Horizontal Versus Vertical Pictures
Compare pictures you've taken that are oriented horizontally with those you've composed vertically to see which tells the story better. Does the com-position you've chosen enhance the picture? Did you use the rule of thirds and power points? Use your cropping Ls to see if a vertical composition could have improved a horizontal shot and vice versa.
Another trick to deciding on whether to compose your photo horizontally or vertically is to pretend the “lines” of your photo are moving. Is the motion up and down or sideways? People and trees go up and down, so most often a vertical composition will work best. Landscapes go side-ways, so a horizontal format is appropriate.
Tilted images that cut diagonally across the frame or horizon lines are the result of tilting the camera while framing the image. It can easily happen if you're distracted when shooting, even to professional photographers. It can also happen if you're tripod isn't sitting exactly level.
If you're not deliberately after a tilted effect, always check to make sure the center of your image is square and level. Tilted images can be easily fixed in digital photography with the rotate image and cropping tools.
Framing errors that result in this illusion are a common mistake. Normal and wide-angle lenses used for shots more than six feet from the subject are very likely to have sharp enough focus behind the subject that images in the background, such as telephone poles, look like they're sprouting out of the subject's head. Another unfortunate illusion can occur when you accidentally frame a subject with the horizon line poking into one ear and coming out the other.
Becoming a good photographer takes practice. While it's comfortable to take pictures that you know how to do well, work on your technique by seeking out situations that challenge your abilities. No one but you has to see the results of your practice sessions.
The easiest way to avoid this error is to make sure the area around the subject's head has minimal details. Put the person against the simplest part of the scene, and make sure the horizon is well above or below ear level. Watch your leading lines, too; they shouldn't poke into the subject's face unless they're so out of focus they're obviously not part of the person. Another way to avoid these distractions is to move the camera up, down, or sideways to remove objects that seem to be growing out of the subject. Shooting with a wide aperture can also work, but only if it's wide enough that the background is completely blurred.
