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Landscape photography with a drone – part 1: What is a drone?

15 Sep

Ever since I started shooting landscapes, I’ve been fascinated with aerials. There’s little doubt that aerial photography offers a very different perspective on a landscape, not to mention the excitement one experiences when witnessing nature from a bird’s eye viewpoint.

I have written extensively about the good and the bad, as well as the reasons for shooting aerials in the first article of my series about aerial photography. But drone photography is VERY different to being up there in an aircraft and shooting with a hand-held camera.

Drones have utterly changed the world of landscape photography, and are the best thing to happen to it in the last two decades

There are substantial advantages and disadvantages when comparing the two, and one could even claim they are two different disciplines altogether. After all, apart from the fact that in both the photographer is shooting from the air, there is much more difference than similarity. This provides justification for an additional series that deals with drone photography.

In this series, I will try to elaborate about shooting (natural) landscapes using a drone. I will claim that drones have utterly changed the world of landscape photography, and are the best thing to happen to it in the last two decades. I will show examples from my shoots around the world and discuss how the drone enabled me to get images otherwise impossible.

I’ll try my best to survey the different options available today, and try to cover the legal and moral aspects, as well as etiquette. Finally, I will tell about some interesting personal experiences I’ve had while droning.

It’s important to say that I’m a nature still-photographer, so I will concentrate on that most of the time. That said, there is no reason why the series shouldn’t be relevant for other styles and fields of photography such as urban landscapes or even wildlife photography.

So, what is a drone anyway?

“Drone” is the common name for a remotely-operated or autonomous unmanned aerial vehicle (UAV). There are many different drone sizes and designs – some are fixed-wing and some rotor-based. Fixed-wing drones are often used for scientific or military purposes. Since they require short runways to take off, and since they lack the maneuverability of rotor-based craft (specifically the ability to hover in one place and to move very slowly), they aren’t commonly used for photography purposes, and so I will not be discussing them here.

The Mavic Air – a quad-copter drone manufactured by the Chinese company DJI

The drones we are interested in – camera drones – are rotor-based. The vast majority of those are quad-copters (i.e. mini-helicopters with 4 propellers), but not all. There are hexa-copters (6-prop) and octo-copters (8-prop) out there as well. They are sometimes known as VTOL drones, for “Vertical Take-Off and Landing”. As we will see, the VTOL property offers a critical advantage for nature photography, or any field-based photography for that matter.

Design

Drones are typically made from composite materials to reduce weight and to absorb vibrations, which in turn reduces noise and motion blur in images. They have several motors and propellers, most commonly one propeller on top of each motor (but some drones have dual propellers for each motor). On a quad-copter, two of the propellers rotate clockwise and the other two counter-clockwise.

The motors are controlled by the drone’s flight controller, which uses, among other things, gyro stabilization technology and accelerometers to maintain control of the drone in real time, and to keep it flying smoothly and steadily. All this is powered by a battery, which is usually inserted to a cavity in the body of the drone.

Controlling a drone with the remote’s 2 joysticks

The drone carries a camera, usually on the front or bottom of the drone’s body. The vast majority of modern drones have an integrated (native) cameras, whereas in the past more drones were designed to carry a separate camera system, be it a small camera like a GoPro or a large DSLR (or even larger systems). A native camera, naturally, allows for much more user control in real time.

The camera, native or otherwise, is mostly mounted on a 3-axis stabilizing gimbal, which disconnects it from any vibration or sudden movements coming from the drone’s main body and allows the camera to move independently from it.

The small camera mounted on a 3-axis gimbal in the first generation of the DJI Mavic

Control

Virtually all camera drones have a ground controller unit (commonly known as a remote controller), which allows the user to control the movement of the aircraft and of the gimbal, and enables live first-person-view (FPV), i.e. video streaming from the drone’s camera and shown on a screen, either integrated into the controller or of a mobile device (such as a smart phone or a tablet), typically connected to the controller via wire.

The video stream doesn’t only show the drone camera’s view, but it also includes important flight information such as a map, flight altitude, speed, distance from the control unit, battery status and more. Using the information sent from the drone, the controller can also warn the user in case of strong winds or nearby obstacles.

The video feed received on a smart phone through cable connection to the remote. Note how height (relative to point of origin), distance from origin and velocity are displayed at he bottom, and photographic parameters at the top.

Everything here serves the purpose of being able to control the drone as delicately and as accurately as possible, and to not rely on seeing the aircraft from the operator’s ground position. As we will see in future articles, FPV is a large part of what gives a drone its overwhelming advantages compared to other kinds of photography.

A Short Survey: Types of Camera Drones

Camera drones are plentiful, with the Chinese company DJI dominating the market without a doubt. It is, however, possible to divide the drone world into several tiers, which differ in the technology featured in the drone, specifically it’s camera and sensor, gimbal, battery, controls, weight and size, among others. Let’s shortly survey the different tiers, and see what differentiates them.

Fun and Toy Drones

DJI Tello (about $ 100)
Parrot Mambo (about $ 50).

These drones have a simple built-in camera with very low resolution. There is no stabilizer (gimbal). The devices are very sensitive in the wind and usually have no GPS function, making it very difficult to get good flight precision and decent pictures. They are, however, very affordable and fun to use.

Entry-level Drones

DJI Spark (discontinued, to be replaced soon)
Parrot Anafi (about $ 650)

The tiny DJI Spark can fit in the palm of your hand.

These drones feature better control and stability than toy drones, but don’t expect any miracles in terms of image quality and stabilization. The mechanical two-axis gimbal requires shorter exposure times to prevent camera shake. Range and duration of flight are below average.

Semi-professional Drones

DJI Mavic Air (about $ 750, $ 930 for a combo including extra batteries, props, carrying case and more)
DJI Mavic Pro (about $ 930 for a combo)
DJI Mavic 2 Zoom ($ 1240, $ 1590 for a combo)
DJI Mavic 2 Pro ($ 1500, $ 1800 for a combo)

Drones in this category feature an electric three-axis gimbal, at least 12 megapixel photo resolution, long exposure abilities (and the stability to make them practical) and 4K videos. The Mavic Air may be limited in range, as WiFi in city centers may be more susceptible to interference than the “Pro” Series transmission technologies.

The DJI Phantom series is much larger than the Mavic Air, and packs a better camera.

The equally affordable Mavic Pro has a long flight time, but only a 1/2.3-inch sensor, while the top model Mavic 2 Pro with a 1-inch sensor expects. Not only does it deliver a higher resolution (20 megapixels instead of 12), it also exhibits significantly improved noise performance in the low light range.

Rather an exotic animal in the line-up is the Mavic 2 Zoom. Also equipped with only a 1/2.3-inch sensor, it has a 2x optical zoom, which enables it to get different perspectives for a given framing (perspective depends on subject distance), and even a very cool aerial mode called Dolly Zoom. With the exception of Spark, all these models are compact and easy to transport. The Mavic 2 Pro offers the maximum picture quality among these and is very portable, making it the current go-to drone for many photographers, your truly included.

Professional Drones

DJI Inspire 2 Pro (theoretically starting from $ 2800 but with a better sensor and exchangeable lenses it’s more like $ 6400 and upward)
DJI Matrice (from $ 6340 with a gimbal, not including a camera)
FreeFly Alta 8 (from $ 18500)

Drones in this category have different camera options with interchangeable optics. From the integrated gimbal with Super 35-millimeter sensor (Zenmuse X7 to Inspire 2) to the digital film camera (Arri Alexa Mini to FreeFly Alta), almost everything is possible here for money. The take-off weights of these devices start at approx. 4 kilograms, which considerably increases the administrative effort. The design allows the camera to move independently under the drone at a 360 degree angle. These drones are often controlled by at least two-person teams and are suitable for professional film productions.

What’s Next?

Now we know, more or less, how a camera drone is built and how its parts are connected. We know that today’s camera drones are mostly quad-copters, with native stabilized cameras mounted on a gimbal. But what can these aircraft do? Why choose a drone over a helicopter or a plane? How has the drone changed the world of landscape photography? I will cover all this next.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you’d like to experience and shoot some of the most fascinating landscapes on earth with Erez as your guide, take a look at his unique photography workshops in The Lofoten Islands, Greenland, Namibia, the Argentinean Puna, the Faroe Islands and Ethiopia.

Erez offers video tutorials discussing his images and explaining how he achieved them.

Selected Articles by Erez Marom:

Parallelism in Landscape Photography
Winds of Change: Shooting changing landscapes
Behind the Shot: Dark Matter
On the Importance of Naming Images
On Causality in Landscape Photography
Shooting K?lauea Volcano, Part 1: How to melt a drone
The Art of the Unforeground
Whatever it Doesn’t Take
Almost human: photographing critically endangered mountain gorillas

Articles: Digital Photography Review (dpreview.com)

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Which Way? When to Photograph in Portrait or Landscape Orientation

06 Sep

The post Which Way? When to Photograph in Portrait or Landscape Orientation appeared first on Digital Photography School. It was authored by Megan Kennedy.

The standard camera sensor is rectangular in shape – a configuration that allows for both portrait and landscape orientations.

But is landscape orientation crucial to the execution of a landscape photograph? Must portraiture always be photographed in portrait orientation?

Plus, what if you’re photographing a subject that’s neither a portrait nor a landscape? What orientation works best?

In this article, we’ll have a look at how to choose between a portrait or landscape orientation in photography.

portrait and landscape orientation examples

A bit of history

Landscape orientation

Portrait and landscape designations likely stem from the orientations of canvasses used in art.

The dimensions of a horizontal rectangle best accommodate the wide vistas depicted by landscape artists. This earned the format its landscape title.

However, the landscape orientation is not restricted to landscape photos. Yes, landscape masterpieces by Vincent Van Gogh, Hokusai, and Monet have been in a landscape format. But artists like Sandro Botticelli and Wassily Kandinsky have created non-landscape art using landscape orientation. Frans Lanting, Andreas Gursky, and Gregory Crewdson all depict photographic subjects with the landscape orientation.

It’s the same for portrait photography. Photographers such as Robert Frank and Annie Lebovitz have approached portraiture in a landscape format.

The landscape orientation of this image of a leaf conveys a more relaxed viewing approach

Portrait orientation

A canvas taller than it is wide has become known as portrait orientation.

Leonardo da Vinci’s Mona Lisa or Johannes Vermeer’s Girl with a Pearl Earring are famous examples of portraits depicted in the traditional format. And Dorothea Lange’s Migrant Mother and Steve McCurry’s Afghan Girl are well-known examples of portrait photography executed in a portrait format.

But portrait orientation isn’t limited to depicting people. Painters like Rachel Ruysch and Claude Monet worked in a portrait format to accommodate non-human subject matter.

And Edward Henry Weston used a portrait format to lend a formal quality to his investigations of organic materials, while the Bechers made hundreds of portrait-oriented images of urban landmarks.

The portrait orientation of this leaf abstract lends a more formal quality to the image.

Should you use portrait or landscape orientation?

Fitting the subject

One of the deciding factors in choosing between a portrait or landscape orientation is the dimensions of the subject itself.

In terms of framing the face and body of a human, a portrait format can be ideal. The vertical nature of the human body works well with a portrait orientation.

Vertical subjects like tall buildings, trees, and waterfalls may also require a portrait orientation to be captured in their entirety.

vertical orientation flower

Subjects made up of horizontal elements (like aircraft and landscapes) can fit better in landscape orientation.

Landscape orientation can also provide more room for incorporating additional elements into a photograph.

This is particularly useful in genres of photography like environmental portraiture, where the setting of the photograph is as important as the subject.

horizontal or vertical horizontal airplane

Because of the dimensions of aircraft, aviation photography is often carried out in a landscape orientation

Emphasis

The orientation of an image contributes significantly to visual emphasis.

A portrait orientation exaggerates the upright extension of subjects in a photograph. But a portrait orientation also speaks to our associations with tall subjects, emphasizing a sense of independence, wonder, modernity, and even superiority or unease.

In contrast, a landscape orientation places extra emphasis on space, illustrating ease and immersion.

In the simple example below you can see the different emphasis being placed on the floral silhouettes.

The portrait example emphasizes the energetic, upright quality of the flower. The landscape orientation creates a more relaxed perspective.

flower silhouette example

Cropping

Every photographic situation is different and sometimes an element in a potential image is less than ideal.

If there are elements present within a photo that you would rather omit, switching camera orientations might help achieve a more polished image, either in-camera or in post-processing.

Cropping out excess information with a portrait orientation will simplify an image and minimize distractions.

Switching from a portrait to landscape orientation will decrease image height, prioritizing the horizontal flow in a photograph instead.

abstract horizontal of water

Formality vs relaxation

Over time, our historic use of image orientation has associated specific visual qualities with both portrait and landscape formats.

Portrait orientation is associated with the formality of historic portraiture. It is also associated with being upright, which is attached to wakefulness, sociability, and energy.

A landscape format, on the other hand, can lend a more relaxed, organic impression to a photograph. So a horizontal orientation is associated with laying down, lending a more tranquil quality to an image.

woven mat

Conclusion

Choosing between a portrait or landscape orientation isn’t easy. There are many aspects to consider, and the orientation of an image depends heavily on the situation.

But if you understand the benefits and drawbacks of different orientations, you’ll be in a good position to decide which orientation to use!

Do you lean towards portrait or landscape orientation? Share with us in the comments!

The post Which Way? When to Photograph in Portrait or Landscape Orientation appeared first on Digital Photography School. It was authored by Megan Kennedy.

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Four Lightroom Tips to Enhance Your Landscape Photos

05 Aug

The post Four Lightroom Tips to Enhance Your Landscape Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Lightroom has a vast array of buttons, sliders, and selection boxes that can improve just about any photo, but sometimes the options are so overwhelming you don’t even know where to start! It’s impossible to say what specific adjustments will work for any given photo, partly because there are infinite possibilities and every photographer is unique. However, there are a few Lightroom tips you can use with certain types of images, such as landscapes, that improve them with just a few clicks. If you have ever wanted to punch up your landscapes quickly and easily, there are four options that you can use right away to make any landscape look amazing.

Four Lightroom Tips to Enhance Your Landscape Photos

If you import a landscape picture into Lightroom but find yourself staring dazed and confused at the array of editing options, try focusing on the four items below. I use these on most of my landscapes, and you might be surprised at how well they work for you too.

Of course, you can always continue tweaking and adjusting with as many options as you want, but these are great to start with.

Basic tone
Texture
Sharpening
Graduated Filter

Learning to use these four adjustments goes a long way towards improving not just your landscapes, but many other types of pictures too.

As you gain more editing experience, you will start to figure out what your editing preferences are and learn to adjust the options accordingly. Maybe you like a little more tonal contrast or a little less saturation? Perhaps you prefer your images to have a little less sharpness? Experimenting with these options helps you understand what you prefer. It helps you develop your skills as an editor to get the results you like.

Basic tone

Four Lightroom Tips to Enhance Your Landscape Photos

There’s a reason that the Develop module in Lightroom has a panel called Basic. This contains the most popular adjustments that most photographers use right away. They are especially useful for landscapes too. The following are what I recommend as a starting point for these types of images.

Highlights: Drag this slider to the left to make the brightest portions of your landscape a little darker.

Shadows: Drag this slider to the right to make the darkest portions of your landscape a little brighter.

Whites: Drag this slider to the right to make the white portions whiter

Blacks: Drag this to the left to make the black portions blacker.

To show you how much of an effect these simple adjustments can have on a landscape, here’s an image without any adjustments straight from my camera.

Image: Shot at the National Tallgrass Prairie Reserve in Kansas. An unedited picture straight from t...

Shot at the National Tallgrass Prairie Reserve in Kansas. An unedited picture straight from the camera.

The picture is dull, lifeless, and not all that interesting. 15 seconds of adjusting those four sliders in the Basic panel does wonders and transforms it into a whole new picture.

Highlights -43, Shadows +26, Whites +70, Blacks -51. No other adjustments were made.

The resulting image is vibrant, lively, and exciting to look at, especially when compared to the original. It doesn’t take much work at all to use those four simple sliders when editing a landscape photo, and the results can be breathtaking.

Texture

The effect of the Texture tool isn’t quite as pronounced and may not take your breath away in the same way. However, Adobe’s latest addition to Lightroom can produce impressive results. While Texture is particularly useful when editing portraits, it can also bring out detail in grass and rocks, and other areas of a landscape image that has a great deal of natural texture.

Many landscape photographers are already familiar with the Clarity tool, which can have a similar effect as Texture. But, the former can often lead to images that appear over-processed and artificial. Texture is really designed to enhance the look and feel of textured surfaces. If you have not tried it, you may be surprised by the results.

I took the picture below in the mountains of the Pacific Northwest, and while I did some basic Highlight/Shadow/White/Black editing, I really want to bring out the details in the evergreen trees.

I shot this while hiking near Seattle, Washington.

Increasing the value of the Texture slider helps the trees to stand out. They come to life while leaving the clouds and sky virtually untouched. Adobe designed the Texture option to look specifically for textured surfaces. It applies the effect only where it’s really useful instead of across the entire image as a whole.

Same image, with a value of Texture +90.

When viewed at full resolution, the result is remarkable, but even on a small screen, you can see that the trees have become more pronounced. The background trees are clearer and more discernible as well.

This new option in Lightroom is not yet as popular and well-known as Clarity, but it’s a boon for landscape photographers who want to spice up their images without going overboard.

Sharpening

The Sharpening tool has been an integral part of Lightroom for years, but might be overlooked by new landscape photographers who feel overwhelmed with all the features in front of them when editing their images. In contrast to Clarity and Texture, the Sharpening tool helps you emphasize the edges of everything in your pictures while also giving you the power to specify precisely how you want to apply the sharpening.

As with the Texture tool, your results aren’t going to be as immediately impactful as other edits, such as the Basic panel. However, careful adjustments to Sharpening can add a level of resonance to your landscapes and bring to life the small details.

Image: Shot at just outside a small town in north-central Kansas. Some basic edits applied, but no s...

Shot at just outside a small town in north-central Kansas. Some basic edits applied, but no sharpening.

The Sharpening adjustment, which sits in the Detail panel, has four parameters: Amount, Radius, Detail, and Masking. While these are all important, the ones I recommend you focus on are Amount and Masking. Move the Amount slider to the right to make your picture appear sharper and add a sense of crispness. After that, use the Masking slider to tell Lightroom where to apply the actual sharpening.

You can hold down the Alt or Option key (on a Mac) to see how this works and adjust as necessary. The black-and-white preview updates in realtime. As you hold down the modifier key and drag the slider, it shows you just where the sharpening will be applied.

Image: Adjusting the Masking parameter while holding down the Alt or Option key (on a Mac) shows a l...

Adjusting the Masking parameter while holding down the Alt or Option key (on a Mac) shows a live preview of where the sharpening will be added.

Use of the Sharpening tool is a great way to enhance your landscapes, especially when combined with some of the other editing options.

Sharpening added with the following values: Amount 114, Radius 1.0, Detail 25, and Masking 85.

Graduated filter

If you have never used the Graduated Filter on your landscape photos, you’re in for a real treat.

This tool allows you to apply graduated adjustments to part of the image, and even edit the adjustments using selective masking and brushing. It’s a great way to bring out the rich blue of a sky, the subtle greens of grass and foliage, or implement other edits to part of your picture without affecting the whole thing.

To demonstrate how the Graduated Filter works, I have a picture shot in southeastern Nebraska without any edits except for removing some spots of dust on the lens. The foreground is dark, and I’d like to change the color of the sky to reflect what I actually saw. However, global edits like the Basic panel just don’t work.

Shot in rural Nebraska on a chilly February evening.

As a point of comparison, here’s the same picture with some simple adjustments, like in my very first example. The Basic adjustments help but don’t produce the results I’m after.

Highlights -18, Shadows +100, Whites +34, Blacks -7.

It’s an improvement but still a long way from what I want. Fortunately, the Graduated Filter is here to help! By applying this type of edit, I can alter the lower portion without affecting the upper portion. Also, the edit is applied gradually, so it appears more natural as the foreground recedes to the horizon.

Image: No edits from the original except for a single graduated filter applied to the foreground. Te...

No edits from the original except for a single graduated filter applied to the foreground. Temp 76, Exposure 2.16, Shadows 21, Blacks -13, Texture 50, Sharpness 20.

You can go one step further and add additional graduated filters, which is especially useful when working with landscapes. In this image, I’d like to bring out the rich deep colors in the sky without affecting the field in the foreground.

A graduated filter is the perfect tool for the job.

Image: Second graduated filter applied to the sky. Temp -73, Exposure -.50, Highlights -45, Dehaze 1...

Second graduated filter applied to the sky. Temp -73, Exposure -.50, Highlights -45, Dehaze 10, Saturation 16.

I listed the Graduated Filter last because it’s the most complicated of these four adjustments you can apply to your landscape, but it’s also, in my opinion, the most powerful. There are lots of options for customizing your graduated filters, and it’s going to be worth your time to explore more. However, the example above should be enough to get you started.

There’s so much more you can do with landscape photos in Lightroom beyond what I demonstrated here. These basics should be enough to get you started and help you bring out a lot of the color, detail, and vibrancy that your landscape photos may be missing.

After learning these, I hope you start exploring the other options Lightroom has to offer.

I’d love to see examples of your landscape photos in the comments below!

The post Four Lightroom Tips to Enhance Your Landscape Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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Basics of Landscape Photography

03 Jul

Successful landscape photography is made up of multiple elements, such as location, composition, proper depth of field, lighting, equipment used and other aspects. In the guide below on the basics of landscape photography, I will attempt to shed some light on what these elements are and how they work together to make landscape photos that stand out differ from ordinary Continue Reading

The post Basics of Landscape Photography appeared first on Photodoto.

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Landscape Photography Accessories You Need to Own

09 Jun

The post Landscape Photography Accessories You Need to Own appeared first on Digital Photography School. It was authored by Nisha Ramroop.

Every photo genre has its arsenal of accessories. Portrait photographers choose light modifiers; macro photographers have extension tubes and sports photographers walk with monopods to support heavy telephoto lenses out in the field. Similarly, landscape photographers pack a few accessories to help them work with the natural environment, time of day and elements to maximize their time. Here are a few key accessories that you will want to leave in your camera bag.

1. Filters (Polariser, ND, GND, UV)

Filters are a great way to shape your available natural light and there are many different kinds. The most common ones used for landscape are the polarizer and the graduated neutral density filters.

Polarizer / Circular Polarizing filter (CPL)

Some landscape photographers never leave home without this accessory. The major pros of CPLs include the way they enhance your colors (think blue skies) and also cut glare/reflection. In contrast, there are situations when you will not want to use a polarizer.

Adding a polarizer to the previous scene cuts the glare on the water and enhances the colors of the ocean

Neutral Density (ND)

This filter is basically a darkened piece of resin/glass that reduces the amount of light that enters your lens. Furthermore, in a proper ND filter, the color of the light is not affected (neutral). It is most useful in bright conditions, where you want to use a longer/lower shutter speed or wider aperture. ND filters come in different increments, which vary the amount of light that you block.

Graduated Neutral Density (GND)

Also known as a split neutral-density filter, GNDs selectively transmit light. Therefore it is essentially an ND where only part of the filter is darker, which allows you to reduce the brightness in part of your image. As a result, it is particularly useful in a contrasty scene with a bright sky.

A Graduated Neutral Density filter helps balance the sky

Ultraviolet (UV)/Haze/Clear

While these filters do little to affect your image, their main purpose is to protect the front element of the lens from dust and scratches. That being said, compromising on the quality of a UV filter may degrade the quality of your images. The best reason to add a UV filter would be for lenses that need a filter in place to complete its weather sealing.

2. Remote shutter/Intervalometer

So by now, you know that when capturing an image, minimizing vibrations goes a long way towards the eventual sharpness. It is one of the reasons that most cameras have a built-in delayed shutter function (usually 2 or 10 seconds). A remote shutter release gives you even more control over this functionality and comes in wireless/wired options. Some remote shutter releases (or cable releases) have basic or expanded options.

One of these options, available in advanced remote shutters, is interval timing. An interval timer (interval meter or intervalometer) gives you the option of automatically taking images at preset intervals for a defined period. Hence the intervals can be small (seconds) or long (hours). This feature allows you to capture light as it changes over a period of time and is more commonly known as time-lapse photography. Consequently, the lines between advanced remote shutter controls and intervalometers became blurred over the years, as each now has similar functions. Most of the recent ones are now easier to use as they are integrated into phone apps.

Fun with an Interval Timer

Some camera models come with built-in interval timers. If your camera already has this, you need an intervalometer only when the more advanced features are required. This includes setting the timer to wait more than 10 seconds before shooting or more time options before/between each image. Another good reason is if you want to tweak your settings between your images. When using the built-in function, the interval timer locks your camera for too long before you can make adjustments.

3. Rain protection

Even if you have a weather-sealed camera, large amounts of water can still damage it. As a landscape photographer, you have to be prepared for weather changes. Alternatively, it may be your choice to shoot in the rain or snow. If either is the case, you are better off playing it safe and protecting your camera body, lenses and any connected electronic accessories.

Protection can be a simple or expensive solution, which ranges from shower caps or plastic/garbage bags with holes cut out or a purchase option. Camera rain protection (ponchos, sleeves, jackets, raincoats) are all variations of customized plastic solutions, tailored for shooting easier in inclement weather. Therefore, they are usually heavy duty or thin enough to maintain access to your controls, but more durable than your everyday plastic bags.

A Neutral Density filter allows you to shoot longer exposures during the day.

Ponchos/Sleeves are thicker plastic capes that fit snugly over your camera and usually have a drawstring to securely cover the lens body. Jackets are made from a similar weatherproof material as raincoats, which are usually more breathable material. These have cinch straps for medium and larger sizes and slip on and off quite easily. Thus jackets and raincoats for your camera are more durable (and pricier) than ponchos and sleeves. Whichever solution works for you, most take up very little space and should own a place in your camera bag.

4. Flashlight

Considered an essential pack for night photographers, this small tool comes in handy when you least expect, so keep one in your bag. If you are a sunset chaser, a small reminder that night follows closely. A flashlight can be useful to do a quick sweep of the area to ensure you do not leave anything behind. Furthermore, if you are a night shooter, these come in handy to focus or light paint a subject in the dark.

Pro Tip: Choose a tough and lightweight flashlight and store it in an easy to reach outer pocket of your camera bag.

5. Tripod feet

Chances are you already know the importance of having a good tripod. In some conditions, such as mud, snow, uneven terrain or wet sand, adding tripod feet elevates your stability. Additionally, you can buy a one fit for all, although most of the top-rated tripods customize their tripod feet by terrain.

Conclusion

Some of the accessories you take with you can make the difference between a successful expedition and an average one. Choose what you pack wisely or customize it based on location. Either way, some accessories should just be part of your everyday bag, just in case.

Which accessories do you always have with you?

The post Landscape Photography Accessories You Need to Own appeared first on Digital Photography School. It was authored by Nisha Ramroop.

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TOP 13 Landscape Photography Accessories Under $100 [video]

17 May

The post TOP 13 Landscape Photography Accessories Under $ 100 appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Following on from last week’s video share from Mark Denney “Which Landscape Photography Camera Should You Buy?“, I thought I’d also share his video on affordable landscape photography accessories.

These are, of course, Mark’s opinions and not mine. I’d be interested to know your thoughts and if you have any to add to this list.

In the video, Mark mentions these accessories in order of price, starting at number 13.

TOP 13 Landscape Photography Accessories under $ 100

13. Samsung 500GB SSD at $ 87.99

While the Samsung 500GB SSD doesn’t have massive storage, it is perfect for travel because of its size and portability. It’s lightweight and durable and fits in your pocket.

12. NRS Boundary Socks – $ 84.95

NRS Boundary Socks are water socks and keep your feet warm and dry when standing in water. They have a seal around the top so that water cannot enter the top. These are also handy for getting better shots because you can get into the water and shoot from better angles.

11. Vallerret Photography Gloves – $ 79.95

The Vallerret Photography Gloves are perfect for photographers because the thumb and forefinger tips flip back to allow you to adjust your camera controls while still keeping your hands warm and dry. They also have a non-slip surface on the palm so that you can grip your camera confidently.

10. Hoya Circular Polarizer – $ 53

This Hoya Circular Polarizer is a great option if you are on a budget. The quality is high and the results are great. You may not always use it, but they are great to have.

9. Black Diamond Headlamp – $ 38

This Black Diamond Headlamp is great for when you are shooting sunrises and sunsets, blue hour, astrophotography and you have to hike in and out of places in the dark, and set up your camera in low light. Having it on your head leaves your hands free. The headlamp is also super-bright – with 3 levels of brightness.

8. Tripod Spikes – $ 20-$ 96

Tripod Spikes are great for digging your tripod into the surface to give your tripod extra stability.

7. Pelican SD Card Case – $ 33.99

The Pelican SD Card Case is tough, durable, and waterproof. It fits several cards safely. It protects one of the most important parts of your gear because that is where your photos are stored.

6. Shimoda Small Accessory Case – $ 24.95

The Shimoda small accessory case is ideal for storing your extra camera batteries, chargers cables, and anything related to power. It has a clear plastic side so that you can see exactly what is in the case too. The fact that it is bright blue means that you can find it easily in your suitcase or backpack.

5. Small Moleskin Case – $ 19.95

The Small Moleskin Case can be used for keeping tools, such as Allen keys, flathead screwdrivers, or backup tripod plates.

4. Backpack Rain Cover – $ 5-$ 25

Backpack Rain Covers are ideal for covering your backpack and also for covering your camera when it is set up ready to take shots near waterfalls or if it is rainy. Shower caps are also a good solution for covering your camera in the rain.

3. Think Tank Red Whips (10) – $ 9.94

The Think Tank Red Whips are amazing cable ties for keeping your cables organized.

2. Giottos Rocket Blower – $ 8.00

All photographers should have one of these. The Giottos Rocket Blower is perfect for blowing the dust off your lens and camera. It’s strong and

1. Zeiss Microfibre Cloth – $ 7.90

The Zeiss Microfibre Cloth is ideal for cleaning your lenses and filters.

Do you have anything to add to this list? If so, please share in the comments below.

You may also find the following helpful:

5 Camera Accessories You Shouldn’t Buy Cheap
10 Must-Have Photography Accessories
DIY Photography Hacks and Accessories You Can Make at Home
11 Accessories for Long Exposure Photography
6 Accessories to help you Improve your Landscape Photography

The post TOP 13 Landscape Photography Accessories Under $ 100 appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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How to Photograph a Minimalist Landscape

14 May

The post How to Photograph a Minimalist Landscape appeared first on Digital Photography School. It was authored by Simon Bond.

Creating amazing photos can be much easier than you think. The simplest images can be the most striking. Keeping your image simple means minimalism. In this article, you’ll learn about creating minimalist landscape photos. The creation of these type of images requires the correct use of a lens, and often the correct selection of location. Read on and find out all you need to know to create minimalism in your landscape photos.

In this photo, the main subject is the mountain in the distance. The remainder of the frame is kept simple.

The location for a minimalist landscape

Where you take your photo will determine your success with minimalist landscape photography. You’ll have more success in remote locations, but urban environments can also be used for minimalism as well.

When photographing in a busier environment, you’ll need to use the correct lens and camera angle to maintain minimalism with your photo. More remote locations naturally have a minimalist feel, but the challenge in those locations is locating a strong main subject.

The following are locations you could use for minimalist landscape:

Coastal – This is a great location for minimalist photography. The great expanse of the sea invites minimalism. You can further build on this by flattening the sea through long exposure. Interesting rock formations or a lighthouse can make great main subjects.
Deserts – Whether you’re photographing on the sand or on the ice, deserts are the land equivalent of the sea when it comes to minimalism. Vast, uniform in their features, and without the clutter of human development.
Mountains – Another area that is remote are mountains. These also offer opportunities to create a minimalist landscape. With too many mountains in the one scene they can also be potentially cluttered, so choose compositions with care. A lone hut surround be the green foothills of a mountain range would make for a good subject.

Deserts make excellent locations for minimalist landscapes.

The lens

The lens you choose is equally as important as the location for a minimalist landscape. There is no absolute rule over which lens to use; it depends on the location you find yourself in. If you have chosen a location in the wilderness, the chances are you can use either a wide angle or a long telephoto lens. However, if you’re photographing in the city, the lens becomes important.

Wide angle – A lens that works well for minimalism, as you can use that wide angle to create the nice negative space required for a minimalist landscape. Think how you can get down to a low angle for those ripples in the sand on a sand dune. In a more cluttered environment, you need to be careful though, as the wide angle could easily cause unwanted elements to appear in the frame and make it too busy.
Long focal length – The longer focal lengths allow you to zoom in on a particular portion of your scene. Here, the challenge is to avoid compressing too many things into the same photo. Choose an area on the horizon that’s interesting but devoid of too many extra elements. This focal length can be a big advantage in an urban setting that’s generally too chaotic for minimalism, yet has portions of the skyline that can be zoomed in on to create a minimal image.

This photo uses a wide-angle lens. This really captures the interest in the foreground from the shapes in the sand.

Adjust your perspective

Photos that are taken at eye level work well for many situations. However, when you’re looking for minimalism, changing to a new angle works wonders.

The following are good choices when it comes to simplifying your image:

Bird’s eye – Things looks very different from a high angle looking down. The higher you get, the more dramatic this becomes. One of the reason’s drone photography works so well is its potential for minimalism.
Worm’s eye – At the other extreme is the worm’s eye view looking up. You could include a small amount of the horizon line, and make the remainder of the photo about the sky. This will give you a landscape photo with a very minimalist feel.
Framing – The use of a frame around the landscape portion of your photo could give you a minimalist photo. The landscape itself need not be minimalist in this case, so long as the surrounding frame provides enough negative space to tick the minimalist box.
Lensball – A lensball, in effect, frames a landscape inside a spherical object. That allows you to take a minimalist landscape, and keep the area surrounding the ball simple. This will give your photo a minimalist edge as well.

A lensball can be used to capture a scene that’s not normally minimalist, and capture it in a minimal way.

A good main subject

Every photo type is strengthened by having a main subject. In some cases, the inclusion of that main subject can be more of a challenge. Portrait photos, for instance, always have the main subject – the person you’re photographing. Landscape photos may not always have an obvious focal point – in some cases, it’s not needed – but for most photos, it will give you a stronger image.

In a minimalist landscape, that main subject will leap out of the photo strengthened by the minimalism across the rest of the frame. So what type of object could you use for this main subject?

A lone tree – The classic, a lone tree. There’s a good reason for this, of course. It’s a clear focal point in an image, looks beautiful, and works well for a number of composition types. It’s also relatively easy to isolate a lone tree.
A single person – A lone person silhouetted against the horizon. Someone riding their bike up the ridge of a hill. Whether you decide to stage this or it was more spontaneous, the photo will have more narrative.
A building – A red-walled building against green hills is a good combination for a photo. In a coastal setting, a lighthouse can make for a great subject.

The single yurt acts as the main subject in this photo.

Use other techniques

Minimalist landscapes naturally dovetail with several other well-known photography techniques. You can apply one or more of these to your photo, for a better image. Take a look at some of these techniques, and look at why they’ll improve your photo:

Silhouettes – In order to photograph a silhouette, you’ll be photographing towards the light, and quite likely towards a sunset sky. This means landscape features in your photo will likely also be black with a colored sky. This will give you a good chance of creating a minimalist image.
Long exposure – Blurred clouds moving across the sky, or flattening the sea are both potential results of long exposure photography. Use a tripod and expose for more than 5 seconds to flatten the sea, and usually longer than 30 seconds to see cloud movement.
Refraction – The use of a lensball for refraction photography is a good way of creating minimalism even in a busy setting. Place the more complicated scene within the lensball, and surround the ball with a blurred bokeh background for minimalism.
Harmony – This means keeping the same set of colors within the same photo. So try cold colors or warm colors. Even better for minimalism is keeping the same color, but in different shades. There is lots of potential for this in landscape photography, especially when the photo is taken from a bird’s eye point of view.
Contrast – One of the reasons black and white photography works so well is its intrinsic minimalism – especially those black and white photos with the highest contrast. Look to experiment with two main colors, and not more when creating a minimalist landscape.

In this photo, there are a number of elements in the frame. The minimalism is provided by the single tone of the image. The main subject is silhouetted against the background.

Conclusion

Landscapes and minimalist photography are two of the most popular photography genres there are, so it makes sense to combine them.

Have you experimented with this type of image? Did you use any of the approaches mentioned in this article? Having read this article, would it make you approach your landscape photography in a slightly different way? What approaches do you use for landscape photography?

As always, we’d love you to share your opinions and photos with the community. Please share in the comments section of this article.

The post How to Photograph a Minimalist Landscape appeared first on Digital Photography School. It was authored by Simon Bond.

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Which Landscape Photography Camera Should You Buy? [video]

28 Apr

The post Which Landscape Photography Camera Should You Buy? appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video by Mark Denney, he looks at 8 questions you should ask yourself before choosing your new camera for Landscape Photography.

8 questions to ask yourself:

1. What are you solving? What’s broken that you are trying to fix?

The main problem he was having was that he was trying to use his main photography camera, the Sony A7RII for video too, which was fine but it was an inconvenience for him.

So he wanted two separate cameras – one for stills, and one for video.

2. What’s Your Budget?

Set your budget in the beginning (before you start shopping), so you know what to look for.

3. Do you want to go mirrorless or DSLR?

There are pros and cons to both. While DSLRs have great image quality, and good battery life, they are heavier.

Many mirrorless cameras also have excellent image quality but not always great battery life (editor-though this is always being improved upon). They are lighter in weight, but you may have to carry extra batteries.

4. What sensor size do you want?

Think about the sensor size you want. Do you want to go for full-frame, crop sensor or Micro four thirds? Full frame is the most expensive sensor size to go for. Think about the type of photography you will be doing. If you are going to be doing a lot of Astro photography, for example, you may want to go for full-frame as it will allow you to capture the most light.

5. Image Quality

What camera has the best image quality in the brand that you are interested in?

Pixel size – Think about megapixels. Many cameras now have large megapixels. Are you printing your images in large format or just sharing them on the web and social media?

Dynamic Range – the tonality of an image. The difference between the brightest brights and the darkest darks.
The human eye can detect 20-stops of dynamic range. Dynamic range is measured in stops. Mark says the best cameras on the market at the moment in terms of dynamic range are the Nikon D850 and the Sony A7RIII with around 15-stops of dynamic range. Average DSLRs are around 12-stops of dynamic range. The more dynamic range, the better results you get when bringing out shadows in editing.

ISO – Again, it depends on what you are shooting. If you are shooting night skies, you may want to choose a camera that works better at high ISOs with less noise. If you are shooting landscapes during daylight hours or blue hour, most cameras will work fine in these conditions.

6. Overall Lens Ecosystem

You aren’t just investing in the camera, but also the brands’ lens ecosystem. While there are adapters, you may want to still look at the lenses.

7. Video specs

If you are planning to shoot video too, then look at the video specs. For example, do you want 4K, or are you happy with just HD?

8. User interface/User experience

Do some research about the user interface. Is the camera intuitive and easy to use and navigate? Are the ergonomics good? Does it feel good in your hand?
If you are unsure about any of these things, renting a camera is a good way to try it out before buying.

Mark decided that the Fuji X-T3 was the perfect camera for his needs. What will yours be?

You may also find the following helpful

Which Crop Sensor Sony a6000 Series Camera Should You Buy?
Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You?
Camera Comparison – The Fujifilm X-H1 Versus the Sony a7R III
The New Panasonic Lumix S1 and S1R – Could these Full-frame Mirrorless Cameras be Cameras of the Year?

The post Which Landscape Photography Camera Should You Buy? appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Basics of Landscape Photography

28 Mar

The post Basics of Landscape Photography appeared first on Photodoto.

Photodoto

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Widen your window: a message to landscape photographers

17 Mar

If there’s one thing landscape photographers obsess over more than gear, it’s light. And often, we fall into the trap of treating light as a zero-sum game – either a sunset is amazing or it’s a complete fizzer. This all-or-nothing mindset is detrimental to our growth as photographers and the work we can produce.

Instead, when we approach our time in the field with a richer appreciation for the subtle, ever-changing interplay between light and landscape, we foster greater opportunities for creative expression.

Expectations create limitations

Early in my landscape photography journey, I would fixate on burning sunrises and sunsets. Almost obsessively, I would track the clouds each day, searching for the signs of a promising explosion of color. While every month or two the heavens would align, more often than not, the sky either fizzled out or failed to produce the color I had hoped for.

By tying our time in the field to ‘great light’, we limit our opportunities

Chasing idealized visions of light, I’d either a) go out anticipating perfect conditions, only to be disheartened when it didn’t materialize, or b) I wouldn’t go out at all if there weren’t signs of a banger on the way. I’m not sure which was worse. Both mindsets have been harmful to my development as a photographer. In hindsight, internalizing the concept of ‘perfect light’ falling across each scene was an unrealistic expectation—one that set me up for disappointment and hampered the images I took.

By tying our time in the field to ‘great light’, we limit our opportunities. Opportunities to grow in versatility. Opportunities to better experience landscapes and compose scenes. Opportunities to expand, refine and execute on our photographic vision.

Go out earlier, stay out later

If you’re the kind of person who, like I was, predominantly shoots 20 minutes either side of sunset (or sunrise), then consider widening your capture window. That is, arrive on location an hour earlier, and continue taking images well into twilight.

This enables you to gain a more rounded understanding of the key elements of the scenes unfolding before you. Exploring locations without looming time pressures offers you the freedom to discover compelling compositions. Compositions that may not present themselves to others who simply arrive at the car park 10 minutes before sunset.

Time is a limited resource, particularly so for some more than others

(Note: This emphasis on time is understandably more difficult for people traveling or working another full-time job—people like me. Time is a limited resource, particularly so for some more than others. If that’s you, then reflect on your priorities. Do you want to capture a collection of good images from multiple locations? Or is your preference for a handful of great images—images that you’d be proud to add to your portfolio?)

Additionally, expanding your capture window forces you to experience the landscape under ever-changing lighting conditions. Over a one hour period on sunset, a scene can change from golden side light, to indirect light from colorful clouds overhead, to soft, yet moody, blue light before dusk arrives. Sometimes a burning sky can be too overwhelming, commanding all the attention in an image, while softer light during twilight may better emphasize the mid-ground and foreground elements.

Challenge yourself

By allowing yourself more time, you can still reserve a window for your ideal composition later in the shoot. Having that composition safely scheduled away opens up new opportunities to create images you not only previously overlooked, but may have entirely not thought possible.

Furthermore, this mindset needn’t – and shouldn’t – apply to sunrise/sunset scenes. Challenge yourself to head out during non-ideal conditions. When time allows, explore landscapes in the middle of the day, after (or for those more adventurous, during) rain or even under moonlight.

Without a colorful sky acting as a crutch to make the scene interesting, how else might you compose it make it compelling? For seascapes, try shooting handheld and getting even closer to the action. For forest scenes, consider shooting with a telephoto lens to really focus in on the subject and remove all distractions. While it’s approaching cliche, experiment by adding a human element to your image for an enhanced sense of scale and place. And when all else fails, shoot abstract – capture intimate details that hone in on key elements of the landscape.

Final thoughts

This article shouldn’t be treated as a prescriptive guide – nor would I want it to be. Each of us has our unique way of seeing and capturing the world around us. That’s one of the reasons so many landscape photographers are passionate about their craft. It’s a medium for personal expression.

Rather, I’m sharing this article to encourage you to expand the scope of your photography and of your potential as an artist. To broaden your view of the images you can (and hopefully will want) to create. To open up new possibilities for your creative vision.

Mitch Green is a Melbourne based Travel and Landscape photographer. He can be found via his website, through Instagram, or down by the beach at 5am waiting for sunrise.

Articles: Digital Photography Review (dpreview.com)

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