A Checklist For Making Better Photographs
The amazing thing is that all of this happens in seconds.
I was asked if there was some sort of list of things I look at or think about before I click the shutter.
There is. I used to have a checklist that included “was the film loaded correctly” and “are the dark slides clean” and such.
We don’t do that anymore, but there is still a long list of things that I think about as I am making a photograph. And like anything we all do again and again we become much faster at processing these questions. Some of these happen so fast that I don’t really ‘think’ about them. Others are non-hierarchical — which means there is no order to how they are thought through. And some are dependent on choices made before or after.
But there they are in a short list… one that is not meant to be hierarchical. I am sure I could add many more, but this list is pretty basic to what I do.
THE BASIC PHOTOGRAPH
Correct horizon. It can either be straight or obviously tilted. But just a tiny tilt just looks wrong.
The best placement of horizon.
Tangents. Oh, tangents!
Are there empty places in the shot (not to get rid of them, necessarily, but to approve them and NOT be surprised by them later)
Crop room (super important in commercial)
Background. (What is it doing for the image? Is it too busy, too dark, too light, non-descript, too in focus, too out of focus?)
Foreground. (What is it doing for the image? Is it too busy, too dark, too light, non-descript, too in focus, too out of focus?)
Do I need that much background? And what will that much background do to the subject? What will it bring to the photograph as a whole?
Do I need that much foreground? And what will that much foreground do to the subject? What will it bring to the photograph as a whole?
Do I need that much surface for my tabletop or still life?
Should my background serve any purpose and if it is, is that purpose being met?
Is there anything in the background that should not be there or will be a problem?
Same for the foreground.
Is the lighting on the background interesting, or is it static and one-dimensional (not better or worse, just need to know so it can be appropriate for what I am trying to do)
Are there hot spots (bright areas) that can be a problem, or used as a compositional element?
Are there dark areas that may be a problem or a blessing in relation to my subject?
A DEEP DIVE INTO THE LIGHTING
Are there specular reflections?
Are speculars placed where I want them?
How are the speculars transitioning to true values? And are those transitions giving me the texture and feel of the light that I want?
Does the light interfere with any part of the image and make it important or lost? (There is no right answer, but I need to know exactly what that light is going to do.)
Do I see shapes? And are they clear?
Do I see dimension? And does it “read” — in other words, will that dimension be obvious to the viewer?
Do I see the texture? Is it important or not?
Are the shadows deep or shallow? Is that important?
Do the shadows have sharp transitions or soft transitions?
Are there overlapping shadows? Is that a problem, and if so, which light is causing the overlap?
Whichever specular to true-tone transition is revealed, is that what I want for the overall look of the image?
Does the surface of the subject show itself well with the lighting I am using?
COMPOSITION
Is it static?
Does everything have its own place?
Does the space between them create a ‘hero’ on purpose or by mistake?
Is it dynamic?
Are things overlapping? Does that overlap create tension or cohesion?
Is anything not overlapping, and is there a reason for that space between?
Do I have leading lines? Does the image need them?
Do I have serpentine interest lines?
What relationship does each item have to the other?
Is anything being hidden by something that shouldn’t be?
Are all labels straight?
Are the things that line up — lined up? Perfectly?
If not, does that add interest to the image?
Things that need to be straight, need to be straight. Perfectly straight.
POV
Is the angle working from a framing standpoint?
Do tall things look tall or do they look squatty?
Will I correct the keystoning, or is it a feature?
Am I leaving enough room to correct the keystoning in LR or C1?
Does this POV lengthen or shorten the perceived distance between subjects?
DoF
Is it too shallow or too deep?
How does DoF affect the main subject?
Is focus an issue?
Is the subject in focus where it should be in focus?
How could a different focus point alter the photo?
Would a tilt-shift be a better solution for control of DoF?
How would this image look if it were Focus Stacked?
The Shot — Surprises are not fun after the fact.
Subject and compositional elements: Are they straight, clean, lit, and generally looking great? Does everything “show” that needs to show?
Are there elements that are making visuals we did not intend? Tangents can do this, as well as shadows creating areas of interest that shouldn’t be.
Check all four corners with a very discerning eye. If things fall apart in an otherwise great image, it is often in one of those damned corners.
NOTE: I did not get into color correction, lens choice, or various other things that are more of a stylistic choice. You can add any additional items you wish.
Make better photographs by making better choices through knowledge and awareness. In other words, be deliberate in what you do.
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I am a photographer, designer, and photo editor. You can find me at my self-named website or at Project 52 Pro System (enrollment begins January 6, 2023) where I teach commercial photography online. This is our tenth year of teaching, and it is the most unique online class you will find anywhere.
You can find my books on Amazon, and I have taught two classes at CREATIVELIVE.
