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Creating Mood in Photography
I looked through the viewfinder, and a feeling came over me. I know the plan is right, and the image is flashing with emotion. There was something about what I saw that was so compelling that I knew it would be well received when others and I looked at the resulting image. This magic doesn’t happen every time I press the shutter button.
What it means to capture the mood of what is in front of you can be subjective, changing from one photographer to another. For me, it’s all about the feeling of being there, of putting the viewer in the position of the photo to feel like I did when I took the shot. When you experience these sensations as you take the shot, you know that the viewer will, too, as s/he looks at the picture.
Just as people can have different moods, so can a photo. You may experience feelings of stress, loneliness, calmness, or danger. For me, the mood in a picture represents relaxation and similar feelings that make the viewer want to walk right into the picture and sit there for a while.
What mood and what elements do you need to create so that anyone who looks at your photo can move into the space and feel it? Different elements can be used to create a sense of emotion in a space. One of the most common to add in a photo is fog. Thick fog can add so much to a shot that when people look at the picture, they know exactly what the experience was like when the photo was taken. The added benefit of fogging can be brought about in several ways:
Moving above the fog on a mountain or ridge allows for a clear view of the area with the fog nesting either in a mountain range or along a river. Even if the river cannot be seen, the fog that fills the area draws the viewer’s eye—perhaps even more than the river itself.
Animals in the mist can add an air of mystery to whatever the animal is doing, even if it is walking across a field or sitting on a nest. A single animal in the fog can make you seem lonelier than you really are because of the feeling of isolation.
Other subjects that work great in fog are old bridges and trees. While the fog around the group of trees is good, the presence of an isolated tree isolated from others in the area creates a very strong image. One of Ansel Adams’ top prints is of an oak tree covered in fog with a small sun rising in the background. Thick fog for this type of shot, it’s better, as it helps to notice anything else that is in the viewer’s view and put all the emphasis on the main subject.
Measuring fog can either enhance or diminish the effect of the shot. If you are above a cloud and have white light, treat it like snow and open it by a stop to balance the color. If you are shooting through fog, you can expose about -2/3rds of a stop to darken the overall image and bring out the fog even more or go +1/3 to lighten it up a bit. Take a few shots of each exposure to achieve the exact feel you want in your shot. However, don’t rely on your digital LCD screen for reviewing the shot, as it tends to illuminate some objects.
Normally, it is advised to show a very foggy shot, as fog tends to be lighter in color than a clear day. While this is true, sometimes you may want to show a different role. This is where bracketing comes in. Make a lot of shots on the extra side, but don’t think that exposure is out of the question, because this is where you can deepen the mood a little. While the LCD may not provide the best view of your shot, the histogram can be useful in showing if your highlights are blown out.
Fog helps isolate your subject from any distracting elements that may be in the area – such as background clutter. There is only one option when you wake up to a foggy morning, and that is not to roll over and get more sleep. Grab your gear and run out to find something to shoot before the fog burns off.
Another natural element that can be great for keeping the viewer on your side is storm clouds. The darker, more ominous and threatening the sky, the more drama and mood you will have in the resulting images. This is where an average dreary day will not work; you have to be on the brink of a big storm coming through. Like clouds, using exposure compensation on the minus side will make the clouds appear darker than they actually are when they are there. To reduce the effect, go to the additional side, again bracket to get the exact feeling you want to bring out.
When storm clouds increase, the effect will be greater if the storm is on the opposite side from the sun. While the sun is obscured, you may not have the greatest shots, but if the sun breaks through and puts light on your foreground subject with storm clouds above, then the result is a very impressive image. A strong foreground subject is almost always useful for images with storm clouds. While the clouds may be the main subject, without anything else in the frame, there is no contrasting subject.
If the sun is at the right angle, about 45 degrees above the horizon, you can even treat to a rainbow addition. While you don’t want to be too far away from your vehicle when a storm is approaching – especially if you’re with a flashlight, taking the risk can be worthwhile once everything is together.
While fog can create a warm and calming effect, snow can go in the opposite direction. Different snow systems can create different moods in a photo, depending on how the overall scene is portrayed. A tree covered in snow can bring the viewer out of the cold. A large area of snow and frost on the trees can bring out a different mood.
Finding the right setting for a snow event can be difficult if you want to bring the viewer with you the moment you press the shutter release. Contrast helps. The combination of a beautiful blue sky and white snow can pull everything together. Combining snow with fog or haze can also help. While fog is more common in the spring and fall when the land and air temperatures are different, you can still find fog during the winter. With fog and snow at the same time, you have two elements working together to create the feeling.
Apart from using weather conditions, shooting any one subject standing in a large area will create an immediate feeling of isolation in everyone. It doesn’t matter what a subject is, but the less there is in space, the greater the feeling of isolation and loneliness.
Another subject that is automatically affected is running water. Many years ago, small artificial waterfalls to set up in your home or yard is very popular, because they should have a calming effect. The sound of a running river or waterfall can attract people to sit and listen for long periods of time. Likewise, images of crashing waves, a peaceful river, or flowing water recall the peaceful sound of water, and have the same effect.
When shooting flowing water, a long exposure is often used in order to create a silky flow of water. While this effect is great, the speed of the surface can create a feeling of power like waves crashing over rocks or a waterfall sending sprays of spray onto the rocks below. Don’t feel limited because you’ve seen water drawings painted mostly in one way or another. If you try a slower shooting speed for the waves crashing on the rocks, your image may be more interesting than a shot that captures the impact of the waves.
What creates a feeling of emotion in one person may not work that way in another. The same can be said when you ask many people how they feel when they look at a given photo. You may get many different answers depending on the number of people you ask. Whatever the case, do whatever you can to try to trick the viewers into feeling as if they are there and can feel what it’s like to take the shot.
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