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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.
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.
Cramer placed his main light so far to the right that it functioned as a sidelight, sculpting the folds of the uniform and giving them added shape.
Foreground - the subject of the image.
Graininess - the sand-like or granular appearance of an image. Graininess becomes more pronounced with faster film and the degree of enlargement.
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.
Include Foreground elements
Consider including foreground elements such as an interesting a tree or house into your scene. Just because you are shooting a sunset doesn't mean you only have to include the sun.
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
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.
The amount of foreground (in front of the subject) and background (behind the subject) that is acceptably sharp. Can be controlled by setting the Aperture.
Digital zoom ...
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.
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, ...
- 960 Wide 2 Col with Side Nav: Two-column template with header (using background images), side navigation (using three-slice technique), footer, content area, and three foreground images.
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.
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.
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.
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.
This sort of scene, where the foreground elements are small, and ranged against a cluttered background - is a tricky target for AF.
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.
See also: Ground, Photograph, Camera, Photography, Image