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10 Landscape Composition Techniques for Breathtaking Photos (2021)

27 Jun

The post 10 Landscape Composition Techniques for Breathtaking Photos (2021) appeared first on Digital Photography School. It was authored by Darren Rowse.

In this article, I’m going to share 10 simple landscape photography composition tips – so that you can start creating beautiful, flowing, dynamic, balanced landscape images.

10 landscape photography composition techniques

Specifically, you’ll discover:

How to draw the viewer straight into the scene (and keep them wanting more!)
How to position your horizons for maximum dynamism and balance
A simple trick for minimalistic landscape shots
A cool technique to focus the viewer exactly where you want them
Much more!

So if you’re ready to take your landscape compositions to the next level, let’s dive right in, starting with my number-one most useful technique:

1. Include a main subject to engage the viewer

To instantly level up your landscape compositions, here’s how you should start:

By including a clear, identifiable subject in each photo.

The subject can be anything: a rock. A mountain. A river. A shell on the beach. Waves crashing on the shore. Lightning in the sky.

The point is to include at least one element in your photo that the viewer can grab onto – something that sucks them into the frame and piques their interest. Otherwise, your viewer will become confused. They won’t know where to focus, so they’ll move on to a different image and never look back. (Not good!)

waterfall at sunset with flowing water — Here, the main subject is the waterfall – it’s what really captures the viewer’s attention.

Is it okay to include multiple interesting subjects? Absolutely! In fact, many landscape photographers these days specialize in packing both a foreground subject and a background subject into a single photo (more on that later). But be careful not to include so many subjects that the viewer no longer has a place to focus. When in doubt, simplicity should win out.

2. Use the rule of thirds to position your key elements

The rule of thirds is one of my favorite landscape composition tools. It’s a great way to get started with composition, and it’ll give you an easy way to arrange key elements within the frame, like your main subject, your horizon, and other supporting elements.

For those unfamiliar with the rule of thirds, here’s a quick explanation:

The rule of thirds tells you to split your composition into vertical and horizontal thirds, so you end up with a series of gridlines. Then, for the most powerful compositions, you should place compositional elements along those gridlines (and at their intersection points).

landscape photography rule of thirds composition gridlines

This often comes into play when working with horizon lines. Instead of putting the horizon smack-dab in the center of the frame, you can put it along the top rule of thirds gridline (a good idea if your foreground is especially interesting) or along the bottom rule of thirds gridline (a good idea if your sky is colorful or dramatic).

For this image, the blowing sand in the foreground is stunning – so the photographer chose to put the horizon along the upper gridline:

sand dunes with rule of thirds landscape composition

You can also use the rule of thirds to position your main subject. You might put the subject along one of the vertical gridlines, or – even better – at an intersection point.

A quick word of caution, though:

The rule of thirds is a helpful technique. But despite the name, it’s not a landscape composition rule – rather, it’s a guideline, so you don’t need to follow it all the time. Instead, use it when it works, break it when it doesn’t.

Make sense?

3. Use foreground interest to create depth

Most landscape photos, even the mediocre ones, include background interest (such as a distant mountain, a dramatic sunset, or a house on a cliff).

But if you want to really take your landscapes to the next level, I highly recommend including foreground interest, which should sit somewhere between your camera and the background. (It’s also referred to as the near-far composition technique.)

This is a powerful tool, one that’s insanely popular among today’s professional landscape photographers. And the reason it’s so popular? It helps create the illusion of depth in a scene.

For instance, a photo of a distant mountain can look nice, but it often appears rather flat.

But add some grass close to the camera, and the whole composition immediately deepens. The viewer first focuses on the foreground grass, then moves into the midground, then finally sees the stunning mountain in the background:

So the next time you find a beautiful background subject, like the mountain I mentioned above…

…take a few moments to look for foreground interest. Then include both foreground and background in a single shot.

Note that the foreground interest can be a discrete subject, like a patch of grass. Or it can simply lead the eye into the frame, as I discuss in the next tip:

4. Use leading lines to suck the viewer into the scene

Leading lines are lines that draw the viewer into the scene. They generally start in the foreground of the composition, then move back, back, back…until they reach a distant subject.

In the photo below, the road acts as a leading line, which moves the viewer toward the beautiful sunset:

The road isn’t really a discrete subject, but it does provide foreground interest, and it moves the viewer toward the background.

By the way, you can make leading lines out of pretty much anything. I highly recommend you take a look at some of your favorite landscape photography and see how it incorporates leading lines; you’ll find all sorts of creative compositions, with lines created out of roads, rivers, fallen trees, ferns, lines in the dirt, and much, much more.

river flowing away as leading lines in a mountainous landscape — The river leads the eye toward the mountains in the background.

5. Use lots of negative space to create minimalist landscape compositions

These days, minimalism is all the rage in landscape photography. Here’s how it works:

First, find a scene full of negative space. (Negative space refers to emptiness in a composition, like a long stretch of blue sky, a swathe of green grass, a smooth, barren beach, etc.)

Second, find a small, isolated, lonely-looking subject, like a tree in a field, a rock jutting out from a flat landscape, or even a person.

Third, position your isolated subject so it’s small in the frame, and it’s surrounded by plenty of negative space. Here, it often pays to break the rule of thirds; instead of putting your subject at a rule of thirds intersection point, you put it closer to the edges of the frame, which serves to emphasize the emptiness.

man walking in minimalistic landscape photography composition — The person walking alone provides a focal point and is surrounded by plenty of negative space.

You’ll end up with an attention-grabbing shot, one that feels both contemporary and timeless.

6. Don’t be afraid to go tight

Most photographers do landscape photography with wide-angle lenses. And in general, this works really well; you can capture the vastness of the scene while emphasizing foreground and background subjects.

That said…

It sometimes pays to zoom in tight using a telephoto lens (a 70-200mm or 100-400mm will do a good job).

This works especially well on relatively flat subjects with graphic lines: a distant waterfall, cracks in a canyon wall, overlapping mountains. Zooming in will compress the scene, so advice about adding depth tends to fly out the window, and that’s okay.

Instead, focus on using landscape compositional tools like the rule of thirds to create balance and flow. And as I emphasized at the beginning of this article, make sure to include a clear point of interest!

telephoto mountains overlapping — A telephoto lens compressed these mountains, so you get a beautifully layered composition.

7. Use layers to help simplify the scene

Layers are one of my absolute favorite landscape photography composition techniques, because they make scenes simpler, easily digestible, and all-around beautiful.

When you’re out with your camera, just look for a clear bottom layer, middle layer, and top layer (though more layers is fine, too!).

One of the great things about layered compositions is that they work regardless of your focal length or subject of interest. You can create layered wide-angle shots by incorporating clear foregrounds, midgrounds, and backgrounds into the composition.

layered composition grasses by the sea — Note the grasses in the foreground, the water in the midground, and the sky in the background.

And you can create layered telephoto shots by compressing distant elements (as I mentioned in the previous tip, overlapping mountains look great, but you can also layer trees, sand dunes, and more).

mountains with dramatic sky — Here, the layers are more subtle – the mountains are layered, though the final layer is the sky.

Not every composition is amenable to layering. But when you find a scene with repeating or overlapping elements, that’s a good sign you can get a layered shot – and when possible, I recommend you go for it.

8. Incorporate diagonal lines to add movement

This one’s a more advanced landscape composition tool, and the effect can be subtle – but when done right, it can level up a good photo to a great one.

You see, diagonal lines are an effective way to move the eye around the scene and add flow to a shot. They’ll carefully push the viewer toward the main subject, while also prompting them to have a fun little journey around your photo.

To get started, I’d recommend first identifying your main subject. This should be the focal point of your image, and the place you want the diagonal lines to lead.

Then walk around, looking for potential diagonals that point toward – not away! – from your subject. You’ll often need to get creative. Consider all your options: paths, lines of trees, fences, rivers, a shadow, even clouds!

Finally, compose your photo, including at least one diagonal line moving toward your subject (and feel free to use two, three, or four lines if you can find them).

mountains with beautiful clouds forming lines — The clouds provide diagonal lines that move the viewer toward the mountain.

Note that diagonal lines can be foreground leading lines, but they don’t have to be. It’s perfectly acceptable to find a diagonal line that starts far off in the distance, as long as it moves toward your main subject.

9. Use geometry, especially triangles, to add flow and stability

In landscape photography, geometry is your friend.

Specifically, you can incorporate shapes, such as triangles, squares, and circles, into your compositions. These will help create both flow and stability, plus they just look very cool (especially when done with subtlety!).

For instance, consider the triangle, one of the most powerful shapes available to the landscape photographer. It includes diagonal lines and therefore adds plenty of movement. It also tends to be very stable, thanks to its strong edges and wide base.

mountains forming a triangle — The mountain creates a clear triangle – and it makes the composition far more powerful.

Circles are great, too – partial circles create nice curves for plenty of flow. And complete circles create eye-catching points of interest.

You don’t need to find full shapes in the landscape, by the way. It’s okay to use a somewhat circular rock, a vaguely triangular mountain, and so on. The point is to include shape-like elements when you can, without stressing too much about whether you have a complete shape or an implied one. That way, you create strong compositions that still feel natural.

Make sense?

10. Find natural frames to focus the viewer

As emphasized earlier in this article, foreground interest is a great way to add depth to landscape compositions.

But sometimes, you run into foreground elements that can’t quite work as a discrete compositional element…

…yet can still sit around the edges of your photo as a frame.

This is the landscape photography framing technique: You include tangential elements around the outside of an image and use them to direct the viewer toward the interesting midground and background.

For instance, you might include an overhanging branch toward the top of the image, in order to guide the viewer toward the subject in the middle of the shot:

village scene with tree providing a landscape composition frame

Or you might find a tunnel of rocks that leads the viewer toward the sunset in the background.

In wide-open spaces, finding frames can be tough. But if you’re shooting in a more chaotic landscape, you can often find trees or rocks to create a frame. In fact, it’s often these simple frames that take a good composition to the next level; they provide much-needed focus by showing the viewer exactly where to look (and when positioned carefully, they can also block out distracting elements).

Landscape photography composition: final words

Well, there you have it:

10 techniques to enhance your landscape compositions.

Practice these techniques, and above all, have fun!

Now over to you:

Which of these composition tips is your favorite? Which are you going to try first? Share your thoughts in the comments below!

autumn trees with mountains in the background

The post 10 Landscape Composition Techniques for Breathtaking Photos (2021) appeared first on Digital Photography School. It was authored by Darren Rowse.

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10 Best Cameras for Landscape Photography (in 2021)

14 Jun

The post 10 Best Cameras for Landscape Photography (in 2021) appeared first on Digital Photography School. It was authored by Jeremy Flint.

Deciding on the best camera for landscape photography can be a daunting task. But don’t worry; whether you’re a beginner looking to get your first camera or a more experienced photographer looking for a more dedicated option, we’ve got you covered.

Specifically, we’ll share a list of our top 10 favorite landscape cameras – including options for every budget and brand preference.

Let’s get started.

10 best cameras for landscape photography

How to choose the best camera for landscape photography

When looking for the right landscape camera, what characteristics should you take into account?

Weight

First, the weight of your camera is considerably important. If you are out walking long distances to your chosen location, you don’t want to be trudging for miles with the burden of a heavy camera and lenses in your backpack.

Resolution

For landscape photography, the higher the number of megapixels, the better; enhanced resolution will give your camera the ability to record those extra details and tones.

Also, sensor size is key. The larger the sensor size, the better the image quality (generally speaking).

Build quality

If you are someone who enjoys capturing landscapes in dramatic weather, it is essential that your camera has appropriate weather sealing to keep out the elements and enable you to carry on shooting when it rains.

ISO and IBIS

While a sophisticated autofocus system with quick subject selection and fast shooting modes is not essential, in-camera features such as high-ISO capabilities and in-body image stabilization (IBIS) can certainly make a difference.

For example, impressive high-ISO performance will help you capture more dynamic range in low light – perfect for anyone who likes to shoot the stars, the planets, or the moon.

Camera type

Generally speaking, advancements in technology mean that smartphones, compacts, and bridge cameras are all capable of achieving great landscape photos. But while these are cheaper options, these camera systems are less practical and adaptable than other setups. Many professional and enthusiast photographers choose either a full-frame DSLR or mirrorless body as their go-to landscape photography camera.

Which is better, mirrorless or DSLR? Most DSLR cameras are part of well-established lineups and therefore offer great landscape lenses. Mirrorless cameras are newer to the photography arena and have fewer lens choices available.

Medium format is also one of the best camera formats for landscape photographers, as it provides the very best quality images. However, disadvantages include weight, size, and high prices.

As DSLR, mirrorless, and medium format cameras are often out of reach for beginners and amateurs due to price, a cheaper and more preferred option is the APS-C system, which is lighter and has a smaller sensor system.

Ultimately, which system and camera you choose depends entirely on your personal needs and budget. With these factors in mind, here are some of the very best cameras available for landscape photographers in 2021:

1. Canon 5DS R

The Canon 5DS R is a 50.6-megapixel full-frame DSLR and a fantastic choice for landscape lovers, thanks to its superb image quality and impressive camera build. It is a firm favorite, featuring beautifully detailed files – and when coupled with the classy L-series lenses, it can match the very best high-resolution cameras available (even if the dynamic range is less sophisticated than its newer competitors). For added functionality, you get 61 phase-detection points. And the 5DS R costs less than Canon’s top-end mirrorless camera, the EOS R5.

2. Canon EOS R5

Canon arrived late to the mirrorless game, but the company now offers one of the best cameras for landscape photography. The Canon EOS R5 is the ultimate mirrorless camera, one that packs a punch with an excellent 45-megapixel count, plus it provides brilliant image quality and a wide dynamic range.

There is a growing range of RF lenses that mount directly on the EOS R5, plus you get the added advantage of 8K video. While the electronic shutter takes a bit of getting used to, the advanced weather sealing is fantastic. The EOS R5 does come with a hefty price tag, and it’s a huge investment for someone who simply does landscape photography as a hobby, so if you like the sound of the EOS R5 but don’t have the budget for it, I’d also recommend the EOS R6 (which costs significantly less).

3. Nikon D850

Nikon D850 the best camera for landscape photography

The Nikon D850 comes highly recommended for landscape shooters, offering outstanding dynamic range, excellent (45.6-megapixel) resolution, and a touch-sensitive LCD screen that tilts. The extended battery performance, impressive ISO performance, and high-quality images make the D850 a popular choice for shooting in the great outdoors. It can record up to 9 frames per second, it packs 4K video, and it’s one of the best all-around DSLRs on the market.

4. Nikon Z7 II

The Nikon Z7 II is a stellar camera, and one of the best mirrorless landscape options available in 2021. Specifically, its lightweight build, in-body image stabilization, touchscreen, 45.7-megapixel sensor, impressive dynamic range, and excellent image quality are all beneficial to landscape photographers, assuming you can afford the price.

The Z7 II is highly responsive in the field and has great focusing capabilities in low light. The camera also packs an exceptional electronic viewfinder and superb customizable features.

Note that the Z7 II is a welcome refinement to the already impressive Z7; the second iteration features a dual processor and dual card slots, which are hugely useful for the professional working photographer.

5. Canon EOS 90D

If you are just starting out and do not want to pay for a full-frame camera, you may find the Canon EOS 90D to be a worthwhile choice. Sure, it doesn’t offer that classic full-frame image quality – but the 90D is a very good camera for landscape photography, thanks to a large optical viewfinder, a strong build quality, and a nice 32.5-megapixel APS-C imaging sensor (that will produce some incredibly detailed photographs and video footage). The 90D’s size makes for easy handling and the camera mounts EF/EF-S glass, so there is a huge range of compatible lenses for you to choose from.

6. Nikon D5600

Another great camera choice for those on a budget is the Nikon D5600. For hobbyist landscape photographers, this midrange DSLR has a 24-megapixel resolution and is capable of capturing great images with fine textures and superbly crisp detail. The 3.2-inch vari-angle touchscreen, 39-point AF system, and new time-lapse movie mode are great additional features, and the ISO range of 100-25600 ensures low-light landscape scenes are handled with ease. The D5600 has a wide range of interchangeable Nikkor lenses at its disposal, and it’s light and extremely portable, ideal for long walks in nature.

7. Sony a7R IV

Sony a7R IV the best camera for landscape photography

The Sony a7R IV is a superb quality camera that would carry well inside the backpack of any dedicated landscape photographer. Key features include a jaw-dropping 61-megapixel full-frame sensor for optimal image quality, the ability to shoot handheld in low light thanks to an in-body image stabilization system, and an attractive array of lenses from extreme wide-angle to large telephotos. The camera has very robust weather sealing and is notably cheaper than the Canon EOS R5.

8. Sony a6000

Are you a newbie photographer looking to invest in a camera for landscape shooting? Then check out the Sony a6000, the ultimate compromise between power and portability. It’s well priced, shoots quickly with 11 frames-per-second continuous shooting, packs 24.2 megapixels, has a built-in flash, and delivers great images of landscapes in all conditions – making it a great entry-level landscape camera and a solid introduction to the mirrorless market. Autofocus is good and you get great video. The absence of in-body image stabilization, as well as a lower resolution viewfinder compared to its rivals, are justifiable tradeoffs.

If your budget allows for the extra cost, the Sony a6500 is a newer option.

9. Fujifilm X-T4

Looking for a camera with exceptional build quality that doesn’t compromise on color tones and dynamic range? The Fujifilm X-T4 is one of the best all-around options for landscape photographers. The camera looks modern, feels great in the hand, and the lightweight system is a joy to operate. It’s a great choice for buyers needing high megapixels, fast shooting speeds, in-body image stabilization, and 4K video capture. If your budget really is limited, consider its predecessor, the X-T3, which houses an identical sensor and comes at a lower price.

10. Fujifilm X-T200

Fujifilm X-T200 the best landscape photography camera

Here’s my final choice for the best landscape camera: the Fujifilm X-T200. It’s one of the best entry-level mirrorless cameras for landscape photographers and comes highly recommended. The retro style and compact size are a nice touch, while the large 3.5-inch vari-angle touchscreen makes the X-T200 extremely versatile for shooting landscapes. It is lightweight, affordable, and excels in low light. Featuring an APS-C 24.2 MP sensor, the X-T200 can create professional-looking images for landscape photography enthusiasts. For those after an even cheaper model, the X-T100 is a great alternative.

Which landscape photography camera is right for you?

With so many great cameras to consider, it can be challenging to decide which is the best camera to invest in.

While it is justifiable to go for the latest mirrorless cameras, a DSLR still handles well and gives great image quality and overall performance (and APS-C cameras are arguably the best value for money). The Fujifilm X-T200 or Sony a6000 are great options for beginners looking to get their first landscape photography camera – or if you’re after a more dedicated and sophisticated camera, a full-frame model like the Canon 5DS R or the Nikon Z7 II packs a lot of features to suit more experienced photographers.

Above all, remember that the best camera for landscape photography is a personal choice and is relative to your budget and needs!

Now over to you:

Which of these landscape photography cameras do you like the most? Do you have a favorite that didn’t make our list? Share your thoughts in the comments below!

The post 10 Best Cameras for Landscape Photography (in 2021) appeared first on Digital Photography School. It was authored by Jeremy Flint.

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7 Composition and Lighting Tips to Improve Your Landscape Photos (Video)

13 Jun

The post 7 Composition and Lighting Tips to Improve Your Landscape Photos (Video) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Looking to take your landscape photography to the next level?

In this video, professional landscape photographer Nigel Danson takes you through his shooting process and shares 7 simple tips and tricks to elevate your photos. While Danson mostly focuses on composition, he throws in a couple of lighting tips for good measure – and each piece of advice is carefully illustrated with breathtaking video footage and stellar example photos.

So give it a watch! And then leave a comment below, letting us know your favorite tip from the video.

The post 7 Composition and Lighting Tips to Improve Your Landscape Photos (Video) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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13 Abstract Landscape Photography Tips for Mesmerizing Images

03 Jun

The post 13 Abstract Landscape Photography Tips for Mesmerizing Images appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Abstract landscape photography is all about expanding your vision as a landscape photographer. Anyone can go to a pretty place, aim their camera, and click the shutter. To be great, you need to be able to see differently, to look deeper, see what others might miss, and come up with your own interpretation.

Anytime I write about abstract photography, I like to include the quote from the famous photographer Minor White:

“One should not only photograph things for what they are but for what else they are.”

– Minor White

Abstract Landscape Photography - Look for the details — The shot at left is a pleasant landscape image. Zooming tighter, it becomes more abstract. Getting in really tight, it starts to become an abstract landscape photograph. See things for “what else they are.”

Often as landscape photographers, we want to make an image of a scene, perhaps a lake surrounded by trees with mountains in the background. But when doing abstract landscape photography, the idea is to go beyond the obvious, looking for components within the scene, details that catch your eye.

Maybe it’s the texture of the bark on a tree, the colors in water ripples on the lake, or the curving lines of the hazy mountains in the background.

It’s not unusual for people observing an abstract photo to ask, “What is it?” They are seeking to identify the subject of your shot. But you must get past that.

You are not trying to make a photograph of the scene or a “thing” here. Abstract landscape photography is more about the look, the feel, the emotion an image conveys and less about what the subject might be. So how do you do it? How do you get great results? Let’s look at thirteen tips, a baker’s dozen, to get you started:

1. Look for details

Look within your scene for things that catch your eye. Pay attention to details, colors, textures, and patterns.

Plan on taking a little more time to study your scene, dissecting it. Abstract landscape photography is not a one-and-done snapshot style of shooting. Slow down, relax, study, and contemplate before you put your eye to the camera. Have a zen moment and feel the scene.

Then make your shot and study the LCD preview. What might you do to improve it? Make another shot. Be purposeful and deliberate. You will find this deeper approach to photography can greatly improve your work.

2. Use the right lens

Often, landscape photography is done with a wide-angle lens to take in as much of the scene as possible.

But with abstract landscape photography, you’ll be picking out little pieces of the scene. Yes, you can crop into interesting sections of a larger image to create abstract images from the master shot. I do that when I see something later in editing.

But anytime you crop an image, you lose quality, reducing the pixel dimensions of the image. Better to crop in-camera by composing your shot while shooting. It’s also better to learn to see the abstract image from the beginning rather than later as an afterthought.

beach pattern — Watch and nature may present you with an interesting abstract photo op, like this pattern formed by the waves on the sand of an Oregon beach.

So what lens should you use for abstract landscape photos?

You might try a longer focal length lens to capture the rock pattern on a distant mountain, or perhaps a macro lens to study the colorful lichen on a rock within your scene. A zoom lens can help you hone in on a portion of your scene when you’re looking to create an abstract shot, but don’t forget the “sneaker zoom” – zoom with your feet by simply walking closer to your subject.

Abstract Landscape Photography - Get close — A mobile phone camera also works fine for making abstract landscape images; it allows you to get very close to your subjects while retaining great depth of field.

3. Look for the play of light

Good photographers are students of light, observing how light and shadow play across objects to reveal texture and create interesting looks. Sometimes, just the light and shadow on a subject can be the subject of a photo all on its own!

Abstract Landscape Photography - The play of light — Look for how the light plays across your subject. These fantastic natural abstract sculptures are carved in the basalt rock of the Black Magic Canyon in Idaho, a paradise for abstract landscape photography.

So take the time to look at your scene and see if there are sections you can isolate to create a photo that is uniquely yours.

abstract compositions of rock sculptures — Color or black and white? Either can be effective with abstract landscape photography. These are more detail shots from Black Magic Canyon.

4. Consider line, shape, form, tone, and texture

In previous articles, I’ve referred to these five characteristics as the “bones” of a good photograph. Here’s just a brief definition of each:

Line: The one-dimensional path between two points. It can be straight or curved. Lines lead the eye through an image.
Shape: A two-dimensional outline of an object in a photo. Photography creates a two-dimensional representation of a three-dimensional world and so all objects in a photograph are shapes. We must create the illusion of depth through other means.
Form: The simulated three dimensions in a photograph created by other factors. A cube photographed from just one side will have the shape of a square, but when photographed at an angle, then line, tone, and texture will create the illusion of three dimensions (i.e., form).
Tone: The range of brightness levels from white to black in a photograph.
Texture: The simulated look of the smoothness, roughness, reflectivity, depth, and feel of an object created by light playing over the object.

sand dune abstract — Line, shape, form, tone, and texture – the “bones” of a good abstract landscape photograph.

Understanding the “bones” of a good photo can help you make interesting photos in general and better abstract landscape photos in particular.

Abstract Landscape Photography - Texture — Can you “feel” the texture of the wood in these shots?

5. Photograph water

Abstract Landscape Photography - Watercolors — After making the image of the lake scene, I zoomed in to catch the beautiful “watercolors.”

The unique properties of water – its reflectivity, motion, transparency, translucence, and fluidity – make it a great subject for abstract landscape photographs. Water can even take on a texture of sorts, thanks to the dynamic motion of rushing water and the smooth-as-glass look of static water.

In fact, you could do nothing but water photographs and have more subject matter than you could photograph in a lifetime! I’ve written an article on doing abstract watercolor photography; take a look for more good ideas.

water is spectacular for abstract images — The sand, the surf, and the reflections of the colors in the sky can make for wonderful abstract landscape photographs.

abstract ice — When things turn cold, switch from abstract water images to snow and ice.

6. Focus on textures

We’ve already touched on using texture as a subject in abstract landscape photography. For instance, you can capture abstracts of rocks, wood, and patterns in the landscape – and just like the “watercolors” described above, the images that can be made from texture are infinite.

When capturing images with texture as the main subject, pay attention to the quality of light and its direction. Light coming from behind the photographer to hit the front of the subject tends to minimize texture, whereas cross light (i.e., light coming from the side) helps to maximize it.

Abstract Landscape Photography - At your feet — Sometimes, abstract landscape photographs will be right at your feet. Don’t forget to look down!

7. Try some shoot-throughs

I use the term “shoot-through” to describe photos with materials or objects between the camera and the subject.

These objects could be transparent or translucent materials, such as a rain-streaked window or ice. Shoot-throughs can also use out-of-focus objects in the foreground that frame or change the look of the subject beyond.

For instance, you can shoot through an out-of-focus clump of grass while focusing on a subject in the distance. However you do it, shooting through something can add an interesting abstract feel to your photos!

snowy abstracts — Natural or human-made, keep your eyes open for abstract image opportunities!

8. Use slower shutter speeds and intentional camera movement

A photograph captures a sliver of time, freezing a moment. Shoot with a fast shutter speed and that sliver is small, freezing the motion of objects.

But use a slower shutter speed, and moving objects start to blur and streak, as you capture a lengthier slice of time:

long shutter speeds — Slow down your shutter speed and water becomes a great subject for abstract landscape photography.

Slow shutter speeds combined with moving objects can create abstract images that are unlike anything the eye can see. Moving water can be blurred to create silky waterfalls, and with even longer shutter speeds, ocean waves can be rendered as a blurry fog.

Another fun technique: You can move the camera during a long exposure to blur the image. This is known as intentional camera movement, and it’s definitely a technique worth exploring.

9. Use focus stacking to improve sharpness

The optics of lenses limit what can be rendered sharply in a single image. We call the extent of the in-focus area in an image its depth of field. How to control the depth of field in a photograph with lens selection, focal length, proximity to the subject, and aperture is something that all photographers should learn.

Depth of field in an abstract landscape photograph can also vary depending on the photographer’s intent. Do you purposely want some things rendered out of focus in your image? Perhaps you want to creatively use bokeh artifacts. However, if you want everything tack-sharp from front to back in a photo, you may need to capture more than one shot in a process known as focus stacking.

Learning the techniques of focus-stacking can be useful in many genres of photography, abstract landscape photography included. Take a look at the abstract photo above of the trees in a tree farm where everything is sharp. Such depth of field in a single image would be practically impossible, but – thanks to focus stacking – it became relatively simple.

Focus stacking trees — It’s not about the forest or the trees, but more about the repeating patterns of the vertical trunks, the texture of the bark, and the shadows in the snow. Abstract landscape photos don’t have to be unidentifiable.

10. Find fresh perspectives

Good photographers seek to show things in a way we don’t usually see them, and abstract photography should take this a step further. Consider it a compliment when an observer of your abstract image says, “I don’t know what it is, but I like it!”

One way to approach abstract landscape photography is to get a new and unusual angle on your subject. Get high, get low, shoot from a bird’s-eye or maybe a worm’s-eye level. Look up, look down, mix it up.

Shooting from eye-level or tripod height is boring. Dare to be different, especially if you’re walking on the abstract side of photography.

Abstract Landscape Photography - Higher perspective — Shooting down off a pier gave the aerial perspective here, and the colors and textures of the ocean waves made for pleasant abstract landscape (or seascape?) photos.

A great way to get abstract landscape photos is from the air. Drones have brought us a whole new view of the world, one previously available only to those who could get up in an aircraft themselves.

Even if you don’t own a drone, you can still get aerial-like perspectives from mountaintops and high structures.

View from above, Palouse — An aerial shot can give you a great perspective for abstract landscape photos – except this isn’t a drone or an aircraft image. Steptoe Butte in Eastern Washington rises high above the Palouse farm country, giving great views of the surrounding area.

11. Make it monochrome

Though the roots of photography are black and white, all monochrome images are abstract in that they are not the way we see the world. So consider how you can use black and white to make abstract landscape images!

A dark black sky over an almost white landscape is an abstraction, yet completely possible with a few editing tweaks. You could easily invert the colors and tones for a negative image or shoot with an infrared-converted camera. There are no rules when you walk on the abstract path, so experiment.

A black and white composition can remove distractions, focus attention, and give an abstract quality to your image.

colorful abstract landscape shot — Color?

black and white abstract landscape shot — Or black and white? Both are nice abstract landscape images, each with its own strengths. These are from the Palouse country, a paradise for abstract landscape photography.

12. Avoid scale

In most photos, particularly landscape scenes, there will be visual clues as to the size of objects. We know the relationships of smaller plants to trees and to mountains. But here’s something fun to try in abstract landscape photography: take away visual clues that would tip off the viewer as to the size of things.

A tight shot of the texture on some rocks could be taken from six inches or six miles, and the viewer might not have any point of reference. Sometimes in standard landscape photography, we might purposely include a person to lend scale to the image; in abstract landscape photography, taking away reference to scale can be the key to a great shot.

abstract landscape photography — Without reference, it’s tough to judge the scale here, and that can make for an interesting abstract landscape photo. In reality, the tree growing out of the crack in this mountainside is easily 20 feet tall!

13. Use minimalism

Unlike still life, portraiture, and most studio photography, landscape photographers don’t usually get to choose what objects are in their shot. You can remove a tree digitally if you don’t like where it stands in your photo, but you certainly shouldn’t get a chainsaw and cut it down.

Instead, you must choose scenes that include what you want in the frame and leave out what you don’t.

minimalist beach composition — The beach is a great place for minimalistic photography. This is minimalist, but is it also abstract? The definition can vary and perhaps it doesn’t matter.

Minimalistic photography is a whole subject unto itself, and one I believe landscape photographers should investigate. How abstract and minimalist photography intersect and differ is a topic worth exploring, as well.

Landscape photographs can be minimalistic but not abstract. Abstract landscape photos can be abstract but perhaps not minimalistic. Do the distinctions matter? Perhaps not, but both are styles that you, as a landscape photographer, would do well to try as you seek to grow your skills.

Minimalistic? Absolutely. Abstract? Maybe. Surreal? For sure. These stark trees against the featureless snow and sky of a Yellowstone snowstorm make for a dramatic shot.

Abstract landscape photography: final words

Let’s come back full circle to the Minor White quote. Abstract landscape photography is not likely to be the first thing you do as a new landscape photographer. Most people see the forest, they might see the trees, but they’re much less likely to pay attention to – or photograph – the way the light reveals the texture of the bark.

To paraphrase White, you should learn to photograph things “for what else they are.” Practicing abstract landscape photography will take you to that place and teach you a whole different way of seeing.

That, for a photographer, is an invaluable lesson.

abstract rock compositions — You’ll find an endless source of abstract landscape photography subjects in rocks.

FAQs

What is abstract landscape photography?

Abstract landscape photography is where the subject of the photograph may not be readily identifiable and the focus is more on the line, shape, form, tone, texture, pattern, and/or colors in the image. It differs from what is called representational photography in that the image is less about a literal depiction of a scene and more about an artistic interpretation.

Why should landscape photographers explore abstract landscape photography?

Rather than simply see a scene for what it is, abstract landscape photography teaches the photographer to look deeper, to study the elements that make a good image, and to be creative. Doing so will expand one’s ability to see the beauty in all things and to create images that are unique.

Name some ways to get started with abstract landscape photography.

1. Look for details.
2. Experiment with focal lengths.
3. Study the light.
4. Pay attention to line, shape, form, tone, and texture.
5. Explore water, ice, and snow as photo subjects.
6. Look for and find ways to depict texture in a photo.
7. Shoot through other objects.
8. Try slow shutter effects and intentional camera movement (ICM).
9. Try focus stacking multiple images for extreme depth of field.
10. Explore various perspectives.
11. Consider monochrome, infrared, or alternative color.
12. Make images where scale is difficult to determine.
13. Consider minimalistic compositions.

What are some challenges in abstract landscape photography?

One of the biggest challenges is getting past the need to accurately portray reality. Often the first question someone may ask when seeing an abstract photograph is, “What is it?” That doesn’t matter. What does matter is how the photograph makes you feel and what it communicates. An abstract photograph is like an instrumental piece of music: it is a way to create emotion without the need for words.

The post 13 Abstract Landscape Photography Tips for Mesmerizing Images appeared first on Digital Photography School. It was authored by Rick Ohnsman.

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7 Tips for Colorful Landscape Photography

09 May

The post 7 Tips for Colorful Landscape Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Color evokes emotion – so if you can become a master of color, then your colorful landscape photography will affect viewers on a deep level.

You may understand exposure, control your camera like a wizard, have the best equipment, get to the most exotic locations, and excel with editing. But if you don’t purposely imbue your images with intentional emotion, they will never “speak” to your viewer (or if your photos do speak, they might say the wrong thing).

That’s where color comes in handy. Let’s learn the language of color and how to use it – through seven colorful landscape photography tips (that’ll take your images to the next level!).

Colorful Landscape Photography - How does it feel? — A big reason we love sunset photos is the colors and the way they make us feel. Understanding the psychology of color is beneficial to color landscape photography; it will help you better communicate with your viewer.

1. Learn the psychology of color

The human brain is hardwired to respond to different colors. Psychologists have studied this, advertisers use it masterfully, and to be a good photographer, you need to understand how different colors will make your viewer feel.

colorful landscape photography examples — Each of these images works with one primary color. Note how the color of each makes you feel. Learn how to communcate with color in your photos.

Here are the feelings that colors produce:

Red: Exciting, important, passionate, angry, call to action
Purple: Beauty, exotic, royal, luxurious, sensual
Blue: Calming, serene, trustworthy, cold
Green: Peaceful, tranquil, natural, alive, growth
Orange – Fun, warm, energizing
Yellow – Happy, sunny, bright
Brown – Earthy, grounding, strength, dependability
Black – Mysterious, elegant, bold, powerful, edgy
White – Clean, healthy, pure, sterile, cold

2. Color relationships and the color wheel

In colorful landscape photography, we usually can’t choose our subject’s color. That said, if we understand the different color relationships, we can produce better photos.

You’re likely familiar with the color wheel (displayed below). Take a look at it as we discuss key color relationships:

Complementary colors – These colors sit opposite each other on the color wheel. They can work nicely in a photo; for example, blue (often a sky color) and orange/brown (often an earth color). Thus, a sky/land photo can be pleasing because the colors are complementary. Look at some of the examples below!

colorful landscape photography wheat fields — The blue sky and the golden wheat are complementary colors; they’re opposites on the color wheel.

colorful seascape — Here, you see blue water/sky and the complementary golds in the clouds/reflections.

sunrise reflection — Here, golden hour has just begun. The rising sun catches the peaks of the Idaho Sawtooth Range, giving a nice complementary orange to the blue scene.

compositions with complementary colors — Good compositions are further enhanced by the use of complementary colors.

Analogous colors – These are what we might call “color families.” For example, blue, blue-green, green, and yellow-green are adjacent to each other on the color wheel and therefore analogous. We can often make pleasing, colorful landscape photos with scenes comprised of analogous colors.

river with green and blue — The lush greens and blues in the Columbia Gorge in Oregon are analogous colors, adjacent on the color wheel. Note how the colors create a calming effect.

Color triads – These are three colors equally spaced out on the color wheel. For example, green, violet, and orange. If you look carefully, you will find color triads in nature, and they can help create impactful photos.

colorful landscape photography sunrise — The rolling hills of eastern Washington’s Palouse Country are magical enough on their own. Add a spectacular sunrise with the triad colors of orange, green, and purple, and how can you go wrong?

sunrise hills — Another shot from the same morning as the one above.

3. Pay careful attention to the time of day

You won’t be involved in landscape photography for long before you’ll hear the terms “golden hour” and “blue hour.” Golden hour is the time of the day when the sun is rising or setting. The color of the light is very warm and golden.

Arches National Park colorful landscape photography — The color of the rocks in Arches National Park is further enhanced by golden hour light.

colorful landscape photography trees in a field — These shots were taken about 10 minutes apart. The first shows the warm morning colors of golden hour. As the sun got higher, the light cooled and became bluer. Of course, I also used different white balance settings later in editing. That’s a big reason to shoot in RAW – you can adjust the white balance later without problems.

Yellowstone geyser — These shots of Great Fountain Geyser in Yellowstone National Park were taken the same evening. The first was earlier when the daylight was still bluish. Later into the golden hour, the sky color warmed up. Again, adjusting the white balance enhanced the look I was going for.

Well before sunrise or later in the evening after sunset we have the blue hour. The sky is not dark and black. Instead, it’s very cool and blue in tone. Blue hour can produce interesting light and color with a whole different mood.

blue hour scenes — Leave right after the sun goes down and you’ll miss the blue hour, the time just before dark when the light gets very blue in color. The shot at the bottom right shows two different light sources, the blue hour sky and the warm incandescent lights of Swan Falls Dam. The complementary colors play nicely together.

I’ve seen new and inexperienced landscape photographers come to shoot a sunset and make shots right up until the sun dipped below the horizon. Then they’d pack up and leave. That’s a mistake! The best sky color often comes well after the sun is already down. And if you wait even longer, the blue hour comes and continues until it gets truly dark.

Do enough colorful landscape photography during the sunrise/sunset/blue hour times and you run the risk of becoming a “light snob,” only wanting to make photos when the light and colors are “pretty.” (Shooting during midday? You must be joking!)

However, you won’t always have the luxury of getting to places during great light. Plus, even if you do, conditions won’t always cooperate. Many photographers can make nice photos of a spectacular sunset, but it’s the great photographers who can create impactful images at any time of day in any kind of light (and in any kind of weather).

4. Think about the season

Colorful landscape photography knows no season. There are great images to be made year round. But when planning a photo outing, you may want to consider how to take advantage of the colors of the season.

In the spring, colorful flowers and fresh green fields make for great subjects. Summer brings bright golden days, the sun and sand colors of the beach, bright colors and sunny scenes. Autumn is often a photographer’s dream with fall colors that delight the eye. Winter might be the least colorful season, but brilliant whites and deep cold blues are still impactful.

Colorful landscape photography in the summer — Colorful landscape photography knows no season. These are summer shots, such as “Sailing the Sea and Sky” (left), a midday shot playing to the cool blue colors. The sunset reflection (right) was taken during the golden hours; the warm colors are more pronounced thanks to a smoky sky (the result of nearby forest fires).

In any season, you can use color to communicate with your viewer. How do you want the photo to make them feel? Use color to carry that message: the cool blue tones of a winter’s day, the bright and happy yellow color of a field of flowers, the peaceful greens of a forest, or the fiery reds and oranges of a summer sunset.

When composing, shooting, and editing, give conscious thought to the colors you’re trying to bring out and what they say to your viewer.

cold, snowy barn — Does this shot make you feel cold? That was the idea! I edited to emphasize the blue tones.

Yellowstone trees — This was a bitter-cold, sub-zero day in Yellowstone National Park. The blue sky and stream contrast nicely with the brilliant white snow. The word I want this photo to communicate is “crisp.”

For the best colorful landscape photography, make sure to consider what’s in season. When do the camas flowers bloom? When are the aspens at peak yellow color? When are the fields in the Palouse Country deep green or golden? What is the best time to get a moonless dark night and have the Milky Way high in the sky?

camas fields in Idaho — Late May is when the camas fields usually bloom in Centennial Marsh near Fairfield, Idaho. They only peak for a week or so – and many years the display is not nearly as nice as this.

Knowing when to be at a location for the best colorful landscape photography takes good research and a large measure of luck. It all came together this evening several years ago. It’s never been quite as good since, but each year I still go back.

fall in New England — For great colorful landscape photography, it’s tough to go wrong with autumn in New England. Even then, finding the best locations and hitting them during peak color takes some research.

If you hope to get the very best colorful landscape photos, you need to do your homework, develop good information sources, and be ready to go when things are just right.

The old saying holds true: “Luck happens when preparation meets opportunity.”

5. Shoot when the weather is bad

If you’re a “fair-weather photographer,” someone who only gets out when the skies are clear and the weather is comfortable, then you’re missing some of the best colorful landscape photography.

Here’s another saying for you: “When the weather gets bad, the photos get good.” It may not be pleasant, but I’ll take a cold, stormy day with dramatic clouds, interesting light, and striking color over a clear, cloudless, warm bluebird day (if my goal is impactful landscape photography).

snowy bridge — When the weather gets bad, the photos get good. It was cold and snowing hard when I made this shot of the Rainbow Bridge over the North Fork of the Payette River in central Idaho.

The same goes for rainy, foggy, or snowy days. Don’t think that good color always means contrasty, heavily saturated scenes. Watch for the more muted color and low contrast provided by inclement weather conditions.

Bright, saturated colors might be more impactful, but soft pastels and muted colors create mood and carry a completely different feel and message.

stormy Columbia River Gorge — Stormy, cloudy, and rainy; that’s how I’d describe this day at Vista House overlooking the Columbia River Gorge in Oregon. Fair-weather photographers won’t get the same moody shot on a beautiful sunny day. The blue and purple colors enhance the mood.

Once again, ask yourself, “How do I want to make the viewer feel?” Capture photos that speak your message and use color as your “words.”

6. Carefully edit colors for the best results

There are many good articles about how to edit color. That is not my intent here. Instead, I’ll offer some general things to keep in mind when editing colors in your photos.

selectively edited images — Learn to selectively edit color. The blue areas in the shade and the warmer colors in the sunny clearing (left) were purposely enhanced here. And I gave the red flowers in the foreground some extra pop (right). Use color to draw attention to objects and communicate with your viewer.

Shoot in RAW. You greatly limit your options if you only shoot and save JPEG images. The most obvious reason to shoot RAW is the flexibility to adjust the white balance later in editing rather than trying to get it right when shooting. Warming or cooling an image by adjusting the color temperature slider becomes much more difficult if you’re trying to overcome the wrong white balance baked into a JPEG.

colorful landscape photography lake — There was more editing and working with color here than meets the eye, but that’s the idea. Your colors in landscape photography can be vibrant, but they should not look unnatural or scream for attention. If they do, you went too far.

Understand the difference between global and local adjustment tools. Sometimes, you might want to adjust the color of the entire image – so global adjustment sliders and controls work fine. Other times, you might want to make the sky bluer without affecting the land below or bring up the saturation of just the red flowers in a landscape; such edits will require the use of local adjustment tools. If your objective is to communicate with color, knowing how to carefully and precisely control specific colors in your image is an important skill to master.
Don’t overprocess. How much is too much? That’s a judgment call, but let me express a personal bias. Just as you can over-salt a meal, you can also oversaturate a color photo. Glowing “postcard color” is not a good look if you want to be taken seriously as a landscape photographer. Neither is a grungy HDR. I believe in using color to creatively speak a message, but I don’t want it to shout.

red barn in the snow — Where does your eye go in this shot? Red is a powerful color, and in an almost monochrome scene, the red barn immediately draws attention. (It also complements the cold blue.)

7. Make it monochrome

Sometimes, color is not the best way to give your image the most impact or communicate your message. Here are some reasons you might want to go monochrome instead:

The image is more about the “bones” of a good image: shape, form, tone, and texture. The color is an unnecessary distraction.
The image is almost monochrome anyway and the color isn’t adding anything.
Black and white might better capture the old, nostalgic, or period feel of the image.
In some genres of photography such as photojournalism or street photography, black and white offers a gritty reality.

These gnarly bristlecone pines in eastern California’s Sierra Nevada mountains are thousands of years old. I knew before I even clicked the shutter that this would be a black and white image. Color would be a distraction, hindering rather than helping the story.

You want to create a lot of drama. You can often push a monochrome edit far, whereas the same amount of processing on a color image might look garish or just plain bad.
You are unable to get good colors, so you save your image with a black and white conversion. It’s the last reason to favor monochrome, but it happens. That said, the choice to go color or black and white should be intentional rather than a rescue mission. Good photographers know their intent for a shot before they make it. But realistically, the fix for a bad color image might be a conversion to monochrome. While editing, you might think, “I wonder how this will look in black and white?” Also, this circles back to something I said earlier: Always shoot in RAW. Your images will be in color – but should you later decide black and white is preferable, it’s an easy conversion.

black and white versus color comparison — Color or black and white? It often depends on what you want to communicate.

Help your images speak: conclusion

Imagine your photograph is printed and hanging on the wall of a gallery. You are not there, only the image and the viewer.

Now, what do you want the viewer to see, think, feel, hear, smell, and experience when looking at your photo? You are not there to interpret, explain, justify, or defend. Your photo must speak for itself.

Once you determine what you want the image to say, apply all the “visual words” at your disposal, many of which use the language of color. Do it well, and you’ll be a master of colorful landscape photography.

colorful landscape photography silhouetted trees — How does this image feel? What does it say? What’s one word that describes it? Use the power of color to speak to your viewer, and you’ll be on your way to mastering colorful landscape photography.

How can I use color theory in photography?

Understand the relationships between colors, such as complementary colors, analogous colors, and color triads. That way, you can create pleasing color photos.

How can I create better color landscape photos?

When you make a color landscape photo, consider what you want it to communicate to your viewer. Then work with the colors in that image when composing, capturing, and editing – so that the colors of the image “speak” to your viewer. Understand how different colors carry different feelings. Use the feelings to create more impactful images.

Should my landscape photos be color or black and white?

The answer is that it depends. If the idea is to concentrate on the basics, such as the shapes, forms, tones, and textures of an image, sometimes color becomes a distraction. Other times, a color photograph can communicate things a black and white image cannot. Photographers and artists have long debated the merits of each approach. Here is a quote worth considering: “To see in color is a delight for the eye but to see in black and white is a delight for the soul.” – Andri Cauldwell

The post 7 Tips for Colorful Landscape Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.

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10 Essential Pieces of Landscape Photography Gear

02 May

The post 10 Essential Pieces of Landscape Photography Gear appeared first on Digital Photography School. It was authored by Jeb Buchman.

What’s the best landscape photography gear? What gear do you need to take stunning landscape photos?

In this article, I share with you my 10 most essential gear items – items that I use all the time in my own landscape photography, and items that I highly recommend you purchase if you’re after the best landscape shots.

So read through this list. And ask yourself, “What am I missing?”

Then, if you can, take a trip to the (online) camera store!

Let’s get started.

1. The internet

Whenever I plan a landscape photography photoshoot, I usually begin by googling the area. If it’s a relatively well-known location, you will probably find some very interesting, comprehensive websites made by other photographers or adventurers/bloggers.

The problem is that if it’s a famous location, you will also get a ton of not-so-interesting (and even incorrect) information, as well. Going through Google results to separate the helpful and high-quality blogs or websites from the crummy ones is an art form. But with a little practice, reading a few sentences of a blog will clue you in as to whether or not the information you’ve found is worth considering.

If you can’t find two or three really good blogs about your location, head over to AllTrails. It has a sizeable database of locations that have been hiked, including user reviews of the location and the level of difficulty. If you’re planning to photograph a famous site, Tripadvisor has a good database of information, including nearby places to stay.

With blogs, AllTrails, and/or Tripadvisor, you’ll be off and running (probably with more information than you need). In most cases, the tricky part is searching through everything you find and turning it into an overall plan of action.

2. A strong backpack

When it comes to landscape photography gear, a backpack is absolutely essential – and it’s not a good place to go cheap. You get what you pay for, and it’s very important you use a strong, water-resistant bag, one with reinforced padding.

Do yourself a favor and invest in a high-quality bag, like the Lowepro Pro Trekker. It will take care of your camera and lenses, and it will last you many years.

essential landscape photography gear waterfall

3. A weather-sealed camera

Eventually, you’re going to drop a camera. It happens to the best of us (at least, that’s what everyone told me the first time I dropped a camera!), especially those of us who shoot in less-than-perfect weather conditions.

So make sure you purchase a camera made from durable materials – go for a metal alloy body instead of a plasticky, entry-level camera. My first full-frame DSLR was the Nikon D700, and that camera could survive being run over by a small truck. A perfect companion for the clumsy beginner that I was back then.

Also consider investing in a quality raincoat for your lens/camera. I don’t recommend getting one of the cheap, flimsy, clear plastic covers made from recycled sandwich bags; they will tear easily and won’t stay put in windy conditions. Instead, get a cover that is heavy duty because one good coat will last a long time, and they aren’t too pricey.

4. A sturdy tripod

A tripod is an item you don’t want to mess around with. In fact, this is the one item more than any other that I would recommend you consider really splurging on.

Why? A tripod is designed to keep your camera steady, to handle poor footing out in the muddy, rocky, sandy wilderness, and to protect your camera setup from sudden falls. This requires ultra-solid construction – which doesn’t come cheap.

Plus, a flimsy tripod could end up costing you a chunk of cash in repair bills. It only takes one good gust of wind to knock over an unstable tripod. If you buy a nice camera and lens but mount it on an entry-level tripod, it’s like putting old, worn tires on a Ferrari. The car won’t run properly, and it’s dangerous for the rest of the setup.

A good tripod will outlive the rest of your kit, so it’s rare you’ll need to invest in more than one over the course of many years. Spending a few extra bucks goes a long way toward having a more stable, secure setup.

To find an excellent tripod, check out Really Right Stuff, Manfrotto, Gitzo, and Feisol. In my opinion, you should strongly consider carbon fiber tripods over aluminum; they’re lightweight, and they’re also ridiculously strong.

5. Lenses

Lenses are where the fun begins and your wallet ends.

See, lenses are the single most important piece of landscape photography equipment you can buy. You can have the finest camera, tripod, backpack, memory cards, and accessories available – but if you don’t have quality glass, you’ll seriously struggle to take a great photograph.

I typically prefer to shoot with prime lenses as opposed to zoom lenses. Why? Because I want to get as intimate with the scene as possible. With zoom lenses, I tend to get a bit lazy and shoot without adequately working the scene. There is no substitute for moving your feet and seeing the composition with your own eyes rather than through the viewfinder. This special perspective is lost if you zoom instead of walking around and considering the scene.

That said, lens choice is pretty subjective. I know plenty of photographers who prefer using zoom lenses; that’s great, and most of the time, the best gear for you is the gear you’re most comfortable with.

But here’s my suggestion: Before buying any lens, prime or zoom, rent it first. Because you can’t know how the lens will work for you until you use it in various situations.

6. A reliable remote trigger or shutter release

Remote triggers are often overlooked by landscape photographers. But I firmly believe that a remote trigger makes a big difference.

Without a remote, you have to physically press the shutter button on top of the camera, and no matter how careful you are, and no matter how securely fastened the camera is to the tripod, this will introduce some shake.

So if you want a tack-sharp image, don’t let anything touch the camera. Get your setup as steady as a concrete slab.

Instead of pressing the shutter button with your finger, invest in a reliable remote shutter release. They aren’t expensive, and they can go a long way toward keeping your photos sharp.

7. Filters

In landscape photography, some filters are almost as essential as good lenses. I’ll keep it brief here and stick with just a few basic filters I always travel with.

A circular polarizer

A polarizing filter helps mitigate the nasty, harsh reflections of the sun off shiny objects such as water and wet rocks. Using a circular polarizer is easy; you simply turn the filter until you see the glare disappear.

A polarizer will also help darken the sky and make it a deeper, richer blue. Some people like that look, and some don’t. I use a polarizer practically all the time when shooting in daylight.

A neutral density filter

An ND filter basically acts as sunglasses for your lens: it blocks some light from reaching the camera’s sensor, thereby slowing down the exposure.

For example, a 3-stop ND filter allows through three stops less light than you’d get without the filter attached. A 5-stop ND filter will allow five stops less light, and so on.

For the serious landscape photographer, I’d recommend carrying a 2-stop, 3-stop, and 10-stop ND filter. If you want to do some long exposure waterscape work, the 10-stop filter will help make the water silky smooth. You can also stretch out clouds or turn people into invisible ghosts with ND filters.

A graduated neutral density filter

GND filters are similar to ND filters, but only the upper portion of the filter is darkened. And the darkening effect is gradual, starting strong at the top and getting darker as you move toward the middle:

When would you need a GND filter?

Generally, in sunrise and sunset situations when the sky is brighter than your foreground. You can use a graduated neutral density filter to darken the horizon while keeping the foreground nice and bright.

In other words, a GND filter balances the light from the brighter horizon and the darker foreground.

A reverse graduated neutral density filter

A reverse GND filter is like a standard GND, except the tint gets darker as you move from the outer edge of the glass toward the middle.

When would you use a reverse GND filter? They’re great for shooting sunrises and sunsets where the horizon line is the brightest area of the frame and the sky gets progressively darker as you move upward.

A UV or clear filter

I want to do everything I can to protect my lenses from wear and tear.

So I always have a clear or UV filter on the front of every lens I own.

This does nothing to help improve the photograph, but it does a great job protecting the front lens element from dirt and dust, or from me walking into a door lens-first, which has happened more times than I prefer to admit.

essential landscape photography gear waterfall with rainbow

8. Extra batteries and memory cards

Always, without exception, carry an extra battery for your camera, an extra memory card, and extra batteries for other battery-powered devices.

If you’re bringing along a flash that takes four batteries, take an extra set of four with you. Chances are you won’t need them – but there will always be the one time when you do want them and wish you had thought to pack them.

9. The Photographer’s Ephemeris

The Photographer’s Ephemeris is a clever app that accurately details when and where the sun and moon will rise and set.

If you’re out chasing sunsets and sunrises for photographs, this app is a must-have.

10. A good pair of shoes

No joke. For landscape photographers, having a comfortable pair of shoes is like having good vision. If your feet aren’t comfy, then nothing else matters; you will not be as good a photographer as you would be with comfy feet.

This especially holds true on longer hikes, so invest in a good pair of hiking boots. Make sure the boots strike a balance between breathing well and offering some water resistance.

Essential landscape photography gear: conclusion

Now that you’ve finished this article, you know all about the best landscape photography gear – and you’re hopefully ready to take a few stunning landscape photos of your own!

So buy the gear you need. Then get out, have fun, and start shooting!

What do you view as essential landscape photography gear? What gear do you always take with you when shooting landscapes? Share your thoughts in the comments below!

The post 10 Essential Pieces of Landscape Photography Gear appeared first on Digital Photography School. It was authored by Jeb Buchman.

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11 Surefire Landscape Photography Tips (+ Stunning Examples)

18 Apr

The post 11 Surefire Landscape Photography Tips (+ Stunning Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.

Want tips for stunning landscape photography? You’ve come to the right place.

In this article, I’m going to share 11 easy landscape photography tips – which are guaranteed to get you taking beautiful images, no matter your experience level. I’ve also included plenty of example photos, so you can see the tips in action (and know that they really do work!).

Let’s get started.

1. Maximize your depth of field

In landscape photography, a deep depth of field is almost always the way to go.

In other words:

You want as much of your scene in focus as possible. The simplest way to do this is to choose a small aperture setting (i.e., a large f-number, such as f/11 or f/16). Because the smaller your aperture, the greater the depth of field in your shots.

Do keep in mind that smaller apertures mean less light is hitting your image sensor. So you’ll need to compensate for the narrow aperture either by increasing your ISO or lengthening your shutter speed (or both).

PS: Of course, there are times when you can get some great results with a very shallow depth of field in a landscape setting. It’s just a tricky technique that requires a lot of finesse.

2. Use a tripod

To maximize your depth of field, you’ll be using a small aperture – and you’ll also likely shoot with a long shutter speed.

But unless you’re careful, you’ll end up with an unusably blurry image.

That’s where a tripod comes in handy. You can use it to stabilize your camera and keep your photos tack sharp for 1-second, 5-second, and even 30-second long exposures.

In fact, even if you can shoot at a fast shutter speed, a tripod can still be beneficial. It’ll force you to slow down and consider your composition more carefully.

Also, to prevent camera shake from pressing the shutter button, consider a remote shutter release.

3. Look for a focal point

Pretty much every shot needs some sort of focal point, and landscape photography is no different.

In fact, a landscape photograph without a focal point ends up looking rather empty. And it’ll leave your viewer’s eye wandering through the image with nowhere to rest.

Focal points can take many forms in landscape photos. They can range from a building or a structure (such as in the photo above) to an eye-catching tree, a boulder or rock formation, a silhouette, or something else entirely.

Also, think not only about what the focal point is, but where you should position it within the frame. The rule of thirds can be useful here.

4. Think foregrounds

Here’s one key tip that can make your landscape shots stand out:

Think carefully about the foreground of your composition…

…and include clear points of interest.

When you do this, you give those viewing the shot a path into the image. And you create a sense of depth, which is always a nice bonus.

5. Consider the sky

In landscape photography, you should always think about the sky.

Most landscapes will either have a dominant foreground or a dominant sky. And unless you include one or the other, your shot will end up looking boring.

Start by observing the sky. If it’s bland and lifeless, don’t let it dominate your shot; place the horizon in the upper third of the image (though you’ll want to make sure your foreground is interesting).

But if the sky is filled with drama, interesting cloud formations, or colors, then let it shine! Place the horizon in the bottom third of the frame to emphasize the heavens.

(Also, consider enhancing skies, either in post-production or with filters. For example, you can use a polarizing filter to add color and contrast.)

6. Use lines to lead the eye

One of the questions you should always ask yourself as you do landscape photography is:

“How am I leading the eye of those viewing this composition?”

There are a number of ways to lead the eye (and including a clear foreground subject works well). But one of my favorite ways is to provide viewers with lines that lead them into the image (such as the road in the photo above).

Lines give an image depth and scale. Plus, they can offer a point of interest by creating patterns in your shot.

7. Capture movement

When most people think about landscapes, they think of calm, serene, and passive environments. However, landscapes are rarely completely still – and if you can convey this movement, you’ll add drama and mood to your image. You’ll also create a point of interest.

But how can you convey movement in a landscape?

You can focus on wind in the trees, waves on a beach, water flowing over a waterfall, birds flying overhead, moving clouds, etc. Capturing this movement generally requires a longer shutter speed (sometimes a shutter speed of many seconds!).

Of course, a slow shutter speed means more light hitting your sensor, so you’ll either need a narrow aperture or an ND filter. You might also choose to shoot at the start or the end of the day when there is less light.

8. Work with the weather

A scene can change dramatically depending upon the weather, so choosing the right time to shoot is of major importance.

Many beginner photographers see a sunny day and think that it’s the best time to go out with their camera. However, an overcast day that is threatening rain might present you with a much better opportunity – you can create an image with real mood and ominous undertones.

Look for storms, wind, mist, dramatic clouds, sun shining through dark skies, rainbows, sunsets and sunrises, etc. And work with these variations in the weather rather than just waiting for the next sunny, blue sky.

9. Photograph during the golden hours

landscape photography tips snow at golden hour

I chatted with a landscape photographer recently who told me that he never shoots during the day. His only shooting times are around dawn and dusk because that’s when the light is best, and that’s when the landscape comes alive.

These golden hours, as they’re often called, offer great landscape photography for a number of reasons.

For one, you get gorgeous golden light. I also love the angle of the low sun; it creates interesting patterns, dimensions, and textures, all of which can enhance a landscape photo.

10. Think about horizons

landscape photography tips winding mountain road

This is an old tip but a good one. Before you take a landscape shot, always consider the horizon on two fronts:

Is it straight? While you can always straighten images later in post-production, it’s easier if you get it right in-camera.
Where is the horizon positioned in the frame? A natural spot for the horizon is along one of the rule of thirds gridlines rather than in the middle of the frame. Of course, rules are meant to be broken – but I find that, unless you’re photographing a very striking scene, the rule of thirds usually works here.

11. Change your point of view

You drive up to the scenic lookout, get out of the car, grab your camera, turn it on, walk up to the barrier, raise the camera to your eye, rotate left and right a little, zoom a little, then take your shot – before getting back in the car and driving to the next scenic lookout.

We’ve all done it. However, this process doesn’t generally lead to the “wow” shot that many of us are looking for.

Instead, take a little more time with your landscape photos. Find a more interesting point of view.

You might start by finding a different spot to shoot from than the scenic lookout.

You can also look for new angles; this could mean getting down onto the ground to shoot from below, or heading up high to gain a nice vantage point.

Explore the environment and experiment with different viewpoints. You might find something truly unique!

Landscape photography tips: conclusion

landscape photography tips waterfall in Iceland

Now that you’ve finished this article, you’re ready to capture some stunning landscape photography!

So grab your camera, head out, and find a subject to shoot.

It’ll be a lot of fun!

Now over to you:

Which of these landscape photography tips are you going to try first? And do you have any landscape photo tips of your own? Share your thoughts (and images!) in the comments below.

The post 11 Surefire Landscape Photography Tips (+ Stunning Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.

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15 Mountain Landscape Photography Tips for Stunning Images

16 Apr

The post 15 Mountain Landscape Photography Tips for Stunning Images appeared first on Digital Photography School. It was authored by John McIntire.

Of all of the undertakings you can make with your camera, mountain landscape photography can be one of the most rewarding. Apart from the fact that mountains are straight-up beautiful, their imposing nature makes them a great landscape photography element.

This article will give you 15 quick tips – so you get better results the next time you go chasing after mountains.

1. Fill the frame

Mountains, by nature, are huge. You don’t have to get the entire thing in the frame. It’s just as acceptable to fill the frame with a certain element that draws your attention. This will make the mountain the background in your images.

Yes, it can be tempting to try and get a huge vista in the frame. But if you take a moment to look for smaller details that could make an interesting photo, you might find something unexpected.

15 mountain landscape photography tips — Although the entirety of the mountain isn’t in the frame, it is still clear that the background is a mountain, and the tight crop gives a clue to just how big it is.
Canon 5D Mark III | Canon EF 70-200mm f/4L IS USM | 200mm | f/5.6 | 1/2000s | ISO 200

2. Use reflections when possible

mountain landscape photography lake reflection — Using reflections in your compositions is a great way to show off mountains.
Canon 7D | Canon EF 35mm f/2 | 35mm | f/16 | 1/50s | ISO 100

If the mountains you are photographing are near a body of water, you already have a ton of visual interest to use in your foregrounds.

If you can, wait until the water is still. Then you can use the reflections of the mountains in your composition. This may be personal taste, but it is always a winning combination in my book.

3. Show scale with smaller elements

village on a mountaintop — This tiny village near the top of a mountain in Spain shows just how enormous the landscape is.
Canon 7D | Canon EF 35mm f/2 | f/11 | 1/60s | ISO 100

Again, mountains tend to be huge, but when you shoot with an ultra-wide-angle lens, you wind up pushing the perspective back. And this makes it difficult to give your viewers a true sense of just how large things are within your frame.

You can combat this by including an element that shows the scale of things in the scene. Buildings, people, and animals all work well.

4. Include people in the landscape

As with the previous point, putting people in your mountain landscape photography can convey just how big the mountains are.

It does more than that, however. Because with the inclusion of a human element, you are adding something that your viewers can relate to.

5. Try a panorama

lake reflection with mountains — Stitching several images together into a panorama is a great way to ensure that you capture the entire scene.
Canon 7D | Canon EF 35mm f/2 | f/16 | 0.4s | ISO 100

When you are photographing mountains, don’t be afraid to take a sequence of shots that you can stitch together as a panorama.

Mountain ranges tend to suit the panorama format especially well because there is just so much to see!

6. Fill your foreground

This may be standard landscape photography advice, but it still applies when shooting mountains. If you’re using a wide-angle lens, you will have plenty of space in your foreground – and you’ll need to fill it with something interesting.

So pick a foreground subject and get up close to it. This could be flowers, an interesting rock formation, or something simple like a sign.

Then take a shot that combines the interesting foreground and a beautiful mountain background, like this:

mountain landscape photography foreground flowers with mountains in the background — Having lots of visual interest in the foreground of your images can help your viewers stay engaged.
Canon 7D | Sigma EF 10-20mm f/3.5 | 10mm | f/11 | 1/60s | ISO 100

7. Include a human element

mountain landscape photography village — Not all mountains are wild places. Including signs of human habitation can be a good way to capture something interesting.
Canon 5D Mark III | Canon EF 70-200mm f/4L IS USM | 169mm | f/11 | 1/60s | ISO 100

By human element, I don’t mean people. Instead, I advise you to find something human-made that will show your viewers how the people that live nearby incorporate the mountain into their lives.

On their own, mountains are impressive. But as part of our world, they are also part of our lives. If you can show this in your images, you might be able to convey an interesting narrative.

8. Use a different focal point

In your mountain landscape photography, the mountain does not need to be the focal point of your image. Instead, you can find a different focal point and use the mountain as environmental information.

Of course, you can still take a photograph of the sweeping vista. But once that is done, look smaller – and see if there are other subjects to be found in the scene.

9. Use your GND filters

mountain with farm fields — Graduated neutral density filters are a great way to control your exposures.
Canon 7D | Sigma EF 10-20mm f/3.5 | 10mm | f/16 | 0.3s | ISO 100

To help you get good exposures while in the field, don’t forget to pack your graduated neutral density filters. These will allow you to even out your exposures at the time of capture, making it easier to process your images when you get back home.

10. Wait for the light

foggy mountain lake — Here, I waited from 4 AM to 8 AM for the fog to break. If you can, always, *always* try to wait out the weather.
Canon 7D | Sigma EF 10-20mm f/3.5 | 11mm | f/16 | 0.5s | ISO 100

This tip cannot be understated. If you want the best-looking mountain landscape photography images that you can produce, wait for the light to be at its best. If you get on location early and find the composition that you want, don’t be afraid to stay until the light shifts – even if it takes a couple of hours.

Yes, I know it can seem boring, and it’s hard to justify the effort, but please, trust me. It is very much worth the time and effort.

11. Use longer lenses

When you are packing for your trip into the mountains, don’t forget to take your longer lenses with you. Standard-length primes can be great for panoramas, but telephoto lenses can help you pick out smaller details in your scenes.

In other words:

There is a lot of room in landscape photography for lenses aside from the wide angles that dominate the genre.

12. Plan for the light

With the technology available to us, it’s easier than ever to know exactly which direction the light is going to come from on any given day of the year.

So once you know when and where you are going, do your research and figure out where the sun is going to rise or set. Then plan your shots based on that.

13. Plan for the weather

Like planning for the light, it’s also a good idea to plan for the weather. Knowing the weather will help you determine if you need to pack any extra gear like rain covers and waterproof clothing.

Of course, it’s also in the best interest of personal safety to have an idea of when snow or rain might appear. This is even more important if you intend to be on the mountain, especially after golden hour.

14. Don’t avoid bad weather

moody mountain landscape photography — After an entire day of low visibility, the fog broke for a total of five minutes, just long enough for a shot. Don’t avoid bad weather, even if you ultimately fail to get a photo.
Canon 7D | Sigma EF 10-20mm f/3.5 | 20mm | f/16 | 1/30s | ISO 100

While planning for bad weather is good, you don’t always need to stay indoors. Many times, the most interesting photos will come in the worst weather.

In fact, some of the best light I have ever seen has been during a break in a storm; these breaks allow just enough light to make things look like a fairytale.

And if you lock yourself away when the weather is bad, you’ll never get to experience such moments.

15. Be safe

Above all, strive for safety. Mountain landscape photography can be incredibly rewarding, but don’t risk your personal well-being for a great shot.

Watch where you’re going, take weather-appropriate clothing, be aware of the forecast, and tell somebody where you are going to be. And if you’re going to stay out until after blue hour, make sure you know exactly how to get back.

Mountain landscape photography: the end

I hope this article has inspired you to get out and create your own mountain landscape photography.

The next time you’re out shooting mountains, remember these tips – and have fun!

Have you photographed mountains before? Do you have any tips of your own? Share them in the comments below!

What type of lens is best for mountain landscape photography?

All lenses have their uses. Wide-angle lenses are the most popular, but standard and telephoto lenses can work, too.

What’s the best time of day to photograph mountains?

It entirely depends on where the light is hitting the mountain. The golden hours are best as long as the sun isn’t behind your mountain.

How do you show how big a mountain is in a photograph?

You include an element that is easy for the viewer to identify, such as a person. This will give your images a sense of scale.

Why do the mountains in my photographs look so far away?

Wide-angle lenses distort perspective, and this can push everything back in the frame. Use a standard focal length (35mm to 50mm) for a perspective close to the human eye’s. To include more in the frame, consider shooting in a panoramic format.

The post 15 Mountain Landscape Photography Tips for Stunning Images appeared first on Digital Photography School. It was authored by John McIntire.

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How to Take Creative Landscape Shots Using Intentional Camera Movement

21 Feb

The post How to Take Creative Landscape Shots Using Intentional Camera Movement appeared first on Digital Photography School. It was authored by Richard Beech.

If you’re looking to capture some unique, creative photos, then I highly recommend trying out intentional camera movement photography.

Now, many photographic situations rely on ensuring your camera is still as possible during exposure for pin-sharp images. But is keeping your camera still always a good thing?

Instead, why not throw caution to the wind, move your camera while the shutter is open, and explore the range of creative opportunities this offers you as a photographer?

In this article, I’ll show you how to do exactly that!

What is intentional camera movement and why should you use it?

Intentional camera movement (or ICM for short) is a photographic technique where you move the camera as the image is taken.

bluebell woods intentional camera movement

One example of ICM is panning. The camera follows a moving subject in order to keep the subject sharp and the background blurred.

But while panning can get some great results, it’s actually a pretty tame form of ICM. Moving your camera during the exposure can open up many more creative options for you to try out.

In particular, intentional camera movement can be used to take some truly unique landscape shots. The technique can be exceptionally liberating, and by reducing the number of sharp details in a landscape, it allows you to concentrate on line, form, and color in your images.

In fact, with ICM, a scene that you may ordinarily consider too cluttered might just come to life – by letting you blend colors and shapes for an interesting abstract shot.

One of the reasons I have grown to love ICM is that it enables you to capture a landscape in a unique and personal way that cannot easily be reproduced. It can even breathe new life into overly familiar scenes, letting you see and capture something unique about a location you may have photographed many times before.

If you’re struggling to find inspiration for your next photographic project, or you want to get your creative juices flowing, intentional camera movement is a technique that you should try at least once.

In fact, it’s relatively easy to take some striking shots with ICM.

Plus, it can be a lot of fun!

So let’s take a look at how intentional camera movement photography actually works:

The best settings for intentional camera movement photography

A key factor to get right when using ICM is your shutter speed.

You see, the exposure needs to be long enough to capture significant motion blur (though different shutter speeds will give different effects).

In general, I recommend anything from 1/3s or 1/2s all the way down to multi-second exposures. Of course, you’re always free to experiment with faster or slower shutter speeds; the core of a creative technique like ICM is simply playing around.

Because of these lengthy shutter speeds, shooting in low-light conditions is ideal for ICM. During the daytime, it can be harder to achieve the required shutter speeds, even at your camera’s lowest ISO setting and your lens’s smallest aperture (i.e., highest f-stop number).

If you do decide to shoot in the day, you may need to use a polarizing filter, a neutral density (ND) filter, or a combination of both. Personally, I prefer to use a polarizing filter as a starting point, as this helps to boost colors and cut down on reflections and glare. I will then add a 2-stop or a 4-stop ND filter if the shutter speed needs to be slowed down any further.

When starting out with ICM, it can help to shoot in Shutter Priority mode. Set the shutter speed to around half a second to start, then turn the ISO to the lowest available setting on your camera.

Once you have practiced at this shutter speed, you can use longer exposure times thanks to a combination of low light and filters.

Make sure you focus manually in advance, and turn off the autofocus to prevent the camera from searching for focus during the long exposure.

Also, if you are using a lens that has image stabilization, remember to turn this off.

How to move your camera

Once you have taken control of the shutter speed, the next step is to determine how you’ll move the camera after pressing the shutter button.

Get creative; there are no rules! You can move the camera vertically, horizontally, or diagonally. You can move it fast or slow. Alternatively, you can rotate the camera 360 degrees to create a spiral effect, or change the focal length on a zoom lens during exposure to create a zoom effect.

With practice, you can combine two or more of these movements to create something truly unique. The look and feel of your final images will be determined by the speed, direction, and smoothness of your chosen movements.

Note that you can always use a tripod to control the camera movement. This will help you to capture a smoother result, which can be useful if you wish to retain a straight horizon line.

(Personally, I prefer to work handheld when moving the camera, as it offers greater flexibility and provides more opportunities to experiment with different movements.)

Bold movements can sometimes be more effective, as there is a risk that subtle movements may end up looking like camera shake in the final image.

So bear in mind:

While waving your camera around may not come naturally and may result in you getting some funny looks from amused onlookers, the end results will definitely be worth it!

What to shoot for the best results

Now that you know how to capture beautiful ICM photos, all that’s left is to pick your ICM subjects.

A good place to begin is by looking for locations that offer striking colors, lines, or patterns.

Forests are a favorite ICM subject of mine, particularly during the spring and autumn seasons. Clean, parallel lines provided by the trees, as well as the vibrant colors of nature (created by flowers in the spring and fallen leaves in autumn), lend themselves to a vertical camera movement shot. The movement can be from the top down or from the bottom up, and it can be fast or slow; it really just depends on the effect you wish to capture and how experimental you want to be.

intentional camera movement in bluebell woods

Seascapes can be a good starting point for side-to-side camera movement, where you pan the camera in line with the horizon. Alternatively, in rougher waters, you can try to match the movement of your camera to the movement of the waves for an altogether different effect.

Shooting at sunrise or sunset can provide you with a greater variety of colors to work with, and shooting city lights after dark can also offer a wide range of creative options.

Once you’ve identified a suitable location, you will probably find yourself taking multiple shots with various different movements.

(I should warn you that intentional camera movement photography can sometimes be quite addictive, and you’ll often find your memory cards filling up quickly!)

You may find it useful to set your camera to shoot in burst mode so that you can take a series of shots in quick succession while moving the camera in a particular direction.

That way, you’ll end up with a lot of images to choose from – plus, every new shot will offer you a slightly different composition and effect!

A few intentional camera movement tips

As with any type of photography, images created using intentional camera movement are not going to be to everybody’s taste.

It’s a highly subjective art form, and what works for you will not work for others.

Also, keep in mind basic principles of photography, such as composition and exposure – these are still very important!

Also, while the ICM technique will give you a very abstract result, you may find it helpful to have at least one element of the scene sharp or recognizable in the final image.

Finally, there is an element of trial and error when starting out with intentional camera movement. You’ll quickly find out what works for you and what doesn’t; this will help you develop your own style.

And don’t be too concerned if you do not get an effect you like right away – the technique can be quite hit-and-miss sometimes. Take a lot of shots, and don’t be too quick to delete images that you feel haven’t worked. There is a chance that, after a few days, you may take another look and see something that you like, after all!

Intentional camera movement photography: The next step

One of the great things about intentional camera movement photography is that it is all about how you express yourself!

Think of your camera as your paintbrush.

Get creative, have fun, and start seeing landscapes in an exciting new way.

Now over to you:

Do you have any intentional camera movement photos you’d like to share? Please feel free to display them in the comments below!

The post How to Take Creative Landscape Shots Using Intentional Camera Movement appeared first on Digital Photography School. It was authored by Richard Beech.

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Fine Art Landscape Photography: The Complete Guide

09 Feb

The post Fine Art Landscape Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Fine Art Landscape Photography - The amazing color of a Palouse country sunrise.

Perhaps you’ve heard the term fine art landscape photography.

But is fine art landscape photography something you should aspire to make? And what distinguishes a fine art photograph from a snapshot?

In this article, I’m going to explain everything you need to know about fine art landscape shooting. I’ll start by explaining what it actually is – and I’ll go on to give you plenty of tips you can use to improve your own landscape photos!

Let’s get started.

What is fine art landscape photography?

Some terms are hard to define, and fine art photography falls into that category.

“There are always two people in every picture: the photographer and the viewer.”

— Ansel Adams

That said, fine art photography is less about the subject and more about the photographer. Your goal in fine art landscape photography is not to simply to show your viewer what you saw; it’s to communicate how it felt to be there and how the scene made you feel.

Fine Art Landscape Photography - A frigid morning in Yellowstone National Park — It was subzero the morning I made this shot in Yellowstone National Park. I added a blueish tone to help the viewer experience the cold I felt when making the image.

“Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures.”

— Don McCullin

So how do you communicate feelings through photographs?

Here are some tips to consider when capturing fine art landscape photography.

trees in the mist — This image is a favorite because of how it “feels.” I think it does a nice job of conveying the cold, wet, foggy atmosphere of a morning in the Columbia Gorge of Oregon, a place where the fog often hangs thick.

1. Think about what would make your image unique

Have you ever been making a landscape photo at a location where other photographers are lined up next to you also working the scene?

Most of us have.

The question to be asked is:

How will your photo be different, unique, special? What is it about your image that will stand out? How can you put your unique signature on the shot?

The choices you make to create an image that is uniquely yours matter. Any cook can follow a recipe, and if a dozen cooks all work from that same recipe, the dishes will be essentially indistinguishable. The gourmet chef making their signature dish, however, will strive to make the meal unique.

And as a fine art landscape photographer, your objective ought to be the same.

Fine Art Landscape Photography - trees at sunrise — Almost everyone loves a sunset photo, probably because of how they make us feel. Injecting feeling in your landscape photos is a large part of what takes an image into the “fine art” realm.

“Great photography is about depth of feeling, not depth of field.”

— Peter Adams

2. Be intentional and deliberate

When the light is rapidly changing, a landscape photographer might need to move quickly. However, most landscape photography can be done at a slow and thoughtful pace.

Rather than simply seeing a scene, positioning your tripod, shooting first and asking questions later, do the opposite. Before even touching your camera, thoughtfully observe the scene. Slow down.

Ask yourself what first attracted you to the scene. How does it make you feel? How can you best compose the shot? What if you moved higher, lower, to a different vantage point, used a different lens? What can you do to best capture your feelings in the frame?

Fine Art Landscape Photography - Foggy Vermont forest — The morning light, the fog, and the forest all combined to make it a magical morning when I had the opportunity to shoot in the Groton State Forest in Vermont.

Never be a one-and-done shooter. Take advantage of the instant playback capability of your camera, evaluate your image, and decide what might be better.

Then make a few more shots.

While he’s not a photographer and not talking about fine art landscape photography, famed hockey player Wayne Gretsky still offers advice photographers would do well to remember:

You miss 100 percent of the shots you never take.

Wayne Gretsky

3. Practice previsualization

You will know your skills are growing as a photographer when you can see your photograph before you even put your eye to the viewfinder.

Eventually, you should previsualize your finished image, have the vision, and then simply use the camera as an instrument to capture that vision.

It’s a beautiful loop:

The more you photograph, the better you become at seeing – and the better you become at seeing, the better your photographs will become.

a bridge at blue hour — I had been to this location many times, and so I had a good idea of what I wanted when I went there to make this blue hour image. I helped it a little more with a split-toned edit.

“The camera is an instrument that teaches people how to see without a camera.”

— Dorothea Lange

But while previsualization is important, fine art landscape photography should always be open to serendipity: those unexpected moments when the light changes, the angels sing, and the miraculous appears for a brief moment for you to capture.

There have often been times when I’ve previsualized a shot, got set up, and waited for the light, only to have something amazing appear behind me out of the blue.

Practice working with your camera controls so that, when such a moment occurs, you can respond quickly and get the shot.

mountainous rural landscapes — I was busy making the first shot, which was nice and even had a rainbow. Then I turned around and there was a second great opportunity. Always be ready for that serendipitous moment.

4. Fine art landscapes aren’t just monochrome

Google “fine art photography,” and you will mostly see black and white (monochrome) images. Due, perhaps, to its long existence, as well as a good number of early photographers for whom black and white was the only option, monochrome photographs may outnumber color images in the world of fine art.

But that’s not to say that color images can’t also be considered fine art photographs.

Circle back to our definition: Fine art photography is more about the artist/photographer and their vision than the content of the photograph. Whether color or monochrome, the best way to portray a vision will depend on the maker’s intent.

craggy tree at midday — I had already decided this photo of an old snag should be monochrome when I made it. You can see the color version is just okay. The split-toned monochrome shot better exemplifies a fine art image.

“What I love about black and white photographs is that they’re more like reading the book than seeing the movie.”

– Jennifer Price

Now, bear in mind the strengths of black and white photography. Without the addition of color, monochrome images rely more on the basics, the “bones” of a good photo: line, shape, form, tone, and texture.

Black and white images are typically simpler, with greater attention paid to the subject. Sometimes, a monochrome image can convey a look or mood better than its color counterpart.

a bridge in the snow — I like both the color and black and white versions of this shot and think either could be classified as fine art landscape photography.

When deciding whether an image might be best in color or black and white, the fine art photographer needs to come back to the objective, and ask themselves:

Which version best conveys the feelings and vision I had when making the image?

That, and not some notion that fine art photographs are always monochrome, should dictate the direction the photographer takes.

monochrome images of a tree on a cliff and a tree at Yellowstone — One advantage of monochrome is that it can get down to the “bones” of a good image – line, shape, form, tone, and texture – while stripping away color that would distract from those basics.

5. Don’t be afraid to alter reality

We talked about fine art photography being less about an accurate interpretation of a subject and more about the photographer’s feelings and vision.

So who says you can’t completely change your image to better convey those things?

Techniques like long shutter speeds to blur moving objects and very fast shutter speeds to totally freeze rapidly moving objects are right at home in fine art photography.

Fine Art Landscape Photography - flowing water — Learn how to use long shutter speeds to take your images from simple snapshots to fine art photography.

So is purposely blurring scenes with intentional camera movement (ICM) and using special digital tools to give an image a “painterly” look.

Infrared photography or other techniques that shift colors? Sure!

Art is totally subjective, and so is fine art landscape photography.

How you choose to portray a scene is your prerogative, where the “right way” is whatever best communicates your feelings and message.

“I really believe there are things nobody would see if I didn’t photograph them.”

— Diane Arbus

intentional camera movement of trees — Go abstract with your fine art photography and give abstract images a try. Intentional camera movement (ICM) can give you some beautiful results.

6. Experiment with interpretive editing

I’ve read much about the phrase “getting it right in camera,” something with which I both agree and disagree. Yes, I do believe one should master their camera controls so as to get the best possible exposure of an image while in the field.

Grand Fountain Geyser at Yellowstone — I made this shot of Grand Fountain Geyser in Yellowstone National Park a little earlier in the evening. In post-processing, I took the color toward the cooler tones.

Yes, making the best possible image in the field is important. Never should an editing session be a rescue mission where you try to overcome mistakes made when shooting. Fixing an image in Photoshop is an option, but usually not a good one.

However, enhancing an image with dodging, burning, or any of dozens of other editing techniques is the mark of a skilled fine art photographer. Using editing skills to further interpret an image, to convey feelings and intent, is part of the craft.

People who like to brag that their images are unedited and straight-out-of-camera have likely never studied the work of perhaps the most renowned landscape photographer of all time, Ansel Adams. He didn’t have the advantage of digital editing software to edit his images, yet that didn’t deter him.

Take a look at some of his before and after images, and you will marvel at how much change there was between the camera-captured negative and the final print.

Eastern Sierra mountain twilight — I was going for an Ansel Adams-like editing style with this shot of “Moonlight Over the Eastern Sierra.”
How’d I do?

7. Put in the time

Fine art landscape photography isn’t done in a hurry.

I’ve seen software makers claiming their programs will allow you to work faster using artificial intelligence. While these programs have come a long way, I’m not convinced that they can yet equal the quality of old-school human intelligence and a more careful, though slower, style of editing.

You might be able to get some interesting results with a one-click preset, but will it result in an image that communicates your unique vision? If you replace a sky with something “canned,” it might be more dramatic, but is it still your photograph?

canyons in monochrome — Artificial intelligence (AI) editing is making inroads, but what’s wrong with taking your time, using human intelligence, and learning to edit the old-school way?

I also have to ask: What’s the hurry?

I enjoy photo editing, seeing where I can take an image with some thoughtful work. I know there are those that don’t care for editing, and I guess that’s okay. I just believe that most carefully-crafted art takes time.

I have used such software on occasion, and so can you. But rather than just learn the tricks of the trade, how about putting in the time and effort to learn the trade itself?

If fine art landscape photography that has your own personal style and signature look is your objective, there are no shortcuts. One-click presets will only make your work look like everyone else’s!

“Once you learn to care, you can record images with your mind or on film. There is no difference between the two.”

— Anonymous

8. See(k)ing the light

I enjoy various kinds of photography, from table-top still life and macro photography to flash-lit work and especially landscapes. What differentiates landscape photography from many of these other genres is the lighting, the degree of control the photographer has over the scene, and the ease of creating the desired look.

I can previsualize the look I want for a tabletop still life shot, set it up on the kitchen counter, light it, make adjustments, and tweak until I get the shot I like.

Not so for landscape photography.

Instead, I must travel to the area I want to photograph, be there when the weather is cooperative, the light is right, the foliage is in season, and everything else (none of it in my control) all comes together. If it ever does.

But this is also the joy of fine art landscape photography.

Oregon sunset on the coast — Sometimes you just gotta wait…and wait…and wait some more. It had been overcast all day, but just a few moments before sunset, as the sun neared the horizon, the sky broke out with this unique light. I love the mood of this Oregon coast shot.

It might mean sitting patiently in the pre-dawn chill, hoping the clouds come in just right and the sunrise hits just so. You might hike miles to get to that overlook for a sunset that never comes, or get lucky and have a sudden thunderstorm come in over the canyon with dramatic clouds and lightning.

The lack of control is part of the attraction of landscape photography, the knowledge that luck really is when preparation meets opportunity.

“My life is shaped by the urgent need to wander and observe, and my camera is my passport.”

— Steve McCurry

So if you want to be a great fine art landscape photographer, then you’ll have to work at it. You’ll need to sacrifice a bit, get up before sunrise, stay well after the sun has set, hike into difficult spots, seek places drive-by photographers will never see, and strive to be different with your images, capturing not just what you see, but what you feel.

craggy tree with a stormy sky — A stormy, moody sky and a weird, twisted tree reaching for the light. I like the feel of this shot, which I call “The Creature Rises.”

9. Shoot to a theme

Sometimes, a good way to stimulate your creative juices is to shoot to a theme. Rather than simply grabbing your gear and going to a location to do some landscape photography with whatever you see, decide that you’re going to make all of your images fit a theme.

Visually describe a concept or maybe make photos as if you were doing an article on a place or a single subject. Then, use the “visual vocabulary” that are your photographs to describe and define that subject.

Add your own style as a fine art landscape photographer to determine what you want your viewer to know and feel about your subject.

autumn leaves in the water — I like the serene feeling of these fallen autumn leaves floating in the still, dark waters of a river eddy. I spent over an hour working this theme and making many images.

“The whole point of taking pictures is so that you don’t have to explain things with words.”

— Elliott Erwitt

10. The print is the performance

Today, most photos that are made are probably never printed. Instead, they’re viewed only on monitors or LCD screens, and sometimes projected. In the film days, photographers had no such options. After shooting and developing their film, they were only halfway to being able to show their photograph to viewers. Prints were mandatory.

Ansel Adams viewed it this way:

The negative is the equivalent of the composer’s score, and the print the performance.

– Ansel Adams

When discussing fine art landscape photography, I must raise the question:

Can a photograph be considered fine art if it is only viewed on a monitor and never printed?

If you’ve spent any time at all in a photo gallery and closely looked at printed photographs, you will know there is no comparison between seeing a printed photograph and seeing that same image on a monitor. Prints can render so much more detail, color, and tone.

Even the type and texture of the paper or other substrate on which a photograph is printed can make a huge difference.

Finally, when viewing photographs on a screen, the light is produced by the screen itself, whereas when you view a print, the light is reflected. It changes the way you view the shot.

river at sunset — This is a nice image on-screen, but to really appreciate it, you’d have to see a print. Then, depending on the paper type, or maybe even as a print on acrylic or aluminum, it would really pop.

So to repeat my question in a different way:

Must a photograph be printed to be considered fine art?

I could argue either side, but I must confess that I’m a big proponent of printing. Yes, learning to make good prints yourself is a whole other skill, and not an easy one to learn. Simply getting the color and brightness of a printed image to approximately match what you see on your monitor is a challenge.

But I would argue that learning to print is part of the photographic craft.

You might also choose to hand off your photos to a professional printer whose specialty is knowing how to get the most from your image. That’s okay, too. I guess my point is that the difference between a printed fine art landscape photograph and the same image viewed on a monitor is almost as great as the difference between going to a concert and just watching one on TV.

“Fine art prints created by the artist, or the artist’s collaborator, are important because they best represent the artist’s vision. Images displayed on digital devices are subject to the non-uniform nature of different displays and they may appear radically different than the artist intended.”

– Mac Holbert

11. Your photos are about you

What you see, what attracts your eye and your camera, and how you choose to interpret a subject says a lot about you.

Even if you haven’t consciously defined a “photographic vision” for yourself, chances are good that, if you review your archives, you will be able to identify commonalities in your work.

Hopefully, you will have developed a rating system (perhaps color coding or star rating as can be done in Lightroom) so you can determine which photos you consider to be your favorites. Take some time to look through your best shots and perhaps make some notes about defining styles, features, or techniques.

What are you consistently doing that works, and what signature style do you have?

“Only photograph what you love.”

— Tim Walker

predawn misty lake (left) and an aspen grove in fall (right) — The predawn shot on the left required shivering in the cold of a mountain morning. The mist was hanging low over Little Redfish Lake in Idaho. In the shot on the right, I can still feel the crisp autumn air and the sound of the rustling leaves in the aspen grove. Hopefully, a viewer will get some sense of those moments in my images.

Focus specifically on your landscape images and look for commonalities. What has worked well? What hasn’t worked? How can you find ways to build on your successes and also further define and develop your personal style so that your images communicate with your viewer?

“We are making photographs to understand what our lives mean to us.”

— Ralph Hattersley

When considering the subject of fine art landscape photography, you may be asking, “Does my work measure up? Am I good enough that my photographs could be considered fine art? Do I belong in the elite club of fine art photographers?”

I would suggest that what constitutes a fine art photograph is less about the quality of the image, and much more about the photographer’s success communicating something to the viewer.

trees with blue sky and grasses — I know the backstory behind this image, but you, as a viewer, don’t. Does this image speak to you? What does it say? What do you think and feel when you see it? Good photographs speak to the viewer.

“Good photographs are like good jokes. If you have to explain them, they aren’t very good.”

Anonymous

If you want to be successful in fine art landscape photography, or any other genre of photography, for that matter, teach your photos to speak for themselves. If they were displayed in a gallery without you there to say a word, what would they say to a viewer? What would a person feel when viewing them?

Yes, a photo can be worth 1000 words, maybe more. But it has to speak for itself!

Fine art landscape photography: Conclusion

Now that you’ve finished this article, you know all about fine art landscape photography.

And you know how to create some beautiful fine art landscape shots of your own!

So get out and get shooting. Best wishes in your photographic endeavors!

fine art landscape photography red barn and snowy mountains — The cold blue of an Idaho winter day with just a pop of red on a distant barn. This one says a lot about me, where I live, what I love, what images I like to make. What do your photos say about you?

Fine art landscape photography FAQs

What is fine art photography?

This Wikipedia description sums it up nicely: “Fine-art photography is photography created in line with the vision of the photographer as artist, using photography as a medium for creative expression. The goal of fine-art photography is to express an idea, a message, or an emotion.”

Must an image be black and white to be considered a fine art photograph?

While many photographers choose to use black and white when making fine art landscape photos, and while traditional images were made that way, it’s not a requirement. The photographer should choose whatever representation best conveys their intention for the image.

How can previsualization help me make fine art photographs?

Good photos are made in the mind, and the camera then becomes a tool for capturing what the photographer has already “seen.”

Must a photograph be printed to be considered “fine art?”

No, but a print can do much more to convey the photographer’s message to the viewer as a tangible, physical object with much greater subtlety of color, tone, and higher resolution. Further, while every display device will affect how the image is seen, a print retains the look of the image as the photographer intended. Printing is also part of the art and craft of photography.

If you could only give one tip about making fine art landscape photographs, what would that be?

Determine what you want your viewer to see, think, and feel when looking at your image, and imbue your photograph with those qualities such that it can speak on its own to the viewer.

The post Fine Art Landscape Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Rick Ohnsman.

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