Creating lens compression is primarily achieved by carefully managing the distances within your scene, particularly the distance between you and your subject, and critically, the distance between your subject and the background.
Understanding the Core Principle
Based on expert insights, the key to achieving lens compression lies in the specific spatial arrangement of your shot. Lens compression is created when there is not just a lot of distance between you and your subject, but also, a significant distance between your subject and the background. This means that achieving compression requires a scene setup where the background is far behind the subject.
Conversely, the reference makes it clear that lens compression isn't possible if the background is right behind your subject. The separation between the subject and the background is just as crucial as the distance to the subject itself.
The Two Essential Distances
To successfully create lens compression, you must focus on establishing these two key distances:
- Distance from You to the Subject: You need to be a considerable distance away from your subject. This is often achieved by using a longer focal length lens (like a telephoto) which allows you to frame your subject tightly while standing far away.
- Distance from the Subject to the Background: This is the second, equally vital component. There must be significant space between your subject and whatever is in the background. The further away the background is from your subject, the more pronounced the compression effect will be.
Why This Works
While the technical optics are complex, the practical effect described by the reference is that when you are far from a subject that is itself far from the background, the apparent size difference between the subject and distant background elements is minimized. This causes the background to appear larger and closer to the subject than it would if the background was close behind the subject. It seems to "compress" the space between the subject and the background elements, making distant objects feel nearer and stacking layers within the scene.
Think of it this way:
- Scenario A (No Compression): Subject close to background. You are relatively close to the subject. The background appears much smaller than the subject and retains its perspective relative to the subject.
- Scenario B (With Compression): Subject far from background. You are far from the subject. The background elements, being further away, appear larger relative to the subject than they would in Scenario A. This makes the subject and background seem closer together in terms of depth.
Practical Steps to Achieve Lens Compression
Based on the principle of manipulating distance, here are practical steps:
- Increase Photographer-Subject Distance: Move back from your subject. This is often necessary to maintain framing when using a longer lens (though the reference emphasizes distance itself, not the lens type directly).
- Increase Subject-Background Distance: Position your subject far away from any walls, trees, buildings, or other background elements. Find open spaces or areas with distant horizons.
- Select Your Location Carefully: Choose locations where you can naturally achieve significant depth between your subject and the background. Hillsides, open fields, or urban streets with long views work well.
- Frame Your Shot: Use your positioning and potentially a suitable lens choice to frame your subject while ensuring the necessary distances are in place.
Here's a simple table summarizing the conditions for creating lens compression:
| Condition | Requirement | Effect |
|---|---|---|
| Photographer to Subject | A lot of distance | Necessary for framing |
| Subject to Background | Significant distance | Creates compression effect |
Remember, the key takeaway is that achieving the effect relies on creating substantial physical distance in two specific areas: between you and your subject, and importantly, between your subject and the background. If the background is close to the subject, lens compression will not occur.
