A Simple Composition Exercise That Will Actually Improve Your Photography
A lot of photographers get stuck thinking they need better gear or a better location to improve. In reality, most of the time it comes down to how you see and how you approach a scene. This is a simple exercise I use with my students to help them slow down, make better decisions, and improve their composition without relying on anything new.Â
When I run workshops, I like to start with a simple portrait exercise. It’s not about creating portfolio images or chasing something perfect. It’s about getting people to see differently and work within a set of limitations.
On a recent workshop in Hue, Vietnam, we worked in the royal tombs with a model wearing a traditional ao dai. It’s a visually rich location, but the exercise itself has nothing to do with where you are. You could do the same thing at home with a friend or family member and still get value from it.
The first rule is to commit to one lens at a fixed focal length. For me, that was a 50mm Summilux. The specific lens doesn’t matter as much as the restriction. When you remove the option to zoom or switch lenses, you’re forced to move your body and think more carefully about your framing. It slows you down in a good way and makes you more aware of your surroundings. Â
The second part of the exercise is to shoot horizontal only. That might feel unnatural at first, especially if you’re used to shooting tight vertical portraits, but that’s the point. A horizontal frame forces you to consider the environment, the balance of the frame, and how your subject sits within it. It pushes you out of your default way of seeing. Â
Once you’ve set those constraints, the next step is to find a location with some depth and texture. It doesn’t need to be exotic. What matters is that there’s something to work with in the background. Before you start shooting, take a few minutes to look around and identify a handful of spots that could work. Then place your subject in each of those areas and commit to getting multiple compositions from the same position.
This is where most people start to struggle, which is exactly what you want. Your instinct will be to go back to what feels comfortable. Usually that means getting closer and filling the frame with your subject’s face. Instead, you need to push past that. Step back, change your angle, look for things to shoot through, and pay attention to how the background interacts with your subject. Â
As you work through the exercise, don’t treat it like a formal shoot. Let things happen. Have your subject move, sit, walk, or just exist in the space. Some of the better moments will come in between the shots you think you’re taking. You can guide when needed, but it’s just as important to observe and react to what’s happening naturally.
The goal here isn’t to get one great image. It’s to create variety within limitations. If you can get five different compositions in one spot, you’re starting to see differently. That’s the real value of the exercise. It trains you to look beyond the obvious and make more intentional choices.
It also helps you understand your focal length better. A lot of people think they know how they see with a 50mm lens, but they’re really just repeating the same type of shot over and over again. When you force yourself to explore, you start to realize how much more range there actually is.
This is something I’ve seen consistently with students. When they stick with the exercise and push through the discomfort, their work improves quickly. Not because they learned a new trick, but because they started paying attention in a different way.
You don’t need to travel, and you don’t need new gear to do this. You just need a subject, a space, and a willingness to slow down and work through it properly.
