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Advanced Photography - Making Better Photos
If you’ve mastered your camera and its controls and are able to get results that are technically acceptable, the next step is to make better photographs. You can take pictures, but you have to make photographs. Many consider fine photographs as art – work that is created by the photographer, as opposed to a “snapshot” that almost anyone could take. Some people have an artistic ability, others can learn it.
There are widely accepted “rules” in photography that aren’t really rules – just conventions in composition that can help to make a photo pleasing to the eye. All photos do not have to be taken according to these rules, but they are a good way to learn to see and create a photograph.
(The following is adapted from the Kodak.com website – they can explain their business better than I can. Some of the points are illustrated):
1. Choosing your main point of interest. Although you know what your subject is, it can be hard for a viewer to determine your intent if too many elements in your picture make it confusing. Eliminate all unimportant elements by moving closer, zooming in, or choosing a different shooting angle. See below:
 There are many elements in this photo - it doesn't have a real "center of interest"
 See the difference by moving in a bit, the main interest is now the train.
2. Adjust your angle of view. Alter your position - Change your position to emphasize or exaggerate how big or small your subject is. You can also move your camera right or left only a few feet to change the composition dramatically:
 Here's a "Helicopter View" looking down at the scene, often the normal way we see our trains.
 Notice how the same scene looks at a lower viewpoint.
3. Placing the subject off-center. Putting the subject off-center often makes the composition more dynamic and interesting. Even if your subject fills the frame, the most important part of the subject should not be dead center.
4. Follow the rule of thirds. An easy way to compose off-center pictures is to imagine a tick-tack-toe board over your viewfinder. Avoid placing your subject in that center square, and you have followed the rule of thirds. Try to place your subject along one of the imaginary lines that divides your frame.
 The caboose, the main subject of the photo, has ben placed at one of the dividing points.
5. Watch the horizon. Just as an off-center subject is usually best, so is an off-center—and straight—horizon line. Avoid cutting your picture in half by placing the horizon in the middle of the picture. To accent spaciousness, keep the horizon low in the picture. To suggest closeness, position the horizon high in your picture.
6. Using Leading Lines - Select a camera angle where the natural lines of the scene lead the viewers' eyes into the picture and toward your main center of interest. You can find such a line in a road, a fence, even a shadow. Diagonal lines are dynamic; curved lines are flowing and graceful. You can often find the right line by moving around and choosing an appropriate angle:
  Notice how the tracks act as leading lines - leading your eye to the train subject.
7. Including objects in the foreground - When taking pictures of landscapes, include an object, such as a tree or boulder, in the foreground. Elements in the foreground add a sense of depth to the picture. A person in the foreground helps establish a sense of scale:
 8. Framing the Subject. - Sometimes you can use the foreground elements to "frame" your subject. Overhanging tree branches, a doorway, or an arch can give a picture the depth it needs to make it more than just another snapshot.
  9. Shooting vertical or horizontal - Don't forget that you can turn your camera sideways to take a vertical picture. Try taking both horizontal and vertical pictures of the same subject to see the different effects. A subject that your might usually think of as horizontal can make a stunning vertical picture.
10. Keep people busy. The model figures in your scenes should be doing something.  11. Find unusual viewpoints. All photos do not have to be taken from trackside, or from a “helicopter position”; shoot under trees, from tops of buildings or rolling stock, etc.
12. One of the MOST IMPORTANT TIPS is to practice, practice, and practice some more! Nothing beats a lot of experience, finding out what works and what does not. Golfing legend Arnold Palmer replied to someone who said he sure was lucky in golf by saying “Yes, the more I practice the more lucky I become”.
ADVANCED TECHNIQUES – Composing Photos
For something that could be moving, like a person or a locomotive, leave a little room in front of it so it looks like the subject is moving into the photo, rather than out of it.
 In the photo above the engine is almost out of the scene - it appears to be leaving, making the photo less interesting.
In this same scene the engine still has some place to go, making the scene appear like something is happening - the train is moving on through.
Depth of Focus The size of the lens opening determines how much a scene is in focus. Lens openings are measured in "f stops". Smaller numbers like f/2.8 are LARGER openings. Big numbers such as f/22 are SMALLER openings. For our use in model photography, the smaller openings will give us the most depth of focus (also known as depth of field). See examples below, taken with a Canon Rebel XT:
 This photo was taken at f/4.5 , with the lens focused on the figure. The sharpness is very shallow, not all of the sign is in focus and the background is totally blurry. (This can be an effective tool to isolate a foreground subject; a lack of a depth of focus isn't always bad.)
 This photo was taken at f/8 . A little more is now in focus, but the sign is still not all sharp.
 This photo was taken at f/14. Still more is now in focus the sign is better, and the background is more distinct.
 This photo was taken at f/22. A good part of the sawmill scene is now in focus, the background is still soft but this does not detract from the overall effect.
NOTE: Most "point and shoot" digital cameras - those whose lenses are not removable - will only be able to close their lenses down to around f/8. This still gives a decent depth of focus, but it is best to shoot some trial photos first to gauge your camera's capabilities. You will always get the most depth of focus with the camera lens set at the widest setting. As you zoom out, depth of focus decreases. So for the best depth of focus, shoot at the wide angle setting on your lens. To be able to achieve the smaller f stops such as f/11, f/16, and f/22, a camera with removable lenses is required - the DSLR -Digital Single Lens Reflex type. I personally now use a Canon Digital Rebel XSi/450 DSLR.
More on Depth of Focus/Depth of Field
 This photo was taken with a point and shoot digital set for close up mode and on automatic, showing the effect of depth of focus. The HO Climax steam engine under 6" (15 cm) long from coupler to coupler. Focus extends from about the front pilot to the cab. Everything beyond that is out of focus. Not the greatest for showing the details of the engine.
 The same engine taken with the same camera and settings, but a side view to be able to show all of the engine. The forground and background are out of focus, but do not matter in this scene.
 This scene was again taken with the same camera as the above photos, The truck and sign painter are in focus, with the far edge of the billboard is out of focus but it is acceptable. The out of focus background is a good thing in this shot, as it does not detract from the main subject. Depth of focus can be useful in such occasions.
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