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What role do the shadows hold in this image? Canon 5D IV | Canon 70-300 F4-5.6 | 128mm | ISO 400 | 1/500 sec | F7.1 |
Today, I'd like to dive into the use of shadows in landscape photography. Shadows are almost always part of nature: we often shoot using a (almost-)point light source (the sun or the moon), and even if the light is soft (like it is after sunset or during a cloudy day), the light is almost always directional, which means that some areas of the image are darker compared to others.
So, if shadow is an almost integral part of photography, we ought to at least give it some attention and understand how it works in comparison to other components of the image, and perhaps see how we can use its characteristics to enrich our photography, which is what I intend to do here.
I would say that the first function of shadows is to promote separation and thus depth. As I've mentioned in the past, separation of the different image layers is important to help viewers discern the actual distance between the subjects, thus helping them perceive the scene's depth, which is present in 3D reality but can be absent in the 2D image.
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This image of dunes in Sandwich Harbor, Namibia, would be absolutely flat without the shadows. The dunes are the same exact color, and without the dark areas, it would be impossible to understand the shapes in the scene and its depth, rendering it flat and boring. Canon 5D IV | Canon 70-300 F4-5.6 | 70mm | ISO 400 | 1/1250 sec | F8 |
Below are two aerial images of Cono Arita, Argentina. One was taken before sunrise, with flat light, and the other after sunrise. I'm not trying to claim that one is better than the other, but I'd like to urge you to see how different they are, and why. There is some difference in color, sure, but the main source of change is most definitely the cone's shadow. What role does the shadow serve here?
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| DJI Mavic II Pro | 1/15 sec | F3.2 | ISO 400 | DJI Mavic II Pro | 1/60 sec | F8 | ISO 100 |
There is a similarity and a difference between the roles I mentioned above. The shadow creates depth. Clearly, it stretches from the cone to the very edge of the salt pan, thus making it easier to perceive the distance between them. But it isn't really the factor separating the different layers – it's the difference in color and texture which does that in this example. By the way, can you understand what problem I have with the composition in the second image?
The second image above leads us to a second use of shadows: extending the subject and changing its shape. If used correctly, the shadow of a subject can help the photographer manipulate the shapes in an image to better fit the composition and the photographer's vision. Take, for example, the following image, which I took a long, long time ago in Jerusalem.
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Ultra-orthodox Jews walking back from the temple in the early morning. You could say that the shadow is the main part of the subject, being larger and more prominent (different from its surroundings). In any case, it helped me balance the compositional masses in the image. Without the shadow, there would be nothing to counterbalance the person's compositional weight, and the image would be right-heavy. (Jerusalem, Israel) Canon 7D | Canon 70-200mm f/4 | ISO 200 | 1/1000 sec | F4 |
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In this image from Deadvlei, Namibia, the shadow again extends the subject and allows me to have a good foreground element. It also parallels the tree itself (which is a bit obvious since their shapes are naturally similar), but moreover, it parallels the sunstar flare on the top part of the image. In addition, the dune's shadow on the horizon adds a layer and enhances depth. It also prevents the background trees from grabbing too much attention and overlapping the main tree. Canon 5D IV | Canon 16-35mm f/2.8L III | 31mm | ISO 100 | 1/80 sec | F16 |
I'd like to divert now and talk about the use of shadows to create and enhance the atmosphere in a landscape image. Shadows have a tendency to interfere and appear inside lit parts of an image, thus enhancing the texture and diversifying the light, which may appear minor but is, at least in my opinion, not so at all.
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Trees' shadows enrich the lighting and add texture to this image, balancing the viewer's attention between the different compositional elements. (Jargant River, Mongolia) DJI Mavic III Classic | 1/400 sec | F10 |
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Again, the shadows add texture to the light, making the image more interesting. (Jargant River, Mongolia) Canon R5II | Canon RF 24-105mm f/4 | 80mm | ISO 100 | 1/320 sec | F11 |
This can also appear in much, MUCH larger scale:
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The gradient of light on the top right shows us that the total solar eclipse is, in fact, just a huge shadow cast on Earth by the moon. I claim that the image wouldn't be half as good without this gradient, since it's not only a compositional element but also an extension of the subject, drawing a link between the faraway eclipsed sun and the Earth's sky. As homework, take a good, long look at this image and try to understand the roles of the different subjects, how they counterbalance each other, and how they contribute to the overall composition. (Lake Cuesta Del Viento, Argentina) DJI Mavic II Pro | 1/10 sec | F2.8 | ISO 100 |
Lastly, I'd like to present the rare case of the shadow being the actual subject. This is hardly common, but if you use it right, it could be very interesting and curious to the viewer. Take a look at the image below.
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In order to take this shot without my shadow appearing in it, I had to hide in the shadow of the tree on the right. Canon R5II | Canon RF 24-105mm f/4 | 58mm | ISO 100 | 1/80 sec | F14 |
Instead of including both the tree and its shadow in the image, I chose only to include the shadow. By doing this, I selected a totally different subject in terms of shape, compositional weight, color, and, most importantly, in essence. This subject could be viewed as a negative of the other trees in the frame.
Firstly, the shadow is almost perpendicular to the other trees. Moreover, it's dark on a light surface, whereas the background trees are light on a somewhat-darker surface. These harsh differences enhance the image and cause it to be much more interesting. The fact that you usually don't see a shadow as a subject draws the viewers' eyes and makes them try to understand what exactly it is they're seeing. All this can take a very simple composition and elevate it into something greater.
Erez Marom is a professional nature photographer, guide and traveller. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.
If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Zambia, Greenland (solar eclipse), Colombia and more.
Erez has recently published his first e-book, "Solving the Puzzle," thoroughly explaining his views about composition in landscape photography and beyond.
Selected Articles by Erez Marom:
- Lava Frenzy: Shooting Fagradalsfjall Volcano
- Behind the Shot: Tambora Sandwich
- Parallelism in Landscape Photography
- Black Hole Sun: Shooting the Total Solar Eclipse in Argentina
- Winds of Change: Shooting Changing landscapes
- Demon of the Deep: Shooting Kawah Ijen Volcano
- Shooting Kīlauea Volcano, Part 1: How to Melt a Drone
- Whatever It Doesn't Take
from Articles: Digital Photography Review (dpreview.com) https://ift.tt/F4eldDh