{"id":22318,"date":"2022-06-16T14:34:17","date_gmt":"2022-06-16T18:34:17","guid":{"rendered":"https:\/\/world.dan.org\/?post_type=dan_alert_diver&p=22318"},"modified":"2023-02-01T12:54:32","modified_gmt":"2023-02-01T17:54:32","slug":"beguiling-backgrounds","status":"publish","type":"dan_alert_diver","link":"https:\/\/world.dan.org\/fr\/alert-diver\/article\/beguiling-backgrounds\/","title":{"rendered":"Arri\u00e8re-plans s\u00e9duisants"},"content":{"rendered":"

LES PHOTOGRAPHES SOUS-MARINS PASSENT \u00c9NORM\u00c9MENT DE TEMPS<\/strong>,<\/span> energy, and money pursuing subjects. We often select our dive destinations with specific subjects in mind. Sharks or manta rays may send us in one direction, lush reefscapes direct us in another, and macro critters or blackwater subjects will point us in yet another.\u00a0This strategy for capturing stunning photographs makes sense \u2014 a phenomenal central subject is often a large part of what makes a shot.\u00a0But it takes more than a great foreground to create a truly standout image. The potential impact of even the most spectacular subject can rapidly diminish when positioned against an unattractive, cluttered, or awkward backdrop.  <\/p>\n\n\n\n

We connected on Instagram, and I became more familiar with his vision\u2019s excellence and eclectic nature with each We don\u2019t talk much about backgrounds in underwater photography, but we should. The unsung hero, the strongest supporter of a fabulous image\u2019s subject, is a flawless background. A great background will frame and emphasize your subject, can provide a sense of environment, might introduce secondary subjects, and may sometimes even tell a story.\u00a0A great background elevates an image and takes it from, \u201cWow, neat frogfish,\u201d to, \u201cHoly cow, what an incredible frogfish shot!\u201d  <\/p>\n\n\n\n

RETOUR \u00c0 L'ESSENTIEL<\/span><\/strong><\/h3>\n\n\n\n

Photographic composition isn\u2019t the topic of this article, but it\u2019s impossible to effectively discuss backgrounds without touching upon a few applicable composition basics. One of the biggest pitfalls for photographers occurs when the excitement of discovering a great subject overtakes proper attention to how the subject is emphasized and positioned within the frame.<\/p>\n\n\n\n

Pour nos besoins, contraste<\/strong> est un \u00e9l\u00e9ment important. L'observateur doit pouvoir identifier facilement le sujet. Outre un bon \u00e9clairage et une bonne mise au point sur le sujet, le contraste est l'un des meilleurs moyens d'y parvenir. Un moyen courant d'obtenir un contraste sous l'eau est de se placer plus bas que le sujet et de tirer vers le haut ; cela permet souvent de distinguer le sujet de son habitat.<\/p>\n\n\n\n

Le placement des sujets est \u00e9galement essentiel. L'utilisation de r\u00e8gles classiques telles que le r\u00e8gle des tiers<\/strong> (positioning an image\u2019s focal point at an imagined intersection of equally spaced pairs of vertical and horizontal lines \u2014 think of a grid resembling a tic-tac-toe board) and the r\u00e8gle de l'espace<\/strong> (providing inferred \u201cswim space\u201d by leaving ample room ahead of the subject\u2019s movement direction) can naturally guide photographers toward improved backgrounds. In addition, the use of lignes directrices<\/strong> ou Courbes en S<\/strong>, which can help guide a viewer\u2019s eye around an image, can be compelling components of an engaging backdrop. <\/p>\n\n\n\n

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\"Gobie<\/figure>\n<\/div>\n\n\n\n
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\"Requin<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Une<\/figure>\n<\/div>\n\n\n\n
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CI-DESSUS \u00c0 GAUCHE :<\/em> Cette image d'un gobie commun est rehauss\u00e9e par son emplacement parmi les branches parfaitement arrang\u00e9es de son enclos de mer vibrant.<\/span><\/h4>\n\n\n\n

EN HAUT \u00c0 DROITE :<\/em> The contrast of the blue water emphasizes this mako shark, and the proximity of the glass-calm surface allowed the photographer to also capture the mako\u2019s reflection.<\/span> <\/h4>\n\n\n\n

GAUCHE : <\/em>The placement of the primary subject in this image, a lingcod, illustrates the rule of thirds, with the fish\u2019s eye situated at the lower left of the frame. The inclusion of the animal\u2019s habitat \u2014 a lush kelp forest \u2014 and addition of a diver\u2019s silhouette as a secondary subject creates for the viewer a sense of both environment and scale.<\/span><\/h4>\n<\/div>\n<\/div>\n\n\n\n

UNE APPROCHE POSITIVE<\/strong>
\u00c0 L'ESPACE N\u00c9GATIF<\/strong><\/span><\/h3>\n\n\n\n

Negative space, defined as the empty space behind or around a subject, can be a powerful compositional tool. The use of a stark, simple background automatically attracts attention to the subject because there\u2019s nothing else in the image to compete with it. The most popular illustration of this in underwater photography is a subject surrounded by a black background (the black part being the negative space).\u00a0Photographers often achieve this effect by using external light sources and a high shutter speed to photograph a subject surrounded by open water on most or all sides.<\/p>\n\n\n\n

The black background is usually applied to small subjects, although you can also use it beautifully with larger ones in dark conditions.\u00a0The technique itself is simple to apply if you can identify and focus on a properly positioned subject \u2014 think of a critter on top of a rock or a passing creature during a blackwater dive. Because it delivers elegant, crisp images that are universally appealing, it\u2019s sometimes worth spending some time during your dive looking for well-situated subjects.  <\/p>\n\n\n\n

Even when open water doesn\u2019t surround a subject, it may still be possible to feature it against a black background by using a snoot. This tube fits over the end of an external light source and gives the shooter better control over the light\u2019s radius and direction.\u00a0These contraptions vary in complexity and cost, ranging from a simple pipe coupling from the local hardware store to more sophisticated systems using light-focusing lenses or fiber-optic technology.\u00a0It can be challenging to execute a great snooted image, but it\u2019s certainly worthwhile for a great subject with an otherwise so-so background. Although snoots are typically a macro tool, they can also selectively light items in a wide-angle scene and help highlight your subject within a busy or unappealing location. <\/p>\n\n\n\n

Photographers don\u2019t need to restrict themselves to a black background to showcase a striking use of negative space.\u00a0If there\u2019s adequate light in the water column, photographers create a blue or green water background by slowing the shutter speed, widening the lens aperture, and shooting at an upward angle. Bokeh, a shallow depth-of-field effect created by using a wide aperture to blur the background, is a great way to introduce unique negative space to a macro portrait of a great subject in an imperfect environment.\u00a0The bokeh approach can even allow for unique backgrounds. Angling your lens toward a subject above a white sand seafloor may allow you to get a light-colored background, whereas angling your lens toward a nearby colored sponge or a branch of brightly colored soft coral might provide a hued background. <\/p>\n\n\n\n

Vous pouvez parfois am\u00e9liorer m\u00eame l'arri\u00e8re-plan le plus charg\u00e9 en introduisant un flou de mouvement intentionnel, une technique avanc\u00e9e qui utilise une vitesse d'obturation lente tout en faisant pivoter l'appareil photo.  <\/p>\n\n\n\n

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\"Corail<\/figure>\n<\/div>\n\n\n\n
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GAUCHE : <\/em>Soft coral is a favorite subject of many shooters.\u00a0 In this image, the upright position of a colorful, shallow branch of soft coral leads the viewer\u2019s eye toward the background, which includes sunrays filtering through the overhanging foliage. By aiming the camera at an upward angle, the photographer has also incorporated the edge of Snell\u2019s window, faintly visible on the upper right side of the image.<\/span><\/h4>\n<\/div>\n<\/div>\n\n\n\n

L'EMPLACEMENT, L'EMPLACEMENT, L'EMPLACEMENT<\/span><\/strong><\/h3>\n\n\n\n

Another striking way to showcase your subject is by capturing it in an attractive setting. There\u2019s often an element of luck to this type of image, especially in wide-angle scenarios, so knowing the environment and preparing to photograph your subject in a way that captures the beauty of the area is critical. Using your camera\u2019s light meter can aid this process, but nothing beats taking a few test shots as soon as you enter the water (as well as each time your depth or the ambient light changes notably) to ensure that you can capture the shot you\u2019re envisioning.<\/p>\n\n\n\n

Lorsque le paysage est particuli\u00e8rement beau, m\u00eame le sujet le plus banal m\u00e9rite d'\u00eatre photographi\u00e9. Une m\u00e9thode peu conventionnelle mais productive pour les petits sujets consiste \u00e0 chercher d'abord une toile de fond attrayante, puis \u00e0 inspecter la zone \u00e0 la recherche d'une cr\u00e9ature commensale. L'identification d'une an\u00e9mone color\u00e9e ou d'une branche parfaite de corail mou, par exemple, et la recherche de poissons ou d'invert\u00e9br\u00e9s occupant l'espace peuvent donner lieu \u00e0 des clich\u00e9s spectaculaires.<\/p>\n\n\n\n

Vous pouvez appliquer une approche similaire aux images grand angle. Un banc de poissons qui passe, une caverne qui s'ouvre sous des rayons de soleil p\u00e9n\u00e9trants ou un mur recouvert de coraux color\u00e9s en forme de coupe devraient inciter les amateurs d'arri\u00e8re-plan \u00e0 chercher un sujet de premier plan. <\/p>\n\n\n\n

Si votre sujet se trouve dans des eaux tr\u00e8s peu profondes, il existe des possibilit\u00e9s uniques d'obtenir un arri\u00e8re-plan de grande qualit\u00e9. Par temps calme, il est possible de capturer un reflet de votre sujet \u00e0 la surface de l'eau. Pour les sujets plus grands ou lorsque vous utilisez un objectif grand angle, l'inclinaison vers le haut peut vous permettre de capturer des \u00e9l\u00e9ments de surface uniques, tels que des nuages, des feuillages en surplomb ou des personnes.<\/p>\n\n\n\n

If conditions are ideal and you\u2019re able to shoot toward the sky, it may be possible to incorporate Snell\u2019s window into your background. This optical phenomenon results from refraction at the air\/water boundary that manifests as a circular image of the entire above-water hemisphere. It provides a distinctive appearance that is well worth the effort to capture. <\/p>\n\n\n\n

R\u00d4LES SECONDAIRES<\/span><\/strong><\/h3>\n\n\n\n

Including a secondary subject is a great way to add impact to an image. This common approach assimilates objects such as a sunburst, other marine life (including multiples of your main subject), or a diver into the background. A diver gazing at an adjacent subject or silhouetted high in the frame are common illustrations of this technique. Adding a diver as a secondary subject enhances the composition, creates relatability, and affirms that your primary subject is exciting \u2014 after all, the diver in your image is also viewing it.<\/p>\n\n\n\n

Les sujets secondaires peuvent \u00e9galement fournir un contexte ; des situations telles que la pr\u00e9dation implicite (comme un poisson-lion avec un banc de poissons-app\u00e2ts en arri\u00e8re-plan) ou la reproduction (comme une demoiselle gardant un nid) sont des sc\u00e8nes qu'il est tr\u00e8s souhaitable de capturer. <\/p>\n\n\n\n

Adding a secondary subject can be tricky. It\u2019s critical to guide the viewer\u2019s gaze from the primary subject to the secondary subject and back again. Differences in focus or size are often good ways to lead the viewer and differentiate your subjects. The main subject should command an initial response from the viewer through sharp focus or larger size in the frame relative to a more softly focused or smaller secondary subject.<\/p>\n\n\n\n

Photographers often spend their dives searching for spectacular subjects, and that\u2019s as it should be. But remembering to take the time and effort to optimize the backdrop is a significant step to displaying a subject at its best. A photograph\u2019s background may seem ancillary, but it\u2019s a critical component of an image that can instantly improve or diminish the overall effect.<\/p>\n\n\n\n

\u00a9 Alert Diver<\/em> - Q2 2022<\/p>","protected":false},"excerpt":{"rendered":"

UNDERWATER PHOTOGRAPHERS SPEND ENORMOUS AMOUNTS OF TIME, energy, and money pursuing subjects. We often select our dive destinations with specific subjects in mind. Sharks or manta rays \u2026<\/p>","protected":false},"featured_media":22320,"template":"","dan_alert_diver_categories":[67],"dan_alert_diver_issues":[479],"class_list":["post-22318","dan_alert_diver","type-dan_alert_diver","status-publish","has-post-thumbnail","hentry","dan_alert_diver_categories-imaging","dan_alert_diver_issues-q2-2022"],"acf":[],"yoast_head":"\nBeguiling Backgrounds - DAN World<\/title>\n<meta name=\"description\" content=\"UNDERWATER PHOTOGRAPHERS SPEND ENORMOUS AMOUNTS OF TIME, energy, and money pursuing subjects. 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