Advice from Andy Vitali
- The Global Photography Community
- Mar 31
- 4 min read
Composition: Sculpting the Frame
A photo lives or dies by how you frame it. Composition isn’t just about rules—it’s instinct, sharpened by practice. Start with the rule of thirds: picture a 3x3 grid over your shot and line up your subject—maybe a lone walker, maybe a stark building—along one of those lines or at an intersection. It makes the image feel balanced but not stiff.
Leading lines are another trick—streets, railings, shadows—anything that pulls the eye deeper into the frame and adds a sense of movement. I like framing shots cinematically, using tight alleys or low angles to turn an everyday scene into something with story and depth. You can also use natural frames—doorways, overpasses, even a gap between buildings—to highlight your subject and add a sense of place. Symmetry? It can be striking—a puddle reflection dead center can look bold and clean—but too much symmetry can make things predictable. And predictable isn’t memorable.
Details matter: a pop of color, an unexpected shadow—tiny things that lift a shot from good to great. But be ruthless with clutter—stray arms, messy backgrounds, distractions at the edges of the frame. Move your feet or crop later to keep it clean. Autofocus mistakes can ruin everything, so lock it onto a single point, especially in chaotic scenes. Rules are great starting points, but once you get them down, break them when the shot calls for it—just make sure you know why.
Lighting: Crafting Mood in Any Weather
Light is everything—it shapes depth, mood, and story. Perfect sunshine? Honestly, it’s often too flat. I love rough conditions—rain turns streets into glowing mirrors, fog wraps everything in mystery, snow softens edges like a dream. Blue hour (just after sunset) is pure magic—the sky goes deep blue, city lights pop, and everything looks cinematic. If you want that look, bump your ISO to 800, use a tripod, and set a 2-second exposure.
Golden hour is warmer—soft light right before sunset makes everything glow and gives gentle shadows that carve out shape without being harsh. Midday sun is tricky, but you can use it—underexpose a stop for dramatic silhouettes or lean into the contrast for graphic impact. Cloudy or foggy? It flattens contrast, so bump your exposure a little to keep the shot from looking dull.
In low light, shutter speed is key—1/250 freezes action, but drop it to 1/15 and you’ll get cool motion blur, like light streaks from passing cars. Flash can help indoors—bounce it off the ceiling at 5500K to match daylight or 3200K for a warmer, tungsten look. Bad light is just an excuse—find reflections, shift your angle, or wait for the perfect beam to break through. Patience makes the shot.
Gear: Tools for the Grind
Gear doesn’t make the photographer, but having the right tools definitely helps. I keep it light—my Lumix G9 is small but tough, and I pair it with a 25mm f/1.7 for street shots. That’s basically a 50mm on full-frame—a classic, fast, and sharp. If I need a wider look, I grab the Sigma 16mm f/1.4, which is perfect for big scenes and low light. The Olympus 45mm f/1.8 gets me closer when I need details, and for crazy perspectives, the Laowa 7.5mm f/2 gives me that dramatic ultra-wide distortion.
For action, shutter speed matters—1/250 freezes a walk, 1/500 locks in a sprint. ISO? 200-800 in daylight, up to 3200 at night—modern sensors can handle it, and if there’s noise, I clean it up in editing. Aperture controls depth—f/4 keeps things sharp but natural, while f/1.7 isolates a subject with creamy blur.
Weather can’t stop you—plastic bags over the lens hood keep rain off. A solid tripod is a must for long exposures, and filters like a polarizer cut glare while an ND filter slows the shutter for smooth motion effects. Also, in winter, gloves with grip save your fingers. You don’t need a ton of gear—a good prime lens and solid instincts beat an expensive setup you don’t know how to use.
Editing: Refining the Vision
Editing is where you shape the shot into what you saw in your head. My style? Fast and natural. Lightroom is my go-to, and I spend about 5-10 minutes per image. First step: exposure—adjust it so details come through without blowing highlights or crushing shadows. The histogram keeps you honest. Contrast adds punch—crank it for drama, ease it back for a softer feel, or use an S-curve for controlled depth.
White balance sets the mood—warm up golden hour, cool down blue hour. I like split-toning: warm highlights, cool shadows—it gives a cinematic vibe. Sharpening? Be selective—bring out textures or eyes, but don’t overdo it, or you get ugly halos. High ISO noise? Reduce it, but leave a little grain for texture.
If a stray cable or ugly distraction messes up the frame, Photoshop can fix it—but don’t fake the scene. Crop and straighten last to refine composition. The goal is always mood—light, color, and movement working together to lock in a moment. Subtle edits usually hit harder than heavy-handed ones—if it looks overdone, it probably is.
