Conquer

Composition By Ad am Barker
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[ Introduction ]
Engage viewers with stunning depth and dimension in your
landscape, active lifestyle and travel imagery

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INTRODUCTION

There’s a reason so many people in

this world enjoy picking up a camera and
capturing the magic that lies in front of them.
And really, there’s a reason we all continue
to wander our own backyards as much as we
yearn to visit the far corners of the globe.
The reason? We all see in our own unique
way, and when executed correctly, this
individualistic vision is manifest in magical,
memorable imagery that transcends all else
and exposes our inner workings as landscape
and active lifestyle photographers.

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INTRODUCTION Storm Light illuminates larch

trees under full fall regalia.
Dolomites, Italy. R: A tranquil
winter morning along Utah’s
Middle Provo River. 

This vision is most commonly made manifest through the way we

Composition is the most compose a scene. I believe composition to be the most unadulterated

unadulterated expression expression of who we are as photographers and visual artists.

of who we are as Technique can be taught and equipment can be bought, but vision is
singular and most true to what and how we see as individuals.
photographers and
visual artists/
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INTRODUCTION

To be clear, let’s discuss the true meaning and significance of

composition. Composition is an intricate balance between the
inclusion, exclusion and arrangement of diverse subject matter and
other rudimentary elements within the photographic frame. Just as
shutter speed and aperture form the technical foundation for each
image we produce, well-executed composition is the creative glue
that holds our images together.

Technique can be taught

and equipment can be
bought, but vision is
singular/

One of the most perfect

places I’ve ever pointed a
lens. Santa Maddalena, Italy. 

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INTRODUCTION
[ A well-composed image will
likely exhibit the following: ]

L: Angler Andrew Swindle

sets his eyes on the angling The inclusion of key elements within the
prize. Christmas Meadows,
UT. R: Evening light bathes frame that send a clear and concise message
the landscape in golden late
light. Mesquite Dunes, Death to viewers. These key elements should be
Valley National Park, CA.
those parts of the image that both draw the
viewer in and retain, or hold their attention.

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INTRODUCTION Angler Mikey Weir scans the

picture perfect waters of
Belize for cruising fish.

Angling legend Flip Pallot

makes one more cast near his The exclusion of all other elements or parts
hometown of Mims, FL.
of the image that may detract from the
key elements. These elements are beyond
secondary in nature, and can be manifest in
anything that consciously or sub-consciously
distracts the viewer from cycling smoothly
through the visual journey of each image.

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INTRODUCTION Skiers exult as the sun shares

its last rays of warmth.
Whistler Blackcomb, BC.

Bison at dawn. Grand Teton

National Park, WY. The proper arrangement or balance of primary
and secondary subject matter within the
photographic frame.

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[ Dynamic Composition ]
Our greatest challenge as landscape and active lifestyle
photographers is to transport the viewer “there”...

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DYNAMIC
COMPOSITION

A late summer storm clears

at sunset over the Dolomites
of Northern Italy, revealing a
stunning moonrise. Where is there? It’s the towering peaks of the Dolomites as a summer
storm clears to reveal succulent light. It’s an aqua-marine waterfall in
a paradisical locale, cascading ever so gently over travertine pools and
under lush jungle canopy. It’s the most remote expanses of the globe,
frozen in time for all humanity to see. Are you getting the picture? R: Lazy days and blissful
compositions. Khouang Si
(pun intended!) River, Luang Prabang, Laos.

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DYNAMIC
COMPOSITION Skier Carston Oliver samples
some of Utah’s finest blower.
Snowbird, UT

Yucca Plants and red rock at

sunset. Lake Powell, UT. Our perception of reality is based upon depth and dimension, and
that right there is the largest obstacle we must overcome in capturing
a three-dimensional wonder, and placing it in a two-dimensional
medium. It can be done! It can be done by finding three-dimensional
compositions that “fool” the viewer into feeling as though they could
step right into our photographic frame.

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DYNAMIC
COMPOSITION

An impatient commuter gets

caught in the chaos of it all.
Ho Chi Minh City, Vietnam.
Perhaps the most useful tool we have when constructing an
unforgettable image is simple contrast. Our world is filled with
contrasts—in color, texture, tone and subject matter. These contrasts
engage our senses and cause us to explore that which finds itself

Study in textural contrast.

in our frame of view. Search for these contrasts, and find ways to
Garmisch-Partenkirchen,
Germany.
implement them in your imagery. These contrasts will ensure the
viewer has as “real” a viewing experience as possible.

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DYNAMIC
COMPOSITION

Study the scene

and look for
contrasts in
color, texture,
shape and
subject matter/

L: Adventurers rapel down

vertiginous cliffs in Israel’s
Jordan Desert. R: Study in
color contrasts. Wasatch
Mountains, UT.

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DYNAMIC
COMPOSITION

We also have a useful guide in how we arrange the elements within

our frame. The rule of thirds is as elementary as it gets when
discussing composition. Divide your frame into horizontal and vertical
thirds, and you have a virtual overlay for placement of key elements
within your frame. Generally speaking, it is best to stay away from
the static approach of dividing your frame in half, or placing primary
subject matter smack dab in the center of your frame. For you
landscape shooters, pay extra attention to where you place your
horizon. Even just the slightest positioning of your horizon line above
or below the halfway mark will make a huge difference in the overall
look and feel of your image. Try it!

The Salt Lake City Captiol

Building casts a regal glow at
sunset. Salt Lake City, UT.

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DYNAMIC
COMPOSITION

L: Skier Tyler Petersen sends

it under stunning skies. Alta,
As has been mentioned, the exclusion of distracting elements is a UT. M: Angler Mike Nelson
silhouetted against morning
big part of maintaining focus on the important parts of your image. color. Hebgen Lake, MT. R:
A stormy sunset makes for a
Pay special attention to the edges of your frame. Look for intruding perfect silhouetted backdrop
in Cusco, Peru. 
elements like stray rocks, sticks, trees, bushes or even strange areas
of contrasty light or color that feel out of place or otherwise different
from the image as a whole. This is especially important when shooting
silhouetted images. It’s vital for the viewer to be able to immediately
decipher what is going on in our frame. Fractions of a second of
confusion as to what it is they are looking at may cause them to lose
interest and move on to another image.

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DYNAMIC
COMPOSITION

Our job as
photographers
is to ENGAGE the
viewer…

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DYNAMIC
COMPOSITION

After shooting the image, take a moment to review it on your

camera’s LCD display, as often times we become too caught up in Take special care not to clip
important parts of your image
the capture to notice these minor distractions when looking through as seen with the fish on the
left. Additionally, take note to
the viewfinder. Additionally, take care not to overtly clip or cut off exclude any objects that may
intrude on your frame and
anything of significant importance in your frame. This is a common distract the viewer from the
main subject.
problem that can leave the viewer wondering and/or wanting more.

Think of your photographic frame as the raging (or refined!) party

you’ve been planning for months. Your one and only desire is to have
people attend, and stay at your party, enjoying all it has to offer. By
carefully assessing the edges of your frame, you’ll be holding the
attention of those party guests until they’re ready to leave, instead of
watching their eyes drift elsewhere, yearning for something more.

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[ Tackling Wide Angle ]

How to translate those expansive, all-encompassing
vistas into a meaningful photograph

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Even mid-day light can’t

TACKLING keep the charm from com-

WIDE ANGLE ing through in this classic

American West scene in the
Palouse, Washington.

Left: Last light tickles the top

of the Tetons. Grand Teton
National Park, WY.

Below: Moody fall scene in

BW. Park City, UT.

As landscape photographers, the wide angle lens has long been one of
the sharpest arrows in our quiver, so to speak. It is an indispensable
tool in translating those expansive, all-encompassing vistas into
a meaningful photograph. It is exactly that trait of all-inclusion,
however, that also makes the wide angle lens such a challenge to
shoot, and shoot successfully.

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TACKLING
WIDE ANGLE

When utilized correctly, there is no better tool in conveying that

sense of realism that we strive for with stunning scenic imagery.
Perhaps the most important aspect of wide angle shooting, is that
you must engage the viewer immediately. With so much space within
the frame to “wander about”, it is our job to direct traffic, and literally
guide the viewer through our image.

Engage the viewer immediately with foreground subjects that beg for
attention. Use this subject as the anchor in your frame—one to which
the viewer will return often, studying and digesting its every last
detail. Remember to utilize the other compositional zones to give that
realistic, three-dimensional feel. Separate your frame into foreground,
mid ground and background zones by using subject matter, color and
tonal contrast.

When shooting wide

angle, engage the
viewer immediately with
foreground subjects that
beg for attention./
San Francisco, CA is a joy to
photograph, especially from
the Twin Peaks Overlook at
dusk.

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TACKLING
WIDE ANGLE

Not finding that foreground subject you were searching for? Consider
utilizing leading lines to draw the viewer deeper into your frame, Utilize leading lines to
finally resting upon majestic mountain peaks or a golden sunstar.
These leading lines may manifest themselves in many different forms,
draw the viewer deeper
whether striated rock, patterns in the sand or even flowing water. into your frame/

L: Runner Laura Ewald exults

in perfectly frosty trail run-
ning conditions. Wasatch
Mountains, UT.

M: An impressive view of
Salcantay along the Salcantay
Trail, Peru.

R: First light paints the land-

scape an even richer hue of
orange. Snow Canyon State
Park, UT.

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TACKLING
WIDE ANGLE

For wide angle, if the

action isn’t licking the
front of your lens,
then you’re not close
enough…
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[ Long Lens Landscapes ]

Compress three-dimensional scenes for
unbeatable depth and dimension

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LONG LENS
LANDSCAPES

L:There’s something espe-

cially stunning about Bryce
I find myself reaching for my longer lenses more and more these days, Canyon National Park in
winter time.
passing up the traditional view, and “hunting” for that elusive nugget.
R: Not much more than a
Much of the time, I find these compositions to be made manifest only bend in the road, this vibrant
scene near Hanksville, UT
while looking through the lens itself, scanning back and forth for a only blooms during particu-
larly wet spring seasons. 
piece of the bigger picture that speaks to me in an intimate manner.

Generally speaking, scenes most easily composed through longer

lenses are those with significant elements stacked front to back.

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LONG LENS
LANDSCAPES

A mysterious dawn glow

envelopes San Francisco, CA. Think of the scene in a three-dimensional sense as a loaf of bread.
How many slices of bread within the scene hold your attention
or stack up well? If the answer is moderately numerous, consider From Top: Pastel perfect—
first light at Goblin Valley
throwing on a long lens, and compressing the scene. Search for State Park, UT.
layering within the frame—pay attention to areas of highlight and There’s nothing quite like
broken light and fall color.
shadow that will help to convey depth. Also, look for cris-crossing Wasatch Mountains, UT. 
ridgelines, and other intersecting elements that guide the eye through
the frame.

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[ Balance is the Key ]

Breaking down the most understated and overlooked
fundamental of understanding composition

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BALANCE IS
THE KEY

Monsoon season brings im- Above: An earth shadow to

pressive atmospheric condi- die for at Triangle X Ranch,
tions to an already impressive Grand Teton National Park,
landscape in Goblin Valley Perhaps the most understated, and overlooked fundamental of WY.
State Park, UT.
dynamic composition is ensuring proper balance within your image. Left: An angler releases a
healthy brown trout back into
While tough to pinpoint by definition alone, you will immediately the waters of the Strawberry
River, UT.
know if your image is out of whack, or off balance, so to speak. Think
of your photographic frame as though it’s balancing on a fulcrum of
sorts—each subject or area of interest within the frame will cause
the image to “lean” to the left, right, front or back. Our goal as
photographers is to keep this image from falling off that fulcrum.

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Doing so requires special attention as to where we place primary and

BALANCE IS secondary subject matter. If you’ve placed your foreground anchor in
THE KEY
the lower left hand corner of your frame—consider placing something
of lesser importance and visual weight in the upper right hand corner.
The ideal is to ensure it doesn’t overpower the primary subject matter,
Top Left: Curious cows make
yet still gives the viewer an alternate part of the image to explore. for willing subjects near
Garmisch-Partenkirchen,
This will also aid in creating that near/far relationship that further Germany.

conveys depth and dimension within your frame. This is what’s known Below Left: Angler Andrew
Swindle throws one more
as good visual tension—that which causes the viewer’s eyes to move cast under the watchful eye
of the Uinta Mountains, UT.
about your image in a pleasing manner, eventually resting back on the
Below: Evening light bathes
area of primary interest. icebergs and mountains alike
in Paradise Bay, Antarctica.

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BALANCE IS
THE KEY

Balance your
image through
careful
arrangement
of primary
and secondary
subject matter

Left: Late fall perfection.

Garmisch-Partenkirchen,
Germany.

Right: Skier Julian Carr hits

the spot. Alta Backcountry,
UT.

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[ Precision Subject Placement ]

The Where, Why and How of Who
you place in your images

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PRECISION
SUBJECT PLACEMENT

L: Angler Oliver White casts Above: Ibex pause as if on

to rising fish under fiery skies. cue atop Israel’s Ramon
Green River, WY. Crater.
Regardless of the scene that finds itself in front of your lens,
Left: Early morning coffee in
understanding how and where to properly include subjects within the Colorado high country.

your frame can make or break many images. Consider the inclusion
of people and/or animals within your images. Give special attention
to how they contribute to the image dynamic as a whole. Just having
them in the shot is not enough.

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PRECISION
SUBJECT PLACEMENT

Anglers pose for a quick

portrait along the shores of
Utah’s Middle Provo River.

Take particular care to ensure the subject is not leading the viewer
out of the frame. Generally speaking, we, as viewers, want as much
context as we can pack into each image. We want to see where
that animal is headed, or what that fly fisherman is casting to. This Winding slot canyons make
for a veritable jetski play-
means making sure the subject is looking, walking or positioned into, ground. Lake Powell, UT.
and not out of the frame. Give the subject plenty of breathing room
around the edges of your frame—crowding, or worse, clipping the Give the viewer context
subject leaves viewers uneasy and looking elsewhere for that visual and a sense of scale with
stimulation.
the inclusion of the human
element in your frame

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PRECISION
SUBJECT PLACEMENT

Above: Sometimes the river is Skier Marcus Caston gets

just the bonus. Early morning deep in the Wasatch Back-
mist in Midway, UT. country, UT.

Right: Angler Andrew Swindle Once again, we can utilize our rule of thirds, and more specifically,
ties on a a keeper. Christmas
Meadows, UT.  our thirds intersects (or powerpoints) in placing subjects in the most
aesthetically pleasing parts of our image. Study the exceptional
images of photographers past and present and you’re sure to notice
a general trend as to where they most commonly place their primary
subjects. Finally, as our eyes naturally travel to the areas of highest
contrast within an image, look to place your subjects in those spots.
This may require moving your subject (when possible), or moving your
shooting position. Small movements can make a huge difference in
accentuating a shape, and separating it from its surroundings.

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Don’t be afraid of the

big bad black. Shadows
contribute to our frame
in their own special way/

Remember that creative composition can be your signature stamp on

each and every image you capture. Forget that new lens or body for
a moment, and commit to searching within yourself to create unique
and stunning imagery that speaks to your own individualistic vision.

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[ Top Tips ]
[ 01 ]
Get low or climb high
Resist the urge to shoot at eye level. You’ll be
amazed at how an image can transform itself
from even just a slightly different perspective.

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TOP
TIPS

[ 02 ]
Slow down!
Take a moment to study the scene in front
of you before clicking away. Utilize a tripod
like the Manfrotto 055—doing so will not
only give you a stable platform from which to
shoot, it will also help you study the smaller,
more subtle nuances within your scene.

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TOP
TIPS

[ 03 ]
Know your location
More importantly, know where the sun will
rise and fall each morning and evening. This
will help in finding ideal shooting locations
for your preferred composition. There are
numerous apps and computer programs that
aid photographers these days.

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TOP
TIPS

[ 04 ]
Use your live view display
It is extremely helpful in scrutinizing the
edges of your frame for distracting elements,
and studying the overall look and feel of your
image. You can also employ a grid overlay
that will assist in both leveling the image as
well as employing the rule of thirds.

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TOP
TIPS

[ 05 ]
Selective Focus
This is a technique that utilizes shallow
depth of field to draw the viewer to certain
parts of the frame. It is extremely effective in
directing the viewer to the anchor or subject
of your image. By strategically placing out
of focus elements near or next to a sharp
subject, the viewer will naturally continue to
look at the part of the frame that is sharpest.
This is a fantastic way of controlling exactly
where you want the viewer to stay in the
frame.

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TOP
TIPS

[ 06 ]
Frame your subject
This could be another “version” of tip #5.
Consider framing your subject with out of
focus elements. This has a way of making
the viewer feel as though they are a part
of the moment, peering through the frame
you create at the time of capture. This can
also be a great way of excluding ugly or
uninteresting elements from intruding on the
true star of your image. Take special care not
to over-crowd the subject—breathing room is
a good thing!

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TOP
TIPS

[ 07 ]
Shoot both landscape
(horizontal) and portrait
(vertical) orientations
I do this to cover my editorial bases, but
many times the secondary composition
works every bit as well as that which we
initially see.

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TOP
TIPS

[ 08 ]
Look for repetition
and patterns
Look for repetition and patterns. This is a
technique I employ especially often when
shooting long lens or frame-filling images.
Repetition moves a viewer through the image,
furthering their visual journey.

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TOP
TIPS

[ 09 ]
When shooting active
lifestyle or action imagery,
make sure to dress your
subject in bright colors
We want the person to pop and draw
immediate attention to themselves. Bright
colors will aid in darawing viewers directly to
the human element in your image.

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TOP
TIPS

[ 10 ]
Bracket compositions
Much like we bracket exposures at time of capture, I will often times “bracket” compositions,
moving the camera (or subject) just slightly left, right, up or down. Sometimes I like just a
subtle variation on the initial composition I saw upon first arriving at my shooting location. I
learned this from wishing I had just a little bit more space “here”, or had moved the subject
just a tad more “there”. After enough times wishing for something different during the edit, I
finally realized I could give myself those options by simply bracketing composition at the time
of capture.

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TOP
TIPS

[ 11 ]
Fill the frame
Don’t be afraid to get tight! This is especially
true with long lens action shots or intimate
landscapes. Zoom lenses are especially
helpful in experimenting with this technique.

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TOP
TIPS

[ 12 ]
Compose for editorial usage
If you are hoping to see your images
published in magazines or otherwise, take
special care to compose accordingly. Covers
don’t happen by accident. Editors need the
proper space with which to work. Much of
the time images go unpublished not because
they aren’t worthy, but because they don’t
answer the spacing needs of the editor.
Generally speaking, covers require open, even
background at the top of the frame (think
skies, or other generally monotone areas
where text would pop) as well as the subject
in the bottom left or right hand intersect.
Also consider shooting horizontal spreads
with lots of negative space for table of
contents and/or gallery spreads with caption
in the corner.

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TOP
TIPS

[ 13 ]
Seperation of elements
Whether this is through arrangement in
your frame (wide angle) or depth of field
(telephoto), look for ways to separate the
different elements within your frame. Unless
executed exceptionally well, a mess of
colors, shapes and different subject matter
can be very confusing the eye. A very easy
way to begin practicing this is to look for
clean backgrounds when shooting shallow
aperture portraits or long lens images. As you
progress, study the images on your LCD at
time of capture and take note of whether the
image elements are confusing, or if there is
adequate separation as to make the viewing
experience easy.

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TOP
TIPS

[ 14 ]
Place subject in area of
high contrast
As noted above, our eye will naturally go to
the area of highest contrast. When shooting
active lifestyle and/or action imagery, you
can really accentuate the subject by placing
him/her/it in the area of highest contrast.
Conversely, if there is an area of high contrast
in your frame that detracts from the main
subject matter, recompose or find a way to
minimize the distraction.

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TOP
TIPS

[ 15 ]
Use reconizable subject
matter or the human
element to show a sense
of scale
Many times, the viewer is unable to gather
the true size or scale of things in an
image without some point of recognizable
reference. Incorporate a person, animal or
other recognizeable object to help the viewer
understand the true scale of that which you
captured.

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TOP
TIPS

[ 16 ]
Break the rules
That’s right—once you’ve come to understand
the essential fundamentals of composition,
don’t be afraid to try something new, or
something that goes directly against what
we’ve read above. Sometimes, centered
compositions work fantastically, but the
key is making it look purposeful. Nothing
about a successfully composed image is
happenstance—make the viewer believe you
were the architect of your masterpiece, not
whimsy, chance or luck.

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[ About the author ]

Raised amongst Utah’s Wasatch Mountains, internationally acclaimed
photographer Adam Barker has a passion for photography matched
only by his zest for life. Known for bold landscape and active lifestyle
imagery, his love affair with exceptional imagery has translated into
stirring editorial work for Outdoor Photographer, Skiing, Ski, Powder,
Men’s Journal, Outside, Fitness, The Drake, Mountain Magazine, and
many more publications. He has drawn praise for his teaching style at
workshops both domestic and abroad, and has drawn similar accord
for his instructional DVDs.

Barker has produced imagery for a varied array of commercial

clients including Panasonic, Columbia Sportswear, YETI Coolers,
Traeger Grills, Volkswagen of America, Deer Valley Resort and many
more.  When not shooting, Barker can be found spending time with
his wife and three sons, or “product testing” in the mountains, on the
river, or wherever else nature happens to call.

To see more of Barker's work, visit his website at

www.adambarkerphotography.com or follow him on Instagram at
@AdamBarkerPhotography.

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