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I like to use longer focal length because they provide something like an abstract elevation image of a building.
But to take in all of my subject, especially a full figure, I need plenty of space between me and the model.
And, if I want a proper separation of my subject from the blurred background, I also need plenty of space between the model and whatever is behind her.

The basement of the location in Merate represents an ideal situation.
Linda was about half way between me and the distant wall, and I was using the Nikon 105mm f2.5 AI-s at the widest aperture.
You can still read the elements in the background, but everything is nicely out of focus.
The warm light coming from a spotlight on the right is helping even more to separate Linda from the rest of the scene.
Tomorrow I will show you an example picture I made moving Linda further back, to have her illuminated by the natural light coming from the door on the left.
It is a less successful composition (and I made less photos in that scenario), but it is important to understand what happens when you don't leave enough space behind your subject, and she becomes part of it.

With a closer crop on the subject, like a portrait, you can diminish both the distances and still get a great effect in less space.

The entire shooting of Linda has been uploaded on my Archives, complete with the backstage videos, so you can have a better idea about how I work.

If you have any question about Bramley Apple Archives, ask me on  bramleyapple@yahoo.com

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