Shooting beautiful landscapes
Landscape photography is one of the most common themes among photographers – both amateur and professional alike. But there are serious differences between landscape images that reveal the art of the photographer, and those that are snapshot copies of the scene. Let’s discuss what some of these elements may be.
The Right Location
It stands to reason that location is important. This is without doubt the reason we raise our camera.
We look at a scene and say: “This is great. I have to photograph this.” However, no matter how beautiful or captivating a scene may be, it is not the entire secret to a great landscape photograph. Often, even the most everyday scenery can be transformed into a stunning landscape – and vice versa.
The photographer needs to understand that the camera doesn’t remember the context of this scene or the reasons for your being there. It has a limited frame and field of view and yields a silent two-dimensional image that must stand alone.
Therefore, working with the location to create visual dynamics is the key. While in reality the scene may be appealing in itself, its appearance on film may be another thing altogether. The challenge for the photographer is to evoke atmosphere within the image itself. It should also be a dynamic and captivating composition that does not necessarily rely solely upon the beauty or dynamics of the location. Anyone can take a snapshot of a scene in front of them. An artist interprets it. A successful landscape photograph requires a point of interest.
Sweeping general scenes are not eye-catching.
They are more like snapshots than works of art. The focal point might be a lone tree in a barren and rugged terrain, an outcrop of rocks, a man-made structure or any aspect of the scene that can be placed within the image to form an interesting composition and perhaps become the reason for the photograph.
Once this is chosen, correct placement within the image is imperative for the picture to work. A common and successful formula is the rule of thirds – that despite everyday use rarely fails to create a pleasing picture. By dividing your picture into equal horizontal and vertical thirds, you are prevented from placing your subject in the centre of the frame. Horizons, for instance, are often more effectively placed in the top or bottom third of the frame. Points of interest can be dynamically emphasised by placing them in the frame where the horizontal and vertical thirds intersect, such as the rock in the picture opposite.
Perspective is also important.
Elevating or lowering your position can add another dimension to your picture. This is because most people usually view a scene from a standard standing position, rarely changing their viewpoint and thus not seeing the scene from any other aspect. Your doing so immediately makes the image come alive. Working with the location means more than simply finding the place and turning up. Most people walk no more than five paces from where they park before they start taking pictures. Spend time in the area, perhaps even taking a day or two to explore, finding the best locations and shooting positions. Take note of the appearance of the landscape at both dawn and dusk, and which features appear most striking at those times. For better contrast, colour and sharpness, try not to put yourself in a position where you are shooting into the sun.
The Right Light
The successful landscape photographer understands the importance of light. This is because the right light is just as much the key to great landscape photography as is perhaps the location itself. Maybe more. Light adds shape and texture to an otherwise two dimensional image and it can dramatically alter the entire appearance and mood of a landscape.
Early morning and late afternoon are without doubt the best times of day to photograph landscapes on cloudless days. When the sun is muted by clouds there is little variation during the day as shadows and colour temperature often vary little throughout the day.
However, the early morning and late afternoon sun bathe the landscape in warm soft light that reveals texture and dimension, while simultaneously warming up the scene to invite the viewer. Midday sun is without doubt the worst time of day for landscapes. It is harsh and produces flat, lifeless images. For the landscape photographer, midday is the best time to catch up on the sleep lost chasing the morning sun. That is about it. Muted light can also be used very effectively, provided the right approach is taken. Often, the most dramatic landscapes are taken in overcast or even downright inclement weather conditions.
The photographer needs to be in touch with the feelings this kind of light conveys and use it accordingly. Light evokes emotions as well as reveals textures and this can be used effectively. Not every landscape photograph needs to pay homage to the rising sun. Colours blend beautifully in muted light and the subtlety of the landscape is revealed. However, these kinds of landscape photographs usually rely more heavily upon composition, as they do not have the benefits of dramatic lighting to enhance the image. When you return to the location to catch the light, arrive a little earlier and make sure you are fully equipped. Have your composition and exposure determinations set and understood before the light gets good.
This may mean getting up extra early or rescheduling a meal or two, but your photos should make it worthwhile. The sun may only allow you a few fleeting moments of beautiful light and you don’t want to waste that precious time determining your composition and setting up. Landscape photographers often use filters to enhance or alter the mood of the landscape. Polarisers, graduated filters and warming filters are among those most commonly used.
Be sure when using filters for your landscapes that you do not try to create a feeling that is incongruent with the prevailing light. For instance, cloudy, overcast days do not yield warm light, and the use of a warming filter may look contrived. Perhaps a grey graduated filter to darken the cloud might be more compatible with the scene. This principle will be far more effective in your landscape images than will any endeavour to create something that simply could not be.
Shelton Muller
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June 10th, 2007
I think the most important thing in the article is definately time of day. I spend a lot of time out in a boat doing coastal photography, and even though it is beautiful midday on the water UV, especially when reflected off the water can play havoc on a photo. Then again sometimes you get unexpected results midday which turn out to be art in their own fashion.