glimpse of the surrounding elements and information about the subject.
In Figure 21-3, for example, I revealed details in the model's face and wardrobe by standing close to her. However, you also get a good view of the scene around her. (See the following section for a shot with the same lens but different results.) You can read more about choosing the appropriate lens in Chapter 3.
Figure 21-3: Get close to your subject with a wide-angle lens in orderto maximize detail in the environment and the subject at the same time.
Shootinq More Scenery with a Wide-Anqle Lens
Figure 21-3 (see the preceding section) and Figure 21-4 both were photographed with the same wide-angle lens, but you can see that the subject is represented much differently in each image. Even though a wide-angle lens allows you to get similar amounts of detail in both your subject and its environment (check out the preceding section), you also can use this type of lens to get an expansive view of the scene while minimizing the presence of the subject — as I did in Figure 21-4.
Figure 21-4: To make your subject become part of the environment, place her farther into the scene when using a wide-angle lens.
Notice how Figure 21-3 and Figure 21-4 show about the same amount of the environment in the scene. You can see the palm trees, the path, and the sky in each. The main difference in Figure 21-4 is the size of the subject in the frame. By having her stand farther down the pathway, I made her seem more a part of the scene. Because she's more difficult to spot in this composition, I made sure to place her on the right third and have the leading lines of the dunes and handrail guide your eyes to her. She is, after all, still the subject.
Shootinq a Subject with a Lonq Lens
If, for your composition, you feel that it's unnecessary to maximize the details in a scene, you can zero in on your subject and minimize the environment by using a long lens. These lenses have a narrower angle of view, so they naturally reveal a smaller portion of the environment. They also tend to create a shallower depth of field. The combination of these two factors can cause a subject to stand out from her background, making it easier for viewers to concentrate on her.
Figure 21-5 shows a more intimate view of the scene. The viewer still has enough information to get an idea of where the woman is, but this composition is more about her than the environment.
Figure 21-5: Use a long lens to narrowyour angle of view and draw more attention to your subject.
Creating an Intimate Portrait by Using a Long Lens
If you want to minimize the detail in a scene as much as possible and show a detailed, intimate image of your subject, use a long lens and move in close to her. In Figure 21-6,1 used the same lens as Figure 21-5 but positioned my camera closer to the model. By doing so, I caused the background to become blurry and the model to take up most of the frame's space. This composition brings the viewer face to face with the subject.
Figure 21-6: When using a long lens, move in close to your subject to make it all about her.
Payinq Attention to the Foreground Elements in your Scene
Photos often include a midground and background but lack a foreground. For a dynamic composition, try creating an image that contains both of these plus a foreground. Foreground elements help create the illusion of three-dimensional depth in an image. So be sure to study the foreground elements that exist in your scene and determine which ones tell the story of where you are.
In Figure 21-7 the subject is down on the beach, and the camera is up on the path. This angle includes the path in the composition without having the woman on it, which gives a sense of the environment in a not-so-literal manner.
35mm,
Figure 21-7: Choose a vantage point that includes foreground elements for more dynamic compositions.
your Photo a Compositional Frame
Applying a compositional frame to your image helps to seal off the edges of your image and aids in drawing a viewer's eyes into the subject. (You can read more about these frames in Chapter 11.) In Figure 21-8, for example, the palm fronds at the top of the frame and the trees at the left and right edges help keep your eyes from wandering outside of the photograph. This framing also helps make the composition more interesting and descriptive.
Figure 21-8: Trees often can be used to frame a scene.
Finding Negative Space
If you determine that a scene isn't suitable for photographing a certain subject — perhaps because of the distracting background, foreground, or midground elements — you can always seek a vantage point that offers
Figure 21-9: Draw maximum attention to your subject with the use of negative space.
Backlighting your Subject to Emphasize Shape
Pay attention to the lighting in your scene and be aware of how it will affect your subject. For example, if
