Inspiring Visual Commentaries

Sea Turtle Underwater
A “Deeper” Look Into Underwater Photography – Depth of Field 1024 683 varunvisuals

A “Deeper” Look Into Underwater Photography – Depth of Field
Sea Turtle Underwater
This beautiful photo taken by photographer Jeremy Bishop perfectly illustrates depth of field in underwater photography

As promised in my last article, I wanted to take some time to look at underwater photography and begin analyzing photos in this genre, much as I have done with others in the past. Underwater photography is immensely distinct from other genres due to one main characteristic – it’s underwater (if you see an underwater wedding photographer, please let me know, I am asking for a friend).

Okay, maybe underwater photography isn’t too different from wedding photography

However, you would be surprised to know that this has little impact on the actual photography itself. In fact, there are arguably more similarities than differences between underwater photography and other genres. While yes, if you leave your gear unattended, it won’t get stolen (it would sink), if you dress inappropriately, you won’t be slightly uncomfortable (you would drown), if you rush back home, you won’t be missing the latest episode of Property Brothers on HGTV (you would be experiencing decompression sickness – while still missing out on those beautiful kitchen counter tops), and – okay, maybe I digress.

Don’t even act like you haven’t found yourself watching HGTV at some point

Essentially, except for the environment you are in and extra adaptations you must make, the photographic concepts and elements that make an interesting image still apply. This includes everything such as the relationships between ISO, aperture, and shutter speed, composition theory like rule of thirds or the golden spiral, the principles of visual design. However, for today’s commentary, we are going to revisit depth of field.

If you have been following along with my other posts and image commentaries, you will know I have already discussed this topic extensively. Depth of field is a technique used to accentuate the three dimensional space of a scene while being limited to a two dimensional medium (i.e. screens, prints, paper, etc). The most effective way of implementing depth of field is by establishing layers of varying depths within an image. Traditionally speaking, there are three main layers: foreground, middle ground, and background.

This image is a simple depiction of the three main layers that can give depth to any scene

The most prominent examples of depth of field can be identified in landscape photography. Often, the foreground element is an object or texture that is intended to add detail to an image to draw in the viewer. In the beautiful photo above, this would be the rock on the seafloor in the lower left corner.

The foreground is the region closest to the camera or viewer. It also may contain a visual element that has detail and texture to compliment the scene, such as this rock on the seafloor

The middle ground however, is usually a larger portion of the photograph than the foreground – it is also behind the foreground. The middle ground of a photograph can vary tremendously in what it entails – sometimes, it can be just a continuation of the foreground or empty space, and other times, it can also hold the subject itself. In this case, the latter applies. The sea turtle – which by the way, is absolutely stunning and majestic in every way – is undoubtedly the subject of this image. It is also in the middle ground portion of the photo (which can roughly be identified as the “ocean” or the water itself). Regardless of circumstance, the middle ground of a photograph always can be characterized by one thing – it separates the foreground and background, thus resulting in the manifestation of visual depth.

In this image, the middle ground includes the subject – however, this may not always be the case

This leads me to the last layer – the background. Typically, the background of a scene is the biggest of all three layers. An example in landscape photography could be the vast sky. The background could also contain elements of its own, such as a tiny distant mountain range. In other words, the background (much like the other layers) can be comprised of various subject matter of its own. For instance, a vast sky behind the silhouette of a tiny mountain range could all together be categorized as the background layer of a photo. In the photograph above, the background is more unique – rather than being an overarching sky, it is the sunlight being refracted by the waves on the surface of the water. One could also argue that the background includes the rocks on the seafloor further back as well as the darker depths of the ocean.

The background includes the surface, sunlight, as well as the rest of the ocean. Note that the dotted area is in reference to the water “behind” the middle ground

Once all three layers are put together, you are left with a scene that contains depth of field – regardless of whether it is above water, or below. Not only does depth of field provide a sense of realism to the viewer, but it also can serve several other purposes as well such as manipulating the viewer’s attention or adding extra detail to compliment the main subject of the photo.

So there you have it! Depth of field is certainly a concept applicable to underwater photography as much as any other genre, but it is far from the only one! That being said, let me know down in the comments below whether you would like to hear about other photographic concepts and elements of design that are pertinent to the mystical scenes that lay below the water’s surface.

Now if you will excuse me, I have some HGTV to go watch.

Photographer: Jeremy Bishop
https://www.instagram.com/bluumind/
https://jeremybishopphotography.com/

Photo Commentary #27: Starbursts and Fraunhofer Diffraction 1024 683 varunvisuals

Photo Commentary #27: Starbursts and Fraunhofer Diffraction
Starbursts in Nightime Urban Scene

This gorgeous photo taken by Xerwyn Flores serves as a great example of starbursts in an urban environment. Notice that the lights further back in the photo (and thus less in focus) have weaker starbursts.

One of the most common characteristics you will notice in urban photographs is a lighting phenomenon colloquially known as “starbursts”. This, of course, is in reference to the the star like appearances of lights within an image due to the outward direction of their rays. However, the true explanation of this effect is a little bit more complicated – here goes nothing!

Before I explain the effect in the world of photography, we have to first take a slight detour through the world of physics. The “starburst” effect you notice in many photographs is due to a concept known as the Fraunhofer Diffraction. Fraunhofer Diffraction refers to the phenomenon by which light waves behave when travelling from an infinite distance through a slit or narrow opening. The reason we use infinite as the ideal distance is because it theoretically results in straight parallel light rays which cumulatively create what is known as a plane wave.

Fig 1.) Think of the plane waves as a 3D picture of the "incoming waves" in fig 4. A billion parallel incoming waves theoretically create a "plane". The arrow would point to the slit and screen.
Fig 1.) Think of the plane waves as a 3D picture of the “incoming waves” in fig 4. A billion parallel incoming waves theoretically create a “plane”. The arrow would point to the slit and screen.

In summary:

1.) Infinite distance between light source and slit produces parallel waves.
2.) Parallel waves cumulatively form a plane wave.
3.) All the individual parallel waves within the plane wave enter the slit or aperture at the same phase

Phase Changes and Velocity Measurement. Fig 2.) Phase refers to a point on the light's wavelength
Fig 2.) Phase refers to a point on the light’s wavelength

4.) Fraunhofer Diffraction occurs and light rays meet at a common point (light is focused)

Fig 3.) Light rays diffract and meet at a common point, creating a focused image
Fig 3.) Light rays diffract and meet at a common point, creating a focused image


5.) If light is focused, we can then assume an infinite distance to the light source

Fig 4.) A 2D depiction of parallel light waves entering a slit to create Fraunhofer diffraction. The first figure is a 3D view of the same incoming waves.
Fig 4.) A 2D depiction of parallel light waves entering a slit to create Fraunhofer diffraction. The first figure is a 3D view of the same incoming waves.

When the incoming light wave passes through the slit or opening, some of the rays diffract or bend according to several variables including: size of the hole, shape of the hole, and the distance between the screen, slit, and light source.

Now back to photography. In the beautiful image of the city skyline, we will take a look at the first street lamp on the top right corner – this will be the source of our light. The diaphragm or aperture of the camera lens will be the “slit”, and the light sensor of the camera will be the “screen” (or in other words, the “photo” we see). Let’s start with the light source.

The light source has an impact on the diffraction produced due to its distance from our camera lens as well as its other properties such as wavelength (color) and intensity. We can assume the distance from the lamp to our camera is infinity. Reason being, the street light is in focus. If you look at lights in the background or in the buildings, they have reduced focus, hence less diffraction and weaker starbursts occur.

The aperture of the camera is the slit in the diagram. The narrower the slit or aperture, the more diffraction occurs, and thus, the greater the diffraction. In other words, f/16 would create MORE diffraction than f/11. However, things don’t end there. Another aspect of the aperture is its actual shape – this is where the magic happens.

Fig 5.) As the blades of the camera's shutter increases in number, the more circular the aperture's opening becomes and less diffraction occurs
Fig 5.) As the blades of the camera’s shutter increases in number, the more circular the aperture’s opening becomes and less diffraction occurs

Camera apertures are not perfectly circular. Rather, they are comprised of numerous blades to form various shapes, depending on the number of blades. The more circular the hole, the less the diffraction. This also means, the more the blades in your camera’s aperture, the less diffraction you will see. The shape of your camera’s aperture is also the reason the starbursts get their shape. Fun fact – if your camera has an even number of aperture blades, that will be the number of points in the starbursts you create. If it has an odd number of blades however, the starburst will have twice as many tips. In the main photo, I counted an average of 14 rays in the starburst. This could mean one of two things – the camera has an aperture with either 7 blades, or 14 blades.

Fig 6.) In order to theoretically achieve any Fraunhofer Diffraction, the equation above must be less than one. However, to be seen, the equation must be much smaller than 1. W = aperture size L = Distance from light source to aperture λ = Wavelength of light
Fig 6.) In order to theoretically achieve any Fraunhofer Diffraction, the equation above must be less than one. However, to be seen, the equation must be much smaller than 1.
W = aperture size
L = Distance from light source to aperture
λ = Wavelength of light


So all in all – if you want an epic starburst, get a camera with 100 aperture blades, get a light source in focus, and make sure it is red in color (red has the longest wavelength)!

Oh and big thanks to Xerwyn Flores for taking this beautiful photo!

Photographer: Xerwyn Flores
https://www.eyeem.com/u/xeriez

Rule of Thirds Used in a Landscape
Photo Commentary #26: Rule of Thirds 1024 606 varunvisuals

Photo Commentary #26: Rule of Thirds
Rule of Thirds Used in a Landscape

In this image, the Rule of Thirds is applied two times in two different ways – the waterfall is centered on an intersection point but the mountain is composed along one of the guidelines in the imaginary grid.

In one of my previous posts, I quickly mentioned a concept called the Rule of Thirds. The Rule of Thirds is a guideline that landscape photographers often utlizie when determining the composition of their photo. So how is this done?

Well imagine there is a 3×3 grid placed on top of the photo or scene you are trying to capture/edit (hence the name) – you may have seen this before, probably as one of the settiings in your phone’s camera. The idea is that you want to place your main subject at any of the 4 intersection points, or along one of the guidelines. Reason being that viewers’ eyes tend to naturally gravitate towards those area of an image, video, artwork, etc. Therefore, it makes more sense to place the subect where the audience will naturally look first.

This is similar to the idea behind leading lines – except rather than using a photo’s element to guide the viewers’ eyes, you are using natural human behavior to your advantage. However, both are pertinent to audience perception and attention.

In this beautiful photo taken by Ray Bilcliff, the waterfall sits near one of the intersection points of the imaginary grid – the bottom right intersection point in particular. To add to this, there is an obvious contrast between the warm hues of the sky and landscape compared to the cool white of the water (which is also another example of long exposure photography being utilized to capture waterscapes). The mountain on the other hand, sits on not an intersection point, but a guideline – the first vertical line from the left. In both cases, the subject(s) of the photo are composed in a way that the viewer has to search less and well…admire more. No wonder this photo is so visually appealing 

Also, check out Ray’s websiite and instagram to see more stunning waterscapes! He is a retired scuba and karate instructor, how cool is that!

Photographer: Ray Bilcliff
https://www.instagram.com/raybilcliff/
https://www.raybilcliff.com/

Photo Commentary #25: Leading Lines 683 1024 varunvisuals

Photo Commentary #25: Leading Lines
 

Hi everyone! Before I start, I just want to apologize for the lack of posts this past week! I have been working as hard and fast as possible to get my website ready for all of you to access – and I can’t wait to show it to you! Stay tuned for that announcement!
 
Now, lets talk about this beauty which was taken by Efrain Alonso. I could talk about the calming aesthetic of the window reflections, but I am sure you all are pros when it comes to that topic! In this instance, the …glass acts as a way of not just increasing color within the photo, but “extending” the depth of the image. The tones of the sunset darken along the windows as they get closer to you, thus exponentially increasing the perspective with which you can appreciate the main subject of the photo – the sky.
 
The other element that hones in on image depth is the leading lines within the photo. Put simply, leading lines are any geometrical instances that help “lead” the viewer’s eyes linearly in a certain direction (usually towards the subject). Typically, these lines are natural within the image, meaning there are already present within the scene, free from any intervention by the photographer. The most popular and basic example of this photographic element is the oh-so-common photo of railroad tracks. The “lines” of the track quite literally help your eyes travel to the horizon while simultaneously giving the photo depth. In a sense, leading lines make the viewer’s job easier, as they do not need to work as hard to identify what they should be looking at.
 
This photo uses the lines of the street, building, and window frames, to guide you towards the sunset. The reflections are merely a treat for you to enjoy along the way 🙂
 
Photographer: Efrain Alonso
Architectural Building With Neon Lights and Reflection
Photo Commentary #24: Subject Control 1024 576 varunvisuals

Photo Commentary #24: Subject Control
Architectural Building With Neon Lights and Reflection

This photo by Zichuan Han is a perfect example of a photo in which reflections have been accurately controlled so that the architectural subject is complimented, rather than overpowered.

 

It has definitely been quite some time since I commented on an image so let’s get back to it with this mesmerizing shot taken by Zichuan Han!
 
The first feature of this photo is no mystery – the unique modern architecture of the building. One could probably talk about the elegance of such a structure, but unfortunately I do not qualify as an architect 😉 But what I do know, is it is perfectly framed and composed along one of the horizontal lines of thirds (more on this in another post).
 
The second feature is a little more subtle – – the cool blue reflections of the building’s neon lights. As I have mentioned before, reflections are a great way to add clarity and depth to an image. In this case, the reflection also accentuates the features of the main subject, which is the building itself. It is critical that the photographer plans his photo, not just in terms of composition, but also editing. It is very easy to get carried away and make everything in the photo “eye-catching”, but that would only confuse the viewer. What am I supposed to be looking at? What is important here? In this instance, Han did an excellent job of keeping the reflection to a subtle, yet still powerful, appearance. The building retains the primary attention of the viewer, while the reflection ADDS to it, rather than subtract from it.
 
Photographer: Zichuan Han

Photo Commentary #23: Manipulating the Environment to Your Favor 150 150 varunvisuals

Photo Commentary #23: Manipulating the Environment to Your Favor
This photo is a beautiful illustration of a reflection comprising a large part of the subject itself, rather than merely acting as a detail or separate element in the scene. This is largely in part due to the geometrical continuity between the bridge and its reflection, thus creating a full circular illusion despite the bridge only being a semi-circular structure.
This photo is a beautiful illustration of a reflection comprising a large part of the subject itself, rather than merely acting as a detail or separate element in the scene. This is largely in part due to the geometrical continuity between the bridge and its reflection, thus creating a full circular illusion despite the bridge only being a semi-circular structure.

In an earlier post, I had briefly touched on the significance of waterscapes and their ability to add contrast, color, and essentially, almost double of whatever they may be reflecting in the photo – if there is one photo that best exemplifies this fact, I would say this shot by Martin Damboldt is definitely in the running.  

In most instances, the reflective qualities of surfaces, whether it is water, metal, or something else, are used to accentuate, compliment, or build on the subject of the image. However, there are a few photos where the reflection is not just a mere accessory to the subject, but it is the subject itself (or at least part of it).  

In this visual, the reflection is quite literally half the subject, and without it, the image would definitely be incomplete. The calm water provides an excellent surface to reflect the other “half” of the bridge, thus presenting this mesmerizing illusion.   In the grander scheme of things, this image not only speaks to the significance of reflections, but the artistic ability to manipulate the surroundings in which the artist may find him or herself. In other words, to not only see what IS there, but also what ISN’T. Identifying the delineation between what is and what isn’t allows the photographer to exploit each category to his or her benefit. If you know what is there, you can make it go away, and if you know what isn’t, you can make it appear. In this case, Martin saw the half of the bridge that wasn’t there, and used his surroundings to negate the fact via the utilization of reflections.  

Photographer: Martin Damboldt
https://www.instagram.com/mdamboldt/
https://damboldt-photographie.com/
https://500px.com/mdx014

Photo Commentary #22: Minimalist Landscapes 150 150 varunvisuals

Photo Commentary #22: Minimalist Landscapes
This photo taken by Quang Nguyen Vinh serves as a perfect example of a minimalist-like style of photography - in this case, the style was used with a landscape as the subject matter. However, minimalism can be seen across all genres of photography (and other mediums) like urbanscapes, architecture, street photography, and even portraits.
This photo taken by Quang Nguyen Vinh serves as a perfect example of a minimalist-like style of photography – in this case, the style was used with a landscape as the subject matter. However, minimalism can be seen across all genres of photography (and other mediums) like urbanscapes, architecture, street photography, and even portraits.
During these times of chaos, it is nice to take a deep breath and appreciate the more simpler things in life – there are few better examples than this serene landscape shot by Quang Nguyen Vinh.
 
While the image invokes a peaceful mood through its minimilastic presence, it still presents many concepts that I have spoken about earlier.
 
For instance, depth of field is exemplified by the algae covered rocks foreground, waterscape in the middle, and sky in the background.
 
Furthermore, it is possible that two photos were stitched together with masking, one of a long exposure of the waterscape, and another regular exposure of the sky.
 
The reason I say it is “possible” is because it is just as likely that one could find an in-land body of water with minimal ripples or waves. In which case, a “super long exposure” wouldn’t be required. Instead, a photographer could settle for only a 1-2 second shutter speed (thereby dealing with SOME unintentional blur in the rest of the photo – in this case it would be the clouds) to “calm the water” only as required. This is instead of needing to use a 30 second shutter speed to make a rough ocean look just as smooth. Great shot Quang!
 
Stay healthy everyone!
 
Photographer: Quang Nguyen Vinh
Photo Commentary #21: Combining Elements 683 1024 varunvisuals

Photo Commentary #21: Combining Elements
The stars in the sky, wet and textured walkway on the right, lights of the skyscrapers, and their reflections in the water all make this an eye-catching photograph.
The stars in the sky, wet and textured walkway on the right, lights of the skyscrapers, and their reflections in the water all make this an eye-catching photograph.
By now you all probably know about my crazy obsession with urban nighttime displays as well as astrophotography, so obviously a combination of those visual elements simply make me ecstatic.
 
Just like the images from 4 and 5 posts ago, this picture can make me nerd out as well, whether it’s about the perfectly clear reflections of the city lights in the water, the sharp masking of the stars above, or the wet walkway adding contrast to the photo. The list is simply endless.
 
But instead of my comments, I want to hear some of yours! What element(s) of this photo simply make it “perfect” for you? What is something that if it wasn’t there, would leave the photo incomplete in your eyes? And if you can’t think of anything, then what would you like to see in the photo to make it subjectively better in your opinion?
 
Photographer: Aleksander Pasaric https://instagram.com/apasaric_photography

Photo Commentary #20: Depth of Field 150 150 varunvisuals

Photo Commentary #20: Depth of Field
This gorgeous landscape serves as a perfect example of how depth of field can create such a captivating scene of...well...fields ;)
This gorgeous landscape serves as a perfect example of how depth of field can create such a captivating scene of…well…fields 😉
This beautiful photo was captured by Christian Heitz. Frankly, I think over-analyzing it would be a crime. However, fortunately for us, not much needs to be said (which is completely different than saying not much went on to capture the photo). In fact, the aesthetic of the photo can be attributed with only three words: depth of field.
 
In nearly all my posts, photos have a foreground, middle ground, and background. Of course, the subject matter that occupies each depth will vary from picture to picture, as well as the distance between each level of depth. In this case, the foreground is the field, middle ground is the rolling hills, and background is the peaks and sky.
 
Verbalizing the depth of field in the image brings up another point: the variations in terrain and color. The diverse geographical features, alternating colors (orange-green-orange), and matching color palette (orange sunset and orange fields), wrap the photo up perfectly.
 
If you remember, the photo from two posts ago demonstrated the same idea but in an urbanscape (rather than landscape) – an orange sunset complimented with orange street lights. This is a perfect example of photography techniques being applicable across a multitude of subject matters.
 
Any guesses as to where this was taken? 🙂
 
Photographer: Christian Heitz

Photo Commentary #19: Long Exposure Water Motion Blur 150 150 varunvisuals

Photo Commentary #19: Long Exposure Water Motion Blur
This photo, taken by James Wheeler, is a perfect example of using long exposure photography to achieve a smooth water surface and increase reflections.
This photo, taken by James Wheeler, is a perfect example of using long exposure photography to achieve a smooth water surface and increase reflections.
Throughout numerous of my posts I have touched on the topic of long exposure techniques within photography – today I will continue along this topic.
 
As we know, long exposure techniques can be applied in a variety of circumstances such as astrophotography and timelapses. Another instance is motion smoothing.
 
Two examples of this, from prior posts, are the silky waterfall and moving cloud images. This photo illustrates another scenario by which rough bodies of water are practically transformed into what looks like delicate glass. Just as how a waterfall can be smoothed out, so can waves and ripples. The extended time with which light is allowed to reflect off a subject and into the camera lens causes a blurring effect. In other words, glass-like bodies of water = blurry waves; but obviously the former is a much more elegant description 😉
 
And of course, to connect this with my last post, the “blurry waves” help in accentuating the beautiful reflections that may otherwise be hard to see (similar to how its hard to see your own reflection in a puddle with ripples on the side of a street. Lovely work James!
 
Photographer: James Wheeler
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