Framing The Shot 

The way we frame our image, dramatically changes what we say to our viewer. The message that image sends or the story it tells is shaped by the framing of the image. You can direct the viewer to see what you saw in the topic by only including what you want them to see or by ensuring that a aspect is enhanced by the framing and composition in such a way that it becomes foremost in their minds. 

Perhaps one of the very easiest ways to do this, and to make powerful images, is to eliminate absolutely everything else so the viewer is forced to see what you saw but more importantly they are forced to imagine what is beyond the frame as shown in the 'Filling the Frame' section on the composition page. There is a similar compositional technique that includes more in the frame, which provides some context to the shot but still keeps the focus on the topic. The gallery below shows a number of these with captioned explanations. ​

Framing is the difference between taking a shot and making a shot, when this male peacock began proudly displaying his feathers as I passed by, I quickly grabbed a shot of him (as you should in case he stops displaying) but, when he maintained his display I moved position and crouched lower to the ground, filled the frame to eliminate the paving slabs he was standing on positioned his head in the rule of thirds line and made an image. Personally I prefer the second one, it is definitely a more striking and more powerful image. 
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When framing people, animals, insects and similar subjects, always be aware of their proximity to the edge of the frame, and equally importantly the direction of their gaze. I've used photoshop on the image below to show the issue using the same image. In the first shot you can see the buffalo looking out of the frame, this gives him nowhere to go, no space to move into. This creates tension (which is not always a bad thing) but it is not something to use very often. This also forces the viewer to follow the gaze of the buffalo out of the frame hardly noticing the rest of the image.  Far better is to follow the example in the second image where the buffalo is looking into the frame, this gives him space to move into resulting in an image without tension. It also moves the viewer into the frame and guides them through the image. 

The issue of running out of the frame versus having space to run into applies equally to moving vehicles, bikes and even a backyard  sledge run. The tension created by proximity to the edge of the frame is very noticeable in the second image below when compared to the first.

It is important to understand that everything included in your image makes a contribution to that image whether positive or negative, intended or unintended. The inclusion or omission of the smallest item will make a difference to the way the image is seen and interpreted by the viewer. As you can see in the two images below, the removal of cigarette butts from beside the bicycle make a significant difference to the image. 

A very important area to observe is the edge of the frame where intrusions often go unnoticed, though modern editing techniques will often eliminate the problem it's far easier to not include them in the first place. This image shot in Birmingham UK shows the impact of edge of frame issues with the white van and a guys arm on the left of frame. The distractions are compounded by the little girl running from behind the statue and the nasty information stand beside the building. Without these we are left with the image we actually saw rather than what the camera saw.

How you frame your shot will help direct the attention of the viewer into and through your image. When combined with the other techniques shown on the photographic  composition page. Considering the framing will help improve your images by teaching you how to see as the camera sees. The gallery below shows some examples images with captioned descriptions of the reason for that particular framing choice.