When it comes to composition, paying attention to the function of your foreground and background can be crucial to creating a great image. The human eye can distinguish between different elements and determine depth in a scene. Your camera, however, flattens the background and foreground; a photograph is a 2D version of the 3D reality you see. This flattening of space is one reason foreground and background elements can become distracting in a photograph. For exactly this reason, it’s essential to work the foreground and background so they enhance your composition and serve your final image.
Foreground Use
When composing an image, you—the photographer—should consider what is in front of your subject: are there lines taking your eye away from the subject? Are there colors that complement or contrast with the subject? Could the image elements be used to better frame the subject? Is there negative space that adds to or reinforces the image?
Foreground can be used to put your subject into context. This is often the job of the background, but you can sometimes use the foreground to add to the scene and highlight the subject. Taking a step back to include more of the foreground might help enhance the subject and its environment.
By capturing more of the foreground, the sidewalk and pedestrians, the viewer can have a clearer understanding of the scene, as well as a sense of context.
A common use of the foreground is to lead the eye toward the subject with a compositional device called “leading lines.” This technique can involve something as simple as a winding road or railway tracks. Whatever you choose, use foreground lines to your advantage in a scene, and watch out for excess foreground activity that might distract or confuse the viewer.
By utilizing the “leading lines” of the Wonder Wheel, you can draw the viewer's eyes directly to your subject.
You can also use contrast to your advantage in the foreground of an image. A dark foreground can help to frame the subject and lead the viewer into the scene. When the foreground is darker than the main point of interest or has rich colors or tones, it can draw the viewer’s attention and make the subject pop. Yet, keep in mind that too much contrast between the foreground and subject can be distracting or have the opposite effect—overpowering the subject.
If you don’t want to distract from your subject, and the foreground can't add contrast, context or lead your eye, then the foreground elements might be used to frame your subject. Consider an example such as a leafy tree surrounding a bird perched on a branch. By opening your lens to a wide aperture, you can effectively blur the foreground and frame your subject with shallow depth of field—usingbokeh to enhance the subject.
If the foreground doesn’t distract from your subject, use it to your advantage. Frame your subject, or use the lines of the foreground to lead to your subject. If it gets too distracting, open your aperture more and blur it out.
Background Use
Now, let's talk backgrounds. No, not the backdrops you hang in your studio. A key to using the background wisely is to remember that you shouldn’t simply concentrate on your subject; you also need to pay attention to what’s going on behind it.
Choose your background carefully. Check, check, and check again. If you aren’t completely happy with your current framing options, a change of viewpoint can give you a different perspective on the scene. Changing your angles might help you get rid of distracting elements. Try aiming the camera from waist level, or get down on the ground and try shooting the scene from that angle. Changing your viewpoint might allow you to place the subject in an entirely new world.
If your background is too distracting, try changing your angle. Get on your knees and aim high. A clear sky is a great clear backdrop to a more complex subject.
Just as with the foreground, you might want to avoid lines that compete with the subject. Avoid the oft-dreaded Martian antennae poking out of your subject’s head—be conscious of the different elements in your background that can distract from your subject: a street sign, a tree, or wires. Beware of a horizon line running through someone’s head as if their ears were some sort of tunnel. You can also try using shallow depth of field to blur the background, effectively eliminating unwanted elements.
Be conscious of merging colors and textures. You might want to avoid taking a picture of your subject in a red shirt when there is a bouquet of red balloons right behind his or her shoulder. With like colors or tonalities, you risk not having much of a separation between the subject and background elements. You may have seen images in which people unintentionally match their surroundings; you probably don’t want your subject blending into the background like a chameleon—or maybe you do!
Final Thoughts
When it comes to composition, remember to be mindful. Not paying attention to the foreground and background elements of a scene can lead to unwanted surprises when reviewing images after the fact—when it might be too late. Composition is about practice and a lot of attentiveness. Be conscious ofcompositional lines. Be aware of the colors, tones, and textures framing the subject. Be mindful of what makes up the foreground, and watch your background for distracting elements.
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1. Shoot every day Like any skill, the more you do it, the better you can get. The best camera you have is the one in your hand, so if you aren’t out with your full DSLR kit, don’t be afraid to take great photos with your cell phone camera or a point-and-shoot. Photography is photography, make pictures with a camera. Any camera.
2. Always have your camera near Pull up a chair and I can describe two amazing scenes that have been indelibly embedded in my mind. Unfortunately, for the first, my camera was broken (I was at sea, far from a camera store). For the second, it was out of reach (I was flying). I have considered learning to draw or paint so I can make a “picture” of these two moments. The moral of these stories: have a camera within reach. You never know what will happen or what you will see.
3. Read your manual Camera manuals aren’t engaging reading, but they do tell you a lot about how to use your camera. Spend a night or two with your manual and get intimate with your camera. This will help you every time you photograph. Most manuals are now available electronically, so know where to find it, or save it on your mobile device for reference in the field.
4. Check your settings / know your gear I have often been tempted to put the following note on a sticker and affix it to my LCD screen: “Check your ISO, dummy.” If I had a nickel for each time I went out in the sunlight with my ISO at 800 or higher after shooting the previous evening in a dark restaurant, I would own a newer camera. Know what your settings are and how to change them quickly.
5. Change perspective / angle We see the world from eye level, and most people’s eyes are, generally, at roughly the same height. Should your photographs constantly record the world from the same altitude as your eyes? You will be amazed at how shooting from your knees, or a high ground, will change your image. Watch a documentary film about a documentary photographer and see how they move and silently wonder how many pairs of pants they wear out by constantly kneeling to shoot from low angles.
6. Know your meter Know your camera’s metering modes and use them to your advantage. When you frame an image, see the light and then meter for how you want your scene to be exposed. Is the lighting flat? Is a ray of light illuminating your subject? Do you want the background to melt into darkness? Your camera will help you achieve your goal; you just have to tell it how to do it. Practice metering and setting exposure.
7. Know your shooting/exposure modes Similar to the last tip, your camera is smart, but it needs help from you from time to time. Some will tell you to always shoot manual. I disagree. Know how to shoot manual, but also know when other shooting/exposure modes will be advantageous for your particular photographic goal(s).
8. Know your focus modes If you use autofocus, and you likely do, the camera’s autofocus is either going to make the picture or ruin it. Know what the autofocus modes do and how to adjust focus if the camera suddenly decides it thinks it knows better than you what part of the frame you want in focus.
9. Study photos—but not too much Study the photographs of others. What do you like? What do you dislike? What would you improve? Is it perfect? Why, then, is it perfect? Look. Enjoy. Remember. Soak it in. But, don’t forget to go out and make your own images!
10. Read photo books Books and websites have helpful tips (I hope this counts). But, not all are created equal. Find writers who you connect with through their writing and find writers who give good advice. I am a big fan of “basic photography” books and, to this day, even with a Masters degree in the topic, I populate my bookshelf with inspirational books written for beginner photographers.
11. Learn/Workshops The only substitute for learning through reading (or watching videos) is to make images yourself. Take a class. Attend a workshop. Similar to books and websites, these are not all created equal, but, the one thing they should do is immerse you in photography for a night or a weekend, or more. Being immersed in the art and craft is as important as anything else.
12. Use your histogram In digital photography, the histogram is the best way to evaluate your exposure for accuracy. The LCD screen can be misleading. Knowing how to read your histogram might be the difference between thinking you have a great photo and truly having a great photo.
13. Shoot RAW, highest-resolution JPEG, or film Shooting RAW gives you the best performance from your sensor. That is a fact. However, RAW shooting isn’t practical for every photographer (or camera). So, if you aren’t going to shoot RAW, shoot the highest-resolution JPEG that your camera allows. This way, even if you think you are just taking snapshots, you will have the ability to make a large print if you find that you captured an image you really like. Or, forget the digital RAW vs. JPEG debate and shoot film. Case closed!
14. Compose meticulously There is a nature/nurture argument about composition. However, study the “rules” and observe composition in other images to help you “feel” what works best. Then, try to use that knowledge to your advantage. Be deliberate about your composition, if time allows.
15. Symmetry Along the same lines, if you are going for symmetry, make sure you nail it. A few inches in one direction can upset the image’s symmetry, and your audience (and you) will know you were going for symmetry and missed. Photography can be a game of inches.
16. Pay attention to the frame edges The image is more than the subject (usually). Scrutinize the corners and the sides and top and bottom of your frame. Is everything working together well, or is something completely out of place? Can you adjust to remove the “noise” of a busy scene? Look at the whole so the whole does not detract from your subject.
17. Pay attention to the background Evaluate your scene, especially in portraiture. Is that a tree growing out of the subject’s head, or just a funky new hat? Isolate your subjects from the background by adjusting depth of field, moving the camera, or moving the subject—unless the subject is the background.
18. Get closer Robert Capa famously said, “If your pictures aren’t good enough, you aren’t close enough.” He was 100% right. Fill your frame with the subject, if you can. This is one of the most difficult things to do in photography, as we sometimes worry about being invasive to a stranger, or lazily reach for a telephoto lens to “cheat” and pretend we got close. Get closer and see your imagery improve.
19. Slow down Of course, there are times when you need a quick draw, but there is something to be said for planning and being deliberate. Think about the shot. Visualize the results and calculate what you need to do to try to achieve it. Put your plan into action. Wait for elements to come together, if needed, and then make a photograph.
20. Use a tripod Nothing slows you down like a tripod. This is a good thing. Did you just breeze over #19? The tripod won’t let you do that. Also, as an added bonus, the tripod will hold your camera steady and help you get a sharper image!
21. Practice good technique The way you hold your camera can make a big difference. The way you stand while shooting can make a big difference. The way you breathe when you release the shutter can make a big difference. It all adds up and can make or break your photograph. Learn and practice these fundamentals.
22. Look for light Light is everything in photography. Spend your time looking for light, even if you aren’t taking photos. Look for sun beams and breaks, reflections, shadows, natural light, artificial light. See how light interacts with the environment. See light.
23. Embrace shade The wonderful side effect of light is shadow. Shadow is as valuable as light and gives depth and shape to objects. Use shadow in your images. Don’t run from shadow. Embrace it.
24. Patience Is the light not right? Is the subject in the wrong spot? Sometimes the wrongs of a photo can become rights, if you have time to let the rights happen. Modern life is much faster than it was long ago. Use photography to slow it down and enjoy moments in time. Then, capture them with your camera.
25. Know the rules, and break them Cliché, but true. An intentionally over- or underexposed image is usually much more compelling than one that was incorrectly exposed accidently. The only good blur is intentional blur. Photography is aesthetic and you can explore the fringes of what looks good and what doesn’t. But, have a reason to be at the fringe, because the “my camera settings were messed up” excuse is not a good reason for promoting soft focus or motion blur. The photo may be compelling, but intentionally compelling is the better way to go.
26. Know your lenses Different lenses do different things to an image. Know how your telephotos compress and your wide-angles distort. Use the best lens for your photographic vision. Fisheye portraits are fun, but not great for professional headshots. Sometimes you only have your one lens. Know its strengths and weaknesses. For all your lenses, know which apertures are sharpest and know when you lose sharpness.
27. Don’t overload your quiver A heavy camera bag is no fun, unless someone else is carrying it for you. Pack only what you need and hope you didn’t leave something important behind. Photography can become a chore when you are overloaded with gear. Minimize and travel light. Your shoulders and back will thank you. So will your spirit.
28. Know your surroundings When you look through a viewfinder, you narrow your field of view of the world around you. Situational awareness is critical. Are you standing in the middle of a busy street? Are you blocking others from a great view? Are you in a bad section of town? Be aware of what is happening around you both for safety and courtesy and to see and capture more images.
29. Know the weather Keep a weather eye on the horizon. Weather can plan an important role in your image: wind, clouds, sun, rain, snow, lightning, etc. Weather can help make an image, or ruin your whole day. Use the weather to make better photos. Wear sunscreen. Wear a hat. Stay warm. Stay cool. Stay dry. Be prepared and be safe.
30. Celestial awareness Long the purview of the night photographer, knowing when and where celestial bodies will rise and set can be critical to your imagery. Planning helps make better images at all times. Of course, you might just have to play the cards you are dealt, but, if you give a nod to studying the rotation of the Earth, you might stack the deck in your favor.
31. Analyze your old images Be your harshest critic. Internalize it. Study your images and learn from your own mistakes. Or, if you find your images are perfect, quit before they are not!
32. Try a prime lens Zoom lenses are convenient and optically very good, but there is not yet a substitute for a top-quality prime lens. A zoom can mask laziness in photography. The prime forces you to not only think, but to move, as well. This will open up more opportunities than it will close.
33. Photo project / concept There is certainly a place for random snapshots in the world of photography but, a coherent photo project, especially when it is generated from an internal concept driven by passion can self-inspire you to create a solid body of work. Do you want to tell a story? Do you want to document social or physical change? Use your camera to illustrate your thoughts.
34. Abstracts See the small parts of a scene. Look for the trees in the forest. The light or shadow may be creating an image inside your image. Find it. Capture it. Some photographers know nothing but the abstract. Some know no abstractions. Find your own balance. Explore the scene and create.
35. Photographing pretty things Flowers, sunsets, mountains, and babies are already pretty. Your camera simply proves that point. There is nothing wrong with photographing pretty things—I do it all the time—but sometimes you can surprise yourself by using your camera to make something unattractive suddenly attractive, or, at least, visually interesting. The camera and photographer can combine to possess the power to capture what the eye might disregard.
36. Editing It is likely that not every shot you took was great, so look hard, be critical, and discard images that do not make the cut. Granted, photography is subjective, and someone might love a shot that you do not love, but, you are the most important viewer of your work, so only show what you love.
37. Critique Open yourself to critique after you have critiqued yourself. Put on your armor, but know that, again, photography is subjective, so listen respectfully to opinions and be open-minded so that you may learn and grow—especially if you agree with them. But remember, always, if you love an image that you have made, no one should be able to take that away from you. If you hang it on your wall or display it on your computer screen and enjoy looking at it, you have made a successful image.
38. Develop a style If your photos look like everyone else’s, there is nothing wrong with that. However, if you want your personality to shine through your images, then experiment and find a style that suits your artistic vision. Be consistent with your style, but also realize that your style might not fit every shooting situation. Don’t force it. Always know the fundamentals so you can fall back on them when needed.
39. Search yourself for improvement, not your gear A great photographer can make a great photograph with any camera. A poor photographer can make a poor photograph with the world’s most expensive camera. Photography is a technologically based art form, but the technology does not make the art, the human behind the camera does. Do not look for solutions in something that runs on batteries and arrives in a box.
40. Study art Other forms of art can teach and inspire the photographer, especially painting. I prefer photographic art exhibits, but, when I am in the presence of paintings, I study them to see how the artist used color, light, shadow, line, composition, etc, to make the image successful—or not.
41. Don’t lose the moment Those two moments I mentioned above, when I did not have a camera to capture them, I remember vividly because I was present and I was not looking through a viewfinder. I have thousands of images from a 10-day trip to Eastern Europe, but today I struggle to tell friends what city I was standing in when I took a particular photo. You can get lost in your camera’s viewfinder and the process of making photos. Remember to live first, experience the moment, be present, and only then try to capture it.
42. Look for images Even if you are without a camera (Why didn’t you take #2 to heart?), look for photographs. Not every camera can capture every virtual photograph, but your eye and mind certainly can. Constantly see the world around you and look for photographs, even if they are impossible to capture with the gear you have in your bag or front pocket. Look for photographs. Look for photographs.
43. Experiment Push yourself. Push your gear. Experiment with different settings, scenes, lights, darks, colors, everything. You will never know what you can capture until you capture it. The magic of digital photography is that each image is virtually free, so the only thing you may waste is a fraction of a second. Free your mind. Be creative with your camera.
44. Have fun If you aren’t enjoying photography, #1 through #43 are not going to help. Smile behind the lens. Create art. Capture moments. Share images. Get outside. Explore inside. But, regardless of your results, have fun with photography. Nothing else really matters—not even the photograph.
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