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The Enthusiast's Guide to Composition by Khara Plicanic

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31. GO GET THE SHOT

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IF YOU WATCH a seasoned pro go about their work, you may be surprised at how physical the job of a photographer can really be. One second they may be standing next to you; but when you blink, they’re suddenly lying on their side, 100 feet away; and a moment later, they’ve scaled a nearby tree. (It happens.)

Few compositions are at their strongest when captured from the default eye-level position of wherever the photographer happens to be standing when inspiration hits. That means “getting the shot” often involves actually getting up and going after it. Or in some cases, it might mean getting up just to get down (Figure 31.1 ...

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