In the previous lesson, we discussed, among other things, that photography is a static and frozen format, one that does not move. One of the challenges faced by photographers is how to create dynamic compositions in such a format that simulate movement. We mentioned dynamic composition, characterized by objects pointing in one direction or multiple directions, either out of the frame or into the frame. We also talked about open composition, where objects begin outside the frame and end inside the frame, or vice versa.
Today, we will discuss another challenge we face, which is how to create a sense of depth and three-dimensionality in a flat, two-dimensional format. One way to create a sense of depth in the frame is through working with layers.
Working with Layers
So far, we've mostly worked with two main layers. The first layer is the "subject" of the photograph – the central object of the image, for example, someone's face in a portrait, a building in an urban landscape, or even an ice cream in a photo, as I will attach. The second layer we've discussed is the "background" layer, which includes everything behind the main subject of the image. We've also talked about ways in which we can control the prominence of the subject through separation from the background by blurring it.
Reminder: In the portrait lesson, we discussed 3 ways in which we can separate the subject from the background in order to create a blurred background, thus emphasizing the subject and creating a sense of depth in the frame:
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Moving the subject further away from the background.
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The closer we stand to our object, the more blurred the depth of field will be.
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Using as wide an aperture as possible on regular cameras or selecting 'portrait mode' on some smartphones.
In the image of the chocolate banana ice cream, the object is far from the background, close to the camera, and also shot with a wide aperture (and also delicious). Now we want to add another layer to the frame that will behave like the background, but unlike the background, it will not be placed at the back of the image behind the central subject; instead, it will be placed in front of it – at the forefront of the frame. To illustrate this, we'll start with what we already know: a classic image similar to the one with the ice cream, where we have the subject – the central object – and the background.
There is a subject – the main hero of the image – and a background.
And now, let's "take a step back" and add another layer to our frame. This way, we'll place what is called the 'subject' at the front of the frame, moving the 'main subject' to the middle of the frame in terms of layer order, while the background will remain in its place. This is what it would look like:
The tree in the center of the frame is the main subject of the image, behind it is the background, and we have added another layer to the front of the frame – the "predicate."
So, instead of working with 2 layers, now we are working with 3 layers (or even more!). Here is an illustration through few images:
Do you identify the 3 layers? Do you recognize the front layer and its impact on the composition?
The method is relatively simple. When we are about to photograph a certain object, we look for something to add in front of it, to the front of the frame – a tree, bush, wall, window, gate, umbrella, streetlight, and more. Essentially, any element available in our surroundings while taking the picture. Here's another example:
Three layers, with the central subject of the image – street art – positioned in the middle, just like in the previous picture.
Placing an additional element in the foreground of the frame adds a sense of depth to the image, as well as interest, and creates a more artistic frame compared to what we would capture without the addition in the foreground. Another layer makes the composition of the image more complex and more engaging. The story that the image tells and the context in which it was captured become richer and more intriguing.
The towel rack adds to the sense of depth in the frame, as well as expanding and enriching the story and context of the image.
Taking the picture through the ice cream shop's customers from below and with the awning above adds to the sense of depth in the frame and enriches the context of where the picture was taken.
In cinema, there is a concept called "Over the Shoulder" (OTS), where the element in the foreground is the shoulder of one of the characters speaking with the actor in the center of the frame. This creates a sense of depth in the frame, similar to what we are discussing, but here the element in the foreground is the character's shoulder.
Adding additional elements to the front of the frame in some cases will strengthen the sense of belonging to the location of the event, creating a feeling as if we are there with the subjects. In addition, it will provide fertile ground for using and creating compositions with the principle of framing that we mentioned in the previous lesson.
The hand holding the firework in the front of the frame brings us closer to the action and gives us the feeling as if we are there, close to the event.
The shot of the marathon start through the other photographers adds depth and interest to the frame, creating a sense that we are there with them.
In the marathon start picture, there is use of layers in the front of the frame = the other observers/photographers. This layer allows us to feel as though we are present at the event. This layer joins other elements placed along the four edges of the frame to create a frame around the runners = the trees on the right and left and the "Start" sign in the depth of the frame.
Notice that the frame is created using elements positioned in different layers within the frame. A more classic frame would appear in a composition where the frame is in the front of the picture. This time, for example, I will share a beautiful photo posted by a workshop participant to the group on Facebook:
A photo by Ronit Ben Avner beautifully illustrates the principle of framing from all four sides of the frame, with the frame positioned at the front of the image.
When photographing in layers in the street (or in nature), it is important to ensure that the layer in the front of the frame does not obscure the main object(s) but rather serves as a layer through which we view what is behind it. Here are some slightly more complex images in terms of details:
In this case, we have three layers of people within the frame. The front layer is blurred, the background is also blurred, and the center is in focus. This technique adds depth to the image, creating a sense of three-dimensionality and directing the viewer’s attention to the subject in the middle while maintaining a dynamic feel with the blurred layers in the foreground and background. This approach enhances the depth and focus of the composition.
Multiple layers of people within the frame add interest and make the story in the image more engaging. By incorporating different layers, the photograph becomes more dynamic, drawing the viewer's attention to various elements in the composition. This approach helps to tell a more complex and captivating story, enhancing the overall visual experience.
The people in different layers of the frame do not hide each other, and thus, instead of a story of a single character, we gain a story of multiple characters across several layers. This creates a richer, more complex narrative, where each layer contributes to the overall scene without one overshadowing the other. The viewer can engage with the various characters and elements in the image, adding depth and intrigue to the story being told.
Several layers of objects make the image more interesting and more complex, and most importantly, they create the sense of depth and three-dimensionality that we aim to achieve. By arranging elements at different depths within the frame, we can simulate a more dynamic and immersive space, allowing the viewer to feel as if they are stepping into the scene rather than just observing it from a flat perspective. This technique enhances the overall impact of the composition.
Continuous and Diagonal Lines
Another effective way to add depth to an image is by sticking close to something that has depth in itself and photographing through it toward our central element or subject. In this case, there's less separation into layers because the front layer progresses toward the middle layer or the background and infinity. However, as mentioned, this also provides a wonderful sense of depth within the frame.
The depth element comes in from the left side.
The depth element comes in from the right side.
The depth element comes in from below.
The depth element starts within the frame.
The depth element enters from the bottom right corner of the frame and winds inward toward the depth and infinity of the center-left area of the frame. This creates a combined sense of depth and movement. (Do you notice the old promenade?)
Reflections
Another way to create and enhance a sense of depth and perspective in the frame is through reflections. The photograph will include both the plane of the reflective surface and the plane of the reflection itself, thereby simulating a feeling of depth.
In summery, today, we discussed several techniques available to us for creating a sense of depth and three-dimensionality within the two-dimensional format of photography. The main tools we covered are:
-Shooting in Layers
Foreground – Main Subject – Background. This combination creates depth and complexity in the image.
-The Principle of Framing
Using elements from the surroundings (like doors, windows, trees, etc.) to create a frame around the main subject – this strengthens the composition and highlights the subject's placement.
-Continuous and Diagonal Lines
A line that leads the eye inward into the depth of the frame creates a strong sense of movement and depth.
-Reflections
Combining both the source of the reflection and the reflection itself within the frame adds another layer of perspective and visual interest.
For those who want further illustration on the topic of layers and leading lines, here are two excellent videos that explain the subject clearly and accessibly (highly recommended!):