These emails come with the intent of helping you be a better photographer. 

And if you want more photography stuff to read, there's a place on the interwebs where past emails I wrote are stored. You'll find 'em in the "Newsletter Hub." 

Remember, I'd like to know what you want to know about photography. So, If you have any questions, ask by sending an email to me at sam@samdamico.com.

Hello , 

Depth is a visual element we use to add a feeling of distance, from front to back, into our pictures. 

What's Depth?

We can think of depth as the straight line distance between something close to us and something far from us.  

As photographers, the Merriam-Webster Dictionary definition of "depth" that's useful to us is:

2 b: the direct linear measurement from front to back

When viewing three-dimensional scenes, depth is something we see. But when it comes to two-dimensional photographs, we need to understand how to incorporate the visual sensation of depth into our pictures. 

For example, depth can include the distance between the tip of someone's nose and their eyes. Depth also covers the distance between a tree ten feet from us and a mountain miles away. 

And when we combine depth and shape, we get form. 

Are There Different Types of Depth? 

We either have depth or don't have depth. 

However, we can include visual cues in our pictures to communicate the sensation of depth. I'll get into those in the "Where Can We See Depth in Photographs?" section below. 

Until then, here's an example of how we don't have depth:

Imagine making a picture. Imagine filling the photograph's frame with a smooth, blank wall being viewed straight on. There's no depth there.  

And there's no depth because there's only the distance between us and the wall. There's no relatively near-distance and far-distance relationship between us and multiple objects to work with. And that's because the wall is the same distance from us throughout our picture. In other words, there's only one distance being photographed. And that distance is between us and the wall. 

In photography, we get a sensation of depth by observing varying visual cues that lead us "deeper into the picture ." In other words, depth is a means to draw our eyes from the photograph's perceived near and far distances. 

While walking around in our daily three-dimensional experience, we automatically experience a sense of depth. It allows us to estimate how far we've gotta toss a crumpled-up piece of paper while playing wastebasketball. In this case, the distance/depth is between us and the wastebasket.   

Do you remember that tree and mountain I mentioned before? The distance/depth is between us, the tree, and the mountain. And to get depth, it's gotta include the distance between us and two objects at different straight-line distances from us in the picture. 

But it's impossible to have a three-dimensional experience of depth when seeing a two-dimensional representation. And yet, that's what our mind wants to do. So, we look for visual cues in the picture to create that sensation. 

So, what are those visual cues? 

That's an excellent question, you curious photographer. And here's my answer to the best of my ability.

A road that appears to narrow as it gets farts away creates converging lines. I think this is called linear perspective. Is the road narrowing? Nope! Those converging lines are a visual cue for depth.

Air quality can also give a visual cue for depth. 

This is called atmospheric perspective. In this case, objects closer to us have more detail and contrast than stuff farther away. 

Another visual cue of depth is a texture gradient. This cue appears as foreground textures appearing as relatively distinct. 

It doesn't matter if we see a tree's leaves or needles, waves crashing, a sandy beach, a road's surface, or those fluffy white things in the sky; texture gradients get smoother as they get farther away in a picture.

And it's probably obvious, but I gotta say it: the overlap of objects is another way to create a cue that shows depth in our picture. 

Another visual cue is size diminution. Assuming we're familiar with the size of an object, as an object appears smaller in a picture, the farther away it seems. 

And finally, where we place an object in the frame in relation to the (implied or seen) horizon also serves as a visual cue of depth. Known as upward dislocation, this visual cue works because the higher we place an object in relation to the horizon, the farther away it seems.  

How To Study and Practice With Depth

Our ability to communicate depth depends on our intent of composition, the objects in the frame, and our relative perspective of the objects in the frame. 

Also, it helps to include foregrounds, middlegrounds, and backgrounds in our pictures. And the more prominent those different distances of "grounds," the stronger the feeling of depth will be in our images.  

And remember that depth is created in our pictures by providing visual cues. 

So, an excellent way to practice is to intentionally work with the visual cues in the "Where Can We See Depth in Photographs?" section. 

And remember, we learn and become better by doing, so make sure to practice by making at least one picture today.  

That’s all for now; thanks for reading!

Sam 

Study and practice photography with me. 

And if the timing doesn't work for you in any of my scheduled group classes,  we can schedule a one-time lesson or a series of in-person or online one-on-one private instruction that covers the same things as any of my group classes. 

I look forward to helping you be a better photographer.

Best Regards, 

Sam