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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.


Six tips on how to compose better photos.
BOYS' LIFE Dec 1993 (v.83#12) pg. 68

Tips from a pro. How to shoot advertising or cover photographs that still leave room for the messages that must be put in words.
CAMERA 35 Dec 1978 (v.23#11) pg. 70

Composing a picture using the "rule of thirds". Make an auxiliary viewfinder to visualize the composition of color pictures without being distracted by the color.
CAMERA 35 Apr 1979 (v.24#4) pg. 16

Creative photographs are not a function of camera or gadgets.
CAMERA 35 May 1980 (v.25#5) pg. 20

The architecture of a photograph. How to position your tripod and camera to compose a scene exactly as you want it to appear.

Conspiring to create depth deception. Techniques to enhance the feeling of depth in b&w photographs.

Capturing the elusive angle. Create unusual photos by changing vantage point, focus, etc.

Make the photograph tell the complete story. Tips on taking photos which have a strong center of interest with a well-established figure-ground relationship.
INDUSTRIAL PHOTOGRAPHY Aug 1979 (v.28#8) pg. 38

Multiple exposures, lighting with colored slides, and other techinques used to highlight colored photographs of industrial tools. The trick is in careful advanced planning to achieve the desired reslut.
INDUSTRIAL PHOTOGRAPHY Feb 1980 (v.29#2) pg. 31

Tips on image creation in industrial photography. Selecting the best or most proper theme for company photos.
INDUSTRIAL PHOTOGRAPHY Jun 1981 (v.30#6) pg. 33

A discussion of static and dynamic composition.
MODERN PHOTOGRAPHY Jan 1972 (v.36#1) pg. 60

Using shadows to enhance pictures. Three ways you can control shadow.
MODERN PHOTOGRAPHY May 1972 (v.36#5) pg. 60, 69

How to create a picture when there isn't one. Tips from the pros on how to transform a drab scene into a more dramatic one.
MODERN PHOTOGRAPHY Jan 1981 (v.45#1) pg. 68

How to use line and perspective for better compositions. Linear forms help you turn complicated scenes into attractive photos.
MODERN PHOTOGRAPHY Apr 1982 (v.46#4) pg. 84

Moment. A short course on improving your image making by waiting for the correct moment to take the picture.
MODERN PHOTOGRAPHY Jul 1982 (v.46#7) pg. 96

Say it with silhouettes. How to sharpen your technique and add some spectacular style by incorporating silhouettes in your pictures.
MODERN PHOTOGRAPHY Oct 1982 (v.46#10) pg. 74

In search of the extended moment. Reasons for using the tripod more frequently when taking "normal" photographs.
MODERN PHOTOGRAPHY Aug 1988 (v.52#8) pg. 42

Bokeh (from the Japanese, meaning out-of-focus blur). A look at the compositional and lens-quality-assessment role of those portions of a photographic image that are not in focus.
PHOTO TECHNIQUES May-Jun 1997 (v.18#3) pg. 28, 34, 36

It's hip to be square. The aesthetics (composition) of the square film format.
PHOTO TECHNIQUES Sep-Oct 1999 (v.20#5) pg. 45

Basic 35mm single-lens reflex photography. Part 5. Composition.
PHOTOGRAPHIC Oct 1979 (v.8#6) pg. 41

Improve your photo-composition. Proper placement can add punch to your work. Various techniques illustrated and diagramed.
PHOTOGRAPHIC Jul 1981 (v.10#3) pg. 63

Less may be more. Part 1. Move in closer to give more impact to your photos.
PHOTOGRAPHIC Apr 1982 (v.10#12) pg. 12

How to take photographs of the sun, how to simulate photographs of the sun and how to make photographs which include the sun in the background.
PHOTOGRAPHIC May 1982 (v.11#1) pg. 76

Composition for the snapshooter. Easy ways to improve your photos, even if you aren't an artist.
PHOTOGRAPHIC Dec 1982 (v.11#8) pg. 69

Scenic photographs. Seven simple steps to improve your picture composition.
PHOTOGRAPHIC Jul 1983 (v.12#3) pg. 18

Tips on the effective use of "scale" in your photographs.
PHOTOGRAPHIC Feb 1984 (v.12#10) pg. 10

The positive use of negative space. Five steps toward spatial mastery.
PHOTOGRAPHIC Mar 1985 (v.13#11) pg. 46.

Bull's-eyes don't win prizes. Using the "rule of thirds" to move the center of interest in a photograph away from the center of the picture.
PHOTOGRAPHIC Mar 1985 (v.13#11) pg. 32

SPECIAL SECTION on 35mm single-lens reflex photography. Composition and action.
PHOTOGRAPHIC Nov 1985 (v.14#7) pg. A (44+)

Precision silhouettes. The definitive how-to, when, where and why on photographing objects in silhouette.
PHOTOGRAPHIC Sep 1986 (v.15#5) pg. 60

Playful plagiarism initates art. Photographic duplication of Grant Wood's "American Gothic" painting using live models is an exercise in controlling every detail.
PHOTOGRAPHIC Feb 1987 (v.15#10) pg. 44

35mm SLR super course. Part 9. Composition and action.
PHOTOGRAPHIC Jun 1987 (v.16#2) pg. A

Photometrics. Playing with framing and composition. Abandon the concept of straight horizon lines and vertical buildings. Some tips.
PHOTOGRAPHIC Jun 1987 (v.16#2) pg. 26

Those dreaded utility lines. Tips on incorporating overhead lines into your photographs.
PHOTOGRAPHIC Aug 1987 (v.16#4) pg. 34

Creating the illusion of three dimensions in two-dimensional photographs. Some tips.
PHOTOGRAPHIC Nov 1987 (v.16#7) pg. 56

Re:Vision. The elements of good photographic composition in the absence of rules.
PHOTOGRAPHIC Jan 1988 (v.16#9) pg. 34

Comp book. One color on white. Produce a photo that uses the concept of applying any single color against a white background.
PHOTOGRAPHIC Jan 1988 (v.16#9) pg. 42

Re:Vision. The principle of dominance and the center of interest in photographic composition.
PHOTOGRAPHIC Apr 1988 (v.16#12) pg. 30

Comp book. Illustration set shot. Build a set comprising at least two walls, place two characters in the set, and include authentic-looking lighting.
PHOTOGRAPHIC May 1988 (v.17#1) pg. 62

Re: Vision. Comparing and balancing visual elements in a picture space.
PHOTOGRAPHIC Jul 1988 (v.17#3) pg. 48

School of photography. Lesson 9. Composition.
PHOTOGRAPHIC Sep 1988 (v.17#5) pg. 42+

Comp book. High-key theme assignment illustrates the functional aspect of eggs in the making of tempera paint.
PHOTOGRAPHIC Sep 1988 (v.17#5) pg. 66

Re: Vision. The rhythms of visual design in the making of good composition.
PHOTOGRAPHIC Oct 1988 (v.17#6) pg. 32

Positive and negative space. Understanding and mastering shapes as spatial values in the two-dimensional space of a photograph.
PHOTOGRAPHIC Nov 1988 (v.17#7) pg. 44

Distraction subtraction. How to keep a distracting background from ruining a photograph.
PHOTOGRAPHIC Dec 1988 (v.17#8) pg. 54

Comp book. Creating mood with light.
PHOTOGRAPHIC Dec 1988 (v.17#8) pg. 84

Re:Vision. Negative and positive aspects of choosing the right depth of field. How to reduce the effects of distracting picture elements, and selecting the depth of field which emphasizes your main subject.
PHOTOGRAPHIC Jan 1989 (v.17#9) pg. 30

Comp book. Building a set with two walls. Learn how to create an impossible cut-away perspective with a false wall.
PHOTOGRAPHIC Jan 1989 (v.17#9) pg. 54

Comp book. Double-exposing two media. Creating an image simulating an office environment, including capturing a computer screen image.
PHOTOGRAPHIC Mar 1989 (v.17#11) pg. 76

Comp book. Creating a nostalgic theme assembly.
PHOTOGRAPHIC Apr 1989 (v.17#12) pg. 84

Stopping Power. A look at transforming common objects into images with impact.
PHOTOGRAPHIC Jun 1989 (v.18#2) pg. 34

Comp book. Creating a photograph for the indirect sale of a product or service. Illustrated is a hair salon display photograph.
PHOTOGRAPHIC Jun 1989 (v.18#2) pg. 80

Reflections. Capture a mirror reflection of reality from glass and water. Includes the use of polarizing filters.
PHOTOGRAPHIC Jul 1989 (v.18#3) pg. 16

Re:Vision. Self-assignment to improve your photographic vision. How to photograph ordinary subject matter (toasters, stairs, etc.) and create unique, interesting images.
PHOTOGRAPHIC Jul 1989 (v.18#3) pg. 22

Composition. The basic principles of photographic composition. Tips on becoming aware of the entire image area and options for composing a picture.
PHOTOGRAPHIC Oct 1989 (v.18#6) pg. 44+

Comp book. Black on black. Creating an image made up entirely of black with one contrasting color as the focal point.
PHOTOGRAPHIC Oct 1989 (v.18#6) pg. 84

Comp book. Creating a striking image in which the background attains as much visual importance as the subject.
PHOTOGRAPHIC Nov 1989 (v.18#7) pg. 98

Comp book. A balancing act in three exposures. Create a photograph incorporating a video terminal with information on the screen and a sheet of paper falling through the air.
PHOTOGRAPHIC Dec 1989 (v.18#8) pg. 94

Patterns. The power of visual repetition in photographs. Tips on seeing and photographing patterns in both nature and made-made objects.
PHOTOGRAPHIC Feb 1990 (v.18#10) pg. 56

Photo impressions. Using film and light like canvas and oils. Tips on taking color photographs which convey the feeling of a French Impressionist painting by Monet or Renoir.
PHOTOGRAPHIC Mar 1990 (v.18#11) pg. 20

Special section: Photographic composition. Practical tips, basic principles, and viewfinder awareness.
PHOTOGRAPHIC Oct 1990 (v.19#6) pg. 89

Re:vision. Composing and exposing for white. Photographic tips on dealing with white objects and expanses of white (such as a winter landscape).
PHOTOGRAPHIC Oct 1990 (v.19#6) pg. 110

Nature by design. Mastering the techniques of seeing designs and patterns in nature and emphasizing them in your photographs.
PHOTOGRAPHIC Feb 1991 (v.19#10) pg. 28

Seeing. A special section on how to improve your ability to see good photos. Looks at color, composition, perspective, etc.
PHOTOGRAPHIC Sep 1992 (v.21#5) pg. 55

The art of composition. A look at the four distinct points that the viewer's eye gravitate toward and the implications for the portrait photographer.
PHOTOGRAPHIC Mar 1994 (v.22#11) pg. 10

Eight ways for better backgrounds. Transform your photos by changing the relationship of subject and background.
PHOTOGRAPHIC Aug 1994 (v.23#4) pg. 20

Photo themes. Ideas on compiling a photographic collection of things we see every day. Looks at windows, stacks, mailboxes, etc.
PHOTOGRAPHIC Nov 1994 (v.23#7) pg. 36

Composition and your eye. Four tips for better photographic composition by showing how you can better emphasize the main subject.
PHOTOGRAPHIC 1995 Buyer's Guide pg. 36

Five tips on improving your photographs by simplifying the image and capturing the essential elements of the picture.
PHOTOGRAPHIC Feb 1996 (v.24#10) pg. 26

Vertical composition. Switching camera orientation to improve photos.
PHOTOGRAPHIC Mar 1996 (v.24#11) pg. 57

Five tips on adding a new spark to your photographs by choosing a unique angle to shoot from.
PHOTOGRAPHIC Jul 1996 (v.25#3) pg. 52

Tips on composing and photographing objects in silhouette.
PHOTOGRAPHIC May 1997 (v.26#1) pg. 31

The art of seeing. Basics of photographic composition illustrated with many examples.
PHOTOGRAPHIC Jul 1997 (v.26#3) pg. 64

Composition notebook. Follow these compositional rules, and you'll create dynamic photos, time after time.
PHOTOGRAPHIC Oct 1997 (v.26#6) pg. 44

Doing a background check. Ten tips for creating uncluttered compositions.
PHOTOGRAPHIC May 1998 (v.27#1) pg. 50

Photography and the computer. Taking stock. Using digital compositing to enhance your photos by incorporating "stock" images.
PHOTOGRAPHIC Aug 1998 (v.27#4) pg. 18

The Hattersley Class. Using and capturing reflections in your photos.
POPULAR PHOTOGRAPHY May 1966 (v.58#5) pg. 43

The Hattersley Class. Photographic transformations using the silhouette.
POPULAR PHOTOGRAPHY Jul 1966 (v.59#1) pg. 53

The Hattersley Class. An exercise in creative photography. Make as many interesting pictures as you can of one cup and saucer by changing the background and location of the cup and saucer.
POPULAR PHOTOGRAPHY Sep 1966 (v.59#3) pg. 51

The Hattersley Class. Suggestions for non-conformity in composition of your photos.
POPULAR PHOTOGRAPHY Dec 1966 (v.59#6) pg. 67

Photos illustrate the use of eyes as a central theme in photographs.
POPULAR PHOTOGRAPHY Mar 1970 (v.66#3) pg. 55

The Hattersley Class: photographing hands.
POPULAR PHOTOGRAPHY May 1970 (v.66#5) pg. 90

The Hattersley Class: How to make a funny picture. One of the toughest challenges in photography.
POPULAR PHOTOGRAPHY Jan 1971 (v.68#1) pg. 110

The Hattersley Class: How to use a wide angle lens. Important compositional elements to consider.
POPULAR PHOTOGRAPHY Nov 1971 (v.69#5) pg. 125

The Hattersley Class: Make backgrounds work. Tips on making backgrounds contribute to the photo, not detract.
POPULAR PHOTOGRAPHY Feb 1972 (v.70#2) pg. 102

Practical thoughts on ways and means to improve the composition of your pictures for greater impact.
POPULAR PHOTOGRAPHY Dec 1976 (v.79#6) pg. 72

Tips on photographing non-people pictures which can be very communicative and stimulating to the photographer and others.
POPULAR PHOTOGRAPHY Feb 1977 (v.80#2) pg. 48

How to get ideas when you want to make unusual setup photos and you don't know how to get started. Illustrates the use of a shoe as an element in the setup.
POPULAR PHOTOGRAPHY Feb 1979 (v.84#2) pg. 118

How to use light, shadows and other visual clues to add three-dimensionality to your photographs.
POPULAR PHOTOGRAPHY Jan 1981 (v.88#1) pg. 65

Tips on picture composition.
POPULAR PHOTOGRAPHY Aug 1981 (v.88#8) pg. 6

Learning to see like a camera. An excerpt from the book "Total Photography" by Andreas Feininger.
POPULAR PHOTOGRAPHY Mar 1983 (v.90#3) pg. 52

Learn to make stronger, more meaningful pictures by means of the "visual games" described here.
POPULAR PHOTOGRAPHY May 1984 (v.91#5) pg. 28

Use diagonal composition to add visual impact to your photographs.
POPULAR PHOTOGRAPHY Feb 1985 (v.92#2) pg. 71

Wide-angle lens tips. Take care to improve the foreground image.
POPULAR PHOTOGRAPHY Mar 1985 (v.92#3) pg. 52

Learning to see line and pattern. How to emphasize a single element in a photograph.
POPULAR PHOTOGRAPHY Aug 1985 (v.92#8) pg. 59

How to improve your photo composition by getting closer to the subject.
POPULAR PHOTOGRAPHY Oct 1985 (v.92#10) pg. 22

Improve your photo composition by using vertical framing instead of horizonal framing.
POPULAR PHOTOGRAPHY Nov 1985 (v.92#11) pg. 44

Improve your pictures. Don't blindly follow the rules of composition and lighting.
POPULAR PHOTOGRAPHY Apr 1986 (v.93#4) pg. 16

Use postcards as a guide in composing photos of city skylines.
POPULAR PHOTOGRAPHY Feb 1988 (v.95#2) pg. 24

Taking spontaneous pictures provides the keys to a fresh way of seeing yourself and the world.
POPULAR PHOTOGRAPHY Sep 1988 (v.95#9) pg. 48

Chasing shadows. Use the techniques of master photographers to blend light and dark for visual impact in your pictures.
POPULAR PHOTOGRAPHY Sep 1988 (v.95#9) pg. 62

Traveler's camera. Using bold, vivid color to brighten up your shots and give them graphic impact.
POPULAR PHOTOGRAPHY Jul 1990 (v.97#7) pg. 32

Composition tips when using a 28mm lens on a point-and-shoot camera.
POPULAR PHOTOGRAPHY Sep 1990 (v.97#9) pg. 28

How to manipulate exposure and focus to make the background an important graphic element in a photograph, especially when using automatic cameras.
POPULAR PHOTOGRAPHY Feb 1991 (v.98#2) pg. 12

A discussion of what constitutes good composition in photography. Looks at the five basic elements of visual communications, six principles of organizing basic compositional elements, and five favorite rules of pictorialist composition.
POPULAR PHOTOGRAPHY Jul 1992 (v.99#7) pg. 34

How to take action photos which incorporate blurred images and/or other visual signs which impart the feeling of motion.
POPULAR PHOTOGRAPHY Jan 1993 (v.100#1) pg. 30

Advice on good composition in nature photography.
POPULAR PHOTOGRAPHY Apr 1995 (v.59#4) pg. 30

Six tips for improving your compositions.
POPULAR PHOTOGRAPHY Mar 1999 (v.63#3) pg. 82

Find unconventional views. Some tips on improving the composition of your photos.
POPULAR PHOTOGRAPHY Apr 1999 (v.63#4) pg. 70

How to enhance the appearance of depth in a photo.
POPULAR PHOTOGRAPHY Oct 1999 (v.63#10) pg. 77

How to improve the composition of nature photographs by putting sharp focus only where you want it.
POPULAR PHOTOGRAPHY Sep 2000 (v.64#9) pg. 36

Photography as art. Composing with the right side of the brain. Some advice on expanding your ability to create unique photographs.
RANGEFINDER Dec 1989 (v.38#12) pg. 38

Learning to utilize the near-far relationship where composition elements of interest are both near and far within the same frame.
SHUTTERBUG #276 Sep 1993 (v.22#11) pg. 64

Viewfinding. Advice on finding the viewpoint, field shape, background, ... etc. that enables you to make a photographic expression.
SHUTTERBUG #280 Jan 1994 (v.23#3) pg. 152

Capturing the many sides of Prometheus. Tips on photographing a single object (such as a sculpture) from many different points of view.
SHUTTERBUG #290 Nov 1994 (v.24#1) pg. 42

Rules of photo composition are illustrated in both photos and sketches.
SHUTTERBUG #312 Sep 1996 (v.25#11) pg. 172

False perspective. Tips on composing landscape images to impart a feeling of depth.
SHUTTERBUG #318 Mar 1997 (v.26#5) pg. 68

Perspective and composition. Part 1. Understanding visualization and focal distance.
SHUTTERBUG #332 May 1998 (v.27#7) pg. 98

Perspective and composition. Part 2. The final print. The importance of light and film.
SHUTTERBUG #333 Jun 1998 (v.27#8) pg. 244

Professional tips for effective composition.
SHUTTERBUG #368 May 2001 (v.30#7) pg. 52

Compose yourself. An introduction to the art (and rules) of composition which are vital to visual artists (painters, photographers, and videomakers).
VIDEOMAKER Feb 1995 (v.9#8) pg. 61

Visual composition. How to arrange video scenes to achieve visual harmony.
VIDEOMAKER Aug 1996 (v.11#2) pg. 14