How we position our camera in relation to our subjects has a tremendous impact on the way that viewers experience those subjects. While we are always cautious to suggest that any sort of "rules" apply to art and compositions, there is a default position we should always start with for photographing wildlife for one very important reason: its ability to create a connection with the viewer.

From the beginning of this series on the Art of Composition, we got bogged down in discussion about depth of field. This isn’t a topic that is typically brought into the conversations about composition. Yet, I have a difficult time thinking of a better place to begin. The ability to understand how we emphasize or deemphasize all the stuff in our composition means everything. And from the previous articles, you should understand that there is so much more that goes into depth of field, and bokeh, than just f/stops.

But now it’s time to move on. 

Large apertures and a shallow depth of field does more than just help us emphasize or deemphasize certain parts of the composition; in wildlife photography it emulates the way in which we respond to the very same situation in real life. Extremely shallow depths of field mirror both the physiological and psychological responses that humans have evolved for survival. Understanding this can revolutionize our photography.

Should I stick a teleconverter on my lens or just crop in Lightroom? This is a question we all face in the field at some time or another. Both are potential solutions for “getting closer.” Both come with their drawbacks. However, only one will improve your composition by creating additional bokeh and shallower depths of field.