the story you’re trying to tell? Are they improving the composition in a valuable way?
If they’re not adding to it, they are distracting from it; get rid of them!
If you’re unsure, experiment and take a few different versions. You can review them later and think about which ones are more successful than others and why. Then, apply your knowledge for next time.
I like to move it, move it!
Don’t be afraid to move your body. Alternatively, you can experiment with a longer lens or a zoom lens. I prefer to shoot with a fixed lens and move closer to or further from my subjects physically. This way, I am in the habit of moving from right to left or up and down to capture a different angle or improve my composition.
Have a Vision
This concept is perhaps the most important creative aspect of photography. Instead of thinking about how you should take a photo, reflect on how you want to take the photo. Is there a story you want to tell? What message do you like to send? How do you want the viewer to feel? This is an intuitive component that can take years of practice to learn well. Nevertheless, it’s imperative to keep it in mind.
Like in your home or at your workspace, clutter is impairing and likely not the vision you have for a pleasant, productive, or attractive atmosphere. Treat your photos like your surroundings and aim to bring your vision to life.
- Perfectly centred subjects often lead to a bland, sometimes unpleasant photo. Utilize the rule of thirds to create a more attractive composition of your subjects.
- Overprocessed photos tend to look unnatural and unrealistic. Use post-processing with a light hand and compare your edits with the original regularly as you’re working.
- Contrastingly, underprocessed or unprocessed photos are dull, boring, and lacklustre. Putting a few minor edits like contrast, saturation, and sharpening on your images will bring them to life.
- Awkward poses are usually the result of an uncomfortable subject. When working with an inexperienced model, keep things light, loose, and natural. Mount your camera on a tripod so that you can interact with them face to face and encourage them to move normally between poses.
- Finally, too much clutter can undoubtedly break your photo. Keep things simple by starting with your subject and adding elements exclusively as needed. Remember, if it’s not adding anything, it’s distracting.
Conclusion
There are my thoughts on a few of my photography pet peeves. These are things I notice when I look at other photography as well as my own. I analyze photos to improve my own. And then coming here and helping you to improve yours.
What’s important is the thought process and consideration. Knowledge is power. Know what’s happening in the photo to know what’s working and what you can improve on.
If you’re using these techniques and they satisfy you, keep doing what you’re doing!
However, if you’re looking at your photos and something doesn’t seem right, consider these points and think about how you could better tell your story.
Let’s give it a shot!