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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
E [5.0] Composition 64
N [6.0] Light 84
This book will teach you how to succeed at each of these five elements, TORRES DEL PAINE NATIONAL PARK, CHILE: I chose
which are the key components of a great landscape photo. Note that a foreground that complemented the shape of
not every landscape photo needs all five of these elements to succeed, the clouds. Canon 5DII, Canon 24-105mm f/4L
and not every landscape scene fits neatly into this paradigm. Don’t lens, polarizer filter, 2-stop graduated neutral
density filter, ISO 100, f/11, 1/25 second.
worry, I’ll deal with these other types of landscape scenes as well!
[1.2] A Quick Note on Digital Processing
T
his book emphasizes photo- files are somewhat lacking in the
graphic field techniques for contrast and color vibrancy found in
making great landscape the real world. Accordingly, some
images. These days, there are many digital darkroom work is necessary
“photographers” who resort to to optimize your landscape photos.
extreme Photoshop manipulation to I will discuss a few digital tech-
create stunning landscape images. I niques useful to landscape photog-
am not one of them! Call me quaint, raphers, but digital darkroom
but I believe the true magic of the mastery is beyond the scope of this
landscape is found out there, and book. There are many excellent
not something that should be fabri- video courses available that can
cated while sitting at home in front help you better understand digital
of the computer. processing techniques.
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.
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.
Features that are important for landscape Features that aren’t important for land-
photography: scape photography:
High resolution: You’ll want a camera that High ISO performance: This is typically not
produces enough resolution for making large important to landscape photographers, unless
reproductions. Sixteen megapixels is sufficient, you plan on shooting at night. Even for night
although twenty or more is better. work, anything higher than 3200 probably
isn’t necessary. For most landscape work,
Live view: This feature allows the photogra-
you’ll be shooting at your camera’s base ISO.
pher to preview composition, focus, and expo-
sure on the camera’s LCD screen. High frames-per-second rate: Most
landscape work doesn’t involve a lot of fast
Raw files: If you want total control over how
action. Four or five frames-per-second is more
your images look, you’ll need a camera that
than enough for landscape photography.
allows you to shoot raw files.
Autofocus: Unless you don’t trust your
Dynamic range: The more dynamic range
eyesight, you won’t need a camera with
your camera sensor has, the easier it is for you
advanced autofocus capabilities. Most
to capture detail in highlight and shadow
focusing for landscape images is done
areas at the same time.
manually, and if you do use autofocus, you
won’t need advanced predictive or tracking
Each of these is discussed in more detail over
autofocus modes.
the next few pages.
[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.
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.
Highlight
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.
Y ou absolutely need a sturdy yet release the camera from your tripod. The Arca-
lightweight tripod to ensure maximum Swiss standard is widely used by a number of
image sharpness and to keep your tripod head manufacturers, but not by all.
camera steady during long exposures. Carbon
Another useful accessory is an L-bracket, which
fiber tripods are more expensive but weigh less
cradles your camera with an Arca-Swiss
than metal tripods, while offering comparable
compatible connection on both the horizontal
rigidity and stability. You don’t need a tripod
and vertical axis of the bracket, allowing you to
that is unduly large, heavy, and burdensome,
easily flip your camera between horizontal and
but it should be tall enough to go almost to
vertical orientation without having to “flop”
eye level when the legs are fully extended
your ball head over to the side. This results in a
(without having to resort to extending your
more stable setup, and makes switching from
center column). You may also want a smaller,
horizontal to vertical considerably easier. L-
lighter tripod for long hikes or extended
brackets are made specific to each camera
backcountry trekking.
model, so make sure to get the correct one for
You’ll also need to get a good tripod head. I your camera. Top left: my current tripod, a
use a lightweight yet sturdy ball head with Giottos Silk Road YTL 8214 carbon fiber tripod
what is known as an Arca-Swiss style quick with a Uniqball UBH 45XC leveling ballhead
release. The Arca-Swiss system is based on a with X-cross clamp. Middle left: camera with L-
two piece mechanism: a plate that attaches to bracket in horizontal
a camera or lens, and a mounting clamp built position. Bottom left: camera
into the tripod head, where the plate gets with L-bracket in vertical
attached and secured. This simple and reliable position. Right: Kirk
system allows you to quickly mount and 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.
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.
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.
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.
O
ne thing I do not use a polarizer for is darkening a the sky getting brighter as you get closer to where the sun is
blue sky, especially when using a wide angle lens. in the sky). If you are looking to darken the blue sky to make
When working with a wide angle of view, uneven colors and clouds stand out more, use the digital darkroom
polarization of the sky is often the result. This is clearly instead of a polarizer. In the Adobe Lightroom develop
demonstrated by the images below. On the left is a wide angle module, go to the HSL window (HSL stands for Hue,
(16mm) scene shot with a polarizer on a clear day. You can see Saturation, and Luminosity), select the Luminosity tab, and
the considerably uneven polarization of the sky, especially in then selectively darken the sky using the Blue slider. You can
the left half of the image frame. On the right is the same scene do the same thing in Adobe Photoshop using Image >
shot without a polarizer, showing the natural gradation of Adjustments > Selective Color (or create a Selective Color
tonality in the sky (the sky will show uneven brightness, with 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.
W
hen we talk about focus, With you camera perfectly level, when
we often use the phrase you focus on any point on the wall, Focus plane
“focus point,” but this is a the entire wall ends up in focus (Fig-
Figure 1
bit misleading. Actually, a more accu- ure 1). If you tilt your camera down,
rate way to think about it is as a focus then your plane of focus tilts down
plane. And I don’t mean an airplane, too, so when you focus on the bricks
Brick wall
but rather “plane” as in “a flat sur- in front of you at eye level, the top
face.” The plane of focus is a two and bottom bricks on the wall are no
dimensional plane in front of the longer in focus (Figure 2). Focus plane
camera at the point of focus, and it is Figure 2
For many landscape scenes, however,
always parallel to the camera’s sensor.
your subject plane is going to be
The plane of focus remains in the
more perpendicular to your focal
same position relative to the sensor Focus plane
plane than parallel, especially when
plane when you tilt the camera up or
the camera is leveled (Figure 3). Often, Subject plane
down. Of course, many lenses suffer
when photographing a near-far land-
from a bit of field curvature distortion,
scape scene, you end up tilting your Figure 3
so their focal planes won’t be per-
camera down, which more closely
fectly flat but will curve slightly, but
aligns your focal plane and your
that makes everything a bit too com-
subject plane (Figure 4), but even this Focus plane
plicated, so let’s not worry about it.
is not enough to get everything in
Here’s an example that should make focus at once. This is where Subject plane
this more clear. Let’s say you’re photo- hyperfocal distance and depth of field
graphing a brick wall in front of you. come to the rescue. Figure 4
[3.2] Hyperfocal distance
H
yperfocal distance is a confusing concept, involving Hyperfocal distance doesn’t act alone; instead, it works in
a lot of mathematical formulas, making the whole conjunction with depth of field, which extends your apparent
thing seem ridiculously complicated. But without zone of focus in front of and behind your chosen focus point.
effectively understanding how hyperfocal distance works, you How much depth of field you have is determined by your
will find it difficult to adequately ensure that all parts of the choice of aperture.
image frame are acceptably in focus. Here’s what Wikipedia
Make sense? Don’t worry, I’ll clear things up. But let’s turn to
has to say on the subject:
depth of field for a moment, which I discuss in greater detail
In optics and photography, hyperfocal distance is a on the next page.
distance beyond which all objects can be brought
into an "acceptable" focus. The hyperfocal distance TO INFINITY AND BEYOND!
is the closest distance at which a lens can be Let’s pause for a moment of
focused while keeping objects at infinity acceptably definition. “Infinity” means the
sharp. When the lens is focused at this distance, all farthest point a lens can focus,
objects at distances from half of the hyperfocal which is denoted on your lens by
a small infinity mark (or rather, it
distance out to infinity will be acceptably sharp.
should be marked, but not all
lenses have distance marks on
Wow. Got that? I’m not surprised if you didn’t. The next few
them):
pages will make this all a lot easier to understand.
Now here’s the weird thing: with most lenses, you can actually focus
Let’s start by simplifying the discussion. Basically, hyperfocal past infinity (you’re really focusing past the infinity mark, not past
distance tells you where to focus your lens. But when it comes infinity itself, which is impossible). Lens makers do this to compen-
to making sure everything in your picture frame is acceptably sate for shifting of the infinity focus point that results from lens
materials reacting to temperature changes. So even if you manually
sharp, the definition of hyperfocal distance is misleading:
set the lens focus point to infinity, you can’t always be sure that you
simply setting the lens to the hyperfocal distance alone won’t
have accurately focused on infinity! Yeah, I know—it’s a crazy world.
ensure sharp focus from near to far in your composition.
[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:
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).
[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:
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?
is that most lenses aren’t at their sharp- scape is often f/11, which presents a MONUMENT, USA: Because the foreground
was very close to me, I used a small aper-
est when shot wide open, especially at good balance between overall image
ture to ensure sufficient depth of field.
the edges and corners; most lenses are quality and depth of field. You’ll notice
Canon 5DIII, Tamron 15-30mm f/2.8 lens,
sharpest overall at middle apertures, that most of the images in this book fall ISO 100, f/16, 2 seconds.
such as f/8 or f/11). somewhere between f/11 and f/16.
[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 Hyperfocal distance or depth of field F/22 and be there: If small apertures
scene: This is an often repeated rule of charts and “calculators”: These are deliver more depth of field, why not
thumb that tells you to focus “one-third widely available (even as smart phone always use your lens’ smallest aperture,
into the scene.” I’ve never encountered apps), allowing you to input several typically f/22? Here’s why: image quality
anyone who can actually explain what variables including sensor size, focal diminishes when you use small apertures
this means: what is “one-third into the length, and aperture in order to deter- because of an optical effect known as
scene” when your closest subject is a mine the hyperfocal distance. In my diffraction. Most lenses start showing
flower three feet away and your farthest experience, these calculators usually considerable diffraction at f/16, and
subject is a mountain five miles away? It don’t supply realistic numbers. They are even more so at f/22, which has the
doesn’t really make any sense if you based on decades-old subjective evalua- effect of reducing apparent sharpness
think about it (it is actually based on tions of “acceptable” sharpness that throughout the image frame. This
how depth of field works, but unfortu- aren’t all that relevant anymore in the doesn’t mean you should avoid small
nately, the cited “rule” has been warped modern digital age. Besides, when apertures altogether—sometimes you
to the point where it doesn’t connect working in the field with fast-changing need to use f/22 to make sure every-
with reality anymore). So you are better conditions, the last thing you want to do thing in the scene is in focus—but avoid
off just ignoring this one. is take a math quiz! 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).
F
ocus stacking involves blend- tions may require more). In
ing multiple exposures of the Photoshop, load all of the images as
same scene, each taken with layers into a single image by going
the focus set to a different focus to File > Automate > Photomerge.
point, using a computer program Select the image files you want to
such as Adobe Photoshop or a stack, select "Auto" for layout, and
dedicated focus stacking program make sure that none of the boxes at
such as Helicon Focus. With focus the bottom are checked (make sure
stacking you no longer have to rely to uncheck the “Blend Images
on small (and diffraction-limited) Together” box). After pressing OK,
apertures to get sufficient depth of Photoshop will align the images and
field for a landscape scene; instead, put them into a new image as lay-
you can achieve exceptional near- ers. Next, select all of the layers in
far focus that exceeds what you can the new image, and go to Edit >
get using depth of field alone. The Auto Blend Layers. In the Auto-
process is fairly easy: after compos- Blend Images dialog box, select
ing your image, make a series of “Stack Images.” Photoshop will
exposures, starting by focusing on automatically blend the sharpest
the closest part of the scene, mak- parts of each image. The process APOSTLE ISLANDS NATIONAL LAKESHORE, USA: I was
very close to the foreground of this “sea cave” on
ing small focus adjustments until isn’t always perfect, and you’ll some-
Lake Superior, so I focus stacked seven exposures
you get to the background (typi- times have to do some creative
in Adobe Photoshop, each with a slightly different
cally, 5 to 7 images will be sufficient, editing and cropping to achieve a focus point. Canon 5DIII, Canon 11-24mm f/4L
although some extreme composi- 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.
When trying to stop the motion of When working in low light: When it is To optimize your shutter speed for
moving objects: I’ll sometimes increase very dark (such as at night), it may be motion-blur effects: When aperture
my ISO to stop the motion of wind- desirable to use a higher ISO to avoid can’t be adjusted because you need
blown objects. For examples, with the unduly long exposures. For the image depth of field, sometimes changing your
image below, a breeze was causing the below, I was working in twilight long ISO is the only way you can adjust your
flowers to shake; in order to render the after the sun had set. Even at ISO 400, I shutter speed. For the image below, I
flowers as sharp, I raised my ISO to 800, ended up with a two minute exposure increased my ISO as necessary to reach
allowing me to increase my shutter (which happened to blur the motion of my target shutter speed of 1.6 seconds,
speed and stop the motion of the flow- the clouds perfectly). Vatnajökull which I determined would best blur the
ers. Mount St. Helens National Volcanic National Park, Iceland. Canon 5DIII, water to my liking. Zion National Park,
Monument, USA. Canon 5DII, Nikon 14- Canon 16-35mm f/2.8L II lens, polarizer USA. Canon 5DII, Nikon 14-24mm f/2.8G
24mm f/2.8G lens with Canon adapter, filter, 2-stop reverse graduated neutral lens with Canon adapter, polarizer filter,
ISO 800, f/11, 1/5 second. density filter, ISO 400, f/11, 2 minutes. 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, Shutter priority: You Aperture priority: You Manual: When the camera is
the camera makes all of the choose a shutter speed and choose the f-stop and the in the manual exposure
decisions for you, so you the camera automatically camera automatically mode, you have to inde-
don’t have to think about f- chooses an f-stop for the chooses a shutter speed. pendently set both f-stop
stops or shutter speeds. This lighting conditions. For Aperture priority is preferred and shutter speed. Aperture
exposure mode is not landscapes, your choice of when shooting landscape, as priority makes things easier,
recommended for serious aperture is almost always it allows you to easily select but I’ll sometimes switch
photography, so don’t even more important, so you an aperture that will give over to manual when in low
think about it! Trust me, probably won’t ever need you the depth of field you light with exposures several
more control is better. this mode. need for any given scene. 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.
This image is overexposed, with all detail lost in This image is underexposed, with all detail lost This image is properly exposed, with as much
highlight areas. in shadow areas. 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.
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?
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
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.
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 during the raw conversion process is
can change an image’s actually quite simple—whether using
white balance when Lightroom, Adobe Camera Raw, or
converting the raw file on your another raw conversion program.
computer without degrading image Typically you have two options for
quality. This can free you from wast- controlling white balance: one slider
ing precious time optimizing white changes color temperature (warm vs.
balance while in the field; rather, you cool), and another controls tint
can make your white balance deci- (green vs. magenta). Between the
sions later when processing the two sliders, you should be able to
image, giving you more flexibility to fully control color balance. You'll also
assess various white balance options. have the option of using a number
I keep my camera set on Automatic of preset values which are similar to
white balance mode; I've found that the ones your camera offers; most
my camera gets it right much of the programs also have an Automatic
time, thereby streamlining both my option which allows the software to
shooting and raw processing make its best guess as to the appro-
workflow. Although I never make any priate white balance setting.
effort to set my white balance before
OLYMPIC NATIONAL PARK, USA: For this image, I
I take a photograph, I usually have a
elected to preserve the twilight blue tones which
pretty good idea of the white bal- dominated the scene. In Adobe Camera Raw, I set
ance setting I will choose later dur- a custom white balance of Temperature: 5450 and
ing the raw conversion process. Tint: +33. Canon 5DIII, Canon 24-70mm f/2.8L II
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.
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.
TORRES DEL PAINE NATIONAL PARK, CHILE: When making landscape images, I’m not
I’ve written a lot about composition in my criti-
just looking to create a snapshot of pretty places; instead, I’m looking to share my
cally-acclaimed ebook Visual Flow: Mastering the
artistic vision of the world. Learning how to master composition is the key to doing
Art of Composition. If you really want to under- this. For this image, I got low and close to an interesting foreground object—a piece
stand composition, I suggest you read Visual of driftwood bleached by the harsh Patagonia sun—in order to create a compelling
Flow. But in the next few pages, I summarize visual relationship between the foreground, the moon, the fog, and the background
some of the key compositional techniques most mountain lit by the first light of day. Canon 5DIII, Canon 11-24mm f/4L lens, ISO 100,
f/13, 1/4 second.
relevant to landscape photography.
[5.1] Scene Selection
H
ow do you pick a composition? So, once I am out and about exploring,
It all begins with scene selec- what am I looking for? To start with, I’m
tion. Let’s start with scene looking for stunning scenery. But I’m
selection at its broadest, and then nar- also looking to create a sense of place,
row in from there. Whenever I travel to a which is best approached by simply
new photo location, I start with some asking the following questions: What is it
online research just to get a feel for the about the scenery that I find inspiring or
place. I don't want to look too much at appealing? What seems unique to me?
other people's images, because I don't What can be found here that can’t be
want my personal vision influenced by found anywhere else? Which features of for an interesting foreground to juxta-
what others are doing, but I try to at the scenery tell its story best? Answering pose against a stunning background.
least get a general idea of what to these questions helps me decide which Once I find an interesting composition,
expect. But after that, it is all boots on visual elements to include in the compo- I’ll return to the location at sunrise or
the ground; I explore the area as much sition. But I’m not really looking for sunset and hope for incredible light to
as possible, trying to find interesting stunning scenery (or at least, I’m not just bring the scene to its fullest potential.
subjects. So I might start by driving looking for stunning scenery): instead,
I’m looking to assemble a group of ISLE OF LEWIS, UNITED KINGDOM. To me, the
around to generally scout, and when
beauty of this remote Scottish coast lay in
something interesting catches my eye, I'll visual elements together to form a
its rolling green pastures, stony cliffs rising
get out of the car and hike around to see pleasing and compelling composition. To
above turbulent waters, and random glacial
what I can find (I almost always prefer to that end, I critically assess elements of erratics. So I looked for a composition that
get away from the road as much as 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.
possible to find unique perspectives, as
but also in terms of their shape, color, Canon 5DIII, Tamron 17-35mm lens, ISO
most photographers rarely shoot more
100, f/14, 3.2 seconds.
than a few feet from their car). 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.
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- Boulders in streams: Rocks Flowing water: When work- Rock formations: Look for
sonal favorite of landscape sticking out of the water in ing on the coast, use long interesting striations and
photographers, wildflowers the foreground act as visual exposures to reveal shapes patterns formed in rock.
add a splash of color to any anchors, drawing the eye and lines formed by incom- Sandstone is often particu-
foreground. Look for pat- and leading it further into ing or outgoing waves. Make larly interesting, as are other
terns formed by the flowers. the composition. them your foreground. 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.
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.
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.
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.
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: Cloud light: A few min- Mixed light: For a brief Light on the background: Light on the land: I made
Approximately 40 minutes utes before sunrise, the moment when the sun A few minutes after sunrise this image almost 40
before sunrise, the bright- clouds in the sky begin to rises, you can get a mix of the background was minutes after sunrise. The
est part of the sky was the catch the first direct red light on both the bathed in colorful red light was strong but still
primary light source, sunlight of day, glowing landscape and the clouds light. Notice how the colorful, creating signifi-
casting a soft yet colorful with brilliant color. The sun above. The moment clouds are starting to lose cant contrast between
light on the landscape. For hasn’t yet risen high doesn’t last long; although color as the light on the areas of shadow and light.
this image, clouds above enough to directly illumi- the reddish light will stay landscape gets stronger. Usually within 45 minutes
the horizon were begin- nate the landscape, but on the landscape for Canon 5DIII, Canon TS-E after sunrise, the light
ning to glow (with light when there are enough awhile, you’ll quickly lose 17mm f/4L lens, ISO 100, starts to lose color and
reflecting from sunlit clouds lighting up in the the brilliant color on the f/8, 1/13 second. becomes less appealing.
clouds below the horizon), sky, they can reflect light clouds. Canon 5DIII, Canon Canon 5DIII, Canon TS-E
reflecting a strongly onto the landscape, as is 70-200mm f/4L lens, ISO 17mm f/4L lens, ISO 100,
colorful light onto the the case with this image. 100, f/11, 1/6 second. f/8, 1/200 second.
landscape opposite of Canon 5DIII, Canon 70-
where the sun was rising. 200mm f/4L lens, ISO 100,
Canon 5DIII, Canon 70- f/11, 1 second.
200mm f/4L lens, ISO 400,
f/10, 25 seconds.
[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.
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.
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.
which is most apparent when you turn (BOTTOM) LOS GLACIARES NATIONAL PARK,
opposite from the sunset or sunrise. ARGENTINA: I turned away from where the
Usually this glow is best photographed sun was rising to capture twilight glow on
thirty to forty minutes after sunset or the distant mountain. This image was
before sunrise, when the rest of the sky taken approximately thirty minutes before
sunrise. Canon 5DII, Canon 24-105mm
is relatively dark (as the rest of the sky
f/4L lens, ISO 100, f/16, 30 seconds.
brightens, it reflects more light onto
[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.
GLEN CANYON NATIONAL RECREATION AREA, USA. This slot CANYON X, USA. Shooting this canyon during peak light results
canyon was photographed after the peak bounce light of in a more pleasing image. Colors are rich and contrast is strong,
midday. Notice the drab colors and lack of texture and contrast. creating significant tonal separation and three-dimensional
Canon 5DIII, Nikon 14-24mm f/2.8G lens with Canon adapter, texture. Canon 5DII, Contax 35-70mm lens with Canon adapter,
ISO 400, f/11, 4 seconds. 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.
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.
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-
OLYMPIC NATIONAL PARK, USA: I got creative with the shapes
formed by waves flowing around the foreground rocks. Canon tions can be challenging and unpredictable, but opportunities
5DIII, Canon 16-35mm f/2.8L II lens, ISO 400, f/11, 0.5 seconds. 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.
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.
T
he key to successful coastal photography is to find a to shapes formed by clouds in the sky. Wide-angle zoom
pleasing convergence of land, water, and sky. lenses work well for capturing grand landscape images that
Shorelines create distinctive shapes, and features include elements of the land, sea, and sky. Get low and close
emerging from the water can serve as attractive foregrounds. to interesting foreground features, such as rocks emerging
Coastal areas often have unique land forms, such as arches, from the water. This will make the foreground seem more
sea stacks, and sea caves. Also keep an eye out for interesting prominent, add considerable depth to your composition, and
features or patterns in rippled sand, tide pools, creeks flowing help lead the viewer’s eye into the image frame.
into the water, swash marks on the beach, and marine life
You should give careful consideration regarding where to
washed up on shore (such as shells, seaweed, or starfish), all of
place the horizon line in your photographs. The “Rule of
which can add an interesting touch to your images. The action
Thirds,” which dictates that the horizon line should be placed
of the waves will provide interest where distinctive shores and
either in the upper third or lower third of the image, can be a
features are lacking. Look to relate shapes in the foreground
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.
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 And remember that sea water and sea spray can wreak havoc
options for photography. Low tide can reveal interesting fea- on equipment, especially tripods exposed to the water; rinse
tures that bring your coastal images to life. High tides might tripods with fresh water before collapsing the legs, and bring a
obscure details that are unphotogenic. And sometimes, some- lens cloth to wipe spray from lenses. Above all, pay attention,
where in between works best. Consulting tide tables in and make safety a priority!
advance, and being willing to return to a location during dif-
ferent tides to see the results, are critical to success. When GLADDEN SPIT AND SILK CAYES MARINE RESERVE, BELIZE: I used an
working in a tidal environment, make sure to drop your cam- incoming wave to complement the curving shape of the clouds
era bag well above the high tide line (and well above the above. Canon 5DII, Nikon 14-24mm f/2.8G lens with Canon adapter,
occasional high wave). Keep an eye on the tide at all times to ISO 50, f/11, 1/4 second.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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