
NATURAL DESIGN: Image Design for Nature Photographers is an ebook and was written for nature photographers of all skill levels. Beginners will learn how to build images from scratch. And self-taught seasoned pros will learn the terminology of the techniques they’ve always used and they will most definitely learn some new tricks and tips. It was written in 2007 and has become a classic, was taught at McDaniel Art College in MD for a decade, and currently countless colleges, workshops and photo classes use it. It has become a must-have on the bookshelf of every nature photographer.
What makes my book different from all the rest are my composition maps. With these I literally map out every feature of the composition and why its elements were placed where they sit. I provide both a map and an unmarked photo of the same scene so the ideas and techniques can be easily studied. Only someone with a solid understanding of image design could create these maps.
Sample Composition Map

Every now-and-again I will throw in some tips from a painter’s perspective. Another thing that gives my book the edge is that I’m a painter too. I know how to build images from scratch and I throw in artist’s tips, explanations and descriptions. You will be making fine art nature photographs by the time you finish this ebook.
This is an e-book that prints beautifully. The book is loaded with large high resolution photographs and diagrams.
Please have a look at the table of contents. I have in-depth knowledge and understanding of a wide range of subjects and when you’re done reading it, so will you.
Table of Contents
About the Author | 10 |
About the Book | 10 |
Chapter One: Design In Nature Photography | 11 |
The Visual Language | 12 |
The Importance Of Learning Design | 13 |
Demystifying Composition | 14 |
Communicating Without Words | 15 |
Chapter Two: The History of American Nature Photography | 16 |
The Camera In Nature | 16 |
Early Cameras | 16 |
The Handheld Camera | 17 |
The Digital Camera | 18 |
Pioneers and Conservationists | 19 |
Composing the American Landscape | 20 |
Nature Photography as an Important Art | 21 |
Ansel Adams: A Force in Nature | 22 |
Eliot Porter’s Passions | 23 |
Chapter Three: The Visual Experience | 24 |
Approaching The Photographic Image | 25 |
Response to Unfamiliar Art and Styles | 25 |
Beauty In Nature Photography | 27 |
Is It Art? | 29 |
Reading Photographs | 31 |
Evaluating A Photograph | 32 |
Artist’s Intent | 32 |
Emotional Impact | 33 |
Evaluating the Light | 34 |
Structure | 35 |
Execution | 36 |
Advanced Evaluation | 36 |
Evaluation of Wildlife Photographs | 37 |
Evaluating Black and White Photographs | 38 |
Chapter Four: The Photographic Experience | 39 |
The Art of Observation | 39 |
More Than Seeing | 41 |
Preparedness In The Field | 41 |
Organizing The Composition | 42 |
Developing a Personal Style | 43 |
Individual Expression | 45 |
Photograph It Well | 46 |
Evaluating Your Progress | 47 |
Evaluating Your Photographs | 47 |
Chapter Five: Considerations For Purpose | 48 |
Horizontal Or Vertical Format | 48 |
Final Format | 50 |
Contrast and Dimensions | 50 |
Sharpness | 50 |
Mood | 50 |
Visualizing The Composition | 52 |
Chapter Six: The Physical Photograph | 53 |
The Frame | 53 |
Image Divisions | 53 |
Edges | 53 |
Limbs and Joints on the Edge | 54 |
Chapter Seven: Designing The Tangibles | 55 |
Subject Matter | 55 |
Define Subject Matter | 55 |
Treatment of Subject Matter | 56 |
The Main Or Solitary Subject | 57 |
Distance and Size | 57 |
Lens Selection | 57 |
The Effects of Distance on Detail and Color | 58 |
Positioning the Main or Solitary Subject | 58 |
Centering the Subject for Emphasis | 58 |
Exaggerated Subject Placement | 59 |
Unwanted Objects In The Scene | 60 |
Focal Points | 62 |
Focal Points and Balance | 62 |
Focal Points and a Visual Path | 62 |
Multiple Main Focal Points | 62 |
Lines | 63 |
Straight Lines | 63 |
Vertical Lines | 63 |
Horizontal Lines | 64 |
Diagonal Lines | 64 |
Converging and Diverging Lines | 64 |
Groups of Lines | 64 |
Arcs | 66 |
Curved Lines | 66 |
Zig-zags and Odd-shaped Lines | 66 |
Repetitive Lines | 66 |
Suggested or Implied Lines | 66 |
Creating Fluidity, Movement, and Motion with Lines | 69 |
Using Lines to Create a Sense of Rhythm | 69 |
Tension Created by Lines | 69 |
Shape And Form | 69 |
Texture of Forms | 69 |
Shapes and Forms as Structural Elements | 70 |
Spatial Organization and the Relationships of Forms and Shapes | 70 |
Shapes and Forms and Balance | 71 |
The Emotional Effects of Shapes and Forms | 71 |
Forms, Shapes and Rhythm | 72 |
Forms, Shapes and Unity | 72 |
Chapter Eight: Designing The Intangibles | 73 |
Light | 73 |
The Sun’s Trek through the Sky | 73 |
The Effects of the Sweet Light | 74 |
Indirect Light | 74 |
Light from the Sun and Moon | 75 |
Reflections | 76 |
Shadows | 76 |
Direction of Light | 77 |
Front Light | 77 |
Side Light | 77 |
Back Light | 77 |
Top Light | 77 |
Photographing the Effects of Weather | 78 |
Clouds | 78 |
Fog | 81 |
Rain | 81 |
Rainbows | 82 |
High-key and Low-key Images | 83 |
Color | 84 |
Basic Color Terminology | 85 |
Analogous Hues | 86 |
Monochromatic | 86 |
Gradations | 86 |
Complementary Colors | 86 |
Neutrals | 86 |
Creating Color Harmony | 87 |
Color Associations | 87 |
Choose Colors to Influence and Create Mood | 87 |
Color Continuity | 88 |
The Perceived Weight of Colors | 88 |
Space and Depth | 89 |
Negative Space | 89 |
The Picture Plane | 91 |
Line of Sight | 91 |
The Ground Plane | 91 |
Achieving Visual Balance | 92 |
Using the Rule-of-Thirds Grid | 92 |
Using Symmetry | 94 |
Angles and Height | 96 |
Chapter Nine: Considerations For Our Natural Subjects | 97 |
Allow The Subject Room To Move | 97 |
Strive To Capture The Face | 97 |
Using Natural Frames | 97 |
Anticipating Action And Behavior | 98 |
Emphasis On Habitat | 98 |
Animal Portraits | 99 |
Eye Highlights | 99 |
People In Nature | 99 |
Field And Wildlife Ethics | 100 |
Chapter Ten: Popular Composition Styles | 101 |
Bulls-eye Composition | 101 |
Near-Far | 102 |
Layers | 102 |
Large-Scale Landscape | 103 |
Close-up | 103 |
Abstract | 103 |
Chapter Eleven: Composition Maps | 104 |
Map 1: Value Distribution and Shapes | 105 |
Map 2: Rule of Thirds Lines and Power points | 107 |
Map 3: Focal Points and Visual Paths | 109 |
Map 4: Harmonious Image Division | 111 |
Map 5: Off-center Placement | 113 |
Map 6: Balancing Main Focal Points | 115 |
Map 7: Structure and Content Division | 117 |
Map 8: Cradle the Subject | 119 |
Map 9: Cool vs. Warm Hues | 121 |
Map 10: Head and Shoulders Portrait | 123 |
Map 11: Frame the Subject | 125 |
Map 12: Framing and Subject Placement | 127 |
Map 13: Visual Anchor and Natural Frame | 129 |
Map 14: Centering and Concentric Lines | 131 |
Map 15: Define Subject Matter | 133 |
Map 16: Layers | 135 |
Map 17: Competing focal Points and Image Division | 137 |
Map 18: Visual Flow | 139 |
Map 19: Visual Tension | 141 |
Map 20: Distractions | 143 |
Map 21: Subject Confusion | 145 |
Map 22: Compare Compositions | 147 |
Map 23: Organize Basic Elements | 149 |
Map 24: Color Schemes | 151 |
Map 25: Supporting Foreground Elements | 153 |
Glossary | 155 |
Selected Sources | 166 |
Books | 166 |
Online Resources | 167 |
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Sample Pages




Natural Design as Required Reading
Natural Design: Image Design for Nature Photographers was selected as required reading for Bob Boner’s digital photography course at McDaniel College in Westminster, Maryland. I was thrilled to learn this news, as well as beaming proud of this my life’s work. Following is a quote from Bob’s wonderful email notifying me of this great honor:
“I was so impressed with your ebook, that I made the students in my January Term photography class buy it as one of the textbooks in the course. It is one of the few books I have seen that focus on composition, and that is the weakest point in beginning photography students. I expect to require it as one of the textbooks again next year.” – Bob Boner, McDaniel College
It was used for about a decade.
More Quotes
” I found your website and am so grateful to you for writing what I am sure will become my favourite and most useful book ever. It is EXACTLY what I was looking for.”
“… I ordered your beautiful Natural Design e-book back in mid-June and think you’d taken e-book publishing to a new high.”
” … one of the best I’ve seen for photographic composition and design. I especially find the various maps very useful. ”
“The book IS great! After I get my chores done today, I will find a quiet, shady spot and bury myself in its pages.”
“Wow, great book worth the wait!”
“I received the download and it is the most beautifully designed
e-book I’ve purchased – ever!”
This book costs $25.00 and because this is an electronic document I offer no refunds. FYI, only a single refund has ever been requested and that was because the student dropped the class that required the book.
Purchasing Natural Design: $25.00
I use PayPal for all financial transactions and have had not a single problem with financial transactions for almost 20 years. Please contact me for invoicing and transfer of the document. gloriahopkins@gmail.com I usually respond almost immediately.
Because this an intangible, electronic document I offer no refunds. You should rest assured, however, because in the past 11 years of selling Natural Design I’ve had a single request for a refund, and that’s because the student dropped his photography class before it ever started. Thank you so much for your interest and attention.