Here’s something that occurs all too often when composing images in the field: We tend to ignore what’s right in front of our face, and instead we concentrate on accentuating the midrange and background of a shot.
That’s unfortunate for a couple of reasons. First, what lies in the foreground may be the most compelling portion of the frame. And in other instances foreground elements can help direct a viewer’s eye to key areas that lie beyond. In this eye-opening tutorial from Landscape Photography University you’ll learn how framing a scene with the foreground in mind can make or break a shot.
Instructor David Johnston is a professional landscape shooter who says, “My passion is to provide the best tips and tools to level up the success of your photography.” He fulfills that goal today with several techniques for using foregrounds to make images more compelling.
Johnston uses a number of great images to illustrates his advice. The first example is a spectacular photo with colorful buildings and a striped lighthouse close to the camera and star trails in the nighttime sky. This shot illustrates Johnston’s claim that the first thing you want to be sure of is that your foregrounds point directly to the key subject.
In this instance Johnston’s key area of emphasis is a portion of the frame where the lighthouse meets the sky—specifically where the star trails track around the apex of the lighthouse. Thus, he composes the shot so the rooftops and chimneys of the buildings point toward the spot where these lines converge at the top of the lighthouse.
But what if a scene lacks the obvious benefits of the foreground in this particular shot? That’s where Johnston’s other images come into play. As he says, “even if you don’t have a solid foreground with a leading line or something else on the ground, you can still use elements within the landscape to point directly to what you want.”
When shooting landscapes with a wide-angle lens, Johnston says he typically looks for three areas of interest in his compositions—namely a foreground, midground, and a background. His second shot is far different from the first, but it still fulfills these criteria and you’ll see how uses the foreground in a creative way.
Johnston’s other images pose yet different challenges and solutions that rely upon sound strategies for incorporating foreground elements in various ways to maximize the impact of just about every landscape image he makes.
Landscape photographers constantly grapple with complicated, messy scenes that have a wide range of tones, whether their shooting at sunrise, sunset, or in the middle of the day. As a result it’s not uncommon to return home with a few images that would be spectacular were it not for the fact that they’re seriously underexposed.
The goal of this video tutorial is help avoid dampening your spirits when this occurs, and to provide a straightforward method for rescuing these underexposed images in Lightroom. Or as instructor Neil Borg puts it, “transform dark photos into stunning masterpieces.”
Borg is an accomplished pro specializing in travel and landscape photography, so he’s experienced this challenge on numerous occasions. He notes that bright highlights and dark shadows are often the culprits and they’re easy to fix by using the few simple steps that he provides.
The demonstration seascape was shot at the coast on the small island of Malta, with the sea in the background, some nice clouds in the sky, and imposing rock formations and a waterfall in the foreground. Sounds like a perfect scene, right? Unfortunately the original shot is so dull and dark that most of us would consider it a throwaway.
Borg isn’t someone who gives up that easily and the transformation he achieves is nothing short of breathtaking. In barely 10 minutes you’ll learn his techniques for boosting exposure, recovering details, and enhancing colors in way that the beautiful result retains a very realistic look.
He begins with few basic exposure adjustments that open up the image, but it still appears dull and drab with hardly any color to faithfully represent the scene. Other techniques are clearly needed and Borg begins by cutting Dehaze and Clarity to introduce a subtle “dreamy effect.”
He then bumps up Texture to accentuate details in the sky, foreground, and waterfall in the rocks. Borg also desaturates green tones under the waterfall because he finds them objectionable. A Linear Gradient over the top portion of the shot enables him to selectively adjust exposure in the sky.
The waterfall should be an attention-grabbing element of the scene, but it’s severely deemphasized in the original image. So Borg makes a selection with the Brush tool and significantly brightens up the flowing water. A couple more masks and some thoughtful color grading are also required to complete the impressive job and Borg quickly demonstrates how that’s done.
There’ much more to learn by visiting Borg’s YouTube channel and by watching the tutorial we posted recently from another accomplished pro, explaining how to use Linear Profiles in Lightroom for complete control when editing landscapes and other outdoor photographs.
You’ve probably heard the term “Expose to the Right” (ETTR) but do you understand the benefits of this somewhat controversial technique and know how to put it to use? Today’s tutorial from the Hoffman Photography YouTube channel will get you up to speed so you can begin using ETTR today.
Hoffman explains his goal for today’s episode like this: “My purpose is not to advocate exposing to the right, but rather to explain what’s it’s all about and why some photographers recommend using the method.” Hoffman’s explanation gets a bit technical but hang with it because no questions are left unanswered.
A simple way to begin is by imagining you and your camera are inside a completely dark room and the camera is set to a fixed shutter speed, fixed aperture, and fixed ISO value (it doesn’t matter what they are). In this situation you can’t see anything and the camera produces a black image because there’s no light reaching the sensor.
Now turn on a low wattage lamp and see what happens. Hoffman says that, “we can now see the whole scene in front of us, but the camera will only capture a very dim image.” This thought experiment continues by switching on two more lamps, one at a time, and here’s the quick takeaway:
Every time you double the amount of light, our human perception changes in a manner that’s not quite accurate. But a camera’s sensor outputs exactly twice the brightness. Or as Hoffman explains, at some point as you turn on more and more lamps, “the photo will become overexposed, while our brain still perceives a perfectly exposed image.”
In other words, as the light continues to increase “the sensor reacts in a linear fashion while our eyes respond logarithmically.” With this necessary information under your belt, Hoffman move on to practical application that pertain to shooting with ETTR.
The goal is to capture the maximum tonal range within a scene—in a single photograph—from whites, blacks, and everything in between. We can do this by shooting multiple image and merging them during the editing process, but wouldn’t you prefer getting as close as possible with one shot in the camera?
So take a look, be patient with the technical stuff, and see if ETTR meets your needs. Then head over to Hoffman’s very interesting YouTube channel where there’s much more to learn.
Picture a scene where the main act is not just what fills the frame, but also what doesn’t. That’s negative space photography, a technique that turns emptiness into expression and silence into storytelling.
In this deep dive, we’re peeling back layers to reveal how much weight nothingness can hold in your shots.
You’ll grasp why every photographer needs to give their subjects some breathing room and learn how empty areas are not missed opportunities but rather essential for creating balance and drawing attention right where you want it.
We’ll explore ways to use plain backgrounds or blurred surroundings as powerful tools that add feelings of calm, tension, or intrigue—all by letting less say more.
The Essence of Negative Space in Photography
Negative space photography, often seen as the quiet hero of composition, plays a crucial role in how an image is perceived. It’s not just about what you capture—it’s also about what you leave out. This technique can make your main subject pop by simply giving it more breathing room.
Defining Negative Space and Its Role in Visual Composition
Negative space refers to the area surrounding the main subject—or positive space—of a photograph. But don’t let the term ‘negative’ fool you; this isn’t unwanted territory. In fact, negative spaces are integral to creating balanced compositions that draw attention right where you want it.
A common misconception is that negative space must be white or plain areas within an image; however, any large plain background or high contrast scene can serve as effective negative space. By paying careful attention to these elements, photographers have found they can add feelings of solitude or tranquility depending on how much empty space occupies the frame around their focus subject.
Using negative space to focus on small subject in busy street scene
In event photography and street scenes alike, using negative spaces helps eliminate distractions so your subjects stand out even if they occupy only a tiny portion of your frame—a powerful way to tell stories through imagery without crowding viewers with too many details at once.
The Emotional Language of Negative Space
Negative space work does more than tidy up visual clutter; it speaks directly to our emotions. Photographers adept at leveraging this tool create images that convey emotion effortlessly because when we look at photographs with plenty of ‘breathing room,’ our minds fill those voids with context based on our own experiences and emotional responses.
To add negative feelings like isolation into portrait photography shots doesn’t always mean needing props or dramatic lighting—sometimes all it takes is framing your shot such that there’s ample empty sky above someone sitting alone on a bench for instance: instantly adding depth both visually and emotionally without saying a word. It’s something learned best through practice and experimentation rather than textbook guidelines.
Mastering Composition with Negative Space
When you’re framing that perfect shot, what’s not there can be just as powerful as what is. In the dance of balancing positive and negative space in compositions, mastering negative space isn’t just about having less—it’s about using emptiness to make your subject shout without saying a word.
Crafting Balance Between Positive and Negative Spaces
In photography, balance is key. But it’s not always about symmetry; it’s also how well you play the game of give-and-take between filled and empty spaces. To create an image where viewers feel at ease, pay attention to how much real estate each type occupies. The trick? Let larger areas of negative space compared to positive spotlight your main attraction—your subject becomes more noticeable this way.
Negative spaces serve up breathing room for your main subject while eliminating distractions around them. It may seem counterintuitive, but sometimes making your subject smaller adds more weight to its presence within the frame—the classic ‘less is more’ scenario in action.
Lizard in solitude
To get a grip on this concept think of portrait photography or even stock photos where often a face fills most of the frame—a tight crop creates intimacy yes, but flip that script by introducing large plain areas surrounding our hero (that’s right: I’m calling faces heroes now), suddenly there’s drama because we’ve added feelings like solitude or contemplation into the mix.
Utilizing Leading Lines to Enhance Focus
We’ve all been down paths both literal and metaphorical—but have you used them in your shots? Incorporating leading lines does wonders for weaving through cluttered street scenes straight toward your focal point thanks largely due again…to none other than good ol’ negative space. They’re excellent tools for gently guiding viewer’s eyes across an image without screaming “Look here.” Instead they whisper sweet visual nothings drawing us deeper into pictures naturally creating a sense of journey even if we’re only moving from one side of an image to another.
Leading lines and negative space in street scene
This technique shines especially bright when shooting event photography or any bustling scene really—where else would those chaotic backgrounds benefit so greatly from some blurred background courtesy via shallow depth field eh?
If these strategies sound enticing yet slightly intimidating don’t worry—with time examining different types images focusing specifically on their spatial composition patterns will emerge showing you precisely when add-negative-space makes sense given particular context whether abstract dynamic minimalist serene etcetera…you name it.
Balancing Acts: When Less Becomes More
Remember, creating balance in your photos isn’t about having equal space. It’s about the harmony between filled and empty areas that makes the shot work.
Creative Approaches to Negative Space Photography
When you think of negative space photography, it might conjure images of vast, empty skies or minimalistic compositions that feel almost meditative. But let’s twist the lens cap off and explore how we can get a bit unconventional with our spaces. This isn’t just about having more white on your canvas; it’s about experimenting with abstract forms and dynamic effects that grab attention.
Defining Negative Space and Its Role in Visual Composition
Negative space is like the silent music between notes—it defines everything else around it. In visual arts, including photography, this concept plays a critical role by framing the main subject (positive space) in such a way that they both complement each other. Think of it as giving your subjects room to breathe within the frame while eliminating distractions for viewers’ eyes.
Subtle negative space
Incorporating negative space doesn’t mean you must have only large plain areas or high contrast scenarios; sometimes, even subtle spacing can lead to impactful results. As photographers weave this element into their work, they create images where balance positive interactions emerge naturally without feeling forced—a true sign of mastery over composition techniques.
The Emotional Language of Negative Space
A picture speaks not only through its colors and shapes but also through what is left unsaid—the voids which add feelings or convey emotion effectively without being overtly dramatic. By understanding how negative space can convey emotion subtly yet powerfully, photographers unlock new ways to express themes like isolation or tranquility simply through spacing choices around their focal points.
This approach often relies less on following set rules than trusting one’s instincts honed from time examining countless frames—learning when an area surrounding needs just a tiny portion more breathing room could make all difference in delivering balanced composition filled with intended meaning.
Mastering Composition with Negative Space
To master composing shots where negative spaces are at play requires practice but starts fundamentally by paying close attention during shoots—spotting potential leading lines perhaps provided by urban architecture or natural contours which draw attention towards focus subjects effortlessly while maintaining interest throughout the entire scene.
Crafting these compelling narratives means always looking out for opportunities—not just settling because something looks ‘good enough.’ If incorporating leading lines enhances focus then go ahead and take advantage of it, find angles and positions wherein these elements come together harmoniously alongside chosen subjects. This pursuit of the perfect harmony in a photograph, seen through the eyes of beholders everywhere, inspires awe and marvel at the sheer brilliance captured within each frame.
FAQs
What is an example of a negative space?
In a photo, it’s the area around and between subjects. Think clear sky surrounding a lone tree.
What is a negative space shot?
A shot where background emptiness draws your eye to the main subject, like solitary silhouettes against dusk.
What is the difference between negative space and minimalism?
Negative space focuses on unused areas; minimalism strips down elements. Both value simplicity but apply it differently.
Why should negative space be used in landscape photography?
It brings out vastness and scale, letting nature’s beauty breathe and impress without cluttering views.
Conclusion
Embrace the art of less. Negative space photography transforms your images, turning emptiness into a canvas of emotion and story. Remember this: balance is key. The dance between negative and positive spaces defines your subject, guiding eyes with purpose.
And keep experimenting. Whether abstract or minimalistic, it’s about creating impact with fewer elements but more intention. Negative space isn’t just absence; it’s an active character in your visual tale. Use it to craft scenes that linger in memory long after one glance. In essence, give room for imagination to roam—because sometimes what you don’t capture says the most. Click the following link to learn how negative space can have a positive effect.
