This document provides a summary of the "A to G" method for creative outdoor photography. It begins with background on camera technology like aperture, shutter speed, lenses and focal lengths. It then outlines the steps of the method: A) Assess your photographic reasons or goals B) Be creative by making adjustments to capture your goals C) Consider composition regarding format, viewpoint, framing and balance D) Manage depth of field with aperture E) Set proper exposure with shutter speed F) Ensure critical or selective focus G) Take the photo to capture the decisive moment. Composition, focus, exposure and creative techniques are discussed in more detail to help photographers apply the method.

1. CREATIVE outdoor
PHOTOGRAPHY
The “A to G” Method
1980
Simon Priest
simonpriest.com

2. Content Outline
Background Technology
Aperture & Shutter Speed
Lenses & Focal Lengths
The “A to G” Method
A = Assess your reasons
B = Be creative
C = Composition
D = Depth of Field
E = Exposure
F = Focus
G = Go!
All photos taken prior to 1983 as slides
- scanned digitally in 2003 for this show
Apologies for the lack of clarity in some

3. Background Technology
Aperture (ƒ-stop) & Shutter Speed (seconds)
Aperture and shutter speed work together to let light into the
camera
Their different settings CONTROL the amount of light that enters
Aperture is the diameter of the opening that allows light in
Each ƒ-stop number represents a halving of the light from the previous number
For example: ƒ11 = double ƒ16, ƒ4 = half ƒ2.8, etc.
Shutter speed is the time the shutter is open to permit light
to enter
Each speed number represents a halving of the time the shutter is open
For example: 1/30 sec = double 1/60 sec, 1/250 sec = half 1/125 sec, etc.
Aperture and shutter speed are proportionate and inversely
related
increasing 1 ƒ-stop (11 -> 16) , means decreasing 1 shutter speed (15 -> 8)
decreasing 2 ƒ-stops (8 -> 4) , means increasing 2 shutter speeds (500 -> 2000)
20001000500250125603015842
1 1 1 1 1 1 1 1 1 1 1
453222161185.642.821.8
S HUTTER
S PEED in
seconds
ƒ-stop

4. Background Technology
Lenses & Focal Lengths
STANDARD (approx. 50 mm) is what the eye normally sees
TELEPHOTO (100 - 400mm) enlarges distant objects
SUPER telephoto (over 400mm)
WIDE ANGLE (20 - 35mm) takes in sweeping panoramas
ULTRA wide angle (under 20mm)
ZOOM (changing focal length) can be wide angle, telephoto,
or both
MACRO used for close-up photography
FISHEYE provides 180 degree views
Standard
Focal
Length
10mm 20mm 35mm 50mm 75mm 400mm 1000mm
SUPER
telephoto
TELEPHOTOULTRA
wide angle
WIDE ANGLE
Range of most ZOOM lenses

5. Background Technology
TELEPHOTO Lens Comparison
Standard Lens (50mm) Telephoto Lens (200mm)

6. Background Technology
WIDE ANGLE Lens Comparison
Standard Lens (50mm) Wide Angle Lens (28mm)

7. Background Technology
MACRO Lens
Macro LensMacro Lens

8. Background Technology
OTHER Lenses
Fish Eye Lens (10mm)

9. The “A to G” Method
A = Assess your reasons (for taking the photo)
What is it about the image/scene that attracts you to it?
B = Be creative (by making several adjustments)
Make these changes based on your reasons above!
C = Composition (format, viewpoint, framing, balance)
D = Depth of Field (how much is in focus from near to far)
E = Exposure (how much light is let into the camera)
F = Focus (how sharp and crisp the image can be made)
G = Go! (catch the decisive moment)

10. A = Assess, B = Be Creative
Action:
Linear Motion:
Fast Speed:
Slow Speed:
Straight Lines:
Curved Lines:
Parallel Lines:
Circles:
Unique Colors:
Light:
Texture:
Unusual Size:
Unusual Shape:
Patterns:
Freeze movement (high speed)
Pan (move camera with) subject
Place subject leaving the scene
Place subject entering scene
Direct lines toward a subject
Accentuate/exaggerate curves
Converge or diverge to infinity
Surround the subject with circle
Contrast with other colors
Highlight warm earthy tones
Use cross lighting + sharp focus
Scale with object of known size
Outline with constant background
Don’t show the edges or ends

11. A = Assess, B = Be Creative
Action: Freeze movement (high speed)

12. A = Assess, B = Be Creative
Linear Motion: Pan (move camera) with subject

13. A = Assess, B = Be Creative
Fast Speed: Place subject leaving the scene

14. A = Assess, B = Be Creative
Slow Speed: Place subject entering scene

15. A = Assess, B = Be Creative
Straight Lines: Direct lines toward a subject

16. A = Assess, B = Be Creative
Curved Lines: Accentuate/exaggerate curves

17. A = Assess, B = Be Creative
Parallel Lines: Converge or diverge to infinity

18. A = Assess, B = Be Creative
Circles: Surround the subject with circle

19. A = Assess, B = Be Creative
Unique Colors: Contrast with other colors

20. A = Assess, B = Be Creative
Light: Highlight warm earthy tones

21. A = Assess, B = Be Creative
Light: Highlight warm earthy tones

22. A = Assess, B = Be Creative
Light: Use shadows
to your advantage

23. A = Assess, B = Be Creative
Texture: Use cross
lighting + sharp focus

24. A = Assess, B = Be Creative
Texture: Use cross
lighting + sharp focus

25. A = Assess, B = Be Creative
Texture: Use cross
lighting + sharp focus

26. A = Assess, B = Be Creative
Unusual Size: Scale with object of known size

27. A = Assess, B = Be Creative
Unusual Shape: Outline with constant background or….

28. A = Assess, B = Be Creative
Unusual Shape: …silhouette the shape

29. A = Assess, B = Be Creative
Patterns: Don’t show
the edges or ends

30. A = Assess, B = Be Creative
Patterns: Don’t show
the edges or ends

31. C = Composition
Format
Horizontal or Vertical?
Viewpoint
Vary the angle of view!
Framing
Connect background to foreground frame
Balance
Choose odd numbers over even ones
Rule of thirds (or fifths)
Split the scene into thirds (or fifths)
Golden Triangles
Place objects away from the center of the photograph

32. C = Composition
Format
Horizontal or Vertical?

33. C = Composition
Viewpoint
Vary the angle of view!

34. C = Composition
Viewpoint
Vary the angle of view!

35. C = Composition
Viewpoint
Vary the angle of view!

36. C = Composition
Framing
Connect background to foreground frame

37. C = Composition
Framing
Connect background to foreground frame

38. C = Composition
Framing
Connect background to foreground frame

39. C = Composition
Balance
Choose odd numbers over even ones

40. C = Composition
Rule of thirds (or fifths)
Split the scene into thirds (or fifths)
1/3
1/3
1/3
3/5
1/5
1/5

41. C = Composition
Break the rules!
For reflections, go 50-50
1/2
1/21/2
1/2

42. C = Composition
For reflections
Put an object in the reflected part

43. C = Composition
Golden Triangles
Place objects away from the
center of the photograph
1) draw a diagonal line from one
corner of the frame to the other
2) draw another diagonal line
from a third corner to meet the
first line at 90º (a right angle)
PLACE AN OBJECT AT THE
INTERSECTION OF BOTH LINES

44. C = Composition
Golden Triangles
Place objects away from the
center of the photograph
1) draw a diagonal line from one
corner of the frame to the other
2) draw another diagonal line
from a third corner to meet the
first line at 90º (a right angle)
PLACE AN OBJECT AT THE
INTERSECTION OF BOTH LINES

45. C = Composition
Golden Triangles
The diagrams show 4 ideal locations
for positioning objects in the frames

46. C = Composition
Break the rules!
Put high objects high
and low objects low

47. D = Depth of field
Depth of Field & Focus
The smaller the aperture (pinpoint) the more will be in focus
Bracketing
Take extra shots one ƒ-stop either way to avoid over/under
exposure
Selective Exposure
Use slow shutter speeds for blurred motion and flowing movement
Time Exposures
Leave the shutter open for longer periods of time (especially at night)
E = Exposure

48. D = Depth of field
Depth of Field & Focus
The smaller the aperture (pinpoint) the more will be in focus

49. D = Depth of field
Bracketing
Take extra shots one ƒ-stop either way to avoid over/under
exposure

50. D = Depth of field
Bracketing
Sometimes all it takes is half an ƒ-stop

51. E = Exposure
Selective Exposure
Use slow shutter speeds
for blurred motion and
flowing movement

52. E = Exposure
Time Exposures
Leave the shutter open for longer periods of time (especially
at night)

53. F = Focus
Critical Focus
Take time to make the image sharp and crisp
Selective Focus
Purposefully throw the background out of focus
Double Check
Reconfirm circumstances (A, B, C, D, E, F)
Decisive moment
Catch the action!
G = Go!

54. F = Focus
Critical Focus
Take time to make the
image sharp and crisp

55. F = Focus
Selective Focus
Purposefully throw the
background out of focus

56. G = Go!
Double Check
Reconfirm
circumstances
(A, B, C,
D, E, F)

57. G = Go!
Decisive moment
Catch the action!

58. H = Homework
Rock Interesting color combination
Tree Interesting lighting
Person Interesting texture
Moving object Interesting pattern
Lots of lines Unusual sizes
Lots of shapes Unusual shapes
1. Take your digital camera, while working alone or
with a partner, and photograph the dozen above.
2. Critique the images by yourself or with your partner
(using the display/play function on your digital
camera) and decide how to improve each image.
3. Take the shot again (repeat, if necessary).