More depth and and dimension

[esearing]

A few years back I read an article on how to give a print more dimension so it appeared to be more 3D to the viewer. But I don't remember how.
I have tried split grade processing , burning in the upper corners slightly , higher localized contrast in the bottom of the image closest to the user.

Any ideas? Multi-toning, easel keystone, paper / developer choice?

[Ken Lee]

You might find it helpful to read about depth cues in visual perception: https://www.google.com/search?q=depth+cues&ie=utf-8&oe=utf-8

[DennisD]

The article below relates specifically to creating dimension in photographs. While "how-to" magazine articles often seem like cookbooks, this one covers many helpful points.

Your question deals with achieving dimension in the final print.
The concepts about lighting and atmosphere are particularly relevant (burning/dodging).

If you are using photoshop...
You have the ability to use masking techniques coupled with curves and gradients. These features (as well as others) will allow particularly precise control of areas that will help enhance dimensional effects within an image. You can also control texture if desired.

http://www.shutterbug.com/content/depth-cues-add-dimension-your-images#LVzs9hshvJu9p1gv.97

[esearing]

Thanks guys - that got me to think about localized bleaching or dodging in the distant views so that there appears to be more light and/or diminishing atmospheric perspective . Changing the gradient tonality applied to a central non-leading surface may help it too (ie enhance a hill by making it lighter at top than the bottom even though it may be relatively evenly lit).

[Ken Lee]

The easiest approach is to find subjects that already exhibit the qualities you admire. Then, only competent treatment is required.

[Vaughn]

The easiest approach is to find subjects that already exhibit the qualities you admire. Then, only competent treatment is required.
This my approach, and one of my first thoughts reading the post. But then I do not crop, burn, or dodge, so that is where my mind goes.

Split-toning might be something that will heighten of a sense of depth. And when I was silver printing, I greatly enjoyed spending a significant amount of time burning in an image -- striving to lead the viewers' eyes around the image without losing them off an edge or corner. Drawing their eyes in and letting them decide when to leave.

Now with non-silver contact printed processes, I greatly enjoy doing the same thing, but all before I snap the shutter. I also cheat - I make carbon prints that have a raised relief -- a nice way to achieve 'depth'!

[Bruce Watson]

The easiest approach is to find subjects that already exhibit the qualities you admire. Then, only competent treatment is required.

Well said. This is pretty much what photography is all about for me.

[Willie]

The character of the lens/film in use may have an effect as well.
Using the Apo Sironar 150 I get a bit of a different image than with the older 150 Caltar(schneider) I have used. The Apo lens gives me a bit more separation from light/dark sharp lines.
A lot like the difference I get photographing with the 400mm f/2.8 Canon and the 200mm L series Canon lens on the same subject. The 400 has a 'feel' that is seen and commented on by those who see the prints. Both sharp & clean but the 400 glass "has it".

Add in light/dark separation and depth of field to the equation. Skillful use of them and your placement of the camera to bring out separation will most likely have a big effect on the final result.

Might check your lenses.

[djdister]

Add in light/dark separation and depth of field to the equation. Skillful use of them and your placement of the camera to bring out separation will most likely have a big effect on the final result.


Some key concepts here for your shots here: emphasize lighted subjects over dark ones, emphasize foreground/background objects, emphasize selective (narrow) depth of field. Combine two or more of these concepts and your prints should portray the depth and dimension you are looking for. In the printing process, you might try to emphasizes edge contrast to further make certain objects stand out from the background. Your choice or printing paper can emphasize or minimize depth in the shot as well, i.e. glossy versus matte paper. But it will help a great deal to start with a shot that inherently portrays depth.

[Steve Sherman]

Great topic, should be more along these lines.

I was fortunate to meet a well known illustration photographer who said, "we photographers are charged with capturing a 3 dimensional world and presenting it in a 2 dimensional medium". He emphasized spatial relationships, use of near and far composition. Tonal relationships such as lighter tones project while darker tones recede. Convergence and diagonals create drama and as well as near and far impressions. Keeping the horizon away from the center of the photograph at all costs. A simply Split Toning technique creates yet another dimension adding warmth in the highlights while mid tones and shadow values recede into cooler tones.

Creating a 3rd dimension is the first thing I think about when setting up the camera, thank you Dean Collins, R.I.P.