Canon 1DMKIV, 16-25mmL @ f/22, 0.8 second shutter, 200 ISO, Singh-Ray Slim Polarizer, Lexar Digital Media.

Relationships in nature are ever-present. Some are more obvious than others, while others have to be found amongst the apparent visual chaos. In discovering relationships, we not only present a more visually cohesive image, but one that ties the various elements together within the frame. But there is another use of relationships that can actually create depth in your image. Remember, we see in three-dimensions while our images are represented as two-dimensional. A significant way to create the illusion of depth in a frame is by seeking out near/far relationships.

In the accompanying image captured in Zion Canyon, my eye was first drawn to the vivid reds of the Big Tooth Maples juxtaposed against the yellow Aspens (remember color is number two on my list). I began working the scene’s color and made some nice frames, but then I asked myself if there was a way to create some much needed depth with the image. I spotted this rock with these leaves and immediately thought of working the scene with the leaves in the foreground. Here is where wide-angle lenses earn their keep in my opinion. I would have loved to had a 17mm Tilt/Shift (still on the wish list) but opted for my 16-35mmL Series II Canon lens set at 17mm. The key for me in creating successful near/far scenes is how I position the camera to lead the eye. I like to create pathways from foreground to midground to background for the eye to move. My other key was in the careful focusing to ensure sharpness with the foreground leaves and maintain the sharpness throughout the scene. This is where the T/S would have made life easy, but all was not lost. By carefully planing my camera (aligning the image sensor plane with the plane of my scene), I could create enough sharpness to hold focus throughout the frame. I opted for f/22 to hedge my bets (yeah, I just hear that collective gasp from all you techies out there), but this is how I earn my bread-and-butter. Granted, f/22 does create some unwanted softness (due to diffraction – caused by the extreme bending of light) around the corners of the frame and I would have loved to have used f/11 and/or f/16, but at the sacrifice of overall loss of sharpness in the trees. I simply opted for the lesser of two evils. Careful post-sharpening brought back much of what I lost.

I did have one leaf that was not cooperating as it was half out of the frame and I did reposition it within the frame. Now, is this a photographic no-no? Well, we can debate that one to death. I generally do not move elements in my scene; however, in the case of a misplaced leaf, twig, weed, etc., I see it more as maintenance. Perhaps a gust of wind could have rearranged them for me anyway, so I see it as not big deal. If I was to have come to this rock with no leaves and I threw a bunch up there, then I would have some issues. Anyway, that is something each of you has to decide.

As for the image itself, I believe the near/far relationship between to foreground leaves and the background trees is a success. By my careful positioning of the camera, I was able to create the much-needed pathways for the eye to move up and through the scene. I also have other relationships working in this scene. There is a contrasting relationship between the foreground boulder and the trees, the color harmony with the maples and aspens, and the relationship of life and death itself with the leaves (which will all be dead within in the next couple of weeks – that’s kind of a morbid thought)!

So the next time you are stuck visually, seek out nature’s relationships. It can not only create unity amongst elements, but also create depth and visual messages. In a sense, you are helping the viewer along by guiding the eye. Pay special attention to pathways to allow the eye to move, and keep moving and re-framing your image until it all comes together. In the process, have some fun and enjoy the creative process!