The Art of the Vignette


I think my very first digital darkroom infatuation was the ability to vignette my images. You know, the method of manipulating the edges of an image in order to really make your subjects pop? For me, it was darkening the edges and I couldn’t get enough of it. Although I was having fun with it, it got a tad predictable, I will admit. As I continued to experiment with processing techniques I found other fixations. Textures, tones, saturation, or whatever my processing flavor of the day happened to be. Even after a few of years in experiment mode, I still don’t know what all the potentials are in processing and am still having fun trying new things. I do know what I like when I see it and I know that I shoot in waves of my own personal preferences and trends of whim. Maybe we all do. It’s just a part of the creative process I suppose and part of the fun for sure!
Although my love of vignetting still remains, I am beginning to enjoy challenging myself to build those vignettes into the shooting process. Natural vignettes can be just as intoxicating as their fabricated cohorts but I find they can be a lot less predictable which for me is refreshing.
I’ve recently begun toying with using a shallow depth of field in the foreground of my images as opposed to using it only in the background. I am loving the results! I am addicted to using my trusty macro lens and getting down at ground level, right up to my subject makes it easier to get that soft and lovely blur in the foreground. As long as my focus is on my subject (in the case above, the flower) and there is enough information in front of the subject that will be thrown out of focus with a shallow depth of field you can achieve these results. In this case, the edges don’t go dark but the softness of the bottom edge does do the trick of pulling your eye right to the subject almost as if it were framed.
I would love to see your vignette success stories, whatever they may be. Show us an image of when it really worked just as you wanted it to.