Front bokeh

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Technically: out of focus foregrounds. Whilst much emphasis is placed on the way a lens renders out of focus areas – the oft-overused ‘bokeh‘ – it’s almost always used to describe the areas that fall behind the focal plane. I think we can generally agree on a few things – ‘good’ bokeh doesn’t distract from the subject with uneven or sharp luminance transitions, double images, harsh rendering, rings or irregular textures in the ‘highlight balls’, patterns, bright edges, coloured fringing etc.; too much bokeh might be pretty but completely negates any sort of context other than what mood can be inferred by the feel of the light and some bokeh is always preferable to none because it helps with subject isolation. However, few outside cinematographic circles talks much about the way the foregrounds render. For that matter, few outside cinematography actively seek to use out of focus foregrounds as part of the underlying structure of their compositions. I think that’s a shame, and here’s why.

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From stills to motion: my experience

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I could get used to this.

A few weeks ago, I made my little directorial debut in the form of a TV commercial for Nissan. Unusually for this industry, there was no agency involved; I developed the board with the client and we dealt directly. I suppose that’s also how I landed up being director. The dust has settled, the post-shoot euphoric rush has somewhat calmed down, and I’m now able to put some coherent thoughts together on the whole experience and what it means for my career in the long term.

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