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DEPTH
D espite all the advances in technology, the pictures that
we shoot today are as flat as the ones that were taken by the
Victorian pioneers of photography. We still take pictures of a
three-dimensional world—and, with few exceptions, turn them
into two-dimensional representations.
Whether you look at the picture on puter monitor,
on your camera’s LCD display, or printed out on sheet of
high-gloss, premium photographic paper, the image is flat; it
has no physical depth.
For this reason, creating an illusion of depth is all-
important in photography. We frequently want to add the
missing third dimension—to make our pictures more
representative of the subject matter itself.
There are numerous ways in which you can do this. The
human visual system uses two eyes to provide a stereoscopic
view of the world, helping us to judge distance. However,
many of the clues about depth that we use subconsciously
when we look at the real e from the content of the
image itself. By learning to include as many of these clues as
possible, photographers can create a better three-dimensional
experience in their pictures. Many of these telltale signs will be
there in position anyway—but making the most of
them will make your e alive.
Some of the tricks have been covered already, such as
using lighting and tone to reveal three-dimensional form, or
including dominant and recessive colors. But there are many
other techniques for creating a sense of distance.
2DIMINISHING SIZE
The feeling of depth in this French landscape is based
on the assumption that each of the trees is roughly the
same height; our brains therefore deduce that the ones
that are smaller in the line are farther away.
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P erspective is one of the most important properties
that you can manipulate in order to create a stronger
feeling of depth. Perspective is, actually,