Give your eyes a destination and a path to reach there. Our job as artists is to find a place we want to direct the eyes of the audience, find a way to direct them there, and then to show them what we want to see them. Everything else is just visual disorder.
Photographers are often interested in keeping and controlling the depth of the region. In fact, there is also a very cool-sounding word to be out of the focus: Bokeh. And when I first saw the word in “Peterson’s Photographic Magazine” several years ago, I thought he probably confuses the word, and it was referring to a floral system.
And holding the huge depth of the area for the fast – and I have a big question for me. And that is, “What about the depth of interest?”
As we consider landscape photos, the question comes out: Why a landscape photograph is successful, portrays the viewer’s interest and makes it more than only another “beautiful picture”? In my view, many things may have to be kept in mind. As I write it, it is for me that perhaps there are a hundred or more factors that go into the equation that it acts to make a picture visually interesting. There are many abstract, perhaps even unconscious, and they are often without conscious thoughts or understanding of the photographer. I know that I rarely give conscious ideas to these factors; They are a spontaneous emotional response instead of a conscious checklist that I pass. In fact, I can say that I do not remember that I was ever passing through them at a conscious level. And yet, when I look at the initial image, either on my light table, as a contact proof print, or in Literoom, they are there.
So if I was able to detect and determine the things that it could improve my ability to create memorable images that I had determined to. Saying that, some suggestions are made here.
Fourground one photo can have the most important interest field, especially if there is a picture or illustration of the image landscape. As I look at landscape photos, what is the thing that takes me in the picture and wants to see me? For me, it is often the foreground. I usually have gravity for a picture that has strong foreground interest. In fact, I look at a lot of images where the initial interest of the photographer is very clearly distant distance – perhaps a mountain range, an interesting cloud structure, or a grove of interesting trees. Sadly, the life of the image stops there because the foreground is fundamental for the image. And if there is no foundation, there is very little or nothing in the image or nothing as its base.
So what are the things that cause the foreground to be interesting? First, it must be sharp – or at least give the feeling of sharp. I want to see some kind of pattern. Maybe the texture of the leaves or sandstone or beach rocks. Any number of things can lend the texture in the foreground. In this image, my friend wanted to get out bug, but I saw something in the foreground, which I was interested in: the texture of Mormon Tea against Red Rock Sandstone, a-seed on the edge of the Abis with a junipar. (For those interested, I used the #58 dark green filter stacked with a linear polarization to give the impact of the infrared film. At some point in the near future, I would write about how I use filters in my black and white work. I am working on the article, but it is not yet out.) But it is not yet exhaled.) Movement is another element that I like to add to my foreground.
I do not live near the ocean, so being capable of being is a complete treatment. I really wanted a lot of movement in the foreground of my image. However, for a novice ocean watchman like me, it is extremely unpredictable, and to an extent, each photo here is a crapshoot. Perhaps it will work, perhaps not. However, in this case, there was almost what I wanted to have water movement. I think I made six sheets of the film here, which is a full film holder; I use graffetic film holders anyway. Of those six, one was very good – it could be one – one, and the other four did not work for me at all.
The next is the midground. The middle part of the image is part of the image that connects the foreground to the background. This place is not always clearly defined; However, it is there, and since it is there, it needs to be addressed.
When I created this image, I was leading a workshop program which I taught out of the page, Arizona. There was almost continuous rain from the first day of the workshop, and I decided that we would draw bets and go to Sion National Park, which is about 100 miles in the west. I called a motal, I was familiar with Springdale, Utah, and they had enough rooms available. On the first day we were there, the storm began to break about the mid-morning, so we took the up-canian to one place, which I was familiar with that I was not far away from the road. The foreground was covered with a prickly pear cactus, in which the patriarchs were seen in front of the court in the midground with Gambel’s oak trees, with a very dramatic clearing storm over him.
this image, Hot mushroom rocks under a large skyWas built on the afternoon of April 1. A friend of mine and I went to Canianlands for a week -long photography and camp. I had done late heart surgery in summer, and against my doctor’s advice and better decisions, I determined a long backpacking campaign with a friend of Santa F. This image connects the foreground salt pattern with the midground and leads to the main anxiety-masroom-shaped rocks-with the sky as an auxiliary element. This was done around the morning, and perhaps the memorable thing for me was that it was very hot with billions of small, bite insects.
Often the reason for creating a picture in the first place is what happens in the background, in the form of auxiliary elements designed to lead the viewer’s eye with the foreground and the middleground. Many times, which is in the foreground is quite interesting to carry the image. An example can be an example where we take a picture of the close-up of a description. For example, I was cracked butt, high in the mountains above Colorado, and strangely enough, it was absolutely cool. These small columbers were tucking under a small verge. In this type of image, everything is the foreground. At least, the image is very shallow from the front to the back, so everything in the image is what will be called the foreground.
Very often, what happens in the background, there is a complete reason for stopping to make a picture in the first place. In this example, I was very attracted to the background, the mountain range in the background, the Red Rock National preservo, Nevada. The foreground had a group of Yukka trees as well as a group of sotols and other types of desert flora. I used a desert to expose the mountains in the background from a desert sunrise. Typically, the elements are not completely on their own, and for other supportive actors it is necessary to anchor the main theme and move the eyes of the audience to the main subject.
The foreground and the midground acted as a type of funnel to direct the rocks to direct the rocks in the background. Akash is another factor here, which I will discuss in future writing. So the basic elements of interest are the foreground, middle -grade and backgrounds. Among them, smart use, and whatever is on them, can be used, used tools that can be used to create landscape photos that we always want to make.
(By the way, the image of the head of the article is called MoonSet under the rim, sunriseI did to see if it is possible to image HDR-type using the big format film. I made four exposures on four separate pieces of the film – at a two stop, a stop over (for both shadow details), to catch the midtones in a normal exposure, and to catch in detail in the sky at a stop. Each chrome was scanned at 100% using an EPSON V750 scanner, in which there was no crop of pieces of the film and there was no adjustment to the exposure or histogram before scanning. The images were then opened in Photoshop, and the merge of Photoshop for HDR was used to combine them into an image. I am very happy with the results, although I will not do it again. Each image was made using a Toyo 45A camera, UV-15 filter with 65 mm synaron lens, and Kodak E100G film.)
Once again, I suggest to use B & h photo video,
