THE GRAND LANDSCAPE

IAN PLANT
 THE GRAND LANDSCAPE IAN PLANT

Campo Piedra Pómez, Argentina. Canon 5DIII, Canon 11-24mm f/4L lens, ISO 100, f/11, 0.5 seconds.

All rights reserved. This book, and all of the photographs and written text contained therein, are protected by U.S. and international copyright laws. No
part of this book may be reproduced or transmitted in any form without the prior written permission of the author.
C [1.0] Introduction 4

O [2.0] Important Gear for Landscape Photography 8

N [3.0] Get Focused 29

T [4.0] Determining Proper Exposure 43

E [5.0] Composition 64

N [6.0] Light 84

T [7.0] Landscape Recipes 111

S [8.0] About the Author 144

[1.0] Introduction
W
hat does it take to create a great landscape
photo? This question has vexed me for some
time. As of this writing, I’ve been a profes-
sional photographer for ten years, and I was a serious
enthusiast for ten years before that. I spent those twenty
years trying to master the answer.

Of course, there is no secret formula, silver bullet, or

paint-by-numbers approach that will make your images
rise above the rest. There are, however, some common
ingredients to successful landscape photos. This book is
focused primarily on photographic and artistic techniques
for shooting sweeping, grand landscape scenes. Over the
next few pages, I briefly discuss some of the most impor-
tant elements of successful landscape photographs. This
entire book will then explore these and other important
aspects of landscape photography in greater depth. I’ll
discuss how you can use gear, technique, light, composi-
tion, and artistic creativity to elevate your landscape
photos above the rest.

DEL NORTE COAST REDWOODS STATE PARK, USA: Stunning light

and powerful compositions are necessary ingredients of a
successful landscape photograph. Canon 5DIII, Canon 16-
35mm f/4L lens, polarizer filter, ISO 100, f/11, 1/25 second.
[1.1] 5 Key Elements of a Successful Landscape Photo
1 Compelling sky. The best landscape photos aren’t
usually taken on a blue sky day. Instead, make an
effort to capture dramatic clouds.

2 Favorable color and light. Don’t expect a lot of

sleep. Twilight, sunrise, and sunset are typically your
best times for capturing stunning color and light.

3 Dramatic background scenery. Although not every

landscape photo needs stand-up gorgeous scenery, it
sure helps to work with stunning natural landscapes.

4 Sharp near/far focus. From the days of Ansel

Adams, landscape photography has been dominated
by sharp focus throughout the entire image frame.

5 Leading foreground. A good landscape photo

typically has a prominent foreground feature that
leads the viewer’s eye deeper into the scene.

This book will teach you how to succeed at each of these five elements,
which are the key components of a great landscape photo. Note that
not every landscape photo needs all five of these elements to succeed,
and not every landscape scene fits neatly into this paradigm. Don’t
worry, I’ll deal with these other types of landscape scenes as well!
TORRES DEL PAINE NATIONAL PARK, CHILE: I chose
a foreground that complemented the shape of
the clouds. Canon 5DII, Canon 24-105mm f/4L
lens, polarizer filter, 2-stop graduated neutral
density filter, ISO 100, f/11, 1/25 second.
[1.2] A Quick Note on Digital Processing
T
his book emphasizes photo-
graphic field techniques for
making great landscape
images. These days, there are many
“photographers” who resort to
extreme Photoshop manipulation to
create stunning landscape images. I
am not one of them! Call me quaint,
but I believe the true magic of the
landscape is found out there, and
not something that should be fabri-
cated while sitting at home in front
of the computer.
That said, the “digital darkroom” is
nonetheless an important part of
photography today, especially if you
are shooting raw files (which, by the
way, you should be shooting
raw—but more on that later). A raw
file is not intended to represent
“reality,” and you will find that raw
files are somewhat lacking in the
contrast and color vibrancy found in
the real world. Accordingly, some
digital darkroom work is necessary
to optimize your landscape photos.
I will discuss a few digital tech-
niques useful to landscape photog-
raphers, but digital darkroom
mastery is beyond the scope of this
book. There are many excellent
video courses available that can
help you better understand digital
processing techniques.
GLEN CANYON NATIONAL RECREATION
AREA, USA: Digital darkroom tech-
niques were used only to subtly
optimize the true beauty of this
colorful sandstone slot canyon.
Canon 5DIII, Nikon 14-24mm f/2.8G
lens with Canon adapter, ISO 100,
f/11, 2.5 seconds.
[1.3] Sample Landscape Workflow
Composition: Scout the
area, looking for interesting
landscape features and
stunning scenery, and make
your initial scene selection.
You want something visually
compelling. After setting up
your camera on your tripod,
fine-tune your composition.
Get focused: Selecting the
optimum focus point and
aperture is the most difficult
technical challenge you will
have, and it is absolutely
essential that you get this
right if you want to create
sharply focused near-far
landscape compositions.
Optimize exposure:
Exposure is remarkably easy
with digital cameras. The
main challenge you will face
is when the contrast range of
your scene exceeds the
camera’s ability to simulta-
neously record shadow and
highlight data.
Wait for the light: Once
your composition is set, and
all relevant technical vari-
ables have been set to your
satisfaction, wait for the light
and color to reach its peak.
When the moment is right,
trigger the shutter and make
the image!
[2.0] Important Gear for Landscape Photography

A
lways remember that your they can possibly be. Bad gear can
camera doesn’t take pic- limit the quality of your photos and
tures: you do. So ulti- reduce your creative opportunities,
mately, your personal creative vision and in some cases can actually ruin
matters more than your equipment. an otherwise great image!
I’ve seen plenty of people with
Over the next few pages, I will share
fancy, expensive gear take awful
my thoughts about gear. Please
photos, and plenty of people pro-
note that what follows are just my
duce beautiful art even with budget
opinions; although they happen to
equipment. So don’t be too con-
be well-informed opinions, they are
cerned about the camera or lenses
still nothing more than personal
you own; focus your energies
preferences. I hope you find my
instead on using whatever you have
thoughts useful, but don’t take
to the best of your abilities.
them as gospel.
Nevertheless, if you have the
means, buy the best equipment you OLYMPIC NATIONAL PARK, USA: Gear
can afford. Higher quality gear won’t make you a better photogra-
pher, but good gear can expand your
won’t make you a better photogra-
creative opportunities. Canon 5DIII,
pher, but it will maximize your
Canon 16-35mm f/2.8L lens, polarizer
artistic flexibility, and allow you to filter, ISO 400, f/16, 1 second.
make your best photos as good as
[2.1] Camera Choice

T
hink carefully before considering a film camera for
landscape photography. Not that you can’t use
one, but you’ll find your job much easier if you
shoot digital. And more to the point, think extra carefully
about using an “old school” large format camera (you
know, the cameras that require you to throw a blanket
over your head in order to compose the image). I used
one of these for almost ten years before switching to
digital, and although large format film cameras were the
landscape camera of choice “back in the day,” today
there’s little advantage to be gained by using these bulky,
heavy, cumbersome, and slow camera systems.

Modern digital cameras offer several distinct advantages

for the landscape photographer, including instant
feedback, high image quality, expanded dynamic range,
variable ISO, and unparalleled versatility. There are four
basic digital camera platforms from which to choose,
discussed in detail on the following pages.

PUNA DE ATACAMA, ARGENTINA: Digital cameras offer high

quality and flexibility of use, making them preferred among
landscape photographers. Canon 5DIII, Canon 11-24mm f/4L
lens, ISO 100, f/13, 1/25 second.
[2.2] Full Frame DSLR:
The Landscape King?

F
ull frame DSLR (”digital
single lens reflex”) cameras
have a sensor that is the
same size as traditional 35mm
film (36mm x 24mm). Full frame
cameras are typically more
expensive than digital cameras
with smaller sensors, but offer higher resolution, better
noise control, and superior dynamic range performance,
making them perfect for capturing fine detail in landscape
images. Full frame camera systems also have a wider
variety of lenses available for use than any other system.
Full frame digital cameras represent an almost ideal
compromise between image quality, flexibility of use, and
weight, making them the preferred option for most
landscape photographers. As of this writing, examples of
top-of-the-line full frame DSLR cameras include the
Canon 5DsR (featured above) and the Nikon D810.

LOS GLACIARES NATIONAL PARK, ARGENTINA: A full frame DSLR

was ideal for capturing the detail of this forest scene. Canon
5DIII, Tamron 24-70mm f/2.8 lens, ISO 400, f/9, 1/100 second.
[2.3] Other Camera Formats for Landscape Photography
Crop sensor cameras: These cameras
have sensors that are smaller sensors
than the traditional 35mm full frame
cameras, and therefore are cheaper and
lighter than their full frame cousins.
When lenses are used on a crop sensor
camera, their angle of view is altered
and the apparent focal length changes.
The most common crop factors are 1.5x
or 1.6x (these sensors are known as
APS-C size). For example, a camera with
a 1.5x crop factor and a 24mm lens has
the same angle of view as a 36mm lens
on a full frame body (24 x 1.5 = 36).
Although crop sensor cameras are
typically adequate for landscape work,
they won’t deliver quite the same quality
as full frame cameras. Below: The Nikon
D7200, a 24-megapixel crop sensor
digital camera.
Medium format cameras: These large
DSLRs are based on the old 6x4.5cm film
format. Medium format digital cameras
offer higher quality than full frame
cameras, but are much more expensive
(a complete system can cost more than
$50,000 for just the camera and a few
lenses) and much less versatile, making
them less ideal for field work. Lens
options and variety are limited for
medium format systems, most notably
on the wide angle end of the spectrum.
The quality differences between medium
format and full frame cameras have
gotten a lot smaller in recent years:
you’ll get a lot more bang for your buck
with a full frame camera. Below: This
Mamiya medium format digital camera
with a fixed focal length 80mm f/2.8 lens
costs over $30,000!
Mirrorless cameras: These cameras
don’t have a mirror (which is an integral
part of the design of the traditional
DSLR camera), making them smaller and
lighter than most DSLRs. As a result,
mirrorless cameras don’t have traditional
viewfinders—instead, these cameras
have electronic viewfinders or work
exclusively through a feature called live
view—which can make composing and
focusing difficult in low light. My
inclination, as of this writing, is to advise
against using a mirroless camera for
serious landscape work, although some
landscape pros are successfully using
high-end mirrorless camera systems,
and mirrorless camera features are
quickly improving. Below: The Sony
Alpha a7R, a popular high quality
mirrorless digital camera.
[2.4] Important Camera Features for Landscape Photography
Features that are important for landscape
photography:
High resolution: You’ll want a camera that
produces enough resolution for making large
reproductions. Sixteen megapixels is sufficient,
although twenty or more is better.
Live view: This feature allows the photogra-
pher to preview composition, focus, and expo-
sure on the camera’s LCD screen.
Raw files: If you want total control over how
your images look, you’ll need a camera that
allows you to shoot raw files.
Dynamic range: The more dynamic range
your camera sensor has, the easier it is for you
to capture detail in highlight and shadow
areas at the same time.
Each of these is discussed in more detail over
the next few pages.
Features that aren’t important for land-
scape photography:
High ISO performance: This is typically not
important to landscape photographers, unless
you plan on shooting at night. Even for night
work, anything higher than 3200 probably
isn’t necessary. For most landscape work,
you’ll be shooting at your camera’s base ISO.
High frames-per-second rate: Most
landscape work doesn’t involve a lot of fast
action. Four or five frames-per-second is more
than enough for landscape photography.
Autofocus: Unless you don’t trust your
eyesight, you won’t need a camera with
advanced autofocus capabilities. Most
focusing for landscape images is done
manually, and if you do use autofocus, you
won’t need advanced predictive or tracking
autofocus modes.
[2.5] Live View
T
hese days, most digital cameras finder), and directly projecting the
come standard with live view, a image formed by the lens onto the
feature which turns the cam- digital sensor, which in turn feeds the
era's LCD display screen into an elec- LCD screen with a live preview image.
tronic viewfinder, allowing the photog- It is worth noting that not all DSLR live
rapher to comfortably preview compo- view systems are created equal; some
sition, focus, and exposure in real time. are more fully featured than others.
Live view has become a vital part of
Live view allows you to assess compo-
my image capture process, and I use it
sition at a larger scale than you can see
for almost every landscape photo-
using your DSLR viewfinder.
graph I make to optimize focus, com-
Furthermore, live view gives you a
position, depth-of-field, and exposure.
100% view of your composition, some-
Live view is much more than a bell-
thing that most DSLR viewfinders
and-whistle gimmick: it is a serious
cannot do. You’ll also find live view
professional tool that can help you
indispensable when dealing with odd-
significantly improve your landscape
angle or low-level shots that make it
photography, and should become a
difficult or impossible to get your eye
standard part of your field workflow.
to the viewfinder.
In most DSLR camera systems, live
(Top): A photographer using live view as
view is generated by flipping up the
part of his field workflow. (Bottom): Live
camera's mirror (which normally pro-
view in action.
jects light into the camera's view-
[2.6] The Raw Advantage

D
igital cameras basically have two image capture
options: JPEG and raw. Although JPEG is fine for
casual photography, you’ll want to shoot raw for
serious landscape photography.

JPEGs are image files created in-camera from the raw

image data provided by the sensor. The JPEG file is a
ready-to-use product, compressed to a manageable size
and completed by the camera with preset saturation and
contrast adjustments applied. If you want more control
over how the final image looks, however, you’ll want to this data as a final image, you have tremendous leeway to
shoot raw format, which preserves all of the raw data adjust color balance, saturation, contrast, and exposure,
captured by the sensor, without any manipulation from the among other things. Basically, you can do a lot with raw
camera or any presets applied. Each camera manufacturer that you can’t do with JPEG, giving you much more control
has a proprietary name for their raw files (for example, over how the final image looks.
Nikon’s “NEF” and Canon’s “CR2”). Always use your
camera’s highest quality raw setting. FJAÐRÁRGLJÚFUR CANYON, ICELAND: I always shoot raw format,
using Adobe Camera Raw to convert my raw files, exporting
Although raw conversion software (such as Adobe them into Photoshop for further editing. Canon 5DIII, Canon
Lightroom, Adobe Camera Raw, your camera manufac- 16-35mm f/2.8L II lens, polarizer filter, ISO 100, f/11, 0.5 seconds.
turer’s propriety raw conversion software, or another third
party option) is needed to interpret, process, and output
 Shadow

[2.7] Dynamic Range

T
he ability of a digital camera sensor to simulta-
neously capture a wide range of brightness values
is known as its “dynamic range.” Cameras with a
large dynamic range are better able to capture shadow
and highlight detail at the same time. Most digital cam-
eras today have a fairly broad dynamic range, but some
are better than others. Don’t worry too much about
dynamic range; although a camera with more range will
make your life easier, I’ll discuss a number of ways to use
equipment and exposure blending techniques to effec-
tively expand your sensor’s range.

LOWER ZAMBEZI NATIONAL PARK, ZAMBIA: The contrast between

light and dark at sunset falls outside of the dynamic range of
most cameras. Canon 7DII, Canon 11-24mm f/4L lens, ISO 125,
f/4, 1/500 second.

Highlight

Web resource: DxOMark has a helpful compilation of

dynamic range ratings for a number of popular digital
cameras (http://www.dxomark.com/Cameras/Ratings).
[2.8] Choosing Lenses

L
ens choice is more critical than camera choice, so if
you have to choose between upgrading to the
latest camera offering or upgrading your lenses, go
with the lenses (cameras change all the time, but your
lenses will stay with you for years to come). In the past,
prime lenses (lenses with a fixed focal length) were usually
better than zooms in terms of image resolution, but this is
no longer the case. The quality difference between zooms
and primes is less than it once was, and in fact, many
modern zooms are equal to or better than their prime
counterparts. High quality zooms offer the obvious
advantage of versatility and more precise framing of
subjects, and although I use prime lenses from time to
time when shooting landscapes, I shoot almost exclusively
with zoom lenses, as do most landscape pros I know. I’ve
listed some specific focal length recommendations on the
next page.

LOS GLACIARES NATIONAL PARK, ARGENTINA: High-quality zoom

lenses allow me to precisely frame my subjects, ensuring that I
always get the composition I want. For this photo of Patagonia’s
famous Mount Fitz Roy at first light, a zoom allowed me to
perfectly frame the scene, including only what I felt contributed
to the composition. Canon 5DIII, Canon 24-70mm f/2.8L II lens,
2-stop graduated neutral density filter, ISO 50, f/11, 1.3 seconds.
[2.9] Recommended Lenses for Landscapes
Wide-angle zoom: These
lenses are useful for the bold
“near-far” style of landscape
composition. Your wide-
angle zoom will likely be
your most used lens for
landscapes. Examples: 16-
35mm (full frame), 10-18mm
(APS-C).
Standard zoom: Another
popular choice, especially for
scenes that don’t require a
lot of foreground. Standard
zooms are useful for the
traditional “classic” land-
scape composition.
Examples: 24-70mm (full
frame), 18-55mm (APS-C).
Ultra-wide zoom: These
lenses are a lot of fun but
have limited application, and
because of their design, filter
use is often difficult. Useful
for cramped slot canyons or
scenes with big clouds.
Examples: 11-24mm (full
frame), 8-16mm (APS-C).
Short telephoto zoom:
These zooms are great for
intimate shots, when you
want to isolate a discreet
portion of the overall land-
scape scene or zoom in on
distant features. Examples:
70-200mm (full frame), 55-
200mm (APS-C).
[2.10] Tripod, Ball Head, and L-Bracket
Y ou absolutely need a sturdy yet
lightweight tripod to ensure maximum
image sharpness and to keep your
camera steady during long exposures. Carbon
fiber tripods are more expensive but weigh less
than metal tripods, while offering comparable
rigidity and stability. You don’t need a tripod
that is unduly large, heavy, and burdensome,
but it should be tall enough to go almost to
eye level when the legs are fully extended
(without having to resort to extending your
center column). You may also want a smaller,
lighter tripod for long hikes or extended
backcountry trekking.
You’ll also need to get a good tripod head. I
use a lightweight yet sturdy ball head with
what is known as an Arca-Swiss style quick
release. The Arca-Swiss system is based on a
two piece mechanism: a plate that attaches to
a camera or lens, and a mounting clamp built
into the tripod head, where the plate gets
attached and secured. This simple and reliable
system allows you to quickly mount and
release the camera from your tripod. The Arca-
Swiss standard is widely used by a number of
tripod head manufacturers, but not by all.
Another useful accessory is an L-bracket, which
cradles your camera with an Arca-Swiss
compatible connection on both the horizontal
and vertical axis of the bracket, allowing you to
easily flip your camera between horizontal and
vertical orientation without having to “flop”
your ball head over to the side. This results in a
more stable setup, and makes switching from
horizontal to vertical considerably easier. L-
brackets are made specific to each camera
model, so make sure to get the correct one for
your camera. Top left: my current tripod, a
Giottos Silk Road YTL 8214 carbon fiber tripod
with a Uniqball UBH 45XC leveling ballhead
with X-cross clamp. Middle left: camera with L-
bracket in horizontal
position. Bottom left: camera
with L-bracket in vertical
position. Right: Kirk
Enterprises L-Bracket.
[2.11] Electronic Shutter Release

T
riggering the shutter button of you camera by hand creates
vibrations which can reduce image quality. The best way to
prevent this and to ensure maximum image sharpness is to use
a remote electronic shutter release, which is a wire connected to the
camera that triggers the shutter through an electronic impulse.

A remote works best in conjunction with the mirror lock-up feature on

your camera. When the mirror flips up, it can cause vibration. Mirror
lock-up raises the mirror when you trigger the shutter once; just wait
a few seconds for any vibrations to die down, and then trigger the
shutter a second time to take the photo. If you are shooting through
live view, you don't need to use mirror lock-up, as the camera already
raised the mirror prior to engaging live view. If you don’t have a
remote (or your remote breaks), you can use your camera’s 2-second
timer to trigger the shutter by hand—the two second delay will be
sufficient for any vibrations to die down—but this won’t do you much
good if you are working with dynamic scenes where timing is critical
(for example, when photographing waves along the coast, you’ll want
to trigger the shutter at the precise moment when the wave is best).
You’ll notice from the picture to the right that I tie my remote switch
up in knots and hang it from my ballhead; that way it doesn’t get wet
when I am working in deep water photographing waterfalls or the
coast, or blow around and become a nuisance in the wind.
[2.12] Filters and
Filter Holder

F
or effective landscape photography, you’re going
to need some filters. You should start by purchas-
ing a quality filter holder system. Screw-on filters
just won’t do the job properly, as they don’t give you
much flexibility in terms of filter position or stacking
multiple filters. Although I’m loathe to recommend spe-
cific equipment, I will when it comes to filter holders, as
there are a lot of cheap and practically useless filter
systems out there. One holder, however (in my opinion),
stands clearly above the rest: the LEE Filters system. You’ll
need to get a Foundation Kit (which is the holder itself)
and adapter rings to fit your various lenses. The adapter
rings screw into the front element of your lens, so you
need to get rings that match the filter thread sizes for
your various lenses. Just make sure that you get a
recessed wide-angle adapter for any rings that will be
used with a wide-angle lens. The recessed adapters are
designed to prevent vignetting at wide angles, caused by
the filter holder intruding into the picture frame.
[2.13] Neutral Density Filters

N
eutral density (ND) filters reduce the amount
of light coming in through the lens, allowing
you to achieve longer shutter speeds even in
bright light. ND filters can be used when trying to
achieve a silky smooth look to flowing water even when
it is bright out, or when experimenting with other long
exposure effects.

ND filters come in a range of strengths—typically

expressed in terms of “stops” (each stop reduces the
amount of light coming into the lens by half, requiring
you to double your shutter speed for each stop to
achieve the same exposure value as without the fil-
ter)—allowing for completely customized exposure CANAIMA NATIONAL PARK, VENEZUELA: For this photo of Angel Falls at sunset,
times. Whatever you do, I highly recommend that you clouds were passing overhead towards me at a rapid rate, so I added a 10-
DON’T buy an adjustable “variable” neutral density stop ND filter to lengthen my shutter speed. During the two-minute expo-
filter, for two reasons: (1) they vignette when used with sure, the flowing water became a complete blur, and the clouds created
diagonal streaks in the sky. Canon 5DIII, Canon 16-35mm f/2.8L II lens, 10-
wide-angle lenses, and (2) the neutral density effect is
stop neutral density filter, polarizer filter, 2-stop graduated neutral density
sometimes applied unevenly (and unattractively) across
filter, ISO 100, f/8, 141 seconds.
the image frame. Instead, buy several filters of different
strengths (I carry 3-stop, 5-stop, and 10-stop ND filters).

Before using an ND filter, think critically about how motion-blur will alter the way the image looks. Moving clouds can create
attractive shapes during long exposures; this effect often looks best when working with a wide-angle lens and when clouds are
moving towards you. If your exposure time is too long, however, motion-blurred objects might lose all substance, so experiment
with different shutter speeds until you get the look that is right.
[2.14] Graduated Neutral Density Filters

G
raduated neutral density
(”grad” or “GND”) filters are
used to balance the expo-
sure for scenes where the sky is
considerably brighter than the fore-
ground, such as at sunrise or sunset.
By placing the dark section of the
GND filter over the sky and the clear
section over the foreground, the
exposure becomes more balanced, and the camera sensor
can record sufficient detail in both areas.

I have a specific filter to recommend: the Singh-Ray “Daryl

Benson” Reverse Graduated Neutral Density Filter. Reverse
grads are different from normal grads in that the heaviest
density begins in the middle of the filter and tapers off
toward the top edge of the filter, thus optimizing the
effect for scenes with bright horizons (such as sunrise or
sunset). I most often use a two-stop reverse grad, which
reduces the exposure for the darkest part of the grad by
two stops (featured above).

ZION NATIONAL PARK, USA: A grad filter allowed me to balance

the exposure between the sky and landscape for this sunrise
scene. Canon 5DII, Canon 17-40mm f/4L lens, 2-stop reverse
graduated neutral density filter, ISO 800, f/8, 1/6 second.
[2.15] Polarizer Filter

P
olarizer filters—which are designed to remove
reflections—are critical when photographing water
and wet surfaces. Most waterfall scenes benefit from
polarization, as it removes unwanted glare from surfaces such
as water, wet rocks, foliage, and other shiny objects, and
accordingly increases color saturation.

There are two types of polarizing filters available: linear and

circular (which refers to how the light is polarized, not the
shape of the filter; for example, I use a square-shaped circular
polarizer with my LEE Filters holder). The metering and
autofocus sensors in modern digital cameras will not work
properly with linear polarizers, so get a circular polarizer. Note bright glare. The polarizer gets rid of the glare, enhancing
that most polarizer filters reduce the amount of light coming contrast and color. The same goes for shooting foliage: leaves
in through the lens by two stops. actually have a waxy surface, which reflects light. By using a
polarizer, you reduce that glare, better revealing the colors of
Polarizers are most effective when the camera and lens are the leaves and increasing saturation.
facing 90 degrees from the source of light (although on a
cloudy day, the light is reflecting from the entire sky above, so Above left: A waterfall scene without a polarizer filter. Above
it almost doesn’t matter what direction you face). Basically, right: The same scene with a polarizer. Notice how darker the
polarizing filters remove reflections; so for example, when water and wet rocks look with the glare removed.
photographing waterfalls and streams on an overcast day, the
gray clouds reflect in the water and wet surfaces, creating a
[2.16] Avoid Using a Polarizer Filter to Darken Blue Skies
O
ne thing I do not use a polarizer for is darkening a
blue sky, especially when using a wide angle lens.
When working with a wide angle of view, uneven
polarization of the sky is often the result. This is clearly
demonstrated by the images below. On the left is a wide angle
(16mm) scene shot with a polarizer on a clear day. You can see
the considerably uneven polarization of the sky, especially in
the left half of the image frame. On the right is the same scene
shot without a polarizer, showing the natural gradation of
tonality in the sky (the sky will show uneven brightness, with
the sky getting brighter as you get closer to where the sun is
in the sky). If you are looking to darken the blue sky to make
colors and clouds stand out more, use the digital darkroom
instead of a polarizer. In the Adobe Lightroom develop
module, go to the HSL window (HSL stands for Hue,
Saturation, and Luminosity), select the Luminosity tab, and
then selectively darken the sky using the Blue slider. You can
do the same thing in Adobe Photoshop using Image >
Adjustments > Selective Color (or create a Selective Color
adjustment layer).
[2.17] Polarizer Filters
and Reflections

I
will also use a polarizer when I have reflections I want
to keep. If you fully polarize, you can remove the
reflections, but as you spin the polarizer around, you
can often find a "sweet spot" where the reflections
actually seem more bright and colorful. This is most
obvious when photographing rainbows (which are
essentially reflections in the sky). A polarizer will make the
rainbow seem to colorfully "pop" out from its
surroundings. What is really going on is that you are
polarizing the scene behind the rainbow (making it less
bright by reducing glare), which makes the rainbow stand
out more from its surroundings.

MOSI-OA-TUNYA NATIONAL PARK, ZAMBIA: I photographed this

spray rainbow shortly after sunrise. I used a polarizer filter to
intensify the colors of the rainbow, and a neutral density filter
to lengthen my exposure, creatively blurring the moving water.
Canon 5DIII, 16-35mm f/2.8L lens, polarizer filter, 2-stop gradu-
ated neutral density filter, 3-stop neutral density filter, ISO 50,
f/14, 5 seconds.
 [2.18] Polarizer Do’s and Don’ts
DO: Use a polarizer for DO: Consider using a polar- DO: Use a polarizer when DON’T: NEVER use a polar-
photographing waterfalls, izer whenever working with photographing rainbows. As izer to darken a blue sky
streams, and forest scenes, scenes with reflections. Too with reflections, turn the when working with a wide-
especially on rainy days. The much polarization can polarizer too much and the angle lens, as it results in
polarizer will reduce remove the reflections, but rainbow will disappear; keep uneven polarization of the
unwanted glare on wet rocks just a little bit can help the turning the polarizer until sky. Selectively darken the
and foliage, enhancing color reflections stand out from the rainbow’s colors intensify blues of the sky during
and contrast in the scene. their surroundings. and make it pop! processing instead.
SHENANDOAH NATIONAL PARK, USA: This is the kind
of scene that benefits most from use of a polarizer
filter. The filter removed glare from wet rocks and
spring foliage, intensifying color saturation and
enhancing overall contrast in the scene. Canon
5DII, Nikon 14-24mm f/2.8G lens with Canon
adapter, polarizer filter, ISO 50, f/11, 1 second.
[2.19] Other useful accessories
Chest waders: These are used by fly fishermen
when working in deep water, and they are
equally useful to landscape photographers
when shooting waterfalls, streams, and coastal
areas. Make sure to get a pair that is
comfortable and that has a waterproof yet
breathable fabric. You’ll also need a good pair
of wading boots to go with the waders; get
something that will provide traction even on
slippery rocks. And one final tip: wash your
waders at the end of every trip. If you don’t,
they can get really stinky!
Lens hood: A hood can help block light from
striking the glass front element of your lens,
thus helping to reduce or eliminate flare. Also,
a hood offers protection in case you drop the
lens. As for me, I don’t carry any hoods
(because they take up precious camera bag
space); when I am working in angled light, I
use my hand to shade the lens from flare.

Lens cloths: Bring along plenty of these. You’ll

need them to clean your lenses and to keep
your lens and camera dry. I always carry a few
spare cloths, especially when working in wet
conditions; it’s always good to have a dry cloth
at the ready. I also always carry moist lens
cleaning wipes (I use the ones made by Zeiss).
[3.0] Get Focused
W
hen photographing a landscape scene, where
do you focus your lens? If you are photo-
graphing people or wildlife, the answer is
usually simple: focus on your subject. But for a scene such
as the one featured to the right, is the subject the fore-
ground? Or the background? I think it is fair to say that
the entire scene is the subject, and unlike with wildlife
photography (where selective focus is typical), with a
landscape photo, you want everything in the picture frame
to be in sharp focus. But how do you do this?

When shooting landscape photos, it is critical that you

understand three important concepts: plane of focus,
hyperfocal distance, and depth of field. Mastery of these
principles will allow you to make sure that everything in
your landscape photos from near to far is sharp in focus. If
you want to make detailed 30”x45” prints to proudly hang
on your wall, read on!

APOSTLE ISLANDS NATIONAL LAKESHORE, USA: The foreground

was very close to me, making it critical to get focus and aper-
ture correct in order to ensure near to far sharpness. Canon
5DIII, Canon 11-24mm f/4 lens, ISO 100, f/11, 1 second.
[3.1] Plane of Focus
W
hen we talk about focus,
we often use the phrase
“focus point,” but this is a
bit misleading. Actually, a more accu-
rate way to think about it is as a focus
plane. And I don’t mean an airplane,
but rather “plane” as in “a flat sur-
face.” The plane of focus is a two
dimensional plane in front of the
camera at the point of focus, and it is
always parallel to the camera’s sensor.
The plane of focus remains in the
same position relative to the sensor
plane when you tilt the camera up or
down. Of course, many lenses suffer
from a bit of field curvature distortion,
so their focal planes won’t be per-
fectly flat but will curve slightly, but
that makes everything a bit too com-
plicated, so let’s not worry about it.
Here’s an example that should make
this more clear. Let’s say you’re photo-
graphing a brick wall in front of you.
Brick wall
With you camera perfectly level, when
you focus on any point on the wall, Focus plane
the entire wall ends up in focus (Fig-
Figure 1
ure 1). If you tilt your camera down,
then your plane of focus tilts down
too, so when you focus on the bricks
Brick wall
in front of you at eye level, the top
and bottom bricks on the wall are no
longer in focus (Figure 2). Focus plane
Figure 2
For many landscape scenes, however,
your subject plane is going to be
more perpendicular to your focal
Focus plane
plane than parallel, especially when
the camera is leveled (Figure 3). Often, Subject plane
when photographing a near-far land-
scape scene, you end up tilting your Figure 3
camera down, which more closely
aligns your focal plane and your
subject plane (Figure 4), but even this Focus plane
is not enough to get everything in
focus at once. This is where Subject plane
hyperfocal distance and depth of field
come to the rescue. Figure 4
[3.2] Hyperfocal distance
H
yperfocal distance is a confusing concept, involving
a lot of mathematical formulas, making the whole
thing seem ridiculously complicated. But without
effectively understanding how hyperfocal distance works, you
will find it difficult to adequately ensure that all parts of the
image frame are acceptably in focus. Here’s what Wikipedia
has to say on the subject:
In optics and photography, hyperfocal distance is a
distance beyond which all objects can be brought
into an "acceptable" focus. The hyperfocal distance
is the closest distance at which a lens can be
focused while keeping objects at infinity acceptably
sharp. When the lens is focused at this distance, all
objects at distances from half of the hyperfocal
distance out to infinity will be acceptably sharp.
Wow. Got that? I’m not surprised if you didn’t. The next few
pages will make this all a lot easier to understand.
Let’s start by simplifying the discussion. Basically, hyperfocal
distance tells you where to focus your lens. But when it comes
to making sure everything in your picture frame is acceptably
sharp, the definition of hyperfocal distance is misleading:
simply setting the lens to the hyperfocal distance alone won’t
ensure sharp focus from near to far in your composition.
Hyperfocal distance doesn’t act alone; instead, it works in
conjunction with depth of field, which extends your apparent
zone of focus in front of and behind your chosen focus point.
How much depth of field you have is determined by your
choice of aperture.
Make sense? Don’t worry, I’ll clear things up. But let’s turn to
depth of field for a moment, which I discuss in greater detail
on the next page.
TO INFINITY AND BEYOND!
Let’s pause for a moment of
definition. “Infinity” means the
farthest point a lens can focus,
which is denoted on your lens by
a small infinity mark (or rather, it
should be marked, but not all
lenses have distance marks on
them):
Now here’s the weird thing: with most lenses, you can actually focus
past infinity (you’re really focusing past the infinity mark, not past
infinity itself, which is impossible). Lens makers do this to compen-
sate for shifting of the infinity focus point that results from lens
materials reacting to temperature changes. So even if you manually
set the lens focus point to infinity, you can’t always be sure that you
have accurately focused on infinity! Yeah, I know—it’s a crazy world.
[3.3] Depth of Field

D
epth of field is another ridiculously confusing yet vitally
important concept for you to understand (sorry for all the
confusing stuff—it just goes with the territory). Depth of field
can be thought of as a “zone of focus” around the focus point. Here’s
Wikipedia’s definition of depth of field:

Depth of field (DOF), also called focus range or effective focus

range, is the distance between the nearest and farthest
objects in a scene that appear acceptably sharp in an image.
Although a lens can precisely focus at only one distance at a
time, the decrease in sharpness is gradual on each side of the
focused distance, so that within the DOF, the unsharpness is
imperceptible under normal viewing conditions.

As you can see with the photo to the right, depth of field has a
significant influence on the appearance of sharpness throughout the
image frame. The left side shows the image taken with minimal depth
of field (showing only a small zone of apparent sharpness around the
focus point), while the right side shows the image taken with extensive
depth of field (with apparent sharpness stretching from near to far).

Several factors affect depth of field, including camera-to-subject

distance, lens focal length, format size, and the selected lens f-number (or aperture). Apertures and f-numbers are discussed in
confusing detail on the next page. Yes, I know—I promised less confusion, not more. Trust me, we’re getting there!
 WHAT THE F?

[3.4] Aperture and F-stops F-stops can be a little confusing since the numbers are neither intuitive nor
descriptive. The f-stops with the biggest numbers (such as f/22) are con-
sidered to be “small” apertures,” while f-stops with small numbers are

E
very lens has a variable aperture that lets in light
called “big” or “wide” apertures. So for example, the image to the left
to the sensor. The aperture consists of multiple below shows a lens aperture with a big opening, in this case f/2.8. The
blades arranged in a circular array that work image to the right shows a lens stopped down to a small aperture, f/22.
together to increase or decrease the size of the aperture The reason for the seeming disconnect is that f-numbers are expressed as
opening (thus changing the amount of light passing fractions, and as we all recall from our grade school math classes, when
comparing fractions with like numerators, as the denominator gets larger,
through). An f-stop or f-number describes the size of the
the fraction gets smaller. You remember that, right?
aperture opening. Once again, we turn to Wikipedia for
clarity:

In optics, the f-number (sometimes called focal

ratio, f-ratio, f-stop, or relative aperture) of an
optical system is the ratio of the lens's focal
length to the diameter of the entrance pupil.

Yeah, that helps.

So here’s why f-stops matter for landscape photography,

and why you need to roughly understand how they work:
the f-stop determines depth of field, which, as you know
from the proceeding page, determines how much of the
scene appears to be in focus. Smaller f-stops such as f/22
and f/16 produce lots of depth of field, while larger f-
stops such as f/2.8 or f/4 produce less depth of field. Still
with me?
 S
maller apertures (represented by big-
[3.5] Common Whole F-stops ger f-stop numbers) such as f/22 mean
more depth of field and less light
f/1.4 f/2.0 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/32
passing through the lens. Larger apertures
(represented by smaller f-stop numbers) such
“Wide open” “Stopped down”
as f/2.8 mean more light, but less depth of
More light Less light
Decreased depth of field Increased depth of field field. Note that each whole f-stop represents
twice as much light when “opening up” from a
smaller f-stop, and half as much light when
“stopping down” from a larger f-stop. For
example, f/8 represents twice the exposure of
f/11, and only half of f/5.6. Most cameras
allow you to adjust aperture in half or third
stop increments, so don’t be surprised to see
an aperture reading of, for example, f/6.3.

STOKKSNES, ICELAND: I needed a lot of depth of

field for this near-far scene. I set up my camera
within several feet of the rippled sand in the
foreground, so careful choice of my hyperfocal
distance and aperture were critical to ensuring
sharp focus throughout the entire image frame. I
choose f/13 to ensure adequate depth of field
(f/13 is one-third of a stop between f/11 and
f/16). Canon 5DIII, Tamron 15-30mm f/2.8 lens,
ISO 50, f/13, 1/5 second.
[3.6] Understanding the relationship between hyperfocal
distance and depth of field

A
s we’ve previously discussed, when you large, then a small stone might not create ripples
focus on a given point, things in front and big enough to reach the shore. The right combina-
back of the focus plane are rendered out of tion of stone placement and stone size will ensure
focus, becoming more out of focus as objects get that the ripples reach all parts of the shore equally.
further away from the focus plane. When you select
Hyperfocal distance (where you throw the stone)
smaller apertures, you extend your depth of field
and depth of field (the weight of the stone, which
(your zone of sharp focus) beyond the focus plane,
dictates how far your ripples extend) work together
much like ripples radiating from a small stone
in a similar fashion to produce a photograph that is
thrown in a pond. Essentially, hyperfocal distance
sharp from near to far. If your stone weighs enough,
tells you where to optimally set your focus so that
and you throw it in the right place, then ripples will
you may extend depth of field over the entire scene.
cover all parts of the pond shore equally. Similarly, if
Think of it this way, using the stone and pond anal- you correctly choose your point of focus and aper-
ogy I mention above. If you throw your stone into ture, depth of field will cover the entire scene, ren-
the far edge of the pond, the ripples may dissipate dering everything in sharp focus.
before they reach your side of the shore. If you
Easy, right? Now that we have got this all worked
throw your stone close by, then the ripples may
out, and we’ve got an easy-to-understand analogy,
never reach the far side of the pond. If you want the
let’s go back to hyperfocal distance. Knowing where
ripples to reach all sides of the pond, you need to
to focus is our first step.
throw your stone somewhere in the middle. To add
another element to the equation, if the pond is
[3.7] Determining the hyperfocal point

S
o how best can you determine the proper place to focus
Farthest object:
for a landscape photo? Remember, hyperfocal distance is
defined as “the closest distance at which a lens can be
focused while keeping objects at infinity acceptably sharp. When
the lens is focused at this distance, all objects at distances from half
of the hyperfocal distance out to infinity will be acceptably sharp.”

Let’s turn that definition around to make things easier. To find the
hyperfocal distance, all you have to do is focus on a point that is
twice the distance from the closest object in your composition. For
example, let’s say your composition includes flowers in your fore- Hyperfocal point: 6 feet
ground that are three feet away. To focus on the hyperfocal point,
all you need to do is set your focus to six feet. Easy, right?

The hard part is that precise distance measurements are difficult

to make in the field, so you are usually just making a reasonable
estimation of distance. But this method should get you close
enough. And, of course, this method doesn’t really tell you any-
thing about what aperture to use, leading to even more guess-
work. Don’t worry, I’ll cover that next!
Closest object: 3 feet
MOUNT RAINIER NATIONAL PARK, USA: The closest objects in my shot
were three feet away, so I focused on a point six feet away for optimal Zone of acceptable sharpness
near-far sharpness. Canon 5DII, Canon 17-40mm f/4L lens, 2-stop reverse
Hyperfocal point
graduated neutral density filter, ISO 400, f/20, 0.4 seconds.
[3.8] Choosing the correct aperture
S
o how to choose the best aper-
ture for landscape scenes?
Subject distance should be con-
sidered first. If your subjects are all far
away, then you don’t have to worry
about depth of field as much as if you
have both near and far subjects. For
example, if everything in your photo is at
infinity, then you don’t really need any
depth of field at all.
But near-far compositions are the most
common with landscapes, where you
have something close by in the fore-
ground and a background at infinity. So
you will need a lot of depth of field to
get everything in focus, which means you
will not likely be using large apertures
(another reason to avoid large apertures
So why not shoot everything at your
lens’ smallest aperture—which for wide-
angle zooms is usually f/22—to ensure
maximum depth of field? Here’s why: an
optical effect called diffraction reduces
overall image quality when using small
apertures. Most lenses start showing
diffraction past f/11, with it getting more
noticeable as you stop down. So to
reduce diffraction, I usually avoid f/22, or
even f/16 when I can. Of course, some-
times you need to use a small aperture
to ensure adequate depth of field, and
diffraction is not the worst thing in the
world (you might not be able to print a
diffraction limited image quite as large as
one shot at an ideal aperture).
As a result, my “go-to” aperture for land- GRAND STAIRCASE-ESCALANTE NATIONAL

is that most lenses aren’t at their sharp-
est when shot wide open, especially at
the edges and corners; most lenses are
sharpest overall at middle apertures,
such as f/8 or f/11).
scape is often f/11, which presents a
good balance between overall image
quality and depth of field. You’ll notice
that most of the images in this book fall
somewhere between f/11 and f/16.
MONUMENT, USA: Because the foreground
was very close to me, I used a small aper-
ture to ensure sufficient depth of field.
Canon 5DIII, Tamron 15-30mm f/2.8 lens,
ISO 100, f/16, 2 seconds.
 [3.9] Assessing Depth of Field in Live View

O
ne way to take some of the guesswork out of hyperfocal
distance and optimum aperture selection is to carefully
assess both using your camera’s depth of field preview
button in conjunction with live view. Your camera keeps the aperture
wide open to make things easy to see when you are composing and
focusing through your viewfinder or live view, stopping the lens down
to your chosen aperture only when you trigger the shutter. By using
your camera’s depth of field preview button, you can manually stop
the aperture down so that you may preview the effect your chosen
aperture has on depth of field, allowing you to tinker with your focus
point and f-stop until you find the right combination. Many digital
cameras allow you to engage the depth of field preview button in live
view, making it easy to preview the effects and even zoom in to 100%
for critical assessment. Unfortunately, not every camera system allows
you to do this, so if your camera doesn’t support depth of field
preview in live view, another way to fine tune your focus distance and
aperture is to simply make your best guess, fire off a test shot, and
review the image at 100% on your camera’s LCD screen to check your
sharpness from near-to-far. Make any adjustments as necessary and
start again. This method is not very precise and can be a bit on the
tedious side, but it works!
[3.10] Depth of Field Don’ts
Focus one-third of the way into the
scene: This is an often repeated rule of
thumb that tells you to focus “one-third
into the scene.” I’ve never encountered
anyone who can actually explain what
this means: what is “one-third into the
scene” when your closest subject is a
flower three feet away and your farthest
subject is a mountain five miles away? It
doesn’t really make any sense if you
think about it (it is actually based on
how depth of field works, but unfortu-
nately, the cited “rule” has been warped
to the point where it doesn’t connect
with reality anymore). So you are better
off just ignoring this one.
Hyperfocal distance or depth of field
charts and “calculators”: These are
widely available (even as smart phone
apps), allowing you to input several
variables including sensor size, focal
length, and aperture in order to deter-
mine the hyperfocal distance. In my
experience, these calculators usually
don’t supply realistic numbers. They are
based on decades-old subjective evalua-
tions of “acceptable” sharpness that
aren’t all that relevant anymore in the
modern digital age. Besides, when
working in the field with fast-changing
conditions, the last thing you want to do
is take a math quiz!
F/22 and be there: If small apertures
deliver more depth of field, why not
always use your lens’ smallest aperture,
typically f/22? Here’s why: image quality
diminishes when you use small apertures
because of an optical effect known as
diffraction. Most lenses start showing
considerable diffraction at f/16, and
even more so at f/22, which has the
effect of reducing apparent sharpness
throughout the image frame. This
doesn’t mean you should avoid small
apertures altogether—sometimes you
need to use f/22 to make sure every-
thing in the scene is in focus—but avoid
very small apertures when possible.
TORRES DEL PAINE NATIONAL PARK, CHILE: I
placed this piece of driftwood in the water,
using it as my foreground for this mountain
scene at sunrise. I got in low and close,
maybe only two or three feet away, to create
a dramatic perspective and to find the
perfect angle to frame the driftwood by the
reflection of the gap between the
mountains. I selected my hyperfocal distance
of approximately five feet from the camera,
and stopped down to ensure adequate near
to far sharpness. Canon 5DIII, Canon 11-
24mm f/4L lens, ISO 50, f/14, 3.2 seconds.
[3.11] Tilt-shift Lenses

A
s I previously discussed,
when photographing
landscapes, your focus
plane and your subject plane
rarely match, which is why you
need depth of field to achieve
near-far focus. A tilt-shift lens is a specialty lens that
allows you to tilt the lens’ plane of sharpest focus to
correspond with the subject plane. By altering the plane of
focus, you no longer have to rely on small (and diffrac-
tion-limited) apertures to get sufficient depth of field for a
near-far scene; instead, you can often achieve exceptional
near-far sharpness even with large apertures. Tilt-shift
lenses also have movements (known as shift and rise/fall)
that allow the photographer to correct perspective distor-
tion, such as when you point your camera up or down in a
forest and all the trees bend inward or outward. The
downside of tilt-shift lenses is that they are offered in only
a limited number of fixed focal lengths (an example is the
Canon TS-E 17mm f/4L lens featured above).

BADLANDS NATIONAL PARK, USA: Using a tilt-shift lens, I was

able to get very close to my foreground to exaggerate its size,
using forward tilt to achieve sharp near-far focus. Canon 5DIII,
Canon TS-E 17mm f/4L lens, ISO 100, f/11, 1/15 second.
[3.12] Focus Stacking
F
ocus stacking involves blend-
ing multiple exposures of the
same scene, each taken with
the focus set to a different focus
point, using a computer program
such as Adobe Photoshop or a
dedicated focus stacking program
such as Helicon Focus. With focus
stacking you no longer have to rely
on small (and diffraction-limited)
apertures to get sufficient depth of
field for a landscape scene; instead,
you can achieve exceptional near-
far focus that exceeds what you can
get using depth of field alone. The
process is fairly easy: after compos-
ing your image, make a series of
exposures, starting by focusing on
the closest part of the scene, mak-
ing small focus adjustments until
you get to the background (typi-
cally, 5 to 7 images will be sufficient,
although some extreme composi-
tions may require more). In
Photoshop, load all of the images as
layers into a single image by going
to File > Automate > Photomerge.
Select the image files you want to
stack, select "Auto" for layout, and
make sure that none of the boxes at
the bottom are checked (make sure
to uncheck the “Blend Images
Together” box). After pressing OK,
Photoshop will align the images and
put them into a new image as lay-
ers. Next, select all of the layers in
the new image, and go to Edit >
Auto Blend Layers. In the Auto-
Blend Images dialog box, select
“Stack Images.” Photoshop will
automatically blend the sharpest
parts of each image. The process APOSTLE ISLANDS NATIONAL LAKESHORE, USA: I was
very close to the foreground of this “sea cave” on
isn’t always perfect, and you’ll some-
Lake Superior, so I focus stacked seven exposures
times have to do some creative
in Adobe Photoshop, each with a slightly different
editing and cropping to achieve a focus point. Canon 5DIII, Canon 11-24mm f/4L
seamless blend. lens, ISO 50, f/14, 5 seconds.
[4.0] Determining
Proper Exposure
Q
uite simply, exposure is the amount of light the
image sensor captures when you take a picture.
Capture too much light and the picture is overly
bright and washed out; capture not enough light and the
picture is too dark and murky. Getting it just right requires
a good working knowledge of a few of your camera’s
basic controls: aperture, shutter speed, and ISO. I’ve
already discussed aperture and f-stops in the previous
section on focusing, so in this section I’ll spend some time
discussing shutter speed and ISO.

Ultimately, however, there is no such thing as “proper

exposure.” Rather, exposure is a creative decision, subject
to your artistic interpretation. But before we jump into all
this, let’s talk briefly about the piece of technology that
makes it all happen: your camera’s exposure meter.

GUNNISON NATIONAL FOREST, USA: Proper exposure is critical,

especially when working with mixed light scenes. Canon 5DIII,
Canon 16-35mm f/2.8L II lens, ISO 100, f/14, 1/13 second.
 [4.1] How Your Camera Meter Works
T
he light meter in your camera helps you determine what the proper exposure should be by measuring the amount of
light coming in through the lens. The meter in your camera assumes everything is of an “average” brightness, so for
bright or dark subjects, the meter (working with your camera’s auto exposure mode) will tend to overcompensate. For
example, if you are taking a picture of a bright snowy scene, the camera’s meter will assume the scene is of “average” brightness,
and will expose accordingly—and your resulting picture will look darker than it should. Although camera exposure programs are
fairly smart, and they try real hard to make intelligent choices about proper exposure when confronted with tricky or mixed
lighting, at best it can be said that sometimes they get it right, and sometimes they don’t. So you’re going to need to make
intelligent choices about exposure to make sure your photo looks right. Don’t worry, digital cameras make it really easy for you!

YELLOWSTONE NATIONAL PARK, USA: When confronted

with a scene such as these storm clouds over snow-
covered hills, your camera’s meter might have a tough
time judging the “correct” exposure. Canon 5DII, Canon
24-105mm f/4L lens, ISO 100, f/9, 1/500 second.
[4.2] Shutter Speed
S
hutter speed is easy to understand: the longer the shutter
remains open and the image sensor is exposed to light,
the brighter the image will be. Shutter speeds are repre-
sented in seconds (or fractions of seconds); each whole shutter
speed represents twice as much light as the previous faster shut-
ter speed. So, for example, 1/30 second is twice as bright as 1/60
second, but half as bright as 1/15 second.

Shutter speed is typically of secondary concern for landscape

photos—for example, if nothing is moving in the scene, then your
choice of shutter speed is irrelevant—but there are times when
shutter speed is an important variable. Fast shutter speeds are
useful when you want to stop the motion of objects in your shot
such as flowers swaying in the breeze. Slow shutter speeds are
necessary when you want to creatively blur objects in motion,
such as flowing water when shooting waterfalls or incoming surf.
The two images to the right, both taken in Olympic National Park,
are examples of different approaches to shutter speed: the top
image freezes the motion of an incoming using a short shutter
speed (1/640 second), while the bottom image shows motion blur
with a longer shutter speed (1.3 seconds).
[4.3] Moving Water
S
hutter speed will become a very important variable
when your composition includes moving water.
Typically, some amount of motion blur is best
when photographing water. If you use too fast of a shutter
speed, you end up freezing the action too much, leaving
the moving water looking like static ice. If your shutter
speed is too long, you can lose all texture in the water,
rendering it as a featureless mass. The amount of motion
blur you need to get the look just right depends on the
subject, the volume and speed of the water, and personal
taste. This is where digital cameras really excel, as they
allow you to experiment with different shutter speeds and
review the results instantly on you LCD screen until you
get the look you are after. For most subjects, I usually start
at one-half second, and experiment from there. Some
more examples can be found on the next page.

BRÚARFOSS, ICELAND: I experimented with several shutter speeds

until I settled on one that I thought worked best for this scene. I
wanted to capture interesting shapes and swirls in the churning
glacial-blue stream. Canon 5DIII, Canon 16-35mm f/4L lens,
polarizer filter, 2-stop reverse graduated neutral density filter, ISO
200, f/8, 0.5 seconds.
1.6 seconds 2 minutes 2.5 seconds

0.5 seconds 8 seconds

CATHEDRAL GORGE STATE PARK, USA: Other types of scenes benefit from long exposures
as well, including landscapes with moving clouds. The best shutter speed will depend on
how much blur you want and how fast the clouds are moving. For this image of clouds
streaking across a twilight desert sky, I experimented with several shutter speeds, finding
that two minutes blurred the clouds too much, and 30 seconds didn’t blur them enough.
One minute was perfect! Canon 5DIII, Tamron 15-30mm f/2.8 lens, ISO 50, f/14, 1 minute.
[4.4] ISO
I
SO is a measure of the camera sensor’s sensitivity to
light. The higher the ISO number, the more sensitive
the sensor is to available light and therefore, the
greater the possibilities to take pictures in low-light
situations. Every time you double the ISO, you double the
sensor’s sensitivity to light.

While higher numbers allow faster shutter speeds or

smaller f-stops in relatively low light, there is a penalty:
higher ISOs mean more digital noise is introduced into
the image, which reduces overall image quality. For land-
scape work, always shoot with the lowest ISO setting that
conditions will allow. There are only specific times when I
raise my ISO, which are discussed on the next page.

PANTANAL, BRAZIL: With nothing moving in the scene and my

camera securely fastened to a tripod, I was able to use my
lowest native ISO (100) for this low-light image of giant water
lilies. Canon 5DIII, Canon 16-35mm f/2.8L II lens, 2-stop gradu-
ated neutral density filter, ISO 100, f/9, 0.6 seconds.
[4.5] When Might You Need a High ISO?
L
andscape photography doesn’t always involve “perfect” conditions, and more often than not, you can’t open up your
aperture to allow in more light because you need a minimum amount of depth of field. So sometimes a higher ISO may
be necessary. Here are a few examples of when high ISOs might be useful:

When trying to stop the motion of
moving objects: I’ll sometimes increase
my ISO to stop the motion of wind-
blown objects. For examples, with the
image below, a breeze was causing the
flowers to shake; in order to render the
flowers as sharp, I raised my ISO to 800,
allowing me to increase my shutter
speed and stop the motion of the flow-
ers. Mount St. Helens National Volcanic
Monument, USA. Canon 5DII, Nikon 14-
24mm f/2.8G lens with Canon adapter,
ISO 800, f/11, 1/5 second.
When working in low light: When it is
very dark (such as at night), it may be
desirable to use a higher ISO to avoid
unduly long exposures. For the image
below, I was working in twilight long
after the sun had set. Even at ISO 400, I
ended up with a two minute exposure
(which happened to blur the motion of
the clouds perfectly). Vatnajökull
National Park, Iceland. Canon 5DIII,
Canon 16-35mm f/2.8L II lens, polarizer
filter, 2-stop reverse graduated neutral
density filter, ISO 400, f/11, 2 minutes.
To optimize your shutter speed for
motion-blur effects: When aperture
can’t be adjusted because you need
depth of field, sometimes changing your
ISO is the only way you can adjust your
shutter speed. For the image below, I
increased my ISO as necessary to reach
my target shutter speed of 1.6 seconds,
which I determined would best blur the
water to my liking. Zion National Park,
USA. Canon 5DII, Nikon 14-24mm f/2.8G
lens with Canon adapter, polarizer filter,
ISO 400, f/11, 1.6 seconds.
 [4.6] Exposure Triangle

I
SO, shutter speed, and aperture are not freely independent variables; rather, the three work together when you are deter-
mining the “correct” exposure. What I mean is this: if you adjust any one of these variables, you change the exposure value.
To keep the same exposure, you have to make a corresponding opposite adjustment to one of the other two variables. For
example, if ISO 100, f/11, and a 2 second exposure yields a “proper” exposure, if you adjust the ISO to 200, then you are dou-
bling the sensitivity of the sensor to light, which means the image will now be overexposed by one stop. To keep the exposure
value the same, you need to either stop down the aperture (letting in half as much light by going to f/16) or reducing the shut-
ter speed (letting in half as much light by exposing for 1 second).

ISO Aperture

“Proper Exposure”

Shutter Speed
[4.7] Exposure Modes for Landscapes
D
SLRs allow you to choose several different exposure modes. For the first three modes listed below, the camera meter
makes decisions about exposure as described on the previous page. For manual mode, each variable needs to be
manually set by you (hence the name).

Program: In Program mode,
the camera makes all of the
decisions for you, so you
don’t have to think about f-
stops or shutter speeds. This
exposure mode is not
recommended for serious
photography, so don’t even
think about it! Trust me,
more control is better.
Shutter priority: You
choose a shutter speed and
the camera automatically
chooses an f-stop for the
lighting conditions. For
landscapes, your choice of
aperture is almost always
more important, so you
probably won’t ever need
this mode.
Aperture priority: You
choose the f-stop and the
camera automatically
chooses a shutter speed.
Aperture priority is preferred
when shooting landscape, as
it allows you to easily select
an aperture that will give
you the depth of field you
need for any given scene.
Manual: When the camera is
in the manual exposure
mode, you have to inde-
pendently set both f-stop
and shutter speed. Aperture
priority makes things easier,
but I’ll sometimes switch
over to manual when in low
light with exposures several
seconds or longer.

ý ý þ þ
In addition to these exposure modes, many cameras allow you to select “auto ISO,” which automatically sets the ISO depending
on light levels. I do not recommend using this feature. When shooting landscapes, you always want to be using the lowest ISO
you can in order to minimize noise and maximize image quality, so set your ISO manually.
[4.8] How to
Read a Histogram
T
he histogram is the most important tool on your
DSLR for getting correct exposures. A histogram is
a graphical representation of the tones contained
within your image, and it appears on your camera’s LCD
screen after you take a picture (or, on some cameras, in
live view). The graph has a vertical axis, which represents
numbers of pixels, and a horizontal axis, which represents
a spectrum of tones from pure black on the extreme left
to pure white on the extreme right.

Although it may not look like much, the histogram is a

powerful tool for helping you get the proper exposure.
Although all histograms work the same way, not all histo-
grams look the same or show the same information. Many
digital cameras give you the option of showing just lumi-
nosity values (which pretends your image is black and Shadows Mid-tones Highlights
white), or showing all three RGB color channels. The histo-
SHENANDOAH NATIONAL PARK, USA: The darkest parts of the image are
gram to the right is what you see when editing an image represented on the left side of the histogram, mid-tones are in the middle,
in Adobe Photoshop. and the brightest parts of the image are on the right. Tones represented on
the extreme left are pure black, while tones represented on the extreme
right are pure white. Canon 5DII, Nikon 14-24mm f/2.8G lens with Canon
adapter, ISO 100, f/11, 0.4 seconds.
[4.9] Expose to the Right
P
roper exposure for a landscape
is easy: just expose to the right.
What do I mean by this? Digital
files capture more detail in bright areas
of the photograph than in dark areas.
“Exposing to the right” simply means
pushing your histogram as much to the
right side as possible, without overex-
posing (“clipping”) your highlights.
Clipped pixels have no color information
within them and cannot be darkened
when processing the image on the
computer, and are represented by the
parts of the histogram being pushed to
the extreme right side of the graph.
This image is overexposed, with all detail lost in
highlight areas.
Digital sensors don’t handle clipped
highlights very well, so be very careful to
avoid any spikes on the right side of the
histogram, which represents unrecover-
able over-exposure (left). One of the
playback options on digital cameras is
the highlight exposure warning (the
“blinkies”), which can help you see if any
highlight clipping has occurred.
Digital cameras generate significant
noise in underexposed areas of the
image, resulting in loss of image quality;
underexposed files (middle) will look
noisy when you try to brighten them.
This image is underexposed, with all detail lost
in shadow areas.
Increasing the exposure in camera, so
that as much of the image file as possi-
ble is on the right side of the histogram,
will result in cleaner, higher-quality
image files. A properly exposed image
(right) will avoid spikes on the left and
the right of the histogram, with the
histogram pushed as far to the right as
possible. When exposing to the right,
the resulting exposure might not look
“correct” to your eyes; don’t worry, you
can correct the exposure when process-
ing the raw file, adjusting the image’s
exposure back down to the desired level.
This image is properly exposed, with as much
exposure to the right without any overexposure
of the highlights.
[4.10] Exposure Simulation

M
ost live view systems allow you to
preview exposure and white
balance changes on your LCD
before you take the shot. Some live view
systems even show you a preview of your
histogram, using what is known as exposure
simulation. This can assist you in determining
proper exposure settings before you take an
image, so you don’t have to waste time taking
test shots to make sure you've got things
right—which can be especially useful when
working in fast-changing lighting situations.

DEL NORTE COAST REDWOODS STATE PARK, USA:

Exposure simulation helps when working in tricky
light. Canon 5DIII, Canon 16-35mm f/4L lens, polarizer
filter, ISO 100, f/11, 1/4 second.
[4.11] Exposure Compensation

A
ll right, you’ve checked your histogram, and your
image is too bright or too dark. So how do you
adjust exposure when shooting in Aperture
Priority mode? Lucky for you, your camera has a handy
little feature called exposure compensation, which allows
you to adjust the exposure selected by your camera. With
most camera models, you can add or subtract up to 2 or 3
“stops” of light in 1/2 or 1/3 stop increments (each stop
either doubles or halves the amount of light). If you are
using Aperture Priority mode, your f-stop won’t change,
so that means the shutter speed will be changed to adjust
exposure. Exposure compensation allows you to adjust
your exposure as necessary to ensure you get the proper
exposure. So if you’ve overexposed some highlights, you
can use exposure compensation to darken your exposure
to avoid clipping. And conversely, you can use exposure
compensation to push your exposure as far to the right as
possible. Pretty easy, right?

GUNNISON NATIONAL FOREST, USA: Exposure compensation

allows you to easily optimize your exposure even when working
in Aperture Priority mode. Canon 5DIII, Canon 16-35mm f/2.8L
II lens, ISO 400, f/11, 1/160 second.
[4.12] Balance Exposure with Grads

S
o, what do you do if the range of tones from bright to dark in
the scene you are photographing exceeds your camera’s
dynamic range, such as when you are photographing a sunset?
Graduated neutral density filters can be very useful in such circum-
stances. Going back to the sunset example, properly exposing the
brightness of the sky would darken or silhouette anything in the fore-
ground, while properly exposing for the dark foreground would overex-
pose the sky. By placing the dark section of the grad filter over the sky
and the clear section over the foreground, the luminosity values of the
scene are now more balanced, and detail in both the sky and fore- BADLANDS NATIONAL PARK, USA: When exposing for the
ground can be obtained. foreground, the sky ends up too bright (left). By placing a
grad over the sky, I restore its color and drama. Canon
Here’s the process for using a grad: slide the filter into the filter holder, 5DIII, Canon 16-35mm f/4L lens, 2-stop reverse graduated
and lower it until the dark part just barely touches the horizon (some neutral density filter, ISO 100, f/13, 1 second.

people prefer to simply hold the filter in front of the lens rather than
using a filter holder, although I think you’ll find using the holder to be easier and more precise). Make sure not to pull the grad
down too far, as it will darken anything below the horizon, making the transition line obvious. The main challenge when working
with grads is when you have something sticking up into the sky above the horizon, such as mountains or trees. These objects
will be darkened by the grad as well; in such circumstances, you may need to experiment with the placement of the grad to find
the best compromise position. Remember, you can also selectively brighten any object darkened by the grad when processing
the file on the computer. In Adobe Lightroom, use the Brush tool to selectively increase the values of the shadows at the grad
transition line, that should remove most or all of the grad darkening effect yet still preserve the darkening of the sky. Personally, I
find that my 2-stop reverse grad filter is perfect for most sunrise and sunset scenes, although it makes sense to carry a range of
grads, such as a 1-stop, 2-stop, and a 3-stop, in order to best match any given lighting situation.
[4.13] Exposure Blending

E
xposure blending is a technique where the photographer takes multiple
images of the same composition, varying the exposure in each image, and
then later blends the images together using Adobe Photoshop or an HDR
(High Dynamic Range) program such as Photomatix. The resulting merged expo-
sure can capture a range of tones from dark to bright in excess of the sensor’s
native dynamic range. Exposure blending in Photoshop is typically accomplished
using layers and masks, and can range from being very easy to very complicated,
depending on the complexity of the scene. Exposure blending (if done correctly)
can often look more natural than using a grad filter. The downside of exposure
blending is that it is sometimes challenging to achieve a seamless blend, espe-
cially when blending subjects such as water or wind-blown clouds that move
between exposures. When working with ultra-wide lenses with bulbous front
elements, filter use is often difficult or impossible, leaving blending as your best
or only option when using these lenses in extreme lighting situations.

To the right is an example of exposure blending in action. I took one exposure for
the sky, preserving detail in the highlights (top left), and one for the foreground,
preserving detail in the shadows (top right). The image on the bottom represents
the final blend between the two, with some other minor adjustments to color,
contrast, and exposure. If you wish to learn more about exposure blending, I
suggest you try my Creative Digital Processing video tutorial series.

TORRES DEL PAINE NATIONAL PARK, CHILE: Working with a lens with a bulbous front element,
I wasn’t able to use a grad filter, so I blended exposures instead. Canon 5DIII, Canon 11-
24mm f/4L lens, ISO 100, f/11, blend of 1/8 and 0.4 seconds.
[4.14] White Balance

W hite balance is a process which determines

how color is interpreted in a digital photo-
graph. Visible light is actually made up of a
spectrum of different colors. Although daylight in the mid-
dle of the day is considered to be “neutral”—all colors of
the spectrum are equally represented—at other times of
day the sun (filtered through the atmosphere) transmits
more light of a certain color than others. For example,
sunset light is warmer than midday light. White balancing is
a process of altering the colors of a photograph to take
account for the color bias of a given light source, in an
effort to make the colors in the photograph look like they
were shot in neutral light. When you change your white balance adjustment during the image processing phase. In
balance, you are basically telling your camera to change the fact, white balance is an important creative tool for photogra-
way it sees color. The great thing about digital is that you can phers, one that too often gets overlooked. I'll often deviate
easily alter color balance by casually spinning a dial to change from the choices my camera makes, to more closely match the
your white balance setting. colors of the scene as perceived by my eye—although some-
times I'll change color balance for purely creative reasons.
Getting the “right” white balance is easy, in part because white
balance is in many ways subjective, and what you decide is the GLEN CANYON NATIONAL RECREATION AREA, USA: Your choice of white
best white balance depends in large part on your personal balance is a subjective creative decision; you should not feel con-
tastes and artistic goals. Accordingly, there's no reason to feel strained by getting the “correct” white balance. Canon 5DII, Canon
constrained by the settings your camera chooses, especially 24-105mm f/4L lens, ISO 100, f/11, 1/13 second.

when shooting raw format, which allows penalty-free white

[4.15] Color Temperature and White Balance Presets

C
olor temperature is measured using the Kelvin (K) color temperature scale (named after famous scientist Lord Kelvin).
Daylight from the middle of the day is considered to be “neutral,” as at that time the entire visible spectrum is lit with
roughly equal amounts of all colors. Digital camera white balance also uses the Kelvin scale, with most cameras using
5200-5500K as their neutral daylight setting. Assigning a white balance with a lower color temperature makes the image look
progressively cooler, whereas a higher color temperature setting makes an image look progressively warmer. Cameras have a
bunch of preset white balances so that you don't have to think about numbers if you don't want to, but it is a good idea to
understand the numbers even if you use the presets. Here's an example of the various preset white balance settings in action.
Personally, I find the Daylight preset to work best for this particular image of Mount Fitz Roy in Argentina, accurately capturing
the colors I saw with my eyes when photographing the scene.

Tungsten Fluorescent Daylight Overcast Shade

(2850K) (3800K) (5500K) (6500K) (7500K)

It is important to understand that these settings are not absolute, but rather relative to the light illuminating your scene; for
example, simply setting your camera to the “Daylight” preset won't make a photo look like it was taken in neutral daylight. If you
don't match your white balance to your light, you end up with a color mismatch. So, if shooting in neutral daylight, you need to
select the Daylight preset to make the colors look neutral; if you are shooting inside using fluorescent lights, you need to select
the Fluorescent setting; and so on.
[4.16] White Balance and Raw Conversion
W
hen shooting raw, you
can change an image’s
white balance when
converting the raw file on your
computer without degrading image
quality. This can free you from wast-
ing precious time optimizing white
balance while in the field; rather, you
can make your white balance deci-
sions later when processing the
image, giving you more flexibility to
assess various white balance options.
I keep my camera set on Automatic
white balance mode; I've found that
my camera gets it right much of the
time, thereby streamlining both my
shooting and raw processing
workflow. Although I never make any
effort to set my white balance before
I take a photograph, I usually have a
pretty good idea of the white bal-
ance setting I will choose later dur-
ing the raw conversion process.
Making white balance adjustments
during the raw conversion process is
actually quite simple—whether using
Lightroom, Adobe Camera Raw, or
another raw conversion program.
Typically you have two options for
controlling white balance: one slider
changes color temperature (warm vs.
cool), and another controls tint
(green vs. magenta). Between the
two sliders, you should be able to
fully control color balance. You'll also
have the option of using a number
of preset values which are similar to
the ones your camera offers; most
programs also have an Automatic
option which allows the software to
make its best guess as to the appro-
priate white balance setting.
OLYMPIC NATIONAL PARK, USA: For this image, I
elected to preserve the twilight blue tones which
dominated the scene. In Adobe Camera Raw, I set
a custom white balance of Temperature: 5450 and
Tint: +33. Canon 5DIII, Canon 24-70mm f/2.8L II
lens, ISO 400, f/11, 25 seconds.
[4.17] Creative Color Casts

A
lthough some photographs benefit from color
correction, there may be times when you decide
to keep a color cast—or to intentionally intro-
duce one for artistic reasons. You should always think of
white balance as a subjective artistic tool which, when
used creatively, can greatly enhance the mood and appeal
of your photographs. The “correct” white balance is the
one that you think makes the image look best. For exam-
ple, you probably don't want to correct the color cast
created by the warm light of sunrise and sunset. With this
image taken at dawn along the Atlantic coast, the scene
was bathed in red and purple light reflected off of clouds
above the rising sun. If I had let my camera auto correct
for the intense reddish color of the light, the magic of the
moment would have been lost. I used a color temperature
of 5600 and a tint of -11 to capture the colors in a way
that seemed most faithful to the light I witnessed when
photographing the scene.

ACADIA NATIONAL PARK, USA: I didn’t want to remove the

beautiful reddish tones of sunrise from this image. Canon 5DIII,
Tamron 17-35mm f/2.8-4 lens, 2-stop reverse graduated neutral
density filter, ISO 400, f/11, 5 seconds.
ZION NATIONAL PARK, USA: I’m always
looking for opportunities to mix com-
plementary colors (opposite colors),
such as the cool blues in the water and
the warm glow on the sandstone canyon
wall. The color effect is natural, the
result of two types of light illuminating
different parts of the scene: blue light
reflected from the sky above, and
sunlight illuminating the rocks at the top
of the canyon, reflected down into the
canyon interior. I was careful to select a
white balance that would preserve both
colors (5800 Temperature, -16 Tint).
Canon 5DII, Nikon 14-24mm f/2.8G lens
with Canon adapter, polarizer filter, ISO
200, f/11, 5 seconds.
[5.0] Composition

E
very landscape is different, with each
scene possessing its own unique magic.
As a nature photographer, your mission is
to find that unique magic, to reduce it to its
essence, and to capture it with your camera so
that you may share it with others. Your goal
should always be to impart a sense of place in
your photographs, and to present an artistic
creation. To successfully accomplish this takes
practice and learning to see the landscape
abstractly, not as mountains and trees and rapids
but rather as a jumbled collection of form, shape,
color, and tone. Your job is to put the pieces
together in a way that makes sense to the viewer,
and helps convey your artistic vision.

I’ve written a lot about composition in my criti-
cally-acclaimed ebook Visual Flow: Mastering the
Art of Composition. If you really want to under-
stand composition, I suggest you read Visual
Flow. But in the next few pages, I summarize
some of the key compositional techniques most
relevant to landscape photography.
TORRES DEL PAINE NATIONAL PARK, CHILE: When making landscape images, I’m not
just looking to create a snapshot of pretty places; instead, I’m looking to share my
artistic vision of the world. Learning how to master composition is the key to doing
this. For this image, I got low and close to an interesting foreground object—a piece
of driftwood bleached by the harsh Patagonia sun—in order to create a compelling
visual relationship between the foreground, the moon, the fog, and the background
mountain lit by the first light of day. Canon 5DIII, Canon 11-24mm f/4L lens, ISO 100,
f/13, 1/4 second.
[5.1] Scene Selection
H
ow do you pick a composition?
It all begins with scene selec-
tion. Let’s start with scene
selection at its broadest, and then nar-
row in from there. Whenever I travel to a
new photo location, I start with some
online research just to get a feel for the
place. I don't want to look too much at
other people's images, because I don't
want my personal vision influenced by
what others are doing, but I try to at
least get a general idea of what to
expect. But after that, it is all boots on
the ground; I explore the area as much
as possible, trying to find interesting
subjects. So I might start by driving
around to generally scout, and when
something interesting catches my eye, I'll
get out of the car and hike around to see
what I can find (I almost always prefer to
get away from the road as much as
possible to find unique perspectives, as
most photographers rarely shoot more
than a few feet from their car).
So, once I am out and about exploring,
what am I looking for? To start with, I’m
looking for stunning scenery. But I’m
also looking to create a sense of place,
which is best approached by simply
asking the following questions: What is it
about the scenery that I find inspiring or
appealing? What seems unique to me?
What can be found here that can’t be
found anywhere else? Which features of for an interesting foreground to juxta-
the scenery tell its story best? Answering pose against a stunning background.
these questions helps me decide which Once I find an interesting composition,
visual elements to include in the compo- I’ll return to the location at sunrise or
sition. But I’m not really looking for sunset and hope for incredible light to
stunning scenery (or at least, I’m not just bring the scene to its fullest potential.
looking for stunning scenery): instead,
I’m looking to assemble a group of ISLE OF LEWIS, UNITED KINGDOM. To me, the
beauty of this remote Scottish coast lay in
visual elements together to form a
its rolling green pastures, stony cliffs rising
pleasing and compelling composition. To
above turbulent waters, and random glacial
that end, I critically assess elements of erratics. So I looked for a composition that
the landscape, not just as what they are included all three critical elements in order
(such as wildlfowers, mountains, etc.), to paint a picture of this unique land.
but also in terms of their shape, color, Canon 5DIII, Tamron 17-35mm lens, ISO
100, f/14, 3.2 seconds.
and luminosity. Typically, I’m also looking
GLEN CANYON NATIONAL RECREATION AREA, USA: A big part of land-
scape photography is the search for interesting landscape features,
such as this strange rock formation. But your quest does not end
there: you must also creatively use perspective, composition, and light
to bring the scene to its fullest potential and to differentiate your work
from others. Here, I used an unusual perspective to accentuate the
rock formation’s unusual qualities. This, combined with a dynamic
pattern of clouds, creates an evocative image. Canon 5DII, Nikon 14-
24mm f/2.8G lens with Canon adapter, ISO 50, f/11, 0.8 seconds.
[5.2] Foreground
O
nce you’ve found some stunning scenery, the
next step is to start looking for a great fore-
ground. When you use foreground—the stuff
that is at your feet—you establish a visual relationship
between the bottom of the photograph and the top,
which is important in leading the viewer’s eye into the
scene. Although you don't need to include a foreground
in every landscape photograph you make, you will find
that foregrounds add considerable depth to your compo-
sitions, immersing your viewers in the scene. Don't be
afraid to get really close to your foreground, as doing so
exaggerates its importance; I like to fill the bottom part of
the frame with my foreground, usually getting only a few
feet away in order to take maximum advantage of per-
spective distortion. As previously discussed, when getting
really close to your foreground, you may need to use a
smaller aperture to ensure sharpness from near to far.

PUNA DE ATACAMA, ARGENTINA: As a dramatic storm cloud built

over the mountains at sunset, I took out my widest lens, getting
close to an interesting salt formation. The relationship between
the curving shape of the formation in the foreground, and its
mirror-image shape formed by the cloud in the sky, became the
immediate focus of my composition. Canon 5DIII, Canon 11-
24mm f/4L lens, ISO 100, f/13, 1/25 second.
[5.3] Examples of Commonly Used Foregrounds

F
ind something good! Since foreground elements are the first that the viewer's eye encounters, you had better be sure
that your foreground is interesting and relevant to the rest of the composition; it must assist you in your goal of creating
depth and visual progression into the scene. In other words, not any foreground will do! Resist the temptation to find
anything to put in the foreground just so you have something there. Take the time to find a foreground that actually works
toward your goal of captivating viewers and visually trapping them in your composition. Here are some examples:

Flowers and plants: A sea-
sonal favorite of landscape
photographers, wildflowers
add a splash of color to any
foreground. Look for pat-
terns formed by the flowers.
Boulders in streams: Rocks
sticking out of the water in
the foreground act as visual
anchors, drawing the eye
and leading it further into
the composition.
Flowing water: When work-
ing on the coast, use long
exposures to reveal shapes
and lines formed by incom-
ing or outgoing waves. Make
them your foreground.
Rock formations: Look for
interesting striations and
patterns formed in rock.
Sandstone is often particu-
larly interesting, as are other
irregular rock types.
[5.4] Near-Far
L
andscape photography just wouldn't be the same
without the “near-far” style of composition, where a
nearby foreground object is visually juxtaposed
against an interesting background feature. Wide-angle
lenses are especially well suited for near-far compositions,
as you can get really close to a foreground element and
exaggerate its importance relative to the background. The
reason wide-angle lenses are so effective for near-far
compositions is because of perspective distortion, which
causes objects that are closer to the photographer to
appear amplified in size compared to more distant
objects. For example, with the image to the right, I
aggressively used perspective distortion to enhance the
size and importance of the interesting foreground rock
formation. On the next page are a few more examples of
near-far landscape compositions.

JOSHUA TREE NATIONAL PARK, USA: I got really close to an

interesting boulder, making it my foreground. Canon 5DII,
Nikon 14-24mm f/2.8G lens with Canon adapter, ISO 400, f/16,
30 seconds.
ZION NATIONAL PARK, USA: A windless evening allowed me to capture the subdued colors of twilight during a long
exposure. I got very close to the foreground bush (approximately three feet away) in order to create a dramatic
near-far composition. Canon 5DII, Nikon 14-24mm f/2.8G lens with Canon adapter, ISO 100, f/11, 30 seconds.
[5.5] “Classic” Mid-Range Compositions
A
lthough the “in your face” near-far
wide-angle style has come to domi-
nate landscape photography in
recent years, for decades most landscape
shooters used their “normal” focal lengths
much more often. This classic style of land-
scape composition relies less heavily on wide-
angle perspective distortion and foreground
exaggeration: scale relationships between
objects in the scene tend to appear more
“normal,” and background elements are more
significant in size. Classic compositions tend
to utilize a subtle progression of visual ele-
ments, rather than the bold juxtaposition of
foreground and background common to
near-far compositions. Mid-range zoom
lenses, such as a 24-70mm (or 18-55mm for
crop sensor cameras), excel at these types of
GRAND TETON NATIONAL PARK, USA: I framed this scene with a mid-range zoom, opting for shots. Classic mid-range shots often lend
a classic landscape composition. Although foreground is still important to this type of themselves to simple juxtapositions of a few
composition, it is not as “in your face” as the near-far composition style. Canon 5DII, Canon prominent visual elements; a few more exam-
24-105mm f/4L lens, ISO 200, f/11, 1/5 second. ples can be found on the next page.
[5.6] Leading Lines
L
eading lines are vertical, horizontal, or diagonal
lines that attract a viewer’s attention and lead the
eye to critical areas in your image. Diagonal lines
often make for a more dynamic composition than hori-
zontal or vertical ones; also, leading lines stretching from
the foreground to the background or radiating from the
corners of the image into the center can be particularly
effective. For greatest effect, multiple diagonal lines can
help create a sense of depth in a photo by converging at a
single point of interest (known as a “vanishing point”). You
can create powerful compositions with radiating diagonal
lines emerging from the corners and edges of the image
frame, inevitably drawing the eye to a central point: I call
this a “visual vortex” composition, which produces a dizzy-
ing and compelling perspective, creating a commanding
visual effect. Some more examples of leading line compo-
sitions can be found on the next page.

TETTEGOUCHE STATE PARK, USA: I used foam streaking over

water during a long exposure to create lines leading into my
composition. Canon 5DIII, Tamron 15-30mm f/2.8 lens, ISO 50,
f/11, 15 seconds.
ANTELOPE CANYON, USA: The striations in this sandstone slot
canyon were perfect for a visual vortex composition, with
diagonal lines coming from the image edges and converging
in the middle. Canon 5DIII, Nikon 14-24mm f/2.8G lens with
Canon adapter, ISO 100, f/14, 3.2 seconds.
[5.7] S-Curves
S
-curves help lead the eye into the scene, and add
energy to the composition, forcing the viewer’s eye
to move through multiple parts of the image
frame. Curves are abundant in nature, usually represented
by things such as streams and rivers, shapely clouds, or
sandy shorelines. Although not always necessary, s-curves
often work best as leading elements when they start at
the bottom of a landscape image, working their way
though the middle-ground to the background. A curve
that leads to something prominent or important in a
scene can be especially effective.

(TOP) LOS GLACIARES NATIONAL PARK, ARGENTINA: The river

forms an s-curve that leads the eye into the scene. Canon 5DIII,
Canon 24-70mm f/2.8L II lens, 2-stop reverse graduated neutral
density filter, ISO 100, f/9, 0.8 seconds.

(BOTTOM) DEATH VALLEY NATIONAL PARK, USA. Shadows and

light interact to form an s-curve shape, which becomes the
basis of the composition. Canon 5DII, Contax 35-70mm lens
with Canon adapter, ISO 50, f/11, 1/15 second.
[5.8] Landscape Intimates

I
nstead of always focusing on the grand landscape,
take some time to notice the intimate details once and
awhile. Don’t just reflexively reach for your wide-angle
lens; rather, determine if discreet portions of the scene
can be isolated to create a pleasing image. Landscape
intimates, although often more subtle than wide land-
scapes, can have a beauty and power all their own.
Although any lens can be used to create an intimate
composition, longer lenses are often preferred, as they
give you the ability to isolate a portion of the landscape
scene that catches your eye, making it easier to be selec-
tive and to simplify. Be careful to only include those ele-
ments that work well together to form a coherent theme;
use nature’s designs—shapes, forms, lines, and pat-
terns—to guide the viewer through the composition. Fine-
tuning an intimate composition is easy to do when work-
ing with a zoom lens, but don’t just stand in one spot and
zoom in and out: you need to move around and try differ-
ent angles for composing the image. More examples of
landscape intimates can be found on the next page.

ZION NATIONAL PARK, USA: I photographed autumn leaves

around water flowing through a fissure in sandstone. I used a
polarizer filter to enhance the reflections. Nikon D3X, Nikon 16-
35mm f/4 lens, polarizer filter, ISO 400, f/16, 1/5 second.
NAMIB-NAUKLUFT NATIONAL PARK, NAMIBIA: I used
a short telephoto zoom lens for this intimate
landscape composition, selecting an interesting
arrangement of dead trees. Canon 5DIII, Tamron
70-200mm f/2.8 lens, ISO 100, f/22, 5 seconds.
[5.9] Framing

F
raming is an effective tool for creating depth in a
photograph, simplifying a composition, and focus-
ing attention on important elements of the scene.
As such, framing your subject with other elements in the
scene can be a very simple yet effective compositional
tool. Examples of commonly used landscape frames
include trees and natural arches. Frames can also be
abstract, formed (for example) by areas of deep shadow
or of contrasting color. Sometimes framing shots work
best if the frame and the primary subject are in different
light—for example, silhouetted trees framing a sunlit
mountain peak. This helps strengthen the contrast
between the frame and the subject, making the visual
relationship between the two more apparent. Some more
examples of framing can be found on the next page.

LOS GLACIARES NATIONAL PARK, ARGENTINA: For this image of

Mount Fitz Roy at sunrise, I creatively framed the mountain by
shooting through a gap in a stand of trees. I chose an exposure
that rendered the frame of arcing trees in silhouette. Because I
was very close to the foreground trees, I selected a small aper-
ture to ensure sufficient depth of field. Canon 5DIII, Canon 16-
35mm f/4L lens, ISO 100, f/16, 2 seconds.
[5.10] Landscape Photo
in the Making

T
he rather unflattering view below (that’s me
wearing an ugly drysuit in the Virgin River
Narrows) shows a landscape composition in the
making. For most of my landscape images, my tripod is
set up to a height somewhere between knee and waist
level, allowing me to get low and close to my foreground
(in this case, patterns in the flowing water), but not so low
that middle or background elements are obscured.

ZION NATIONAL PARK, USA: I put on a drysuit and hiked up a

cold river to capture this photo of autumn cottonwood trees in
a deep desert canyon. Canon 5DII, Canon 24-105mm f/4L lens,
polarizer filter, ISO 800, f/11, 1/4 second.
[6.0] Light
I
t almost goes without saying that the
“magic hours” around sunrise and sun-
set are typically preferred by landscape
photographers. During these times, the sun
is low on the horizon and filtered through
atmospheric particles that scatter blue light
and allow warm light (such as reds, oranges,
and yellows) to pass through. When the
warm light strikes clouds and the landscape,
the results can be magical—hence the
name, especially when clouds glow strongly
enough to reflect that light down onto the
landscape. Of course, the magic hours
aren’t the only good light for landscape LOS GLACIARES NATIONAL PARK, ARGENTINA: I was treated to an exceptional light display as

photography; overcast works well for water- the rising sun broke through a heavy layer of clouds. Canon 5DII, Canon 24-105mm f/4L
lens, ISO 100, f/16, 1/25 second.
fall photography, and sunny midday light is
best for slot canyons. But if you really want
to excel as a landscape photographer, be prepared to miss out on a lot of sleep, because sunrise and sunset will typically be your
best times for shooting.

I’ve written a lot about light in my critically-acclaimed ebook Chasing the Light: Essential Tips for Taking Great Photos. If you
really want to understand how to use light and color to your advantage, I suggest you read Chasing the Light. But in the next few
pages, I summarize some of the key lighting styles most relevant to landscape photography.
[6.1] The Progression of Light

L
ight constantly changes throughout the day. During the
middle of the day, the sun is high; the light is harsh and
colorless, and hits the landscape from above with flat
illumination. Midday light is typically not good for landscape
photography; overcast days are a notable exception, when the
light is well suited for waterfall and forest photography—and
some specific scenes work best with bright midday light, such
as slot canyons. As sunset approaches, the sun gets progres-
sively lower in the sky, and the light gets increasingly softer,
more colorful, and hits the landscape at an angle. This marks
the beginning of the magic hour, which last through twilight
and is well-suited for landscape photography. When light is
still on the land, angled light works well, revealing texture on but is still excellent for landscape photography. Eventually,
the landscape; backlighting can also be a powerful option for twilight succumbs to night, although photo opportunities
certain types of scenes. As the sun gets lower, eventually the don’t stop if you don’t mind extreme long exposure photogra-
foreground landscape falls into shadow, with only the back- phy of several minutes or more. The reverse occurs at sunrise,
ground catching light. At this point, both front and side light giving you two chances during the day to capture great light
on the background work well. Eventually, light leaves the and expressive landscape images.
landscape altogether; clouds start to get the most colorful (I
call this the “cloud light” phase). When the sun sinks far QUIVER TREE FOREST, NAMIBIA: I made this photo after the sun had
set on the landscape, while there was still some colorful light illumi-
enough below the horizon, twilight begins: clouds go into
nating the clouds. Canon 5DIII, Nikon 14-24mm f/2.8G lens with
shadow, and only the upper atmosphere still glows with sun-
Canon adapter, ISO 100, f/11, 1/5 second.
light. Twilight light is softer and less colorful than sunset light,
[6.2] Varieties of Magic Hour Light
A
lthough the magic hours don’t last long, there is a surprising variety to the light during these periods. During a week-
long photo trip to Badlands National Park—a location not especially conducive to overcast or midday light—I focused
my energies on the magic hours in order bring this chaotic and colorful landscape to life. Here are some examples:

Twilight glow:
Approximately 40 minutes
before sunrise, the bright-
est part of the sky was the
primary light source,
casting a soft yet colorful
light on the landscape. For
this image, clouds above
the horizon were begin-
ning to glow (with light
reflecting from sunlit
clouds below the horizon),
reflecting a strongly
colorful light onto the
landscape opposite of
where the sun was rising.
Canon 5DIII, Canon 70-
200mm f/4L lens, ISO 400,
f/10, 25 seconds.
Cloud light: A few min-
utes before sunrise, the
clouds in the sky begin to
catch the first direct
sunlight of day, glowing
with brilliant color. The sun
hasn’t yet risen high
enough to directly illumi-
nate the landscape, but
when there are enough
clouds lighting up in the
sky, they can reflect light
onto the landscape, as is
the case with this image.
Canon 5DIII, Canon 70-
200mm f/4L lens, ISO 100,
f/11, 1 second.
Mixed light: For a brief
moment when the sun
rises, you can get a mix of
red light on both the
landscape and the clouds
above. The moment
doesn’t last long; although
the reddish light will stay
on the landscape for
awhile, you’ll quickly lose
the brilliant color on the
clouds. Canon 5DIII, Canon
70-200mm f/4L lens, ISO
100, f/11, 1/6 second.
Light on the background:
A few minutes after sunrise
the background was
bathed in colorful red
light. Notice how the
clouds are starting to lose
color as the light on the
landscape gets stronger.
Canon 5DIII, Canon TS-E
17mm f/4L lens, ISO 100,
f/8, 1/13 second.
Light on the land: I made
this image almost 40
minutes after sunrise. The
light was strong but still
colorful, creating signifi-
cant contrast between
areas of shadow and light.
Usually within 45 minutes
after sunrise, the light
starts to lose color and
becomes less appealing.
Canon 5DIII, Canon TS-E
17mm f/4L lens, ISO 100,
f/8, 1/200 second.
[6.3] Light on the Land

A
ngled light (also known as “side light”) is typically
preferred for landscape work as it creates strong
shadows, revealing texture and providing three-
dimensional relief. When sunlight is on the landscape,
front light doesn’t work very well: not only does it illumi-
nate the landscape in a rather flat and uninteresting way,
when the light is coming from behind you, there’s a good
chance your shadow will end up in the shot (especially
with wide-angle scenes). Instead, chose a composition
that allows you to shoot light coming in from the side.
Timing is critical when working with angled light: if the
light is too high, the shadows won’t be deep enough, but
if the light is too low, there might be too much shadow.
You want just enough light to reveal important landscape
details and interesting compositional shapes. More exam-
ples of angled light can be found on the next page.

ZION NATIONAL PARK, USA: For this image of sandstone forma-

tions, side light reveals and accentuates the grooves and
striations in the rock, creating leading lines to compel the
viewer’s eye deeper into the composition. The resulting texture
helps impart a three-dimensional feel to the photograph.
Canon 5DII, Nikon 14-24mm f/2.8G lens with Canon adapter, ISO
100, f/11, 1/13 second.
[6.4] Into the Light
A
iming into the light allows you to make colorful,
dynamic landscape images, but it also increases
your technical challenges. Shooting into the light
can take many forms, including backlighting, shooting
into a colorful sunrise or sunset, and including the sun
itself as a visual element within the composition. When
shooting into the light, the technical challenges you must
overcome include lens flare (which is the result of light
directly striking the glass front of your lens, and which
creates unsightly color blobs in your image), and some-
times extreme disparity between light and dark which
exceeds your camera’s dynamic range. Careful technique
can help you avoid or mitigate the effects of flare.
Excessive contrast can be dealt with by getting creative
with your exposures (for example, using silhouette), or
you can tame exposure differences using graduated neu-
tral density filters or exposure blending.

NAMIB-NAUKLUFT NATIONAL PARK, NAMIBIA: By pointing the

camera into the light, I was able to create a dramatic composi-
tion, using the shadows as leading lines, exaggerated by my
wide-angle perspective. Canon 5DIII, Canon 16-35mm f/2.8L II
lens, ISO 100, f/13, 1/160 second.
[6.5] Backlight
T
echnically, whenever you point your camera towards a
light source, your subjects are backlit, but when I talk
about backlighting here, I’m talking about shooting
translucent subjects in strong backlight. For backlighting to
work best, you need to choose your subjects carefully;
opaque subjects (like rocks) are not very interesting in
backlight, while translucent subjects (such as autumn leaves
or spring flowers) seem to glow from within when backlit.
Backlit subjects typically work best when the background is in
shadow, so that the backlit subject seems to “pop” out from
its darker surroundings. Also, the shadows created by backlit
subjects can be used as compelling visual elements. Backlit
OLYMPIC NATIONAL PARK, USA: I searched for hours in this chaotic rain forest
subjects often work best with the intimate landscape style of
for an interesting backlit composition, finding this curving tree to frame the
composition, as you can isolate your subject against a dark scene as the sun was setting. I let most of the scene go into shadow, using
background, but in certain circumstances backlit subject work the shadows to create compositional structure. I included the sun in the
well with wide-angle grand landscape compositions as well. composition, selecting a position which partially blocked it behind a tree to
Backlighting works well at sunrise and sunset, but can also be prevent flare. I increased my ISO to allow for a faster shutter speed to prevent
motion blur from a persistent light breeze. Canon 5DIII, Canon 16-35mm
effective at other times of the day; strong light is a must.
f/2.8L II lens, ISO 200, f/11, 1/30 second.

Lens flare is your biggest challenge when shooting backlit

subjects; make sure to shade the glass of your lens from direct light (I discuss proper lens shading techniques later on in this
section). Excessive contrast is also a challenge, but often you will want dark shadows to contrast with backlit parts of the scene,
so silhouette treatment is often appropriate. More examples of backlighting can be found on the next page.
[6.6] Proper Techniques for Shading Your Lens

A
lens hood helps to keep direct light from striking the glass of your lens when working with side or backlight, but per-
sonally, I find them unreliable (they don’t block the light coming in from certain angles). So I don’t use lens hoods,
preferring instead to use my hand to shade the lens when necessary. I do this one of two ways. Below left: After setting
up my shot, I move to the side and slightly in front of my camera, and making sure to avoid having any part of me enter into the
image frame, I position my hand to block the sun and to place the entire glass front of the lens in shadow. I then trigger the shot
using my wired remote. Below middle: If working with an extreme wide-angle, I remain standing behind my camera, stretching
out my hand in front of the lens until I see the flare disappear—which means I have successfully shaded my lens—all the while
being careful to avoid having my hand intrude into the edges of the image frame (this option can be tricky if your reach isn’t
long enough, and sometimes it is hard to tell if you have successfully shaded the lens entirely).

Sometimes, however, I choose to creatively incorporate lens flare into my photograph, such as with the image to the lower right.
For this shot, the sun was rising above a tall sand dune in the background; I carefully framed the composition to just barely
exclude the sun, allowing only its flare to appear at the top of the image frame. I then partially blocked the sun with my hand,
just enough to eliminate the worst parts of the flare, but not enough to get rid of the flare altogether. Namib-Nauklift National
Park, Namibia. Canon 5DIII, Canon 24-70mm f/2.8L lens, ISO 100, f/16, 1/50 second.
[6.7] Shooting into
Sunset or Sunrise

S
hooting into sunset or sunrise can help you create
dramatic and colorful images. Your primary chal-
lenge is that your foreground will likely be in
shadow, which means it is lit by flat light with little con-
trast or color. Shooting into sunrise or sunset often works
best when your foreground has a lot of native color and
contrast, or if the foreground is reflective (water scenes
work especially well). If the sun is high enough, you might
get some backlighting on the foreground landscape, such
as with the image to the right. Dynamic range is also a
challenge: the difference in luminosity between a bright
sky and your shadowed foreground can often be two or
more stops. A graduated neutral density filter can help in
such situations, or if you prefer, exposure blending. Some
more examples of shooting into sunrise or sunset can be
found on the next page.

GRAND TETON NATIONAL PARK, USA: When shooting into sun-

set, I often use a grad filter to balance my exposure. Canon
5DIII, Tamron 24-70mm f/2.8 lens, 2-stop reverse graduated
neutral density filter, ISO 100, f/11, 1/30 second.
[6.8] Star Burst
W
hen shooting into the sun it is possible to create
an attractive, eye catching “star burst” effect.
This is most easily accomplished using a wide-
angle lens and a small aperture. Typically, a small aperture
such as f/11, f/16, or f/22 is necessary to produce an attrac-
tive burst; the smaller the aperture the better the effect,
although you may want to avoid extreme apertures such as
f/22 because of diffraction, which as previously discussed
reduces overall image sharpness.

Flare can be a significant challenge when the sun is included

within the picture frame, as you cannot effectively shade the
lens to prevent light from hitting the glass. In such circum-
stances, it is typically possible to partially block the sun to
reduce its intensity (for example, by using a tree trunk or a
passing cloud). It is important to find the right balance
between blocking the sun sufficiently to reduce flare, and
leaving enough of it exposed to create a strong burst. A few
more star burst examples can be found on the next page.

KOFA NATIONAL WILDLIFE REFUGE, USA: I partially blocked the

sun with the distant mountain to reduce flare. Canon 5DII,
Nikon 14-24mm f/2.8G lens with Canon adapter, ISO 100, f/14,
1/10 second.
 [6.9] Getting the
Best Skies
GARRAPATA STATE PARK, USA: Epic light is what we are always
chasing when shooting landscape photos. I’m often waiting for
a weather front to come through, hoping it will come in or start
to break up at sunrise or sunset. But nothing beats simply being
on location as much as possible, and hoping for great light!
Canon 5DIII, Canon 16-35mm f/2.8L II lens, 2-stop reverse
graduated neutral density filter, ISO 200, f/13, 1.6 seconds.

E
veryone wants to photograph gorgeous sunrise and giant reflectors and bounce light onto the rest of the scene.
sunset skies, which are great for most landscape Often, the best time to catch great light is when a storm is
scenes. Clouds are the key! Too few clouds are just clearing at sunrise or sunset. Storms clouds are often very
not interesting for most landscape scenes. Too many clouds, large, dramatic, and photogenic.
on the other hand, block the light. Somewhere in between is
Online weather services can help immensely when trying to
best. Partly to mostly cloudy skies generally give you the
predict good conditions. Satellite maps showing cloud move-
best chance of getting colorful sunsets and sunrises. When
ment over time for your local area are also very helpful. But
you have distinct clouds with texture and separation, light
nothing beats simply being there: if you really want to get
can break through the gaps to produce stunning results,
great light, you need to be on location as much as possible,
even when cloud cover is significant. “Flat” clouds with little
even (especially) when conditions look bleak. Trust me, once
or no texture or breaks, on the other hand, usually don’t
you’ve missed a few unexpected but incredible light displays,
catch the light all that well, and tend not to be interesting.
you make sure to be on location every sunrise and sunset!
When the clouds light up brightly enough, they will act like
[6.10] Cloud Light
c loud light, as I like to call it, is that period of time
around sunrise or sunset when the light and
colors on the clouds are at their strongest.
Usually, this occurs right before the sun rises or right after
the sun sets, when there is no direct sunlight on the land
but light and color on the clouds. There is also a very brief
period of mixed light, when there is good light and color
on the land and the clouds at the same time.

Although the light on a sunny day can be fairly strong and

colorful at sunrise and sunset, in my experience, the stron-
gest and most colorful light occurs when there are clouds
surrounding the sky where the sun is setting or rising.
When those clouds light up with color, they act as giant
reflectors, bouncing colorful light onto the landscape
when there is no direct sunlight striking the scene, and
intensifying the light when there is. This intensification of
the light during the cloud light phase can result in some
of your most spectacular landscape images.

ZION NATIONAL PARK, USA: The clouds behind me were illumi-

nated with fiery reds at sunrise; the light on the clouds was so
strong, it reflected a colorful pink light onto the landscape and
clouds in front of me. Canon 5DII, Nikon 14-24mm f/2.8G lens
with Canon adapter, ISO 100, f/11, 13 seconds.
TORRES DEL PAINE NATIONAL PARK, CHILE: The rising sun found a crack in the clouds, and the entire sky lit up with the red light of sunrise. For a brief moment
I had mixed cloud light, with direct sunlight striking the peaks and reflected cloud light bathing the entire landscape in warm colors. Canon 5DIII, Tamron 24-
70mm f/2.8 lens, polarizer filter, 2-stop graduated neutral density filter, 3-stop neutral density filter, ISO 100, f/11, 30 seconds.
[6.11] Storms
I
love photographing stormy weather, which typically
produces the best clouds for landscape photography.
When dramatic clouds build in the sky, I’m on the
lookout for creative landscape images. Light never looks
stronger than when it suddenly breaks through stormy
skies; storm light is so great it even works at midday (such
as with this image of an incoming storm over a twisted
sandstone landscape); it can be especially good during
the magic hours. Usually I’m reaching for a ultra wide-
angle lens in order to capture the large clouds building
above the landscape. Summer is an especially great time
for storms (which are fueled by warm air), but storm light
can happen anytime of the year. Storms also often create
all sorts of interesting lighting effects, including rainbows,
“god beams,” and lightning. If you are trying to capture a
photo with lightning in it, consider getting a device called
a Lightning Trigger. Another option is to shoot exposures
of one second or longer, and keep shooting until you get
a shot with a lightning bolt.

VERMILION CLIFFS NATIONAL MONUMENT, USA: Dramatic storm

clouds contrast strongly with the colorful sandstone landscape
below. Canon 5DII, Nikon 14-24mm f/2.8G lens with Canon
adapter, ISO 100, f/11, 1/125 second.
PUNA DE ATACAMA, ARGENTINA: I was fortunate to witness these dramatic and colorful storm
clouds build up at sunset over pumice stone formations in the high altitude desert of Northern
Argentina. I zoomed in to isolate the most intense part of the scene, choosing a classic style
mid-range composition. Canon 5DIII, Canon 24-70mm f/2.8L II lens, ISO 100, f/11, 0.4 seconds.
[6.12] Overcast
A
lthough most landscape scenes do not work well
in flat overcast light (especially compositions that
include the sky), overcast light is well suited for
waterfalls, streams, and forest scenes. The even illumina-
tion of overcast reduces the incidence of glare and “hot
spots” in these types of scenes, and works very well with
subjects that have a lot of native color (such as spring or
autumn foliage), or where excessive contrast will some-
how distract or detract from the main subject. For exam-
ple, a chaotic spring forest has a lot of bold green color
which is fully revealed by overcast light; sunlight, on the
other hand, might create too many shadows, which could
clutter the scene. For most waterfall or forest scenes shot
in overcast light, you should exclude the sky, as it will
render as bright white and be distracting. You can also
shoot these scenes when they fall into full shadow on a
sunny day, but open shade light is considerably more flat
than overcast (the light is also blue, but this can be cor-
rected through white balance). On the next page are a few
examples of scenes that benefit from overcast light.

VATNAJÖKULL NATIONAL PARK, ICELAND: Overcast light was

perfect for this intimate waterfall scene. Canon 5DIII, 16-35mm
f/2.8L II lens, polarizer filter, ISO 100, f/11, 0.5 seconds.
OLYMPIC NATIONAL PARK, USA: The soft light of
overcast was perfect for this rain forest scene. I
used a polarizer filter to remove reflections
from the wet foliage and to enhance the lush
green color. I increased my ISO in order to
shorten my exposure, in order to reduce motion
blur from a slight breeze. Canon 5DII, Nikon 14-
24mm f/2.8G lens with Canon adapter, polarizer
filter, ISO 400, f/11, 0.8 seconds.
[6.13] Twilight
T
wilight is the period after the
sun has set or before it rises,
when there is a soft glowing
light in the sky caused by the refraction
and scattering of the sun's rays from
the atmosphere. During twilight, the
sky is the primary source of light on
the landscape. Twilight has more blue
light in it than sunlight, leading some
to call this time the “blue hour.” But
twilight light can also be warm and
colorful, especially when portions of
the sky are glowing strongly with color
from the rising or setting sun. This
relatively bright part of the sky acts as
a giant reflector, bouncing a subtle yet
colorful “glow” onto the landscape,
which is most apparent when you turn
opposite from the sunset or sunrise.
Usually this glow is best photographed
thirty to forty minutes after sunset or
before sunrise, when the rest of the sky
is relatively dark (as the rest of the sky
brightens, it reflects more light onto
the landscape, diffusing the effect of
the twilight glow). Long exposures are
necessary to compensate for the faint
light; clouds, water, and wind-blown
foliage will move during long expo-
sures, creating impressionistic blurs.
This, combined with the colorful twi-
light glow, can lead to photos that look
otherworldly. Twilight is a magical time
when reality blends with fantasy.
(TOP) OLYMPIC NATIONAL PARK, USA: I
pointed my lens towards the sky where
the sun had set a half-hour earlier, to add
some warm color to the otherwise silvery-
blue twilight scene. Canon 5DIII, Canon
70-200mm f/4L lens, ISO100, f/5.6, 3.2
seconds.
(BOTTOM) LOS GLACIARES NATIONAL PARK,
ARGENTINA: I turned away from where the
sun was rising to capture twilight glow on
the distant mountain. This image was
taken approximately thirty minutes before
sunrise. Canon 5DII, Canon 24-105mm
f/4L lens, ISO 100, f/16, 30 seconds.
[6.14] Night
N
ight photography is a whole separate genre,
and it is beyond the scope of this book to go
into it in detail. Nonetheless, night presents
many interesting opportunities for the landscape photog-
rapher, so I will go into it briefly here. Long night
exposures allow the photographer to “paint” across the
image frame using moving elements such as moonlit
clouds or stars. And when all is covered in darkness, the
photographer can use flash and other artificial light
sources to reveal only those elements of the scene that he
or she chooses. Be prepared for long exposures (ranging
from several seconds to several hours), and make sure to
turn on your camera’s long exposure noise reduction
feature to mitigate the effects of noise build-up during
long exposures. Night photography is difficult work,
requiring equal parts planning, patience, caffeine, and
fortitude to brave the things that go bump in the night.
But the reward is the chance to reveal a hidden side of the
world that few people ever see.

SPITZKOPPE MOUNTAINS, NAMIBIA: I used a flashlight to illumi-

nate this tree during a 30-second night photograph of the Milky
Way. A high ISO and wide open aperture are necessary to
capture the stars as pinpoints of light. Canon 5DIII, Canon 16-
35mm f/2.8L II lens, ISO 3200, f/2.8, 30 seconds.
COTOPAXI NATIONAL PARK, ECUADOR. Digital cameras are perfect
tools for capturing the beauty of the night sky. For this image of a
glacier-capped volcano lit by the moon, I did a 30 second exposure
with a wide angle lens to capture the stars as pinpoints of light.
Canon 5DIII, Tamron 15-30mm f/2.8 lens, ISO 400, f/2.8, 30 seconds.
[7.0] Landscape Recipes

S ure, instructional books are great, but

have you ever noticed that they are often
long on theory but short on practical
application? Master chefs have the right idea:
instead of penning lengthy tomes teaching
abstract cooking principles, they instead write
easy-to-follow recipe books, allowing even
beginners to create masterpiece meals.

The final section of this book takes this principle

and applies it to landscape photography. In this
section, I’ll focus on five common landscape
scenes, providing detailed “recipes” showing you
how to get each shot right, every time,
discussing the best equipment, light, and
LOS GLACIARES NATIONAL PARK, ARGENTINA: I photographed sunset reflected in this
compositions. Now, it’s not exactly like a glacier-fed lagoon full of drifting icebergs. Canon 5DIII, Tamron 24-70mm f/2.8 lens,
cookbook: I can’t tell you how to precisely ISO 100, f/11, three exposure blend of 0.25, 0.8, and 2.5 seconds for dynamic range.
photograph, for example, a stunning sunset over
alpine wildflowers, as no two sunsets or alpine
fields are exactly alike. Some common themes, however, are present for each scene type, allowing me to provide some solid
direction, if not actual step-by-step procedures. For each scene type, I’ll try to give you as much useful information as possible,
discussing the most important aspects of photographing the scene.
[7.1] Slot Canyons
S
lot canyons are magical places to make photographs. With
sculpted rock walls glowing with light bouncing down into
gloomy interiors away from the heat of the day, what’s not
to love? Each canyon is different, but they all offer a never-ending
array of unique photographic opportunities.

ZION NATIONAL PARK, USA: Slot canyons are often

dark—meaning your exposures are typically quite long.
Although nothing is moving, you might want to consider raising
your ISO so you aren’t waiting several minutes for an exposure
to finish. Canon 5DIII, Nikon 14-24mm f/2.8G lens with Canon
adapter, ISO 400, f/11, 20 seconds.
 [7.11] Slot Canyons: Light
B
right sunny days are best for slot canyon photography. The key to photographing slot canyons is “bounce light,” which is
reflected light that makes its way into the canyon’s shady interior. There are two sources of bounce light: (1) sunlight
hitting rocks at the top of the canyon; and (2) light reflected from the blue sky above. The first light is warm, while the
second is cool. The combination of these give slot canyons extraordinary color. Usually, the best light for slots occurs late morn-
ing through early afternoon. Deep or narrow canyons might get good light only when the midday sun is high overhead; wider
canyons might receive too much direct light during the middle of the day for effective photography. Leave plenty of time to
explore and see how the light changes throughout the day.

GLEN CANYON NATIONAL RECREATION AREA, USA. This slot
canyon was photographed after the peak bounce light of
midday. Notice the drab colors and lack of texture and contrast.
Canon 5DIII, Nikon 14-24mm f/2.8G lens with Canon adapter,
ISO 400, f/11, 4 seconds.
CANYON X, USA. Shooting this canyon during peak light results
in a more pleasing image. Colors are rich and contrast is strong,
creating significant tonal separation and three-dimensional
texture. Canon 5DII, Contax 35-70mm lens with Canon adapter,
ISO 100, f/11, 2.5 seconds.
[7.12] Slot Canyons:
White Balance
W
hen working in sandstone slot canyons, I'll
often drop the white balance in order to
preserve complementary colors. Areas of a
slot receiving bounce light from sunlit rocks will have a
warm glow, whereas areas that are not illuminated by
bounce light will be illuminated solely by light reflecting
from the blue sky, and thus be cooler in tone (typically
rendering as blue or purple). Consider using a white bal-
ance setting that is cooler than Daylight in order to bring
out the full range of colors; try experimenting with 4000K
and lower. The top image was processed using the
Daylight preset (5500K); it is completely dominated by
warm colors with little tonal separation. The bottom
image was processed using a setting of 3550K, and has a
more pleasing range of colors and contrast.

ANTELOPE CANYON, USA: I was attracted to the curving shape

and the mix of colors. Canon 5DII, Nikon 14-24mm f/2.8G lens
with Canon adapter, ISO 200, f/11, 4 seconds.
[7.13] Slot Canyons:
Composition

S
andstone is a soft rock and easily sculpted
by water, creating many graceful curves,
arches, and striations. These features can
be used to create elegant compositions. Look to
use curving lines to create visual progression in
your photographs, leading the eye from the
foreground to the background. Wide-angle lenses
add distortion which can accentuate curving
sandstone; get close to foreground elements to
create depth and lead the eye into the scene.
Longer lenses are useful when zooming in on
intimate details; something in the range of a 24-
105mm or 24-70mm lens should suffice in most you to include the beam as an element of the photograph.
slot canyons, although on occasion you might want something Sunbeams typically poke through during the middle of the day
longer (such as a 70-200mm). Look for areas of the canyon when the sun is at its highest point in the sky.
where the rock is glowing the most for maximum contrast (but
avoid areas receiving direct sunlight). For really colorful com- ZION NATIONAL PARK, USA: This short slot was flooded, allowing me
positions, juxtapose warm and cool tones. to incorporate reflections into the image. Canon 5DII, Nikon 14-
24mm f/2.8G lens with Canon adapter, ISO 100, f/11, 0.6 seconds.
When you find a ray of sunshine making its way into the can-
yon interior, scoop up a handful of sand. By throwing the sand
into the beam, you will reveal the light to the eye, allowing
[7.14] Slot Canyons:
Safety

N
ever enter a slot canyon when there is a chance
of rain in the general vicinity; local as well as
distant storms can cause dangerous flash flood-
ing. Most popular slot canyons can be entered without
any technical expertise, but use caution: some require
rock scrambling and maybe even a little bit of climbing.
Don’t enter technical canyons without the proper skills
and equipment (or a licensed guide). Use your common
sense! Avoid areas that you think may be beyond your
abilities. Although you don’t want to be in a slot during a
flash flood, the aftermath of past flooding can lead to
interesting results. Many slots have still or flowing water in
them, allowing for creative opportunities.

GLEN CANYON NATIONAL RECREATION AREA, USA: For this image,

I was able to incorporate the reflection of the sky in the still
water covering the canyon floor. The flooded canyon proved to
be quite an adventure; I had to swim through certain sections.
Canon 5DIII, Nikon 14-24mm f/2.8G lens with Canon adapter,
ISO 100, f/11, 2.5 seconds.
 [7.2] Coasts
OLYMPIC NATIONAL PARK, USA: I got creative with the shapes
formed by waves flowing around the foreground rocks. Canon
5DIII, Canon 16-35mm f/2.8L II lens, ISO 400, f/11, 0.5 seconds.
T
here’s something magical about shorelines, where land,
water, and sky meet in an uneasy truce. Coastal images
invariably trigger an emotional response when viewed.
Coastal environments are dynamic and ever-changing; condi-
tions can be challenging and unpredictable, but opportunities
for unique images are always to be found.
[7.21] Coasts: Light

S
unrise and sunset light are especially important for
coastal scenes; the colorful light at these times
brings coastal scenes to life. Water is highly reflec-
tive, so shoot towards the most colorful part of the sky to
maximize the reflected light in your image. As a practical
matter, coastal environments facing east will work best at
sunrise, while those facing west will work best at sun-
set—although successful photographs can be made at
either time no matter which way your coast faces. We all
love to capture colorful skies at sunrise and sunset, but
coastal scenes work great even when the red has faded
from the sky. Twilight is a perfect time to shoot coasts;
long exposures blur the movement of water and clouds in
the sky, and cooler tones dominate the scene.

OLYMPIC NATIONAL PARK, USA: A colorful sunset complements

the leading lines formed by an outgoing wave during a long
exposure. I carefully waded into the waist-deep water to make
this shot, wearing a pair of chest waders to keep me warm and
dry. Canon 5DIII, Canon 16-35mm f/2.8L II lens, 2-stop reverse
graduated neutral density filter, ISO 100, f/9, 0.5 seconds.
[7.22] Coasts: Motion Blur

S
hutter speeds of 1/30 second or longer will blur wave crests on the shore, then fire off as many shots as you
moving water. Shutter speeds longer than several can as the water flows out. Repeat as necessary until you
seconds will create a “misty” look; detail and texture in achieve the desired look.
the water may be lost completely with very long exposures.
Often, something between 1/8 and 1 second will yield the
most pleasing results, providing motion blur yet retaining
some texture in the water (my most commonly used shutter
speed for moving water on the coast is 1/2 second).
Experiment with different shutter speeds and review images
on your camera’s LCD screen until you achieve the desired
motion-blur effect. A neutral density filter can help you
achieve longer exposure times if necessary.

Each wave has a different shape, giving you endless opportu-

nities to create unique images. Long exposures create streak-
ing waves, adding interest and energy to your compositions;
diagonal and leading lines created by waves help lead the eye
into a scene. Use an electronic shutter release to trigger the
shot precisely when wave action is at its best. Outgoing waves
STOKKSNES, ICELAND: For this photo, I created an interesting fore-
can be particularly effective in coastal images, especially when ground by waiting for an incoming wave to form a swirl shape.
water rushes around interesting elements emerging from the Canon 5DIII, Tamron 15-30mm f/2.8 lens, ISO 50, f/11, 1 second.
surf during a long exposure. Wait for the moment when the
[7.23] Coasts: Composition
T
he key to successful coastal photography is to find a
pleasing convergence of land, water, and sky.
Shorelines create distinctive shapes, and features
emerging from the water can serve as attractive foregrounds.
Coastal areas often have unique land forms, such as arches,
sea stacks, and sea caves. Also keep an eye out for interesting
features or patterns in rippled sand, tide pools, creeks flowing
into the water, swash marks on the beach, and marine life
washed up on shore (such as shells, seaweed, or starfish), all of
which can add an interesting touch to your images. The action
of the waves will provide interest where distinctive shores and
features are lacking. Look to relate shapes in the foreground
to shapes formed by clouds in the sky. Wide-angle zoom
lenses work well for capturing grand landscape images that
include elements of the land, sea, and sky. Get low and close
to interesting foreground features, such as rocks emerging
from the water. This will make the foreground seem more
prominent, add considerable depth to your composition, and
help lead the viewer’s eye into the image frame.
You should give careful consideration regarding where to
place the horizon line in your photographs. The “Rule of
Thirds,” which dictates that the horizon line should be placed
either in the upper third or lower third of the image, can be a
useful guide. There are times, however, when placing the
horizon in the middle of the frame is acceptable or preferable,
especially when working with reflection scenes. Symmetrical
treatment is appropriate, for example, when colorful clouds
are reflected in still water.
ISLE OF LEWIS, UNITED KINGDOM: I photographed this arch a dozen
times, waiting for the right combination of conditions to capture its
wild beauty. Canon 5DII, Tamron 17-35mm lens, polarizer filter, 2-stop
reverse graduated neutral density filter, 3-stop neutral density filter,
ISO 50, f/16, 60 seconds.
[7.24] Coasts: Safety

C
oastal environments can be unpredictable, so use
caution. Rogue waves, fast tides, slippery rocks, and
strong currents can all turn a pleasant coastal excur-
sion into something deadly. Whenever working on the coast,
always keep an eye out for big waves.

If you are afraid of getting your feet wet, then you are going
to miss out on a lot of great compositions. I always bring a
pair of water sandals or chest waders with me when working
the coast. But don’t go in too deep, and don’t get close to the
water if the waves are high. Always be exceptionally careful
when entering the “wet zone” where slippery rocks might lead
to a fall.

Coastal scenes change dramatically with the tides, as do your
options for photography. Low tide can reveal interesting fea-
tures that bring your coastal images to life. High tides might
obscure details that are unphotogenic. And sometimes, some-
where in between works best. Consulting tide tables in
advance, and being willing to return to a location during dif-
ferent tides to see the results, are critical to success. When
working in a tidal environment, make sure to drop your cam-
era bag well above the high tide line (and well above the
occasional high wave). Keep an eye on the tide at all times to
And remember that sea water and sea spray can wreak havoc
on equipment, especially tripods exposed to the water; rinse
tripods with fresh water before collapsing the legs, and bring a
lens cloth to wipe spray from lenses. Above all, pay attention,
and make safety a priority!
GLADDEN SPIT AND SILK CAYES MARINE RESERVE, BELIZE: I used an
incoming wave to complement the curving shape of the clouds
above. Canon 5DII, Nikon 14-24mm f/2.8G lens with Canon adapter,
ISO 50, f/11, 1/4 second.

make sure you don’t get stranded.

S [7.3] Sand Dunes
haped by the wind, sand dunes are always in motion and always
changing—each visit is never the same as the last. In the right light,
and with the right conditions, dunes are magical subjects, allowing
you to explore with a creative eye and to make truly unique images.

DEATH VALLEY NATIONAL PARK, USA: I zoomed in to shoot this intimate sand dune
scene. Canon 5DII, Canon 70-200mm f/2.8L lens, ISO 100, f/11, 1/50 second.
[7.31] Sand Dunes: Light

S
and dunes look best in strong, colorful, angled
light. Sunrise and sunset, when the sun is not
blocked by clouds, are the best times to photo-
graph dunes. Approach sand dune scenes at an angle to
the sun in order to take advantage of the interplay
between areas of light and shadow. The best time to
photograph dunes is when the sun is high enough in the
sky to form shadows, but still low enough to bathe the
landscape in warm color. Your goal should be to have
well-defined areas of light and shadow. Too much or too
little shadow can result in images with little or no texture.
Usually it is best if the tops of dune crests or rippled sand
are in the light, with contrasting “valley” areas in shadow.
This creates rich texture and attractive pattern repetition.
Sand dune photographs can also work well at twilight, but
because there is no direct light, patterns in the sand will
not be as well defined as when lit by sunlight. Overcast
light is typically not attractive for dune photography, and
is best avoided.

SAHARA DESERT, MOROCCO: Late afternoon light adds color and

texture to a dune field. Canon 70D, Tamron 16-300mm lens, ISO
100, f/11, 1/100 second.
[7.32] Sand Dunes: White Balance
W
hite balance is an important consideration
when photographing sand dunes. A cooler
white balance will rob sunlit sand of
warmth, whereas a warmer rendering will reduce the
deep blue of shadows (caused because shadows are lit
primarily by light reflecting from the blue sky above).
Usually, selecting a white balance of Daylight or slightly
warmer will present the best compromise and render the
scene in a realistic way. Avoid warming dunes too much;
you might be able to create a super saturated golden
color through aggressive use of white balance, but the
results will not look realistic. Remember also that sand is
highly reflective and can change color throughout the
day as the light in the sky changes. Sunrise and sunset
light will create bold golden colors, whereas twilight can
reveal subtler pastel tones of blue or pink. The following
images were processed using the camera’s auto white
balance setting (4000K), the Daylight preset (5500K), and
the Cloudy preset (6500K). Personally, I find that the
Daylight preset best preserves the real colors of this
particular scene.
DEATH VALLEY NATIONAL PARK, USA: Look for shapes created
by shadow and light. Canon 5DII, Contax 35-70mm lens with
Canon adapter, ISO 100, f/11, 1/50 second.
[7.33] Sand Dunes: Composition

W
ind is the key to successful sand dune photography. Wind forms
sand dunes, piling sand higher and higher until a stable dune
forms. Wind also creates patterns, shapes, and ripples in the sand,
and gives hard edges to dune crests. And most important, wind removes foot-
prints and other unsightly blemishes, creating pristine photo scenes. So wait for
wind in the forecast, and plan to photograph right after a hard blow.

Keep an eye out for unique sand features to serve as the subject of your photo-
graph or as a foreground element. Ripples in the sand or hard-edged dune
crests can serve as foreground elements for wide-angle scenes. Preferably, the
ripples or dune crests can be used as leading lines. Remember that the interac-
tion of light and shadow on sand also creates shapes, giving you nearly endless
composition options.

While you will find plenty to shoot down below, the best opportunities for dune
photography are found up high. You’ll find the best ripples and crests at the
tops of dunes, although it is not necessary to climb the very highest dunes to
find good subject matter. Walking in soft sand is difficult, especially when going
uphill, so make sure you are up to the challenge. Getting down is a lot easier
and much more fun! NAMIB-NAUKLUFT NATIONAL PARK, NAMIBIA: I zoomed in
tight on a distant dune crest. Canon 5DIII, Canon 200-
Use longer lenses to isolate portions of a dune scene to create intimate images. 400mm f/4L lens, ISO 800, f/11, 1/250 second.

Focus on an interesting pattern, or an area which graphically juxtaposes sunlit

dunes with deep shadows. Dune fields have a lot of repetition, making them excellent pattern subjects. Look for repeating
shapes formed by the interplay of light and shadow.
NAMIB-NAUKLUFT NATIONAL PARK,
NAMIBIA: I combined the near-far style
with leading lines in this dynamic sand
dune composition. Canon 5DIII, Nikon
14-24mm f/2.8G lens with Canon
adapter, ISO 100, f/16, 1/10 second.
[7.34] Sand Dunes: Safety

B
lowing sand can ruin equipment. When it is windy, pick a lens and mount it to
your camera before heading into the dunes, and avoid changing lenses. If you
have to change lenses, shield your camera as best you can with a jacket or some-
thing similar, and don’t ever leave your camera bag open, as it will quickly fill with blow-
ing sand. Never go out into a full-blown sandstorm: if the wind picks the sand up higher
than waist level, photography is impossible and dangerous, although sand blowing lower
than waist level is unpleasant but manageable. Bring plenty of water and sun protection.
It can be fairly easy to lose your way in a dune field, especially if traveling at dusk after a
sunset shoot. Bring a GPS as a navigation aid, and a flashlight—just make sure to set the
coordinates for your vehicle before heading out. Don’t assume you can follow your foot-
prints back, as even a light wind can cover them in sand, and you might get confused if
you stumble upon someone else’s prints.

DEATH VALLEY NATIONAL PARK, USA: I made this photo on a windy day. I wasn’t the only one out there,
you can see a pair of photographers in the distance struggling to reach the dune summit! Canon 5DII,
Contax 35-70mm lens with Canon adapter, ISO 50, f/14, 1/20 second.
[7.4] Waterfalls
W
ho isn’t inspired by the thundering
roar of a tall waterfall, or the peaceful
melody of cascades on a babbling
brook? Waterfalls are a landscape favorite, but it is
important to know how to do them right.

PICTURED ROCKS NATIONAL LAKESHORE, USA: I got into the

stream below this waterfall to include an interesting fore-
ground element. Canon 5DIII, Tamron 15-30mm lf/2.8 lens,
ISO 100, f/14, 0.4 seconds.
[7.41] Waterfalls: Light

O
vercast light typically works best when photo-
graphing waterfalls and streams. The soft, dif-
fused light reduces contrast in the scene, help-
ing to prevent distracting “hot spots” from forming in the
water and on rocks. Fog works great as well; not only does
it illuminate the scene in a soft light, it can add an ethe-
real mood to waterfall images.

Rain can make streams and waterfalls more attractive by

filling them with water, darkening rocks, and intensifying
the colors of foliage. It is best to photograph waterways
right after a soaking rain. A polarizer filter is essential
when shooting waterfall scenes, to remove glare from wet
foliage and rocks, enhance contrast, and intensify colors.

OLYMPIC NATIONAL PARK, USA: I choose a long exposure to

creatively blur the motion of the water. Canon 5DIII, Canon 16-
35mm f/2.8L II lens, polarizer filter, ISO 100, f/13, 4 seconds.
[7.42] Waterfalls: Composition

L
ook for interesting curves and zig-zags in a
watercourse, and make these an element of your
composition. Get in close to foreground elements, such
as small rapids beneath a waterfall, to create compositional
interest and a sense of scale and perspective. Eddies and swirl
pools also make very interesting foreground elements.

Look for opportunities to safely get near or in the water in

order to create unique and powerful images. By doing so, not
only can you find unique perspectives, you can also get closer
to interesting foreground elements. Remember that water can distracting bits of bright white sky poking through the foliage
often be cold and fast-flowing, so use common sense. I always near the top of the forest canopy.
carry a pair of chest waders with me when photographing
Waterfall and stream scenes look best when surrounded by
streams and waterfalls, which protects me from prolonged
color. Always make an effort to include colorful rocks and
exposure to cold water. If a waterfall has an overhang, cave, or
foliage surrounding a waterway.
grotto beneath it that you can safely approach, consider
getting inside and shooting from within looking out.
GULF HAGAS PRESERVE, USA: I was attracted to the repetition of
Typically, exclude the sky when photographing waterfalls and curving shapes in this composition, so I went wide to include the
streams, as a bright sky will simply be rendered white, tree and bend of the river. Canon 5DII, Nikon 14-24mm f/2.8G lens
distracting from the important parts of the image. Pay close with Canon adapter, polarizer filter, ISO 100, f/11, 0.5 seconds.

attention and try to avoid (to the extent possible) having

[7.43] Waterfalls: Clean & Dry

T
he biggest technical challenge you will face when
photographing waterfalls is moisture build-up on your
lens, resulting from spray coming off the waterfall, rain,
or excessive humidity. Always carry a dry lens cloth to wipe
your lens if necessary before each shot. A small umbrella can
often help keep your lens and camera dry. When working in
the spray zone of a waterfall, it may be difficult to keep mois-
ture off your lens. I will sometimes place clear plastic wrap
over my lens when shooting within the spray zone, composing
the image through the plastic and taking it off right before I
am ready to trigger the shutter. Sometimes, spray builds up
too fast, with the end result being images with low contrast
and a misty look. As the saying goes, “when you can’t beat When working in dry conditions, I will often spend a few min-
‘em, join ‘em”—the soft look caused by moisture on the lens utes splashing water over rocks and logs, in order to wet them
can sometimes be used artistically to create impressionistic down and replicate the drenched look found after a soaking
fine art images. Large drops of moisture, however, will show rain. Dry rocks can often appear bright and distracting in a
up on the image and need to be removed digitally. final image; by wetting them down and using a polarizer filter,
you darken the rocks considerably, focusing attention on the
Another concern is fallen logs and debris. Too often, such
most important part of the scene.
debris can clutter images, making decent photos difficult to
obtain (sometimes, however, you can use a prominent fallen GULLFOSS, ICELAND: My primary challenge when shooting the sun
log as a leading line). Consider doing some “clean-up” work rising over this waterfall was protecting my lens and filters from
before taking a shot, removing smaller fallen branches, twigs, spray. Canon 5DIII, Canon 16-35mm f/4L lens, 2-stop reverse gradu-

and leaves as necessary. ated neutral density filter, polarizer filter, ISO 100, f/14, 0.3 seconds.
[7.45] Waterfalls:
Shutter Speed
W
ith smaller streams, longer shutter speeds
can be used to create a “silky” look to the
water. This technique often doesn’t work with
fast-moving, high-volume streams as the longer exposure
results in an undifferentiated mass of blank white water.
Remember, experiment freely with shutter speeds, review-
ing each attempt on your camera’s LCD until you find the
look you want. Adjust aperture (if you can) and ISO as
necessary to get the optimal shutter speed, and use neu-
tral density and polarizer filters if you need longer expo-
sure times. I usually start with a shutter speed of one-half
second, and experiment from there. Also, look for foam
swirling in the water below a waterfall; during a long
exposure, moving foam will often create distinct and
interesting compositional shapes and patterns.

CASCADE RIVER STATE PARK, USA: Foam in the water blurs

during a long exposure, creating interesting patterns. Canon
5DIII, Canon 16-35mm f/4L lens, polarizer filter, 3-stop neutral
density filter, ISO 200, f/11, 13 seconds.
MOSI-OA-TUNYA NATIONAL PARK, ZAMBIA:
Not every waterfall needs to be photo-
graphed in overcast light. When shooting a
waterfall that is open to the sky, treat it like a
standard landscape scene. For this image of
Victoria Falls, I waited until sunset to take the
shot. Canon 5DIII, Canon 16-35mm f/2.8L II
lens, polarizer filter, 2-stop graduated neutral
density filter, 3-stop neutral density filter, ISO
50, f/14, 3.2 seconds.
[7.5] Wildflowers
E
very spring and summer, flowers explode on a variety of landscapes rang-
ing from high elevation mountain meadows to dry deserts after a lucky
rain. Wildflowers reward us with amazing opportunities for dramatic and
colorful landscape images.

MT. RAINIER NATIONAL PARK, USA:

Indian paintbrush and other wild-
flowers carpet an alpine meadow.
Canon 5DII, Canon 17-40mm f/4L lens,
ISO 200, f/11, 1/25 second.
[7.51] Wildflowers: Light

A
wesome sunrise or sunset lights works great
when shooting wildflower landscapes. Typically
you’ll get the best results when the flowers in
your foreground are in shadow, with clouds and the back-
ground bathed in magic hour light. In such situations, use
a graduated neutral density filter to balance the exposure
between the sky and landscape. Backlighting can produce
stunning results, allowing translucent blossoms and leaves
to glow with light. Twilight can also look especially nice,
with cool blues and purples complementing pastel wild-
flower colors. Soft, diffused light or backlight are ideal for
shooting intimate compositions. The soft light of shade or
overcast also produces rich saturated colors.

GRAND TETON NATIONAL PARK, USA: I searched for an attractive

clump of wildflowers to be my foreground in this wide-angle
composition. I photographed the scene as storm clouds built
shortly after sunrise, creating shapes that complemented the
foreground. Canon 5DIII, Nikon 14-24mm f/2.8G lens with
Canon adapter, ISO 200, f/14, 1/6 second.
[7.52] Wildflowers: Composition

F
or sweeping wide-angle compositions, find an
attractive group of wildflowers and use it as a
foreground element. Remember that in a wide-
angle image, the viewer is always drawn first to the imme-
diate foreground before the eye works its way deeper into
the image; because of this, the foreground needs to
include the healthiest and most colorful flowers you can
find. Get low and close to the flowers, which will exagger-
ate their size. Do your best to avoid distracting elements
that can easily ruin your photo: out-of-focus grass, messy
sticks, and clumps of bare dirt can all reduce the impact of
your composition.

Don’t just look to make grand landscape images with

flowers in the foreground and scenery in the background.
Look for opportunities to juxtapose colorful flowers with
streams and other interesting landscape features. Use a
telephoto lens to isolate small pockets of color and inter-
esting shapes in a field of flowers.

MOUNT ST. HELENS NATIONAL VOLCANIC MONUMENT, USA: My

main technical challenge with this photo was ensuring sharp
focus from near to far. Canon 5DII, Nikon 14-24mm f/2.8G lens
with Canon adapter, ISO 500, f/14, 1.6 seconds.
[7.53] Wildflowers:
Shutter Speed
W
hen photographing wildflowers, wind is often persistent and
can ruin your flower images. There are several strategies
you can employ to combat the wind. First, modern digital
cameras give the ability to shoot at higher ISO settings without dramati-
cally affecting the quality of the image. If the wind or breeze is especially
strong or unrelenting, consider increasing your ISO to 400 or even 800 to
shoot at the fastest shutter speed possible to arrest the motion of wind-
blown flowers. Second, shoot in the mornings, as wind speed is often
lowest around dawn. Third, simply be patient: set up your camera and
wait for a lull in the wind to shoot. A shutter speed of 1/15 to 1/30 of a
second is often enough to stop wind-blown flowers with a wide-angle
lens, but you will need a much faster shutter speed when using a normal
to telephoto lens, or when it is excessively windy.

I find live view particularly useful when trying to photograph flowers in

the wind. I use live view zoomed in on a flower at 100% to comfortably
watch and wait for the flower to stop shaking. I find this method much
more accurate than simply looking at the flower from even a short dis-
tance away, as the flower may appear still to the eye, whereas 100% in
live view will reveal that it is actually still slightly moving.
PICTURED ROCKS NATIONAL LAKESHORE, USA: I
photographed these trillium backlit. Canon 5DIII,
Nikon 14-24mm f/2.8G lens with Canon adapter,
ISO 400, f/14, 1/10 second.
[7.54] Wildflowers:
Special Considerations

P
eak bloom time and intensity changes
from year to year, and depends heavily on
snowfall amounts during the winter, pre-
cipitation in the spring, and the temperature. An
area that produces a stunning display one year
may disappoint the excited photographer the
following year. When planning a trip to shoot
wildflowers, you should try to allow several days
of shooting, remaining flexible to explore as many
locations as possible to find the best blooms.

Early morning dew—and in higher elevations,

frost—can add a great touch to your flower
images. Consider carrying a small spray bottle
filled with water: when dew doesn’t form on its MT. RAINIER NATIONAL PARK, USA: I used the path as a leading line, being careful to avoid
own, you can spray water onto flowers in your trampling any flowers while making photos that morning. Canon 5DII, Canon 17-40mm
foreground to add a nice, natural-looking touch f/4L lens, 2-stop reverse graduated neutral density filter, ISO 400, f/16, 1/13 second.
to your images.

Flowers are delicate. Be careful where you step, avoid walking through flower patches, and stay on designated trails. Others have
the right to enjoy the flowers as much as you have!
[8.0] About the Author

W
orld-renowned professional photographer,
writer, and adventurer Ian Plant is a frequent
contributor to and blogger for Outdoor
Photographer Magazine, a Contributing Editor to Popular
Photography Magazine, a monthly columnist for
Landscape Photography Magazine, and a Tamron Image
Master. His personal photographic project, Dreamscapes,
moves beyond the literal to transform subjects into some-
thing unexpected through the photographic process,
bridging the line between the real and surreal. Ian travels
the world, seeking out the hidden spaces in between the
familiar, in his never-ending quest to inspire, entertain,
and educate others in the art of photography. See more of
his work at www.ianplant.com.
THE GRAND LANDSCAPE
IAN PLANT