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7 Landscape Photography Mistakes That Could be Ruining Your Photos

06 May

If your photos aren’t turning out the way you expect them to, new gear is not necessarily the answer. In fact, chances are you are making one of these seven common mistakes. Don’t be discouraged though; just as a musician needs time to refine their skills, so does a photographer. Once you recognize where the problem lies, it’s easy to make adjustments and achieve better results the next time out.

1) Shooting at the Wrong Time of Day

Harsh afternoon sunlight can wreak havoc on a landscape photo. With bright highlights and dark shadows, the contrast makes for especially difficult exposures. For truly dramatic scenic opportunities, dedicate the hours around sunrise and sunset to photography. You’ll be amazed at how few people are there to clutter your composition. With the soft light and colorful skies, your photos will take on a new level of natural beauty.

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2) Your Images Lack a Clear Subject

When you experience something grand, it’s tempting to try and include it all into one frame. The expansive landscape is undeniably beautiful but it’s lacking in any one point of importance. Before pressing the shutter, ask yourself “What is my subject?” If you’re able to provide an answer, you can learn to see like a camera. The human eye interprets a scene differently, heavily influenced by our peripheral vision and ability to scan from left to right. The camera however sees in a much simpler way, only able to record a small portion onto the sensor. By determining what the subject is, you can take the necessary steps to make an effective photo.

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3) No Foreground

The gentle hues of dawn are worth getting out of bed for, but color alone won’t hold the viewer’s interest. To make a dramatic impact on your scenic and travel images, find a strong foreground element. This can be a field of flowers, a boulder, tree, or even a man-made object. The idea is to add visual interest all the way through the frame. As you explore various options, try several perspectives including ground level. By having this location worked out in advance, you’ll be ready to capture the fleeting light.

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4) Lazy Composition

At nearly every scenic vista or photographic landmark, you’ll notice a definitive dirt spot where grass once grew. This well-worn spot is the final destination for scores of tourists who shoot the same photo year after year. Rather than following the crowd, take a quick loop around the area and search for unique perspectives. To more effectively communicate your vision, check all four corners of your viewfinder, and either zoom or physically move to make a stronger image. Do you need the fence in the bottom corner, or the tree that seems to enter the frame from nowhere? This type of attention to detail will help strengthen the composition in-the-camera which saves you time at home trying to clone out unwanted objects.

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5) It’s Been Done Before

Automatic modes were designed to provide average results under a variety of conditions. While this can be effective on occasion, it’s fundamentally opposite of what you’re trying to achieve with your art. Do you really want your images to be just average? In order to go beyond the safe shot, creative photographers will push the boundaries to explore their own vision. Rather than trying to recreate what’s already been done, find your own twist on it. This may not always be in line with current trends, but who’s to say you’re attempts won’t cause their own stir.

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6) There’s Too Much Contrast

One of the most common issues with scenic photos is the huge contrast difference between the foreground and the sky. The solution is not a new camera or complicated software. Actually, a simple tool known as the graduated neutral density filter is all you need. These commonly come in strengths of two (0.6), three (0.9), and four (1.2) stops. While HDR is another effective method, these filters allow you to achieve your vision in the camera at the time of exposure.

Start by manually spot metering the foreground. The goal is to expose in such a way that the foreground is not black, leaving some detail in the shadow areas. This could be at “-1″ on your meter, or “0”, or even “+1″. Of course if you are not sure which foreground looks best, bracket. Take a quick test shot and notice how the foreground looks well exposed but the sky is overexposed. The next step is where the magic happens.

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Get out your graduated neutral density filter and position the dark portion over the top part of the lens. This will darken the bright sky while leaving your foreground properly exposed. You can fine tune the effect by adjusting the filter placement up or down in the mount.

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7) Fear of High ISOs

You may be surprised to learn that a high ISO can be helpful for landscape photography. This is particularly true when shooting without a tripod or including a person in the frame. In these instances, the shutter speed can be no slower than about 1/125 to prevent camera shake and/or subject motion. Then, to achieve great depth of field and keep everything sharp from near to far, your desired aperture would be f/11 or f/16. With these two decisions made, you may take your photo only to find that it’s too dark. This is where the ISO comes into play. Simply double the ISO number and watch as the photo gets brighter.

Many photographers are overly sensitive about high ISO noise and refrain from using anything over 800. Instead they’ll slow down the shutter speed, rely on image stabilizers, or open the aperture wider. The results may look acceptable on the small LCD only to appear soft when viewed or printed larger. Like most aspects of photography, there is always a tradeoff to consider. Would you rather have a blurry, but noise-free photo, or a sharp image with a bit of noise? Considering that most image editing programs now offer terrific noise reduction options, the ISO noise isn’t as harmful as it once was.

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The post 7 Landscape Photography Mistakes That Could be Ruining Your Photos by Chris Corradino appeared first on Digital Photography School.


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OPINION: Why Photoshop is Ruining Landscape Photography

06 Mar

This opinion piece was contributed by Declan O’Neill from www.newzealandscape.com.

The winner of one of Britain’s most prestigious photographic competitions was stripped of his title recently because of excessive use of Photoshop. David Byrne was the winner of the Landscape Photographer of The Year award and a £10,000 ($ 16000) prize but has now had his title and prize money taken away in a surprise move by the organisers of the competition which is supported by Epson, The Sunday Times Magazine and The National Theatre.

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The dramatic reversal came about after other photographers pointed out that the image had been photoshoped to include clouds not in the original image. Other photographers pointed to the impossibility of the sun casting shadows in different directions.

Mr. Byrne defended his manipulation of the image by pointing out that altering images is hardly new. He was quoted by The Daily Mail as saying, ‘The purists out there were not happy. Messing about with pictures has been done for over 100 years. I treat my photography as art and I try to make the best looking picture.’

Those three sentences neatly define the battle lines which have been drawn over the digital manipulation of photographs.

First of all he seems to suggest that anyone who objects to manipulating images is a ‘purist’. It seems clear that ‘purist’ is not a compliment in this context. What this veiled insult fails to acknowledge is that many photographers do not object to using Photoshop to enhance photographs but they do object to its use in altering photographs.

The problem comes in defining when enhancement crosses a boundary into alteration. Removing power lines from a landscape is one thing. Changing the colour of the sky from grey to orange quite another. It isn’t as if there is any shortage of sunsets around to photograph and the joy of landscape photography is capturing the elusive, not manufacturing it with software. It’s no crime to create a sunset sky, it’s just rather sad that someone would need to do it when there is so much natural colour to photograph. How many times have you looked at a super saturated landscape photograph and known instinctively that it’s false? Yet we see these photographs constantly win awards in club and national competitions. Anyone who has studied the way sunlight paints the landscape from different angles knows how to capture the best colour without needing Photoshop. That’s what being out in the field teaches you. You learn how to use the light to maximum effect.

The second defence that Mr. Byrne advances is that photographers have been ‘messing about’ with photographs for a long time. His choice of words is both unfortunate and revealing. Photographers should respect their subject matter. You do not have to go very far to capture truly beautiful natural photographs and the idea that it’s ok to mess about with the captured image is a depressing comment on the craft of photography. This attitude tells us that the photographer has no qualms about creating a vision of what they wish they had captured, but failed.

Finally Mr. Byrne tells us that he treats his photography as ‘art’ and tries to make ‘the best looking picture’. Here is the real problem with the software tools that allow us to create our own photographs. Photography has always been a craft. Ansel Adams had no need to add clouds or alter tree shapes because his images were honest and beautiful. There is nothing wrong with painting new images with Photoshop, just don’t call it photography. It is something entirely different when a photographer wants to be an artist. An artist creates images from their imagination and that is a wonderful thing. Just leave photography to record what the camera sees not what the photographer wishes it had seen.

What is extraordinary is that Mr. Byrne should have won such a prestigious title as Landscape Photographer of the Year. Luckily, his alterations were brought to the attention of the judges who had been unable to detect them for themselves. But for the ‘purists’ his accolade would have reinforced the idea that we can alter images in the name of ‘art’ and still claim they are photographs. If something good can come out of this sorry debacle it is the lesson that landscape does not need our interference. The true joy of landscape photography lies in capturing its pristine beauty. Painting it in the crude lipstick of Photoshop is both unnecessary and an admission that we cannot leave it to speak for itself through our lenses.

Declan O’Neill is a photographer who lives in Nelson New Zealand. He specialises in landscape photography and runs photographic tours of the South Island. His website can be found at www.newzealandscape.com.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

OPINION: Why Photoshop is Ruining Landscape Photography


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