Light and composition in landscapes
Dan Paris explains some simple rules for successful landscapes.
As an eager student of photography, I explored the capabilities of every medium available – infrared film, double exposures, colour-correcting filters and using artificial light. All, I found, created unusual and interesting images and could be done with relative ease once mastered.
However, I quickly realised the rewards of creating an evocative image without manipulation. What I saw through the lens at the time was what I captured on film. The knowledge required for success is greater, as is the challenge.
When I took this panorama of the forest illuminated by a ball of bizarre light, these skills were put to use. I’d scouted out this location two days earlier, sitting patiently until light rain had fallen, allowing the undergrowth to glisten. I waited for the right light – in this case, an overcast morning. Light is the most important element of photography. After all, without it an image would not exist.
Light basics
The best light is usually before 9am or after 3pm as colours become richer and contrast is reduced, enabling the film to record greater detail in both highlight and shadow. Also, shadows become longer, giving depth to the image. The only time I will use midday light is when I want to highlight Australia’s turquoise oceans. But that’s about it. For landscape photography, that choice of light and time of day is rare.
To convey greater dimension, try not to have the sun directly behind you, as shadows are then lost behind the subjects within the frame, leaving you with little idea of form. However, you can successfully use back lighting because it creates strong silhouettes – if that’s what you want to do.
Overcast conditions are best for rainforest photography because the reduced contrast allows the film to accurately record the environment. In this misty rainforest scene it’s what I had waited for. However, nothing went to plan. I’m not sure how I got this result and the more I try to explain it, the more my imagination runs wild. Perhaps my lens fogged. Had light fallen onto the film before being processed? Did I double expose the image in haste on the day? That’s not hard to do with a panorama camera! This image has never provoked the same fantasy in me twice and my friends have all had a unique take on it.
Good composition
When I first picked up a camera, my early passion for fine photography sent me on a rapid learning curve. Without a doubt, the best way to improve is to practice, make mistakes and, through trial and error, learn what works for you in a photograph. I’m always taking risks and making sacrifices. One thing that continually evolves in my photography is composition.
There are many methods for composing a photograph. My favourite is to use strong foreground interest, thus giving depth to the image and grabbing the viewer’s attention. Be sure to set a small aperture for total sharpness. Experiment with lines leading the eye into an image, such as shorelines or the ridge of a sand dune.
Be careful not to compose an image with the subject too close to the edge of the frame and try not to clutter a photograph with so much information the viewer becomes confused. Work with unusual perspectives (perhaps by lying down or even climbing a tree) to find the best way to complement what you’re photographing.
I also try to create a balance in my photographs, particularly with the panoramic format, creating the same amount of interest each side of my frame. To compose well, a simple rule is the rule of thirds. Imagine your frame with two evenly spaced lines running vertically and two running horizontally, dividing your frame into horizontal and vertical thirds. With the rule of thirds, your subjects should be placed on the intersecting points and your horizon placed on one of the horizontal thirds. I’ve used this many times with success, but as with all of these ideas, I try to break the rules and compose in a way that works for me – and for that particular image. Most importantly, take your time and be honest with yourself.
Perhaps ask yourself – would I hang this on my wall? If not, why not? Keep searching for the solution until the answer is yes. You’ll find your solution will usually lie within the elements of light and composition.
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April 10th, 2007
Found your article interseting, much appreciated from an ‘oldie’ willing to learn.
Des