Part two of ''The Elements of Strong Composition in Landscape Photography'' delves into the importance of the background in creating a compelling landscape composition. It emphasizes how elements such as shape, elevation, angle, and symmetry contribute to a visually striking background. The section also covers how to effectively combine subjects, manage the relationship between the background and the sky, and create depth through layers. Techniques like considering the distance from the background, adjusting the shooting angle, and using reflections are explored to enhance the overall composition. By understanding these factors, photographers can create balanced and dynamic landscapes that capture both the foreground and the background harmoniously. To read part 1, click here
4. The Background
The background is, in most cases, the most important element of a composition. It is where you find the main subject. During scouting, it is often the starting point from which the other elements of the photo will be added. If you find a great foreground, you cannot continue scouting to find a good background for it—you must shoot the background that comes with that foreground. However, if you find a great background, you have plenty of space and freedom to find a suitable foreground.
Elements that Determine the Quality of the Background:
- - The shape
- - The elevation compared to the background subject
- - The distance to it
- - The angle
- - The presence of other subjects
- - Symmetry
- - Distinction from the sky
- - Layers
4.1 The Shape
It is not the height or size that matters most, but the shape. Let’s compare the mountains along
the fjords of Norway with those in the Dolomites. While the Norwegian fjords are absolutely
unique, spectacular, and beautiful, the peaks and summits have relatively uniform elevations
without dramatic, pointy peaks.These mountains are often part of long, stretched valleys and
fjords. Shooting them is most impactful from a higher vantage point where mountain layers and
other elements can be included.
In contrast, the Dolomites present an entirely different landscape. While waterfalls and lakes are more difficult to find, the peaks are incredibly pointy and dramatic, often making for a great
background subject.
Just as brightness draws our eyes and commands attention, so does the shape of elements in a scene. A pointy, stand-alone peak will be more visually compelling than a long, stretched, or round-shaped mountain. It quickly establishes the subject and adds drama and spectacle to the image.
Another example is the mountains found in the desert near Yuma. Alongside the cacti, there are
many spectacular rock formations and mountains. Although most are only about 100 meters
(330 feet) high, they look striking on camera due to their dramatic shapes.
4.2 The Elevation Compared to the Background Subject
The appearance of a background subject changes with elevation. Let's consider Monte Fitz Roy
and Mount Rainier as examples.
Monte Fitz Roy is exceptionally striking from ground level. Shooting from this perspective
emphasizes its contours, and with good separation from the midground, the mountain’s
prominence is clear. However, gaining elevation reveals more elements in the scene. Lakes
may become visible, adding depth and interest to the composition. If another mountain obstructs the view, moving even higher can restore visibility while introducing new features like rivers and valleys.
Mount Rainier, the tallest mountain in Washington, offers a different scenario. As a large
stratovolcano, it lacks a dramatic ridgeline but is surrounded by an impressive landscape of
smaller peaks. As you gain elevation, the surrounding area becomes more impressive,
especially in the right lighting conditions that accentuate the layers.
When you want to shoot a certain viewpoint from a higher elevation,
and you don’t know which elevation works best, keep in mind the
following. The higher you go, the more layers become visible (A).
This creates more depth. If there is a river, you will most likely also
see more of the distant river (B), which will also create more depth.
You can also think of other elements that can become visible with
a higher elevation, such as a lake (C) or mountains (D) that were hidden
behind other mountains at lower elevations.
Now with the above advantages when going higher, you might think
it is always best to go as high as possible. This is certainly not the case.
While a visible distant river creates more depth, the river in the distant,
and especially the river closest to the lens, will become more vertical (E).
The line will lose it’s zigzag or leading shape (F). Another downside are
the increase in empty spaces (G) a higher elevation can create on a
layer. Finally, if there is a dominant mountain in the frame, it
can lose it’s impact with an increase in elevation (H). Especially if more
layers show up behind it.
4.3 Distance from a Mountain
If you get too close to a mountain, its contours and peaks may appear less dramatic. The relative distance between you and the peak increases compared to the base, making the peak seem smaller. From a greater distance, the peak and base appear more proportionally balanced.
For comparison, imagine lying on the ground a few feet away from another person. Their head
will look much smaller relative to their body, and even smaller compared to their legs. Similarly,
each mountain has an optimal viewing distance where it looks most striking. Testing different distances and analysing your shots will help determine the most effective composition.
Getting closer does have advantages, such as allowing for wide-angle compositions that
incorporate strong foreground elements. However, getting too close can cause the mountain to
lose its impressive shape.
The same mountain - on the left right underneath it - on the right further away.
4.4 The Angle
Each mountain changes in appearance depending on the shooting angle. This affects not only its contours but also how light and shadows interact with it.
For example, in autumn, Monte Fitz Roy catches the sunrise at an angle, creating dramatic shadows that enhance depth. In summer, however, the sun hits the mountain more directly, making it appear flat.
By adjusting your shooting location in summer, you can find an angle that restores the depth and contrast found in autumn because the light will be hitting different contours.
4.5 Combining Subjects
While a single mountain often creates a simple and powerful composition, adding other subjects can enhance the scene. One of the most effective combinations is a mountain view with a rising or setting sun. The sun may be inside the frame or just outside the horizon. The composition becomes even stronger when elements such as rivers or valleys connect the mountain and sun.
4.6 Symmetry
A symmetrical background subject, such as a mountain, often results in a clean and powerful
composition. This works particularly well for vertical shots with strong foreground elements or
horizontal compositions framed strategically at the sides.
Reflecting water is another simple but effective way to create symmetry. A lake or pool with still
water can double the visual impact by mirroring the colors and shapes of the sky and
landscape. However, reflections are commonly used and can sometimes feel repetitive.
To create a more interesting reflection, consider framing it with other elements, breaking it with
shoreline patterns, or using foreground details to add variation.
4.7 Distinction from the Sky
This factor depends on weather and lighting. Backlit conditions usually create strong separation
between a bright sky and a darker mountain, while front-lit conditions result in less contrast,
making the mountain appear brighter and less distinct. Clouds near the horizon can also impact
separation. Ideally, you want a darker blue sky around the mountain’s contours, with clouds
positioned higher up.
4.8 Layers
The more visible layers in a landscape, the greater the depth and scale. Layers often become
more apparent under backlit or hazy conditions. A viewpoint that is both farther away and higher up tends to reveal more layers. As mentioned earlier, some mountain views only become
striking when paired with a layered landscape.
4.9 The Sky
While you cannot control the sky, you can adapt your composition based on sky conditions. If the forecast predicts clear skies, consider choosing a location where you can frame the upper portion of the image with a tree, cave, or another natural element. This way, an empty sky does not dominate the composition.
5. The Shape of the Layer
The foreground, midground, and background each have distinct shapes. The background shape
has already been discussed, but the sides of the background also play a role. V-shaped sides
help keep the eye within the frame. Similarly, a /-shaped foreground or midground can guide the
viewer’s gaze toward the main subject.
However, not every composition requires these shapes. If light is coming from one side, leaving
open space in that direction may enhance the composition. If a river starts outside the frame,
keeping that area open may be better than framing it with an object.
Pointy foreground elements, such as flowers, can lead the eye toward the background while
also connecting different layers. The eye naturally follows these elements, creating a stronger
visual flow throughout the image.
Conclusion:
In landscape photography, the background plays a crucial role in establishing depth, balance,
and visual impact. By understanding the relationship between shape, elevation, distance, and
other compositional elements, photographers can craft powerful and dynamic images. Whether
through the use of symmetry, layering, or thoughtful positioning of subjects, the background
provides essential context and enhances the overall storytelling of the scene. Mastering these
techniques allows photographers to create images that are not only visually balanced but also
immersive and engaging.
MAX RIVE
PHOTOGRAPHER & PHOTO TOUR LEADER
Max Rive is most driven by seeking new perspectives in the natural world and capturing them in his own distinguished style. Max's powerful portrayals of his interactions with the mountains has earned him international recognition in the outdoor community.
MADISON MCCARDLE
PHOTOGRAPHER & PHOTO TOUR LEADER
Madison McCardle is a passionate landscape photographer driven by curiosity and a desire to capture the true essence of each place she explores. Through her lens, she seeks new perspectives that reveal the beauty and authenticity of the world.
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This are all the workshops listed for this and next year. See also our workshop page and pdf page for more info.
| Month | Tour |
|---|---|
| January | Saudi Arabia |
| February | Saudi Arabia |
| March | |
| April | Patagonia |
| May | Tuscany |
| June | Peru |
| July | Senja |
| August | Dolomites |
| September | |
| October | Dolomites |
| November | Madeira |
| December |
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