A truly fundamental idea in the composition is that you should do anything out of your photo that does not add to your message. A wrong branch, footprints on the ground, whoever damages your story – leave them out of the composition, and you will find a strong photo. But … what if you can’t exclude them completely?
Often in landscape photography, or in many other styles, there will be some distractions in the scene that cannot be completely left out of the composition. They may be very close to your main subject, or throw them out and throw them out the entire balance of the photo. They need to be included in the frame, even if they are making the photo worse.
This is the point where some photographers will resort to spot healing tools to remove those distractions after this fact. But often, there is a gentler approach that simply works as well, if not better, as it involves more conscious ideas when you are composed in the first place. I am talking about the subtle art of blocking.
The picture below is an example of this approach:
I like this photo. For me, soft light and gentle color palettes are good supplements for nearby trees and distant glaciers. However, I also find that my eye is distracted by a large rock near the lower part of the frame on the left side. Because it is brighter than its surroundings, it attracts attention, but it does not really reward that attention. I think trees and glaciers feel more interesting, and I will shake my eyes on them instead. The significant view of the rock also leaves the photo slightly unbalanced to the left.
Unfortunately, there is no good way to completely exclude the rock from the composition. I could not elevate the camera without losing the tree and under the lake (or at least placing them closely close to the edge of the photo). And I could not harvest the quarter on the left side of the frame without damaging the balance in the photo and breathing space. A remaining option will be to darken the rock in post-processing-or, more aggressively, to exclude it-but a better approach.
In the region, I admitted that this rock was an distraction, but knew that there was no good way to completely get it out of the frame. Therefore, I searched for elements in the scenario that could block the rock and reduce it in the first place. For my pleasure, a nearby tree was just standing at the right place to do so. I just needed to move a few steps to the left, and the result was a similar composition with a very low distraction.
Very few landscapes are completely free from distraction or unwanted elements. The natural world can be messy. But I always enjoy the puzzle of composing more effective photos and removing distractions, no healing brush is needed. You will find many ways to get it, using a different focal length to caution and burn in the editing stage. Each scene will call for a slightly different approach. But the subtle art of blocking is one of the best devices in your disposal.
Of course, it begins with identification of distractions in the first place. I believe that, almost always, the best time to do so is when you are in the area, not in post-processing. Scan your photos while you are taking them… and do not think so much about what you like about the frame. Think more What do you don’t like And what will you change. Then, use all equipment at your disposal to make those changes in the region.
I hope today, with this quick example, I have shown you how the subtle art of blocking can be the most useful of those devices.
