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An area in an image closer than the main subject.
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Photography Basics: Avoiding Bad Foregrounds
We spend so much time talking about avoiding bad backgrounds, but have you ever given thought to the foreground you're using? I'm talking about the stuff in front of your subject.

No Foreground Needed
Figure 7: No Foreground Needed
If a foreground does not contribute to an image, it detracts from it. Figure 7 is a case in point. The area in front of this waterfall consisted of a small lake.

The foreground, what foreground?
When photographers talk about the foreground they are referring to the smaller parts of a photo that are often overlooked.

When the problem foreground object is something like a wire fence, it is often possible to get the camera close enough that the wire can be thrown so far out of focus it becomes invisible.

Most photos have two dimensions, the foreground and background. The most common forgotten dimension in photography is middle ground. It is so easy to capture an image of a subject against a wall, sky, or a tree, but an entire dimension is lost.

Likewise, exaggerated foreground areas also provide perspective and the illusion of being in the scene and looking or even moving toward the subject.

A strong, sharply focused subject in your landscape foreground photographed at a low angle can bring the viewer more actively into your image and provide a very different perspective of looking at grand scenics.

Join Bryan on location in Dubai where he discusses how to use a wide angle lens to capture foreground and background using a wide angle lens. Watch as Bryan uses his unique artistic touch to help his students make interesting photographs.

Foreground Elements
Recently, I spent a day exploring local waterfalls. Environments like these are perfect for use of a wide angle lens.

Foreground. The part of the scene or space in a photograph that appears closest to the camera or nearest the viewer.
Front light.See Lighting.

Foreground: Normally, avoid distracting elements such as stray vegetation appearing in front of your subject; even though this can sometimes be 'cloned out' in post-production, it's always better to avoid this in the first place if possible.

FOREGROUND - The area of a scene that is closer than the subject.
FORMAT - The shape and size of a thing - used in photography principally in reference to small, ...

Foreground - part of the scene nearest the camera
Contrast - difference between tones in a scene
Camera - angle point of view in which the subject is photographed ...

Foreground Subjects with Fireworks
Now, there's an additional step to consider that can take your fireworks photos out of the ordinary and make them extra-special. The burst of a skyrocket, by itself, is pretty.

(1) In multiprocessing systems, the process that is currently accepting input from the keyboard or other input device is sometimes called the foreground process.

The area between the camera and the principal subject.
Front-Curtain Sync : ...

Dark foregrounds help hold the eye within the Frame and increase the illusion of Depth. Bright foreground objects, especially out-of-focus or moving ones, can be distracting.

Foreground stuff looks fine but background stuff is tinged yellow-orange.
You probably used flash under tungsten lights with daylight-balanced film. The light from flash units is designed to be the same approximate colour temperature as sunlight.

-Foreground - area in an image closer than the main subject.
-Format - size of negative paper or camera viewing area.

Foregrounds add depth, and the best add punch, too. Providing a point of reference, they can simplify chaotic scenes. At this placid pool of water during a fiery sunrise, I backed up to incorporate the curving shoreline.

Foreground elements are often in the shade, while backgrounds are often brightly lit. Such scenes challenge all cameras and we may be tempted to try HDR to handle this much dynamic range, but HDR can look over-processed.

The foreground is underexposed but the sky is correct
The camera's automatic metering set the aperture to f/10 and shutter speed to 1/250 second which recorded the sky correctly as a light blue with bright white clouds.

Look for foreground objects in sunlight standing out against a shadowed background or vice versa. A tall mountain with an adjacent valley can provide this, as will staggered cliff faces.

EMPHASIZE FOREGROUND: When I photograph the landscape, my eye is constantly on the lookout for ways to make a foreground, middle ground and background come together. More often than not, this means including as little sky as possible.

Selecting Foreground and Background Colors ...134
Using Brushes and Pencils ...137
Specifying Tool Options ...139
Erasing ...143
Retouching Images ...145
Filling and Stroking Selections and Layers ...149
Using the Gradient Tool ...151
Drawing Shapes .

To see why foreground subject matter is so important, this can be illustrated by looking at what happens for two adjacent, overlapping photos which comprise a panorama. The two pink pillars below represent the background and foreground subjects.

Control the Foreground
In dirty water, a busy foreground is your friend.

Improving your Foregrounds - Three Principles
If you want to add to the WOW! factor in your landscape photographs - read this
By Nikonian Russ Barker (LeCCy) ...

Set your Background color in the Tools Palette to black and the Foreground color to your desired hue, or set each to a different non-black color. Then create a Gradient Map Adjustment Layer on top of your image.

Think about the foreground. For example, its often a good idea to have an interesting object such as a tree branch or rock at the very front of the photograph to help balance the overall picture and help give the scene a feeling of depth.

If I see a good foreground subject, sometimes I’ll wait until something interesting swims by I can use as a good background.
Improving your Underwater Photography: ...

Use a close-up foreground: With your wide-angle lens, try framing your distant scene with a strong foreground object. This involves moving in reeeally tight on a subject. How close? Say, within an arm's length of the nearest point.

The poser in the foreground is what you notice first.
We then notice the other people in the photo. The path also guides on along the visual path.
4 ...

Create a new layer, Foreground colour #031655. On a new layer, select Gradient tool, Foreground to Transparent. Apply from the top to your model's midriff. Set Blend mode to Vivid Light, 50% Opacity. Add a layer mask and work out skin changes.

This information, along with data from the Matrix metering system, is analyzed to adjust the flash's output for the most balanced background-to-foreground exposure possible.

Study pictures of people that have been framed Sometimes the frame is only on one side of the subject, sometimes in back of the subject, and sometimes only in the foreground. Seldom does the frame completely box the subject.

This type of filter is useful when you have too much contrast between the sky area and foreground. These filters slide in a special square holder that attaches to the front of your lens.

When you focus on your subject, you can choose to blur the background and foreground, or have everything in sharp focus. You can control depth-of-field by changing the lens aperture.

For example, imagine a scene in which you have a 1 meter high rock in the foreground and a 1000 meter high mountain in the background. On which part of the rock and which part of the mountain do you focus ?

Make sure you get tight photos of runners with the race logo or sponsor's name and logo in the foreground (on the runner's bib) or background.
Many races have different classes of competition.

Widen it and you’ll lose that foreground-to background sharpness, unless you’re shooting with a tilt and shift. There are now a couple of things I’ll consider. Firstly, the strength of the light in general.

Adams's description in his later books of how it was made probably enhanced the photograph's fame : the light on the crosses in the foreground was rapidly fading, and he could not find his exposure meter; however, ...

Since the background will need to fade from a sharp foreground to a blurred background I am going to create a third new layer where I will create a colored gradient that I can make a selection from. I will explain.

Looking through the viewfinder, find a vertical line in the foreground and another one in the background. Slide the camera fore and aft on the bracket as you rotate the camera, and watch the alignment of the vertical lines.

Because wide-angles open up perspective, some foreground interest will be necessary to avoid creating an "empty" photograph.

The on-camera flash makes sure that the foreground players are bright. In fact they are a bit brighter than they probably should be and note the washed-out highlight on the leading edge of the table, which is close to the camera.

The SB-910 delivers precise flash exposures and a natural balance between foreground and background?even in challenging lighting situations.
Hot Shoe Operation ...

It has a nice log cabin in the foreground, flanked by a rugged mountain background, all topped off with a nice fluffy cloud. If I was to whip out my camera to take a photograph, right away I'd have to make some compromises.

Scale changes from large in the foreground to small in the background help to create perspective. This works best if we can see similar subjects such as fish In a shoal diminishing into the background.

So why is it still that with wide-angle photos the objects in the foreground look quite large, and with tele-photo shots the scene looks “compressed'? Doesn't this contradict what I just said? No, it's just a coincidence.

If you're looking for Shallow Depth of Field (ie your foreground and background blurry) shoot in Portrait mode as this will trigger your camera to choose a wider aperture.

You set up a wide angle to include some foreground interest, but later you think about zooming in to capture a setting sun. That’s fine, but what if you simply dropped to your knees (or even lower) to include a small plant in the foreground?

In fact, we do want the foreground to go completely dark. In this case, we expose for the bright area (the setting sun) and let the shadows go dark for a dramatic sunset picture.

Including the environment in a wide angle portrait is challenging in that you must deal with two important aspects—a foreground subject and the more distant background.

Including a simple foreground element not only adds a center of interest but can reveal something of your location and help evoke a particular emotion or mood.

Watch in particular for distractions or unattractive items or lines in the foreground and background. If you encounter that, try moving into another position to shoot.
Tip 4: Keep it Steady ...

The effect becomes notable when the unsharp back- and/or foreground has significant contrasts, especially when small light areas contrast to darker surroundings. A typical bokeh effect is given by some lenses with six-blade aperture.

2: Foreground and/or horizon not sharp
Landscape Photography Mistake No. 3: Image blurred
Landscape Photography Mistake No. 4: Empty foreground
Landscape Photography Mistake No. 5: Flat, dull light
Landscape Photography Mistake No.

Now meter a very bright spot in the scene so the foreground gets totally black on the final picture.

how far the foreground and background appear to be separated from each other; determined by only one factor: the camera-to-subject distance; if objects appear in their normal size relations, the perspective is considered "normal"; ...

Very nice use of a fairly long depth of field; the palm brachts in the foreground appear to be within a foot or two of the lens, and they as well as the background back some 200 yards are both in focus.

In many or most landscapes, we like to include some of the foreground up close to the camera so as to give the sweeping landscape a sense of depth.

for example you can compare the foreground and background blur that you'd get using the same lens on a full frame and 1.6x DSLR by first setting the sliders for the full frame condition and with the "full frame" radio button selected.

This mode will get the foreground subject clearly lit by the flash, and the shutter will remain open a few seconds longer after the flash has fired to expose the background scene.

Landscape photos can often benefit with something in the foreground like a tree or a fence, but the problem is making sure it’s all in focus.

Using a selection tool like a "Lasso," select the foreground image, the "animal" that has to be set off from the "leaves and branches." Once it's selected, "Invert" the selection. Most photo editing programs have this option.

At low f-stops, the foreground of the picture will be in focus while the background is out of focus. At high f-stops, objects in both the foreground and background are in focus.
The shutter speed determines how long the shutter is open.

Piggybacking on the rule of adding foreground elements to your images, when it helps the photo, try to include a person, animal, or object to provide a sense of scale.

When all parts of a photograph -- including the foreground, subject and background -- are in sharp focus, the image is said to have a deep depth of field.

Artistically most people tend to prefer sharper foregrounds and softer backgrounds. Fuzzy foregrounds tend to make people crazy, and fuzzy backgrounds are fine. Therefore I classify lenses with good bokeh as those with good background bokeh.

Mergers are background elements that merge with the foreground of your picture to produce unexpected and undesirable results.

When photographing Fireworks Displays many people tend to just capture the Fireworks and forgetting the foreground or the background.

Experimenting with the distorted effect, however, can serve you better if you shoot with a foreground element, creating a certain 'depth' in your photo. The use of ultra-wide lenses gives a deep 'story telling' feel to a photograph.

Then we'll use an even fancier technique: we'll take another frame (the same scene but exposed for the foreground, with a slightly shifted focus point, too), and replace the lightened foreground layer with the second frame.

This sort of scene, where the foreground elements are small, and ranged against a cluttered background - is a tricky target for AF.

It feels like each app gets more physical RAM when it's in the foreground, which forces other apps' contexts to be swapped out of memory and saved to disk by the virtual memory system.

Try to include foreground and background elements; boulders or the stream bed in front of the falls, trees behind the falls. Also take close-ups of sections of the falls, not just the entire thing.

The entire blurred foreground and the blurred background is not in the Depth of Field. Using a small f/16 aperture creates a lot of Depth of Field. Using a large aperture like f/2 which allows a lot of light in creates a very shallow Depth of Field.

Large aperture gives a very small Depth of Focus ensuring that the subject stands out from the foreground and background, and that there is plenty of light entering the camera to allow a fast shutter speed.

Allows you to choose a foreground or background color and allows you to add or delete colors from the swatches library of colors.
S-Video Connectors
S-Jacks, S-Video Inputs & Outputs and Y/C connectors ...

Use evening sunlight for beautiful sunsets, sharp foreground silhouettes, emphasized textures and a lovely golden or reddish glow.
Use the late-afternoon sun for bathing interior areas with warm light, such as porches or indoor areas. No flash needed.

Used for illuminating a foreground subject yet allowing a darker background to also be rendered. Good for night time shots of buildings with people in the foreground. Often called Night Scene or Night Portrait mode.

The edges are where the background and foreground are happening. There are often things poking into the frame that you really don't want.

A flash mode in some digicams that opens the shutter for a longer than normal period and fires the flash just before it closes. Is used for illuminating a foreground subject, but allowing a darker background to also be well exposed.

Having the light behind a subject can allow the background to be lit while the foreground is dark, which can completely change the mood of the photo.

A large aperture (small f number) produces.
small depth of field (subject sharp, more foreground/background blur)
A small aperture (large f number) produces.
large depth of field (sharpness across the entire composition, less to no blur) ...

There are some exceptions though - one specific example I can think of is trying to shoot a subject in the foreground, with motion trails of car lights in the background.

A greater depth of field implies an increased distance between well-focused background and foreground, with everything in between properly focused.

The larger the aperture, the shallower the depth of field and you'll get a sharp image of the foreground area with a blurred background. A small aperture give a deeper depth of field means a wider area of your image will be in focus.

The rendition of apparent space in a photograph, such as how far the foreground and background appear to be separated from each other. Perspective is determined by the distance of the camera to the subject.

Let's assume you want to take a photograph of a mountain range with meadows covered with flowers. Some objects are close to you, in the foreground.

An image that contains only two colors: a background color and a foreground color. See monochrome and halftone.
big-endian ...

The impression of depth given by converging parallel lines and changes of subject scale between foreground and background elements.
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ND (Neutral density) filter.

Telephoto lenses have a tendency to compress apparent distances between objects in the foreground and background.
Archive your digital photographs. Read this page.

The camera uses a smaller aperture opening (11-22), allowing for a wider depth of field, meaning the foreground as well as the background will be in focus.
Sports Mode ...

A large aperture - for instance, an f-stop of F/2 - will have a shallow depth of field, leaving most of the foreground and background of the subject out of focus.

This contributed article offers 5 simple tricks for shooting landscapes. Learn how to make the most of the foreground AND the background, using contrast, and more..

See also: See also: Ground, Photograph, Camera, Photography, Image

Photography  Forced development  Foreground colour

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