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An area in an image closer than the main subject.
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Improving your Mountain Photography
Filed in Tips by David Peterson - 0 Comments ...
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.
They help to fill empty parts of a photograph, and can be used to lead your eye into the main subject of the photo.
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. Adding foreground automatically adds a middle ground.
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. Try to find strong elements that are mid range tonality for your prominent 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.
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Recently, I spent a day exploring local waterfalls. Environments like these are perfect for use of a wide angle lens. When I made my first few photos, I found myself making the mistake of having the waterfall far away and just cramming it all in using the wide angle lens.
~. The part of the scene or space in a photograph that appears closest to the camera or nearest the viewer.
Front light.See Lighting.
~: 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.
~ - 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, medium and large format films and the photography equipment employed in handling each different film format (e.g.
~ - 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 ...
~ 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. But it's not particularly interesting. What can you do to add interest?
(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 : ...
~ 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.
-~ - area in an image closer than the main subject.
-Format - size of negative paper or camera viewing area.
-Frame 1. single exposure on a roll of film. 2. viewfinder image boundary.
3. Decorative border applied to finished, mounted prints.
The ~ subject perhaps 6-10 feet from the camera is usually the most important part of a 3D scene because the 3D effect is greatest at this distance so make sure it's interesting.
~s 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.
~ 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.
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.
Brighten foreground: Brighten the foreground to call attention to your foreground elements and heighten a three-dimensional aspect of your photos.
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.
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.
Emphasize foreground subjects and create distortion
A wide angle lens used for landscape photography emphasizes the foreground details while moving the distant scenery farther back from the camera. A wide-angle shot of distant mountains bordering a glassy lake shore might look dramatic.
Control the Foreground
In dirty water, a busy foreground is your friend. Shooting in open water with a lot of particulates almost guarantees backscatter, but if you can find a textured foreground to hide the particles, the success ratio will go way up.
50% crop from foreground
50% crop from center
Check out more Nikon AF-S 28mm f1.8G sample images.
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)
Taking the Digital Plunge
You've finally decided to go digital but what's the right camera for you?
By Nikonian Tom Boné (flashdeadline) ...
Set your Background color in the Tools Palette to black and the ~ 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.
There's no easy way to get around this one. You're probably just going to have to search for a while to find a ~ element. But the search will be worth it in the end.
Think about the ~. 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.
Curiosity Rocks ...
If I see a good ~ 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 ~: With your wide-angle lens, try framing your distant scene with a strong ~ 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 ~ is what you notice first.
We then notice the other people in the photo. The path also guides on along the visual path.
Create a new layer, ~ colour #031655. On a new layer, select Gradient tool, ~ 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-~ 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 ~. 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 ~. These filters slide in a special square holder that attaches to the front of your lens. You insert the filter such that the dark half of the filter will superimpose on the brightest part of your image.
When you focus on your subject, you can choose to blur the background and ~, 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 ~ 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 ~ (on the runner's bib) or background.
Many races have different classes of competition. Wheelchair racers make interesting photos too - get some images.
Don't forget the periphery.
Widen it and you’ll lose that ~-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 ~ was rapidly fading, and he could not find his exposure meter; however, he remembered the luminance of the Moon, and used it to calculate the proper exposure.
Since the background will need to fade from a sharp ~ 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.
Because wide-angles open up perspective, some ~ interest will be necessary to avoid creating an "empty" photograph.
For the same reason a wide-angle should not be used for close-up portraits, as the facial features of a person will be distorted beyond recognition.
The on-camera flash makes sure that the ~ 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 ~ and background?even in challenging lighting situations.
Hot Shoe Operation
Use on-camera with bounce or swivel operation to soften shadows or eliminate annoying red eye effect.
It has a nice log cabin in the ~, 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. What's the main subject of the scene?
So why is it still that with wide-angle photos the objects in the ~ 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.
Scale changes from large in the ~ 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.
If you're looking for Shallow Depth of Field (ie your ~ 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 ~ 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 ~?
In fact, we do want the ~ 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.
~ and background may merge in the absence of color separation. Tips: use more Back Light or Background Light. View the scene with a B&W viewing glass.
Including a simple ~ element not only adds a center of interest but can reveal something of your location and help evoke a particular emotion or mood.
To do this, choose Paint Brush tool from tools panel and make sure your ~ color is white. If you had default white ~ and black background color setup, you can just hit [X] to switch their position.
The effect becomes notable when the unsharp back- and/or ~ 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: ~ and/or horizon not sharp
Landscape Photography Mistake No. 3: Image blurred
Landscape Photography Mistake No. 4: Empty ~
Landscape Photography Mistake No. 5: Flat, dull light
Landscape Photography Mistake No. 6: Strong shadows ...
Now meter a very bright spot in the scene so the ~ gets totally black on the final picture.
how far the ~ 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 ~ 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 ~ up close to the camera so as to give the sweeping landscape a sense of depth. So if there is an interesting rock or plant in the ~, I'll place it on the bottom-right or bottom-left intersection of the frame.
for example you can compare the ~ 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. Note the "magnification" in the 8x10 print. Then select the 1.
This mode will get the ~ 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 ~ like a tree or a fence, but the problem is making sure it’s all in focus. In the photo below left, using the camera’s automatic settings, the background is sharp, but the grassy ledge in the ~ is blurred.
Using a selection tool like a "Lasso," select the ~ 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. In effect, it means "swap the selected areas for the unselected ones.
At low f-stops, the ~ of the picture will be in focus while the background is out of focus. At high f-stops, objects in both the ~ and background are in focus.
The shutter speed determines how long the shutter is open. The longer it's open, the more light will hit the sensor.
Piggybacking on the rule of adding ~ elements to your images, when it helps the photo, try to include a person, animal, or object to provide a sense of scale.
Check the background and ~. This is probably one of the most important photography tips you should
use. Check the background and ~ of the scene you will be shooting before taking the shot. This way you ...
Artistically most people tend to prefer sharper ~s and softer backgrounds. Fuzzy ~s 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 ~ of your picture to produce unexpected and undesirable results. A good example is a picture of a person where there is a tree in background and the tree is directly behind the subject's head.
When photographing Fireworks Displays many people tend to just capture the Fireworks and forgetting the ~ or the background.
Experimenting with the distorted effect, however, can serve you better if you shoot with a ~ 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 ~, with a slightly shifted focus point, too), and replace the lightened ~ layer with the second frame.
This sort of scene, where the ~ 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 ~, which forces other apps' contexts to be swapped out of memory and saved to disk by the virtual memory system.
Try to include ~ 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. Include people, which helps emphasize scale and bring realism to the photo.
The entire blurred ~ 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. What is the best Depth of Field?
Large aperture gives a very small Depth of Focus ensuring that the subject stands out from the ~ and background, and that there is plenty of light entering the camera to allow a fast shutter speed.
Allows you to choose a ~ or background color and allows you to add or delete colors from the swatches library of colors.
S-Jacks, S-Video Inputs & Outputs and Y/C connectors ...
An image that contains only two colors: a background color and a ~ color. See monochrome and halftone.
Refers to systems or machines that store the most significant byte (MSB) at the lowest address in a word, usually referred to as byte 0. Contrast with little-endian.
Use evening sunlight for beautiful sunsets, sharp ~ 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.
Slow Sync - A flash mode in some digital cameras that opens the shutter for a longer than normal period and fires the flash just before it closes. Used for illuminating a ~ subject yet allowing a darker background to also be rendered.
Slow Sync - A flash mode in some digicams that opens the shutter for a longer than normal period and fires the flash just before it closes. Used for illuminating a ~ subject yet allowing a darker background to also be rendered.
10 Tips for Photographing Fireworks
Learn about choosing a location, wind, ~s and backgrounds, ISO, shutter speed, aperture, and framing.
By Marla Meier, APM
Photographing Americans on Parade
Get a few photo tips to capture all the colors and action.
By Jim Austin ...
If the entire image is sharp (ie, all in focus), it has a large depth of field. If an image has the ~ sharp, while the background is blurred, it has a small depth of field.
This ability to select focus points by touch also lets you intentionally throw the ~ out of focus to isolate a subject in the background.
This touch-screen feature borders on the gimmicky, kind of like a party trick to impress your friends.
Having the light behind a subject can allow the background to be lit while the ~ is dark, which can completely change the mood of the photo.
There are some exceptions though - one specific example I can think of is trying to shoot a subject in the ~, with motion trails of car lights in the background. In this case, bring along an external flash unit and shine it on your subject manually.
A greater depth of field implies an increased distance between well-focused background and ~, with everything in between properly focused. A narrow depth of field concentrates the area of sharp focus within a small range, based on the main subject's distance from the camera.
The larger the aperture, the shallower the depth of field and you'll get a sharp image of the ~ 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 ~ and background appear to be separated from each other. Perspective is determined by the distance of the camera to the subject. Objects that are close appear large, and distant objects appear to be smaller.
The impression of depth given by converging parallel lines and changes of subject scale between ~ and background elements.
ND (Neutral density) filter.
DOMINANT OBJECT - The object in a photograph that is predominant, usually one that is given the most visual weightand often appearing in the ~.
DOUBLE-EXPOSURE - Exposing the same image frame twice. A typical double-exposure shows the same subject twice in the same image.
Telephoto lenses have a tendency to compress apparent distances between objects in the ~ 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 ~ as well as the background will be in focus.
Sports Mode ...
See also: What is the meaning of Ground, Photograph, Camera, Photography, Image?