Composition in a Nutshell

It is useful to remember that good composition is not camera specific, and also that there are occasional "artistic" exceptions to every "rule" if you know what you are trying to do.

1. Move in as close as possible while still including the essential elements. This is especially true with non-SLR cameras. The optical viewfinder shows a slightly smaller area than the actual image frame. The good thing is that this automatically leaves a little room around the intended composition for print adjustments (cropping and straightening).
2. Do not do portraits from less than about 5 feet away. Use your zoom for tight head-and-shoulders shots. Close shots at the wide angle settings will appear distorted in ways that most subjects don't like at all.
3. Vertical and horizontal lines should be as near vertical and horizontal as possible unless you are seeking the old "Dutch Tilt" effect. With the optical finder, this is trickier than you might expect. Experience and awareness of the problem will make you better at it.
4. Dead center is usually dead. That is, it is not very dynamic (lively). Avoid it when possible unless depicting symmetry is your main visual statement. In any event, heads and faces should be higher than center.
5. Dynamics should lead into, not out of, the frame. If the subject is looking or leaning away from your composition, your viewers will feel the urge to follow them.
6. Simplify backgrounds as much as possible. Backgrounds are often very important, but they should enhance the intended subject, not upstage it.

Avoiding Camera Movement

An old 35mm rule of thumb is that you need a shutter speed of at least 1 over the focal length to hand hold the camera steadily. Thus, if you are zoomed to a 50mm equivalent on a 35mm camera, you'll need at least 1/50th of a second speed. Zooming to 135mm, at least 1/135th should be somewhat safe. Most automatic systems seem to use this threshold as a guide and naturally try for even faster speeds wherever possible.

However, if you forget or ignore the most basic shutter techniques, you can still pay for it with image destroying camera movement. Do not blame the camera.

Prime Directive

Do not jab the shutter release button. That advice applies to all cameras. Instead, with newer digitals, lightly half-depress it and see what the camera tells you. With most, a solid green light in the viewfinder means it has focus and exposure lock so go ahead and squeeze (not jab) it the rest of the way to make the exposure. Read the manual for what to do about other indicated conditions and additional hints on the LCD monitor.

Even if you have a silk touch on the shutter button and full auto mode, camera movement can still rear its ugly head when you turn off the flash. The biggest problem is many otherwise great point and shoot units, give you no clue on the scene as to what speed they are using.  Furthermore, an LCD review can only reveal movement at the coarsest level. So when the warning blinks, you can only guess if you have a chance by being very careful or you really do need a tripod or other support. Experience, realistic expectations and extra backup shots can help in this area.

More Tips

There are some additional general techniques that you should always practice for hand-held shots whether the green light is blinking or not:

• Make sure your whole body is well balanced and not strained.
• Keep your elbows in.  Don't clinch your arms.  Just rest your upper arms firmly on your ribs.
• Use both hands making sure not to block the lens with your left hand.
• Like any sharpshooter, gently squeeze the shutter release, don't jab at it.

When you know for sure you have a slow shutter situation but want to try anyway, here's some other suggestions:

• Try to zoom out to the widest angle if you can. When fully zoomed, the rule of thumb calls for faster "safe" shutter speeds, which may not be possible in lower light.
• Use the optical finder keeping your camera/hand on your cheek or forehead for additional support.
• Further steady your posture and arms with any solid object on which you can lean or rest.
• Sit down and put your arms on your knees.
• Lie down on your stomach and form a human tripod with your neck and elbows.
• Set the camera on something solid even if you have to tilt it with your hands.
• Put your left hand (perhaps making a fist) under the camera and plant the back left edge against a tree, pole, cabinet, wall, vehicle or building.  You should definitely use the LCD here to make sure the view is not blocked by your support object.

Perhaps the most useful technique for automatic cameras involves doing a Focus/AE lock (half depress) on a slightly lighter area of the scene (or including more sky) that does indeed give you the green light and then finish framing as you wish to complete the stroke. Spot metering can also be handy here, if your camera supports it. It might be a little underexposed (or might not) and you'll have the shutter speed you need.