If you've ever gone bowling, you'll appreciate that with every throw you’re only aiming for one pin - right at the top. Composing pictures in the camera is a bit like that too. 

As you look through the viewfinder you seem a bit lost as you can’t figure out where to place your main subject. There aren’t many choices available to make the picture balanced and well composed. 

Here's a shot taken in an urban environment. The model is placed well to one side of the picture area. That choice allows the picture to do more than simply provide a graphic rendition of the shape of her. In fact the emphasis is now on atmosphere, and a sense of the confines of an urban environment  that pervades every corner of the frame. 

Here's a shot taken in a coffee shop. The subject is placed well to one side of the picture area. That choice allows the picture to do more than simply provide a graphic rendition of the shape of them. In fact the emphasis is now on atmosphere, and a sense of the confines of a coffee shop that pervades every corner of the frame. 

But does such 'off balance', the placing of the main subject always introduce a certain atmosphere? Well, it is true, of course, that the more information you include with a picture the more material you have available to create an impression. But this is not an unbalanced picture. The difference between balance and imbalance is very subtle: it is much more a feeling than it is a set of rules. At the left hand side of this picture there is a greater weight of tone evident than there are in the trees and wall at left - though the subject provides a 'heavy' area. 

There is no one area which, screaming for attention, uncomfortably draws the eye - because the picture is predominant in either light or dark areas. But cover up the right hand half of the picture and you will see how quickly the subject dominates. 

The subject and surroundings offer a shape of tone - and they become the centre of interest. Now examine the entire picture. Without doubt the surroundings of the subject with the trees and large balloon like shape are of interest, and have an effect on the impression conveyed to you. 

Imagine the effect you'd experience if the subject was arranged at the right hand side of the frame instead of on the left.Even then, the major areas of heavy tone - the black bits - would all be in one place, and at the left hand side there would be a similar sort of backdrop to the left as there was on the right. 

Only if there was a blank backdrop to the left with a lightweight tone that the image would probably become more disinteresting creating an imbalance. Was this balance or effect a conscious choice? In this case it was more a case of being at the right place and being aware of the surroundings. Once you begin to appreciate light and how light works with film then things begin to feel more tangible. Obviously when shooting with BW film, you will become more aware that the light will be exposed well and subsequently the shadowy areas will come out black. 

Finally, remember that the strength of tone can be adjusted to a certain extent in the darkroom. Any area of this picture could be made more heavy than it is by the simple act of burning in - that is, allowing more light to fall on that area when printing, so that it becomes darker in comparison with the rest of the print. That's part of the value of darkroom work. 

If you are keen on enhancing your photography beyond just your getaway snaps from the beach then you must work on your visualisation. Your ability to visualise a picture in advance can only happen if you are getting out there and shooting in all sorts of different lighting conditions. I’m not sure I know anyone who sits and reads a camera manual. I suspect in most cases it never leaves the box! Only through patience, practice and continual reviewing will you,  in time, become a master of light!