Soft atmospheres in wildlife photography
In photography, what lies out of focus can play a subtle yet powerful role in shaping the atmosphere of an image. Blurring the foreground doesn’t distract from the subject; rather, it can help guide the viewer’s eye, evoke a mood, or suggest an emotional layer that sharpness alone can’t always convey. At the core of photography is the pursuit of moments that can be transformed into meaningful images. And blurs can become part of that search — subtle tools that help transform a simple scene into an image that not only shows, but truly expresses and suggests.
Mystery and Revelation
Foreground blurs are a photographic technique that involves deliberately placing an object or element between the camera and the main subject of the image. This element, when rendered out of focus in the foreground, creates soft blurs that partially fall across the subject without diminishing its visual weight. Instead of distracting the viewer, these blurs are meant to enhance the image by adding layers of depth, space, mystery, and emotional nuance.
When used effectively, foreground blurs should guide the viewer’s gaze along a carefully composed visual path — the natural journey the eyes take when navigating the photograph. The main subject remains central to this journey, yet the presence of blurs introduces subtle cues about the environment, the mood, or even the narrative context of the scene. It becomes more than just a compositional trick; it’s a storytelling tool that invites the viewer to look closer and to connect more intimately with the image as a whole. An additional factor is that foreground blurs can also infuse an image with a painterly quality, evoking a sense of authenticity — as if the image had been carefully composed like a painting, starting from a blank canvas.
Working with What’s Within Reach (1): Natural Elements
We must experiment with whatever is available to us at any given moment, depending on our circumstances. This might include plant-based elements — such as branches, leaves, flowers, or grasses — as well as water or snow, geological features, other animals, or even light and shadow, either to highlight what we wish to draw attention to or, conversely, to eliminate distractions.
For example, the photograph of vultures at the beginning of this article was taken at a vulture feeding site in the Pyrenees, where the only available element was, in fact, the birds themselves. I’ve rarely achieved such a precise overlap as seen in this photograph, but that hasn’t stopped me from experimenting with this approach in other situations where the presence of multiple animals made it possible.
The photograph below — featuring a Pyrenean capercaillie at its forest lek — plays a central role in this technique. The soft blurs were created by local shrubs and underbrush typical of the region, forming a kind of natural filter between the subject and the lens.
This layer of vegetation not only softened the composition, but also added depth and atmosphere, subtly framing the bird without overpowering it. The scene was further enhanced by the low, crepuscular light of early morning — the kind of light that casts long shadows and brings an air of quiet mystery to the forest. It is precisely in these fleeting moments, when light, subject, and environment align, that photography may become something more than documentation: it may become storytelling.
By contrast, this next image is based on a simple interplay of light and shadow. With a carefully adjusted exposure and a warm white balance, the atmosphere becomes richer, almost tactile. The contrast between illuminated and shaded areas helps to reinforce the sense of three-dimensionality, subtly sculpting the subject within its environment. Beyond aesthetics, this technique serves a compositional purpose: it naturally guides the viewer’s eye toward the focal point, allowing the image to speak with both clarity and depth.
As can be seen, photographs that incorporate foreground blurs often lean toward minimalism, while still managing to convey a sense of the surrounding environment. In some cases, they even hint at the subject’s relationship with that environment, or suggest the specific moment in which the image was captured — and by extension, the animal’s behaviour and habits. This subtle layering of visual cues allows the viewer to intuit more than what is explicitly shown, creating a more immersive experience of the scene.
Working with What’s Within Reach (2): Scene and Subject
An important aspect when using foreground blurs is the setting in which we find ourselves and the degree of control we can exert over it. As mentioned before, sometimes the environment itself offers natural elements — plants, light, snow, or animals — that we can incorporate creatively. When photographing less skittish species from a hide, we may even be able to intervene or recreate the scene, shaping it according to our artistic vision and carefully planning the shot. However, in many cases, we lack this control and must approach the subject cautiously, always mindful of ethical considerations to avoid disturbing the animal. And often, the best strategy is simply to wait patiently for the moment to unfold — the art of waiting itself becomes an essential part of the creative process.
I love these reactive situations or “photographic hunts” with few preconceived ideas, because they involve a unique — and even somewhat serendipitous — interaction with the wild. This is true both because of the environment where these photographs typically take place and because of the very nature of the animals being photographed. In my case, without this element tied closely to the observation of wildlife itself, photography would lose much of its appeal. This approach demands a certain tolerance for failure, but it often brings significant rewards.
Working with What’s Within Reach (3): Types of Photography
The most suitable genre for experimenting with foreground blurs is portrait photography, where the softness of an ethereal atmosphere often aligns harmoniously with the intended meaning of the image. In contrast, in other contexts — such as birds in flight, mammals in pursuit, and similarly dynamic scenes — the speed at which events unfold can render this technique nearly impossible to apply. In such cases, the opportunities for deliberate compositional intervention are significantly reduced, if not entirely absent.
Working with What’s Within Reach (4): Types of Blur
The objects used to create foreground blurs can be placed closer to the camera to increase abstraction, or closer to the subject to maintain and highlight the element you’re working with — especially if it adds valuable content to the photograph. Similarly, you can create “veils” over the entire image or use blur to partially cover different parts of the animal, although often the subject’s gaze is carefully preserved. A third distinction involves seeking what are called “look-throughs,” where the camera is pointed through a small opening, or, when that’s not possible, “look-overs,” which involve filling the bottom of the frame with a blurred foreground.
Depending on the type of blur you’re working with, be ready to switch to manual focus if the autofocus struggles. Keep in mind that you might lose a bit of sharpness (or detail), but you can often compensate for this by embracing a more artistic look in your photograph.
Concluding Remarks
Foreground blurs are a creative technique with broad applicability, which gives them considerable appeal. Nothing prevents you from using them in a wide range of situations, as long as you’re able to exert at least some control over your position and/or that of your subject.
I believe creativity often emerges through trial and error, and thus from the opportunity to work within your most familiar surroundings. That said, foreground blurs allow for improvisation and inspiration to arise in many different contexts. At the same time, this technique also gives you the chance to photograph species that are “recurring” or familiar to you in a fresh and original way.
Finally, it is fully compatible with other creative techniques related to composition or light — such as over- or underexposure, movement and shutter speed, backlighting, double exposures, abstraction, and so on.
This technique has been used by masters, visionaries, and influential photographers who bring their own unique aesthetic to their work — so I truly encourage you to give it a try!
