The Offset Foreground vs A Centered Foreground

In almost any landscape photograph the foreground is just as important as the main visual background. A lot of photographers, including myself, will often neglect the foreground when shooting landscapes. Unfortunately, it is easy to forget about this important element as we tend to get caught up in the grandeur of what we are observing and overlook this often simple, yet vital part of what makes a landscape work.

Foregrounds can be subtle or prominent, and they can even be dominant especially when what is there is intended to become the main theme of the image. Take for instance this image of the bow of a canoe pointing toward a sunrise.

In this case the canoe, which is in the foreground, is the dominant subject with the background serving to provide the element of time and place. The placement of the canoe in the center of the image serves to create that sense of being there at the moment and points the viewer toward the rising sun. There is a sense of mystery along with a serene calmness. Without the placement of the canoe dead center and upfront in the dominant position, the image becomes ordinary.

Sometimes a more subtle approach works well like this black and white image of a late winter Kentucky landscape. On the left you find a weathered old stump in the foreground with the background fading off into the mist. That old stump serves to anchor the composition and provide an element of rustic charm to the image. Without the stump, the image would rapidly fall off the interest scale.  By placing it offset to one side, the stump also serves to balance the image with the darker clump of trees on the right. Also, the open side of the stump faces into the image, much like allowing room in the composition for an object like a person or critter to move into the scene...an effective framing or layering of the foreground, middle ground, and background.

Here's another example of a bold foreground blending well with the background. This image, taken on the Tallgrass Prairie Preserve in Oklahoma, demonstrates again the importance of placement for the foreground, which is upfront and center.

Here the jagged, immovable texture of the rocky outcropping contrasts strongly with the softer, flowing element of the sky and prairie far behind in the background. Again it serves as a solid anchor for the composition and provides an ancient, enduring element against the ever changing texture of the sky. Without the foreground rocky outcropping this becomes just another photo of a field and sky.

One final example demonstrates how a long lens can contribute to the success of a photograph.

In this image of an ordinary Meadow Lark you see how the main subject is isolated against a soft foreground and background at the same time. Using a long 500mm lens and some selective cropping both elements were compressed into a natural looking blurred composition with the main subject remaining in sharp focus.

This provides a feeling of distance and isolation one where the Meadow Lark is viewed in its natural environment without the environment interfering with the focus element of the composition.

There is also a sense of a three dimensional depth to the image by including a soft foreground without any sharp elements interfering with the subject and the soft background provides a natural looking mat against and within which the Meadow Lark floats.

Effective use and placement of the foreground can provide that extra element a landscape image requires to create a composition that is not only pleasing but well balanced with a natural appeal. When shooting landscapes look for that extra piece of the puzzle that creates a strong appeal. It can be subtle, bold, offset, or upfront and centered. Which ever is used, experiment with all of them during the same shoot. One is sure to work.

Breaking Down a Photo - What Makes This Image Work?

Good lighting is essential to create good photographs. Without it, many images simply become snapshots. Although everyone employs their own perspective to a photograph, there are certain elements that come into play that helps to separate those simple snapshots from a well thought-out, complete photograph. Many times subtle elements like reflections, shadows, and angles are what separate ordinary from extraordinary images, and not everyone looks for those things even after the image is made. The key is to anticipate ahead of time and setup the shot so those subtle elements become a part of the composition.

It is often a matter experience and understanding how light bounces around and reflects off things that help us to quickly discern what will work. Sometimes you just get lucky, but most of the time great images are made with a little forethought.  So...let's take a look at the above image in closer detail.

First of all, notice the image is a Sepia toned black and white image. From the start of this photo shoot I anticipated using black and white simply from the nature of the character...a Cowboy with a rustic flavor. Black and white with sepia tone simply fits the theme more reliably than color does. It reduces the image to contrasts, shape, form, and of course character. Character profile images require you have a character to profile, and Davy here certainly proved to be a great genuine character.

Converting the image to black and white also required using the correct style of simulated film...in this case I used Silver Efex Pro 2 black and white conversion software to convert to black and white, and changed the image from a neutral BW into an Agfa APX 400 simulated BW film. This gave the image just the right combination of contrast and grain so it would retain a more rustic flavor. I also applied a subtle amount of Sepia tone to enhance that old time western appearance. The overall image then took on a completely new and more powerful look than the original color image offered.

The overall appearance of the image was then set after the conversion, but there is more to this image than the black and white process. The lighting here is displayed in two forms...bold and contrasty along with some subtle detail. It's the subtle details that made this image one my favorites from that shoot.

Take a closer look at this cutout image. Notice the subtle highlights that outline Davy's form...along the jaw line, the length of the arm, and a subtle reflection under the brim of the hat. These were created by placing a bare speed light low and behind the subject and pointing it toward the stall walls along the edge of the stable. It was powered down to provide just enough light to bounce off the wall and to cast that subtle reflective glow around Davy. This glow serves to separate him from the dark confines of the background and the reflected light from the stall walls help to provide depth to the image, otherwise the background would have been almost completely dark. 

Looking at the next image with the bolder light, you see a much more contrasty appearance. Although there was some ambient light bleeding in from the outside, it was not enough this deep into the stable to provide enough illumination. To augment this light, I setup a primary light, with a 31 inch octo-box softbox attached, about 10 to 12 feet away from Davy...at almost a 90 degree angle from his stance. 

From that distance, the octo-box provided a rather harsh direct light against him which simulated an opening with natural light flooding in. The light illuminating his left side is almost all coming from that single softbox light. Had it been set closer, say withing 3 feet or so, it would have wrapped around him generating a softer look...not what I wanted.

Now look closely at the background. Notice how it is very soft, blurred, yet with enough detail showing to provide that sense place for the image. Most of that light is coming from that single low down light described previously, but some natural ambient light also contributed.  Without it, the background becomes a dark mass with no place defining importance. With it, the background now becomes part of the composition. You instinctively know he is standing inside a horse stable as a result.

The camera in this case was set around 50 feet or so from the subject and a large zoom lens was used to compress the image. The background wall is at least 40 feet from Davy, but appears closer because of the lens compression. Using a long lens also helps to isolate the subject from the background so he becomes the center of attention.

All of this setup happened rather quickly...most of it instinctively, some of it just dumb luck, however, everything fell into place once the shutter was released. The major light set ups were purposely set to generate the lighting effects seen. The ambient light came in from behind and right of the subject and provided enough extra light to help with the overall composition effectiveness.

I really like this image for it captured the essence of what I wanted to accomplish...to capture an iconic image of an American Icon; The Cowboy.

A Short Video: The Cowboy Way