As photographers who regularly visit photography web sites and blogs, we all seem to be driven by very personal commitments to learn new things and to improve. Over the years I’ve been using my own ‘rule of thirds’ – not as a composition technique – but as an approach to help me direct my own development efforts when it comes to photography. As is often said, “So much to learn, and so little time!” Basically my “rule of thirds” focuses on three factors that are always involved when creating images and can also help guide our development as photographers:
- My skill and vision as a photographer
- The equipment I use
- The software I use in post processing
(Note: I hope you don’t mind that some of my favorite images are sprinkled though this article to provide visual breaks)
Table of Contents
Our skill and vision as a photographer
Above all else, I think this is the most important ingredient in the images that each of us makes every time we press the shutter. There are technical, creative and emotional aspects to this ingredient. For most of us, the technical aspects are the ones easiest to pursue. The internet is full of websites and videos that provide all kinds of solid information about the technical aspects we need to understand in order to take specific types of images. Just reading the selection of technically oriented articles here on Photography Life alone would take hundreds of hours.
In my own journey, I think I’ve learned the most by identifying a hole in my understanding and then searching out specific articles and videos to begin to learn about it. I know I’m just a big piece of Swiss cheese. I’m all full of holes and as soon as I begin filling one, others seem to emerge. And, the more I think I’ve learned, the more I realize that there is so much more ahead. While dedicated information searches have proven very worthwhile, it has also been beneficial to simply take some time and surf around the web. I’ve stumbled on many interesting articles and videos this way and as a result I’ve been exposed to some great ideas I may not have found otherwise.
One of my favourite things to do when I have some time, is to go to a site like Google Images and type in a geographic location, subject matter or photographic technique and just browse through the resulting images. Invariably, a few images will hit me right between the eyes! When that happens the first question I ask myself is “What do I need to learn to make an image like that?” Then the journey to fill that specific hole begins. The creative aspects of my development are usually driven by one of three things: a challenge that I set for myself; forcing myself to see the world around me through ‘big eyes’; or seeing it with a ‘narrow focus’.
Self-imposed challenges can be going to a specific location with only one camera/lens combination, or choosing to only shoot very specific subject matter. One of my favourite pastimes is going to the zoo with a specific image challenge, and it has yielded some interesting images.
Looking at the world around me with ‘big eyes’ allows me to see angles, shapes, colours and contrasts that I may have missed otherwise. I find this technique is often useful when I’m on holidays as it helps me see image opportunities that I may have missed with ‘tourist eyes’.
Seeing with a ‘narrow focus’ is when I take the time to study the details around me. Not just a flower or an insect, but the eye of an insect or a particular petal on a flower. Looking at the intricacies of small things always seems to make me appreciate the design and balance that is found in nature. It forces me to see the world around me differently, and can help stimulate my creativity.
The emotional factor can often be the most interesting one to pursue. To me, this one is all about taking risks with images and ‘putting them out there’ in some kind of public way. Whether that is done by posting them on the internet, sharing them with friends or associates, or at camera club meetings, makes no difference. Whenever any of us chooses to take a risk with an image and share it, we face the potential of eliciting a negative reaction and criticism. When we are willing to take that risk, we put ourselves on the road to self-improvement.
The equipment we use
Obviously, the equipment that each of us uses can have a direct impact on the types of images we create. Sometimes if we don’t have a particular piece of equipment, it can make it almost impossible to take a particular type of image. Many times I think we suffer from gear acquisition syndrome. We make the assumption that owning the newest and the ‘best’ gear will somehow make us better photographers, and we’re often disappointed when we make an investment in new gear only to discover that the quality of our images hasn’t changed. Having said that, I think that it is true that there are times when the gear we own does help make us better photographers. It all depends on the impact that gear has on us.
Like many folks, I have a decent investment in camera gear. At some point, if I ever wind my business down, I’ll likely have less, but right now I’m settled in with my current FX/CX approach: Nikon D800 and Nikon 1 V2’s, along with my assortment of FX and CX lenses. If I had to choose between my D800 and my Nikon 1 V2 in terms of which camera helped me improve the most as a photographer during the time that I’ve owned it – the Nikon 1 V2 would win hands down.
The obvious question to answer is “Why?”
Shooting with my D800 is a wonderful experience. As other owners will attest, it is a superbly capable piece of equipment and it does provide for all kinds of creative expression that some other bodies may not allow. It can also be a somewhat unforgiving camera that requires good technique in order to get good results. So, in many ways, I’m sure owning a D800 has helped many people become better photographers, and it has also helped me – but not as much as my Nikon 1 V2.
The inherent limitations with the Nikon 1 V2 continually force me to be creative. To look for innovative ways to use it. To shoot around its limitations. When I use my V2, I know that I am much more aware of the camera, its capabilities/limitations and the subject I am trying to capture with it, than I am when I use my D800. Shooting with the Nikon 1 V2 forces me to be more engaged in the image making process, because there is a larger element of risk involved.
There is an unbroken level of confidence that comes with shooting with my D800. It’s the feeling you have when you simply ‘know’ at your core that you’ll get the shot. And, it’s one of the reasons I always shoot client work with it. That same level of absolute confidence does not exist with my Nikon 1 V2 – and it’s one of the things I love about the camera. There is always an underlying risk, however small, that I feel when I use one. I’m never quite sure if what I’m trying to do with it is actually going to work out in terms of creating the image that is in my mind. As strange as it may seem, it is because of its inherent limitations that the Nikon 1 V2 has had a greater impact on me as a photographer than has the D800.
For the same reasons, some photographers intentionally pick film cameras, because they know that the camera will make them slow down. There will be no live view, no image preview, no way to see the image until it is fully developed. John wrote an excellent piece on why he shoots film and Laura wrote her thoughts about using film professionally for her wedding photography. Without a doubt, slowing down and understanding limitations made both John and Laura better photographers.
One final thought about gear is simply this: it is far better for me to learn about the gear I currently own and push myself to experiment with it and use it as fully and as creatively as possible, rather than chase after the latest stuff. All that does is force me to spend time learning the fundamentals of another piece of gear, and put my personal development on hold as a result.
The software we use
During the past year I have learned one critical lesson about photographic software. For many of us owning it and using it can be akin to a religious experience. It is simply incredible to witness how animated discussions can be – sometimes past the point of civility – when software programs and post-processing approaches are discussed.
The use of software is a very important ‘third’, and in my mind ranks second behind skill and vision in terms of its potential impact on the images that each of us creates. Advances in software are leveling the playfield between various camera formats and can go a long way to enhance the overall quality of an image. I struggled for a number of years trying to figure out what software program to use and I wasted a lot of time trying to learn new programs. All that did was slow down my development as a photographer. Quite simply, I paid too much attention to the opinions of others and not enough time concentrating on the final images I was producing and what was working for me.
As photographers, we are often looking for the ‘secret sauce’ for our images. I think that most of us already have the tool(s) to create our own ‘secret sauce’. It’s probably the software we have on our computers right now. I really don’t think it matters at all whether we choose to use Photoshop, Lightroom, Capture One, or any one of a host of other programs. They all provide us similar capabilities to enhance our images. The key is to find what feels most comfortable for each of us.
So, we need to use what we have. Study it. Learn all that we can about it. Then, be prepared to do the most important thing of all – experiment with it. Put everything we’ve learned on a back burner and just play with it. Pull all of our sliders to the extremes and watch what happens to our images, and make a mental note. Throw ‘incremental’ improvements out of the window when we experiment and purposely go ‘over the edge’ on everything. When we climb back up from the precipice we will have found our own ‘secret sauce’.
‘Rule of Thirds’ review
Once a year I make a big pot of coffee and take some time to think about how I’ve been using my ‘rule of thirds’ in my own development as a photographer.
I ask myself some simple questions:
- What have I learned from a technical standpoint and how is that new knowledge making my images better?
- How have I challenged myself creatively? What did I learn?
- What risks have I taken with my images? What did I learn?
- What have I done differently with my equipment or learned about my equipment that is making my images better?
- What have I learned about the software I’m using and how I’m using it that is making my images better?
If I can answer those questions with clarity, then I know I’ve had a good year. If I can’t – then I’ve let myself down and hurt my development.
You can tell from my photo I’m a grizzled old guy. With good genetics and some luck, I may have another 30 years or so ahead of me. My intent is to stay green and growing. Let’s do that together for many years to come!
Article and all images Copyright Thomas Stirr. All rights reserved. No use, duplication, copying or adaptation of any kind is allowed without written consent.
Thomas,
Nice article and good concept, except that I would title it more “Artistic Development”.
When I read “Professional Development…”, I thought it would list Marketing as one of the thirds, as well as other business-related categories that all pros spend almost more time on than shooting.
Ron
Hi Ron,
Thanks for your comment… I agree! Marketing is a big issue for professional photographers and videographers and can consume a lot of time. It has been quite a while since I wrote that article… probably 4 years or so. It always surprises me when old posts still generate comments. :-)
Tom
It’s a mystery to me why this popped up on my desktop today. This was originally posted when I was about 6 months into a re-entry to film photography. My fanciest digital is a Canon G1xMk2, and I’ve learned it’s fairly easy to generate eye-popping images. But the images that please me most are those 1 in 40 or 50 that come from my film efforts, where subject/light/frame/technique all come together. I’m keeping my efforts focused on the initial capture – I shoot the film at rated ASA or 1/2 ASA, and have stuck to the same chemicals. About two years ago I converted to scanning my negatives, out of time constraints; but both in the darkroom and on the computer I take the image as the negative registered it – I do no postprocess (and employ no darkroom tricks although The Print was my darkroom bible for my creative efforts 40-50 years ago). What I’ve learned follows your statement (controversial in some circles) that to some degree the equipment dictates the experience and therefore the outcome. In all cases I’ve found carrying one body with one prime objective – typically 50mm but sometimes a 28mm or 135mm) with either no filter or something really simple (81B with Kodak Gold, or Yellow 15 with B/W films) is the best experience all around. Even in that context – the machinery has an influence. I do different things with a Nikon F in my hands than with an F3, to the car analogy it’s the difference between driving my newish VW Jetta wagon vs. my ’76 VW bus camper. One experiences the world in a different way, and that then influences creativity. Finally, at this point in my life I’ve tried to ignore The Rules (thirds, triangles, etc….). I’ve stuck to thinking in zones out of habit, but otherwise just go for what my imagination tells me about the possibilities suggested by my eyes. When the perceptual error is minimized – i.e. my eyes see in the viewfinder what my imagination suggested the scene might hold, I push the button. I’ve found this minimally invasive pathway to be the best way of translating my experience to a desktop image. At the very least, it’s been an entertaining approach. Thanks.
Hi cusop,
Thanks for adding to the discussion! Why and when something appears in our respective inboxes can, indeed, be a mystery.
Returning to film seems to be a very interesting and rewarding path for you, and is a testament to the value of each of us following our creative instincts!
You comment caused me to go back and read the original article again. It was very interesting for me to go back and read something that I wrote almost 4 years ago. Much water has gone under my bridge as well. One of the biggest things for me was to become immersed in the capabilities of my Nikon 1 gear and to find ‘creative liberation’ through it. Part of this came from getting over my own ‘big sensor bias’, and more fully appreciating the capabilities of the Nikon 1 system.
Within 6 months of writing this original article in January 2015, I ended up selling my D800 and all of my full frame f-Mount lenses (July 2015) and shooting exclusively with Nikon 1. I’ve never regretted that decision for a moment.
I had to smile a few times when reading this old article, as certain passages identified my own lack of understanding and appreciation for shooting with a smaller sensor camera.
The key is that we all need to keep growing, and find our own way of doing so.
Tom
Tom, I really enjoy your posts… thank you! That said, I would like to challenge a concept you’ve mentioned here. It’s one that seems to motivate so many photographers… it’s the approach to photography of “What do I need to learn to make an image like that?”.
What I see in so many art shows and online galleries today IS pure repetition. I find that a majority of photographers are driven by this desire to “make the same image better”. I would challenge photographers to find their own voice and pursue their own artistic directions. We can (and should) learn from other photographers, BUT we don’t need to copy what has already been done.
Hi Chip,
Sorry for the tardiness of my reply! I have no idea how I missed your comment! I agree that there is a lot of copy cat work out there. My comment wasn’t meant to imply that we should try to replicate the work of other people… but rather look at a particular aspect of the photograph, perhaps lighting, an unusual angle, or some other factor that strikes as something that we can use in our own way, to help further our own craft. Not copy the work of others.
Tom
This article inspired me in many ways than just photography.. Great Work :)
Hi Amna,
Glad the article was beneficial for you!
Tom
I’m so impressed by the high ISO performance of 1. Wow. That bug shot at 3200 ISO is awesome, at least at this scale!
Hi Sean,
The high ISO quality of the butterfly shot in the article is a function of using DxO OpticsPro 10 PRIME noise reduction in post. I certainly wouldn’t want you to think that the performance you’re seeing in the images was the result of the sensor in the Nikon 1 cameras…its PRIME!
Tom
Thanks Tom, that makes sense. I’ve always wondered how you pull great images out of a little camera with ISOs of 1600 or 3200.
Hi Thomas, great article. Idk where did u take the grocery photo. Thanks
Hi Brunno,
It was taken in Mykonos town on the island of Mykonos.
Tom
Always a pleasure reading your articles and seeing your photos, Tom. Congrats!
Glad you enjoy them Born!
Tom
Hi Tom
I really enjoyed this article. I enjoy any article that makes me think and this certainly did. I look forward to sitting down with a coffee and giving this a go myself. The photos were good too, so I hope they met your goals and you push yourself further in the future.
I also find it interesting the link between how the gear impacts the shooter on an emotional (or at least non technical) level and in turn how that emotion translates into the shooting process. Generally I’m the opposite to you. I have a V1 and D800 and I find the D800 inspires me more. I take the way it punishes sloppy technique as a challenge that forces shot discipline and keeps me on my toes. Conversely I sometimes find the V1 limiting, due to (my) acceptable ISO range and post processing latitude. There is definitely room in my post processing third for improvement, not to mention infinite room to improve the third relating to the bit behind the camera. Thanks again.
Hi Tom D,
Thanks for sharing your experiences with the FX and CX format cameras. I absolutely agree that the D800 punishes sloppy technique and this can really help a photographer improve. I’ve found this to be the case especially when I try to shoot at lower shutter speeds when using my D800 with my Tamron 150-600 or when shooting a non-VR lens like my Nikkor 85mm f/1.8G.
My V2’s have challenged me in different ways than my D800. It isn’t a ‘punishing’ camera in terms of a photographer’s technique, if anything it is the opposite. I’ve found the CX format makes it much easier to shoot at slower shutter speeds even when I use my Nikon 1 CX 70-300.
For me the biggest challenges have come in really examining what I’m trying to shoot and experimenting with various types of metering to make the best of the dynamic range. In post processing. I have really experimented with V2 files to try to get the most out of them and I find that I regularly ‘go over the edge’ with them. For example, I often am really aggressive with highlights and shadows moving them to opposite extremes, then adjusting black aggressively. I don’t use CS6 much at all with my D800 files but I will use a few more adjustments for my V2 files. I have certainly learned more about post processing when working on V2 files than I have with my D800 ones.
So, both cameras have helped me, but for very different reasons.
Tom
Thank you Thomas for an excellent article. I have been retired for awhile and find myself constantly struggling to be a better “image taker” and have fought off GAS (gear acquisition syndrome) until I feel that I have fully mastered my crop sensor D5100. Your images really made me think about composition and your different “rule of thirds” really are thought provoking.
Hi Gregory,
Your positive comments are much appreciated! I’m glad you found the article of interest.
Tom
Great article Tom with some strong statements!
I would like to add few personal notes:
1) What helped me progress most with my photos has been to participate to photos forums and take the risk to post critics instead of the classical “wow, great photo” type of answer – this forced me to review a photo and think through what I like and what I did not, and be precise with my feelings. I found it easier to do with other people photos than mine: when I review my photos, I tend to be both partial and extreme, either thinking they are perfect or that they have nothing new to offer. After posting my critics, I mostly got good feed-back, but it does definitely require an effort to break the nice and sweet typical comments attitude. Posting a critic can easily feel pompous, especially when the photos are better than mine! But I also also believe that getting honest feed-back and criticism is one of the reasons people do post photos, so it is in fact appropriate.
Actually, thinking of it, I kinda got lazy and stopped doing this :) I need to be take my courage again and go back to this exercise
2) Re the V2, I also found that using the FT1 adaptor increases this sense of adding both limitation and creativity
3) I use a Ricoh GR (GAS :) ) and it has become part of my daily life. I found that having a single focal camera, small enough to carry everywhere, always available with me, enables me to think “photo” and look for new type of shots and angles in places I would ignore otherwise
Thanks again!
Francois
Hi Francois,
I can really relate to your comment about having a camera with us…that always seems to have “it’s photo time” switched on in my brain.
Adults learn best when we self discover or disagree so your approach providing constructive feedback can certainly add to the learning process.
When I do photo coaching with individual clients I take a different approach and do my utmost to have them self-discover new approaches and ways of looking at a subject or scene. As Rick Keller said earlier, artistic vision and skill are paramount. I’ve found taking a coaching approach, rather than an instructor role, really seems to help people more.
I really enjoy asking/challenging folks to really look at what is in front of the two of us and have them describe what they see. What is catching their eye. And, what kinds of images are going through their mind. I like to push them to consider different angles, focal lengths etc. And rather than take an ‘instructor’ role I’ve found that it has been much more powerful to ask things like, “What would happen if you tried to shoot that with a wide angle? What would change?” I think asking good questions stimulates thinking better, and for most people helps to eliminate potential defensiveness.
Tom