Improving
your Foregrounds
by Russ Barker
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Simplicity
- " Less is 'more' "
Whilst
I have only shown one example of the difference between what I
would say was a coherent foreground and a cluttered one, this
could be equally applied to all the other 3 examples. In all cases
the leading lines were formed as part of a process of trying to
simplify the composition.
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This
principle of simplicity need not apply just to leading lines.
Whilst leading lines are important we may sometimes want to fill
our frame with a good deal of foreground that isn’t a leading
line, but rather an integral subject within the composition.
In
Figure 6 at right the foreground is a major part of the
scene. Whilst an argument could be made for the green rock
being a lead in line of sorts due to its orientation in
the frame, it is actually much more than that – it’s
the most important element of the composition with the sea,
sky and pier forming a backdrop for this.
What
makes it the most important part of the composition? The
rock has impact here because it is separated from the rest
of the scene, and the light striking the rock is of a different
quality than the light in the rest of the scene. Furthermore
approximately 20% of the image is the rock. Of course there
were many other rocks that could be included in the composition
but none were as vegetated and vibrant as this. Therefore,
Figure 6 gives centre stage to this lovely seaweed covered
rock in the foreground, bathed in the light of the setting
sun. Illuminated by a low sun and surrounded by shadows,
the rock dissolves from the rest of the foreground and simplifies
the image. |
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If
faced with a beach full of attractive ice sculptures the
careless photographer could be tempted to include a whole
mass of them which would be a mistake. By trying to isolate
a single piece of clear ice, Figure 7 at right emphasizes
the solitary piece of clear ice in the foreground and it
makes the composition stronger. Once again we are trying
to explain to the viewer what we believe is important in
the composition. |
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Get Close and Get Low
Finally
it should be noted that all of the images (except Figure
4) applied another technique that will help you out. It’s
a simple one that I use often – get close and get
low. When using a wide angle lens try experimenting with
your shooting perspective. If you are used to shooting
at shoulder height, try shooting from a foot above ground
with that foreground element as close to your lens as
you can get it. Of course, this will require the successful
application of other techniques, such as correct hyperfocal
focusing and a
good tripod and other sturdy
support to keep those images sharp, but those are
covered elsewhere (at the links) and I encourage you to
investigate them.
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Here’s
a final image (Figure 8) to bring together all the elements
I have talked about.
Captured
with me laid on my front, camera mounted on the tripod about
6 inches above ground -those leading lines are present in
the rocks but also the foreground provides something more–
the geometric lines are enhanced by the cross checked pattern
and finally the inclusion of the reflection in the middle
of the frame.
The
composition is intended to let the viewer’s gaze flow
through the image and find something of interest at every
point. But remember, right at the beginning, I said that
everything is subjective so that will be up to you to decide.
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So
– remember ‘leading
lines’, ‘less
is more’ and ‘close
and low’. It doesn’t seem too daunting
to apply these principles before pressing the shutter. You might
have to scout around a little, and occasionally you might have
to get down on your belly. Even so, your camera will thank you
for allowing it to make such vibrant images.
My
gratitude to Nikonian Bob Tomerlin (drjimbob) for his inducement,
support and help to make this article.
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