Photographic Composition

1. Point Of Interest
Identify a primary point of interest before taking the picture. When you've determined which area is the most important to you, you can compose to emphasize it. composition.

2. Simplicity

Be sure that only the things you want the viewer to see appear in the picture. If there are numerous objects cluttering up the background, your message will be lost. If you can't find an angle or framing to isolate your subject, consider using depth of field control to keep the background out of focus

3. Contrast

A light subject will have more impact if placed against a dark background and vice versa. Contrasting colors may be used for emphasis, but can become distracting if not considered carefully

4. Balance

Generally, asymmetric or informal balance is considered more pleasing in a photograph than symmetric (formal) balance. In other words, placing the main subject off-center and balancing the "weight" with other objects (smaller or lower impact) will be more effective than placing the subject in the center

5. Framing

A "frame" in a photograph is something in the foreground that leads you into the picture or gives you a sense of where the viewer is. For example, a branch and some leaves framing a shot of rolling hills and a valley, or the edge of an imposing rock face leading into a shot of a canyon. Framing can usually improve a picture. The "frame" doesn't need to be sharply focused. In fact if it is too sharply detailed, it could be a distraction

6. Viewpoint 

You can often change a picture dramatically by moving the camera up or down or, stepping to one side. One of the best ways to come up with a prize-winning photograph is to find an "unusual" point of view

7. Diagonals

Linear elements such as roads, waterways, and fences placed diagonally are generally perceived as more dynamic than horizontals

8. Rule of Thirds

Last, but not least, is something called the "rule of thirds." This is a principle taught in graphic design and photography and is based on the theory that the eye goes naturally to a point about two-thirds up the page. Also, by visually dividing the image into thirds (either vertically or horizontally) you achieve the informal or asymmetric balance mentioned above