Often your subject will be found in a setting that appears unnatural or unattractive in a photograph. For example, you may be taking photos in a zoo, but you don't want the enclosure to appear in your picture. In these situations, the best approach is to zoom right in on the subject. This eliminates as much of the background as possible, and thanks to a narrow depth of field you can ensure that what little background can be seen is out of focus.
On the other hand, what if your wildlife subject is found in a beautiful landscape? Now you have an opportunity to take a completely different type of wildlife photograph; one in which the focus is not just on the subject, but how it relates to the environment you find it in.
Who hasn't admired images of majestic elephants or giraffes trekking across an African plain with snow-capped mountains in the distance? In Australia we marvel at shots of kangaroos on a tropical beach, dingos on Fraser island, emus crossing an outback plain.
Photographs like these may have wildlife as the central theme, but as a photographer it is wise to think of them as landscape photographs. By approaching the lighting and composition as you would a landscape, you can use your skills to bring both the subject and its environment into focus.
In terms of lighting, the usual landscape rules apply. Early morning and late afternoon is usually the best time to take your photos, when the light is soft and the contrast is low. The warmth and softness of the light does more than just enhance the landscape; it also adds character to the wildlife, and can eliminate unwanted shadows from the face of the subject. With just the right angle, you may catch that sparkle in the eye that really brings your photo alive.
Just like landscape photography, there are exceptions to this rule. If your subject is found in the rainforest, or other places where there is patchy light and shade, it can be preferable to take your photos on cloudy days. In these conditions the contrast is reduced, allowing a nice even light throughout your photo.
So in terms of lighting, this type of wildlife photography actually calls on all of your usual landscape skills.
What about composition? Again, the methods of composition you apply to landscapes are also a good guide, but the animal subject adds a whole new dimension to the process. The way you position your animal has a big impact on the success of the image.
Remember your rule of thirds? If you don't know about it, do a quick google search, it is easy to find. If you can position your animal subject according to the rule of thirds, it will add balance to the composition. In fact, I can go even further...if you can position the eyes of the subject near the intersecting lines (according to the rule of thirds), you can add even further impact. Viewers of the photo are drawn to these points in a composition, so this position will create instant eye contact between the subject and the viewer. And with eye contact comes a personal connection that will help viewers really feel something from your picture.
Of course the rule of thirds is not the only approach. In fact, sometimes you can take a better picture by deliberately ignoring the rule and creating something a little more 'off balance'. But the rule is always a good place to start if you are struggling to find a composition that really works.
Another useful guide is to have your subject facing into the picture, not out of it. The eyes have a very powerful effect in a photo; we tend to look the way they are pointing.
This means if your wildlife subject is facing to the right, you should position it to the left, and vice-versa. If you can set the shot up so that the animal is facing toward something you want to feature in the distance (remember, this is a wildlife photo, but it is also a landscape photo) you can achieve something quite special. Not only will the position of the background object become more prominent, you can actually suggest a relationship between the subject and the surroundings. Your photo will become like a story of the animal and the world it lives in.
All rules are made to be broken, so as a famous pirate once said, "They're more like guidelines, really." Nature is so diverse, there is never a single easy way to approach a subject. However, if you can occasionally capture an image that connects the viewer, the animal and the landscape, you will truly have a photograph to remember. In the meantime, you are going to have plenty of fun trying!
I can't help you much with an uncooperative subject. Rest assured that with practice and experience, you will find that you become much quicker at composing and exposing a photo so that you get the shot before the critical moment passes. There are a couple of simple tips that can make things a little easier.
First, practice your photography in places where the animals are used to having people around and are less likely to become jittery at your presence. This does not have to be a zoo or other enclosure. Most national parks have campgrounds and picnic grounds where the wildlife is used to being around people, and may even come closer looking for food. You have a much better chance of a shot if you can get close without frightening the subject away.
Second, try to organise your exposure before you set up the shot. If the light is fairly constant, it is possible to point your camera in the right general direction and work out the best aperture and shutter speed settings for the photo. Then when you approach the subject, you can concentrate on composition without having to waste time working out your exposure.
These simple tips may help to take some of the frustration out of wildlife photography, but what about the composition itself? Many people simply don't know where to start. If that sounds like you, don't be discouraged. Like I said at the beginning, composition can be tough; even for a photographer with years of experience.
Let's start by breaking it down into two categories; close-up and non close-up photos.
In a close-up photo, the subject fills most of the frame. A lot of people get in a tangle over whether to position their subject in the middle or to one side of the composition. In my experience it is quite acceptable to have the subject right in the centre, as long as you allow some head-room so it doesn't appear too cramped within the confines of the composition. A central position is especially suitable when the subject is looking straight at the camera, but often works just as well if the subject is facing a little to one side or the other.
The more space you have around the subject, the more you should consider putting it to one side or the other. In this you should be guided by the way the animal is facing. If it is looking to one side, position it a little towards the other side so it is looking toward the centre of the frame. So, if your wildlife subject is looking right, position it a little to the left. Not too far; you don't want half of your photo to feature nothing but empty space.
In a non close-up photo you have a lot more space around the subject, so it becomes more critical to decide how to use it. In situations where the animal is featured with a lot of background, it may be better to think of the picture as a landscape photograph, and compose it accordingly. Some of the tried-and-true techniques like the Rule Of Thirds (google it if you are not familiar with it) are a good way to help you position your subject within the overall frame of the picture.
For a landscape style photo, it may look quite unbalanced to position your subject in the centre of the picture. It is usually better to position it to one side or the other, and it is now even more important to have the animal facing toward the centre of the picture. The eyes of an animal subject can have a strong effect on the direction in a composition; we tend to look where they are looking. So if the animal is on the left and looking left, the visual flow of the composition will lead out of the picture, instead of into it. If the subject is on the left and looking right, the viewer will follow the gaze of the subject into the centre of the picture.
Naturally it helps if there is something of interest in the centre or to the right to catch the viewer's attention and add interest to the composition. If the subject is looking into the composition, it makes sense that it is looking at something, not just at empty space. Almost anything will do...a tree, a beach, an impressive sky; as long as it adds impact to the composition. If there is nothing of interest to work with, you might consider zooming in closer, so there is less emptiness in the composition.
These simple guidelines are intended to do nothing more than give you some ideas. Nature is not governed by the rules of composition, and a wildlife photographer must be flexible to get the best result out of each situation. Most importantly, trust your own sense of visual balance when arranging a composition. On the other hand, if you are struggling to get started, think back to these guidelines; if you can position your subject well, the rest of the composition will fall into place.
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Andrew Goodall has sinced written about articles on various topics from Digital Photography, Photography and Digital Photography. Check out Andrew Goodall's popular wildlife and landscape photography at . Andrew Goodall's top article generates over 40500 views. to your Favourites.