Many times, we place a value or worth on an image by standards that have been ingrained in us from viewing other's photographs or hearing critiques. It seems a shame to pigeonhole any image into a pre-defined idea of what someone else thinks it should be. When a photographer uses their imagination, does some planning and keeps an open mind to all the uses that a photographic opportunity might bring, they should be rewarded with acceptance just as the fine art photographer is when he selects a perfect subject with a perfect background in breathtaking light.

Many photographers are able to keep an open mind regarding their subjects and the style image they wish to capture in the field, but once they find themselves in front of the light box or monitor they drift back into the pattern of comparing the image to what others expect the image to be. There are several types of image styles and each style has its own merits. This is a very important concept to keep in mind - both in the field and when evaluating others images as well as your own. Breaking the rules and making great images can go hand in hand.

The most often thought of style is what I call the "Fine Art" image. This image will usually have a perfect background, with non-distracting elements. Pretty blue skies or out of focus greenery will be used as backdrop. This allows the photographer to isolate the subject leaving no doubt in the viewer's mind what the photographer is attempting to convey. These images will be perfectly exposed and composed, just as all images should be. Fine Art images are often the standard by which all images are judged. I certainly have to admit that the success of finding subjects in photographically perfect situations always pleases me. The lack of distracting elements in a photograph is always good. However, is having the subject isolated essential to having a great photograph? My answer is that it is essential "only" for this artistic style image.

Ask any photographer what the essential ingredient to a great photograph is and many would reply that it is a subject at its best. Ask any biologist, birder or naturalist and they would most probably say habitat and behavior. These are different perspectives to say the least, however, the two can go hand in hand. Animals cannot live and thrive without habitat, yet so many times photographers dwell on eliminating exactly that from their images. Could it be possible that with all these uncluttered artistic images we are sending the wrong message? Are we saying habitat is not important? Is it only the subject that has worth and value?

But where would our subject be without a place to live! Nature photographers represent a world that many seldom have an opportunity to experience. This place of mystery to some will only be seen as a clean, sterile place if we don't represent the real environment in some of our photos. If we who love the outdoors fail to show the significance of habitat and its loss in our image how can we expect others who never venture from their cities or towns to know it's value or to care!

Creating exciting habitat images will take more than just finding your subject in its habitat and pressing the shutter button. Photographers have to work just as hard to make a successful image that includes habitat as the fine art photographer does to eliminate it. Careful composition is required to make the subject standout in the photo. Using magical natural light can be one way to hold the viewer's attention and help them focus on the subject. Habitat images with busy backgrounds that detract from the subject won't hold that same attention. Vegetation such as vines, sticks, streams or leaves that intersect with the subject are things to be aware of and eliminated prior to taking the image. Look for vegetation that will take on the appearance of lines in your image. These lines will lead the viewer's eye out of frame if they touch the borders. Recompose to eliminate unwanted elements by changing your angle of view. Most times by either raising or lowering the tripod or moving it to one side or the other these distractions can be eliminated. If your camera has a depth of field preview button use it to check for bright areas or other distracting elements. It is a handy feature and can save you a missed opportunity.

Critiquing or judging an image's value sometimes requires stepping back and looking at not what "you" value in an image but what the photographer valued when he took the photo. Of course, there are some things that apply to all images such as proper exposure, composition, and sharpness. Perhaps another item to add to the list when viewing or critiquing images is intent. I often ask myself, "What is the photographer trying to convey with this image?" "What was his or her intent?" By asking myself these questions I attempt to step outside my own predefined idea of what an image should be and try to gain insight in what others are seeing. Viewing other photographers' work can be the best way to learn how to make a successful image and define your style when starting out in this wonderful endeavor. Once you think you have a working knowledge, do not forget that there is still much more to learn by seeing images created through someone else's eyes. You just have to remember that sometimes you have to open your own eyes and mind to do it.

Editor's Comment: Let us know what you think! Please email the Editor to let us know your thoughts. Debbie is the Founder and Publisher for PhotoMigrations and would like to invite you to also visit her personal website located at Debbie Ferrell-Smith Nature Photography - you will be pleasantly surprised!.