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Foreground & Background & Scale

Lesson 45 from: FAST CLASS: Fundamentals of Photography

John Greengo

Foreground & Background & Scale

Lesson 45 from: FAST CLASS: Fundamentals of Photography

John Greengo

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45. Foreground & Background & Scale

Next Lesson: Rule of Odds


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Photographic Characteristics


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Lesson Info

Foreground & Background & Scale

all right. The next concept we've talked a little bit about this is foreground and background, and we talked about a little bit in rule of thirds where you might have a subject in one part of the frame and another subject in the other part of the frame. And so thinking about what's in the foreground and background and having some depth to your photographs. Now photography is tough because we're dealing with two dimensions, and I don't know of any time soon that we're gonna be going into three dimensional photography. It's perfectly capable. I've seen people out there shooting about every 10 years, or I'm told that three D TV is gonna be the next hot thing, and then they're not the next thing. But the way we view the world, it's just very easy to see it in two dimensions. And that's perfectly fine, because that adds to the mystery. We don't know what it looked like in three D, but our brains can kind of we can make it up. We can figure it out in most cases, and so this is going back. Te...

chnically, it's that hyper focal distance stopping down, keeping things in the foreground as well as the background in focus. But you can think about this for a lot of different ways, of telling stories, having a subject in the foreground and what's in the background. So it's more than just one thing that's going on in a photo. And so I like these buildings there. Interesting buildings. But you know what? Let's wait 235 10 half an hour for the right cars to come by so that we have something interesting in the foreground. And so four grounds could be very, very important. So sometimes we want to hide how big or small is subject is. Sometimes we want to put it in perspective so that people understand what they're looking at. And so, uh, shooting the pyramids off from the side location is great cause I get this nice, compressed view of the pyramids. But having that one camel out there with that person out there really lends a scale to it that makes it seem a little bit more majestic, cause without it, I put my hand over it. There. It doesn't you're not really sure on how it relates to you in size when I was down in San Francisco found it very interesting. There was some people surfing right under the Golden Gate Bridge, and so I think it's just great scene that huge bridge up behind them. And the people don't need to be very big because humans are very adept at spotting a small human figure. That's probably the the shape that we are most easily ableto lock onto, and you could you can actually identify somebody from a mile away if you see them moving. If you have a clear view of mile away, you could see by the way, that they're moving. And so just including that one extra human down there show the scale of that particular situation. And so these are really a lot of favorite type photographs for adventure photographers and hiking tight magazines. You want the big mountain landscape, but show me where I can fit in there, a swell so that could work with humans. It can work with animals just to show the type of environment that it said so that one lonely bit, you know, that's like the same photograph right there in a completely different place. You know, it's that same formula again. One of my strange adventures is riding my bike across Alaska, and we had to ride the Haul Road, which is a 414 mile gravel road across the northern part of Alaska and one of things we should be careful of with large trucks. And so I did a whole little documentary about, you know, this entire trip and, you know, part of it was OK, here's a little cyclist and big 18 wheelers kicking up gigantic rocks on this this road. And so, you know, you wanted to show the relationship between one subject and the other subject.

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