| The world we live in is three dimensional, we see | | | | 3. Diminishing perspective |
| in three dimensions yet when we photograph we | | | | Diminishing perspective of scale refers to the |
| see only two dimensions. In order to create | | | | appearance of size that our eyes see. Take for |
| images that add a third dimension we need to add | | | | example a row of telephone poles disappearing |
| some perspective or depth. The big question is | | | | into the distance. Our brain tells us that they all |
| what is perspective and how do we add it? | | | | should be the same height. But, because they are |
| Because we can't see a third dimension in our | | | | all gradually getting smaller the brain says they |
| images we need to create an impression that | | | | must be getting further apart. If you use this |
| there is depth to the photograph. This is created | | | | sense of perspective you will find it extremely |
| by the relationship between elements in the image | | | | effective in giving depth to your images. So when |
| showing the space between them and giving a | | | | you are trying to achieve this, look for fences, |
| sense of depth. Our brains need to discern which | | | | trees, telephone poles and similar repeated |
| elements are near and which are far away. If we | | | | objects to include in your photo which will help |
| can do this then the sense of perspective is | | | | create the depth. |
| created and the third dimension is added. So what | | | | 4. Scale and comparison |
| types of perspective can be created to give this | | | | When trying to achieve a sense of scale, choose |
| sense of depth and scale? | | | | two elements with one having a recognisable |
| 1. Lens perspective | | | | height or size, e.g. a person or a vehicle. By placing |
| Your choice of lens, whether wide angle or | | | | them next to a large object such as waterfall or |
| telephoto zoom will determine the amount of | | | | dam wall you get an idea of how large the wall is |
| perspective created in your photo. Although | | | | because you know the size of the recognisable |
| perspective doesn't actually change you can get | | | | person or object. If you know the height of the |
| the impression that it does by your choice of lens. | | | | person then in relation to them the dam wall must |
| Real depth and perspective is created by wide | | | | be incredibly large. |
| angle lenses with elements appearing at a greater | | | | 5. Stretching Perspective |
| distance from each other. Telephoto lenses | | | | There is another very effective way of showing |
| compress thereby giving a more crowded feeling. | | | | perspective and this is by using a wide angle lens. |
| So lens choice is vital to creating those images | | | | The lens by itself stretches the perspective |
| with real depth. | | | | naturally and this is quite dramatically increased by |
| 2. Lines and perspective | | | | including an object in the foreground. When this |
| Parallel lines in an image fool the brain into believing | | | | object which you know how large it is, is |
| that they are moving away from the viewer. | | | | compared to something in the distance such as a |
| Here's how it works. Imagine looking down a row | | | | building or tree, the sense of scale is increased. It |
| of crops or a railway line that disappears into the | | | | reveals extreme distances and gives the image |
| distance. The parallel lines never meet or touch | | | | real depth. This is creates a strong impression of |
| but as they disappear an impression is given that | | | | diminishing scale or perspective. |
| they do. This is what fools the eye and brain into | | | | Photos with depth or perspective are far more |
| believing that there is distance in the image. It is | | | | dynamic and dramatic revealing that third |
| best illustrated when using a wide angle lens. Be | | | | dimension lacking in most images. If you are able |
| sure though to include the focal point which is also | | | | to implement this as you learn digital photography, |
| known as the vanishing point, which is the point | | | | then you are well on the way to stunning images. |
| where the lines disappear into nothing. | | | | Happy shooting! |