{"id":141135,"date":"2020-09-30T19:55:09","date_gmt":"2020-09-30T18:55:09","guid":{"rendered":"https:\/\/other.kelsey.host\/amateurphotographer\/?p=141135"},"modified":"2020-09-30T18:43:39","modified_gmt":"2020-09-30T17:43:39","slug":"pro-tips-for-great-landscape-photography","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/pro-tips-for-great-landscape-photography\/","title":{"rendered":"Pro tips for great landscape photography"},"content":{"rendered":"

In partnership with Nikon<\/strong><\/p>\n

\"\"
\nYour guide: Jeremy Walker
\n<\/strong>For more than 25 years, Jeremy Walker has been producing landscape, architectural and urban images for use by advertising agencies, design clients and publishers. Not only does he\u00a0lead \u00a0LEE Filters workshops, but he also runs his\u00a0own workshops in the UK and overseas. See his website<\/a> for more.<\/p>\n

Location hunting<\/h2>\n

Finding locations is easy if you devise a plan of action and put in some legwork<\/p>\n\"\"\n

Google it<\/strong>
\n(Other search engines are available, don\u2019t forget.) Search engines are a powerful tool for research and perhaps the best tool for location hunting. Cross-check your facts, though, because not all of the information on the internet is accurate and up to date \u2013 that ruined castle you have seen images of may now be a luxury five-star hotel, so double-check before you go.<\/p>\n

Check magazines and books<\/strong>
\nMany publishers now produce books for location finding
\n(no doubt there is also an app and tablet version). Split into regions or counties, these books will show an image of the location, but go on to give exact coordinates, parking spots, what time of day or year to shoot, and pretty much where you should put your tripod.<\/p>\n\"\"\n

Do it yourself<\/strong>
\nCheck out Ordnance Survey maps (the proper paper ones, not the ones on your phone). Study \u00a0a map and ask yourself questions about the terrain; look at footpaths and bridleways to see where they lead and what opportunities they may afford. Just because a particular area does not have any images on the web does not mean that it\u2019s a poor area for photography. Don\u2019t be a sheep, be a leader.<\/p>\n\"\"\n

Take advantage of local knowledge<\/strong>
\nSpeak to the locals and tell them what you are doing or looking for. Local farmers are a great source of information \u2013 after all, they are the ones who are out in all weathers, at all times of the day, so they will know their patch intimately.<\/p>\n

Search through websites<\/strong>
\nLook at the websites of landscape photographers and workshop companies. Many photographers will put the location information alongside their images. Check out their social media feeds and see if they mention the nearest town or landmark. Workshop companies have to advertise where they\u2019re going, so they post images of their tours. Many will mention where they\u2019re staying, too, which provides a clue.<\/p>\n

Use social media<\/strong>
\nFollow the photographers and image makers that you admire. Follow their Facebook posts or their Instagram accounts. All photographers want you to \u2018Like\u2019 their images and most seem quite happy to tell you where they are shooting, what they are shooting and where they are heading to next. Be warned, though, some photographers will deliberately mislead and not reveal the exact location of their image. It\u2019s important to do your own research.<\/p>\n

\"\"Be prepared<\/strong>
\nRecce your location. Check out weather forecasts, sunrise and sunset times and, if appropriate, tide times. Know how to get back to your car, as paths will look very different in the dark when lit with a head torch. If you have the time, explore your location \u00a0in advance, even on a grey day when shooting opportunities may be limited. The more you know about your location, the better the chances of securing a great image.<\/p>\n\"\"\n

Download an app<\/strong>
\nThere are hundreds of apps for finding locations, and once you have found one there are hundreds more telling you if it will rain, what time the sun will set and in which direction the moon will rise. There really is an app for everything. Probably the most useful is The Photographer\u2019s Ephemeris. Strictly speaking, this is not a location-finding app, but it\u2019s one of the most useful for location photographers.<\/p>\n

Kit list<\/strong>
\nMobile phone:<\/strong> Make sure your phone is fully\u00a0charged, and conserve power. If you\u2019re heading to a location with poor reception, check the last place where you had a strong signal just in case you have to make an emergency call.<\/p>\n

Ordnance Survey map:<\/strong>\u00a0Carry an OS map of your location and know how to read it. If you don\u2019t want to carry a bulky map, then before you head out, download the section you need from the internet (try Bing Maps), do an A4 printout, and put it in a waterproof sleeve.<\/p>\n\"\"\n

Head torch and whistle:<\/strong>\u00a0If your phone fails, you can still attract attention in an\u00a0emergency. Learn the correct sequence of blasts or flashes to aid rescuers. A torch, preferably a head torch, should be carried at all times \u2013 you may linger longer than expected and light levels will start to fall.<\/p>\n\n

\"\"
\nYour guide: Verity Milligan
\nVerity is a professional landscape photographer based in Birmingham. She has worked on campaigns for organisations such as Yorkshire Tea and Visit Britain. She\u2019s happiest when outdoors, and relishes the opportunity to connect with people, environments and cities. See here<\/a> for more.<\/p>\n

Crucial composition<\/h2>\n

Composing eye-catching pictures can sometimes mean breaking the rules<\/p>\n\"\"\n

It\u2019s not all about the wide angle<\/strong>
\nTraditionally, when we consider landscape photography, we automatically think of wideangle lenses. However,
\none of my favourite things to do is shoot landscapes with a telephoto lens. Having the reach of a longer lens enables me to go deeper into a scene and explore the smaller details that could otherwise have been missed in a photograph shot with a wider lens. This kind of landscape photography can be difficult to master, but \u00a0it offers the opportunity to capture a scene from unexplored angles.<\/p>\n\"\"\n

Shoot landscapes in portrait<\/strong>
\nLandscape photographers will often have a wideangle lens in their kit bag. This can encourage the photographer to include as much as possible in the photograph. Shooting landscapes in the portrait format is a great way to focus
\nthe mind on a particular composition and provides an opportunity to really consider what should be in the frame. Shooting landscapes in portrait orientation can be particularly effective if you\u2019ve got a\u00a0strong foreground and wish to lead the viewer through the scene to the background.<\/p>\n\"\"\n

Play with the light<\/strong>
\nWhen the sun is low in the sky, it casts a wonderful golden hue across\u00a0the landscape. Where you position your camera will change how you perceive that light. I don\u2019t often shoot directly into the sun because of the implications of lens flare, and if the sun is behind you it can make the scene quite garish. Ideally, depending on the circumstances, using side light in your composition can be particularly pleasing, especially during dawn and dusk.<\/p>\n

Use your mobile to \u2018sketch\u2019 a composition<\/strong>
\nWhen I\u2019m out in the landscape I\u2019m encumbered with a lot of kit, which can make it difficult to continuously change position. If you\u2019re like me in this way, one trick is to use your smartphone to visualise a composition. Most phone lenses are 21-24mm, so are comparable to a wideangle. The phone gives me freedom to move around in the scene and pinpoint the best composition without struggling with my kit. And while I\u2019m there, I capture the scene on my phone for good measure.<\/p>\n\"\"\n

Change your perspective<\/strong>
\nPhotography is a participation activity \u2013 you\u2019re not meant to stay\u00a0in one spot. Changing the perspective by moving the camera up and down can completely transform a composition. Placing the camera close to the ground can provide a completely new perspective on a scene and you might end up seeing a composition that would not be possible if you were shooting from your usual camera position. The same applies to a higher perspective, especially if you\u2019re using a wideangle lens and you\u2019ve got a strong foreground.<\/p>\n

The rule of thirds<\/strong>
\nOne of the most basic rules in all of photography, not just landscape, is the rule of thirds. Instinctively, the human eye knows when something looks correct in an image and more so when it doesn\u2019t. The rule of thirds encourages positioning of important elements one third of the way in from the edge of the frame. The more you practise composing this way, the more it becomes second nature and you begin to understand how all the elements should work together in the image.<\/p>\n\"\"\n

Break the rules<\/strong>
\nHowever, there are certain circumstances when it\u2019s okay to \u2018break\u2019 the rule of thirds, particularly if you\u2019re photographing reflections. In this case, it makes more sense (and it\u2019s more pleasing to the eye) to position the horizon in the middle of the image so you can maximise the impact of the reflection. This can be especially effective if you\u2019re capturing a body of water like a lake, canal, or even a puddle!<\/p>\n\"\"\n

Leave out the sky<\/strong>
\nWhen I first started capturing landscape photographs, I would make sure I had everything in the frame: the foreground, background and the sky. This not only made\u00a0it a struggle to expose correctly, but it\u00a0also made my images quite \u2018messy\u2019. On workshops, I often give the advice to avoid including the sky in your compositions. This allows you to concentrate on the scene in front of you without the distraction of dealing with the bright highlights that are so often part of the sky.<\/p>\n

Kit list<\/strong>
\nTripod:\u00a0<\/strong>My carbon-fibre Gitzo Mountaineer Series 2 is essential. I can trust it to keep my camera steady even
\nif the conditions are less than ideal.<\/p>\n

Filters:<\/strong>\u00a0I currently shoot with the LEE Filters 100 kit (below). The circular polariser and 0.9 soft ND\u00a0grad are permanently on the front of my camera.<\/p>\n\"\"\n

Lens cleaner:<\/strong>\u00a0Small, but infinitely useful, especially if\u00a0I\u2019m\u00a0shooting in changeable weather or near the coast. Ultimately, clean lenses ensure my images stay sharp.<\/p>\n\n

\"\"
\nYour guide: David Clapp
\n<\/strong>David Clapp is a landscape, architectural and travel photographer. A jack of all trades, he works for Canon UK, is a stock photographer for Getty Images and leads popular photographic tours across the world. David recently received a direct fellowship from the\u00a0RPS. See his website<\/a> for more.<\/p>\n

Camera settings<\/h2>\n

Successful landscape photography starts with the right camera settings.<\/p>\n\"\"\n

Manual mode<\/strong>
\nGain maximum control of your exposures by using manual mode. Although this seems somewhat confusing at first, take time to learn how the change in aperture, shutter speed and ISO affects the exposure. The camera\u2019s in-built metering system can only do so much,\u00a0so use manual to gain complete control. First, choose the aperture to control depth of field. Second, dial in shutter speed to alter image brightness. Third, adjust your ISO, if you feel your shutter speed is\u00a0too slow.<\/p>\n\"\"\n

Don\u2019t fear high ISO<\/strong>
\nMany landscape photographers fear using high ISOs, but \u2013 with the quality of modern cameras \u2013 there has never been a better time to use it. A higher ISO such\u00a0as 1600 is virtually noise free, even on most consumer cameras, and should be embraced. Shooting landscapes with a long lens can benefit greatly from high ISO, lifting the shutter speed to reduce camera shake. Higher ISO can also be perfect for controlling motion, like water movement in rivers or coastal landscapes.<\/p>\n

Mirror lock-up<\/strong>
\nThe one way of ensuring your imagery is as sharp as possible is to use mirror lock-up (with a DSLR). With your camera mounted on a tripod, vibration can be caused not only by wind but also by the mirror movement as it lifts up and down, especially with longer focal lengths. Using this feature alongside a cable release or a two-second timer will ensure the sharpest possible image, as the mirror lifts up, before a delayed shutter fires.<\/p>\n

Customise \u2018My Menu\u2019<\/strong>
\nMost cameras have a My Menu feature that allows you to collate all your essential menu items into a\u00a0list, so you can avoid endless menu searching. Some important ones to include are white balance (if it\u2019s only located in the menu), mirror lock-up for\u00a0DSLRs, and picture styles (for switching to B&W,\u00a0for example). I am surprised to see \u2018Format Card\u2019 in the My Menu list\u00a0on many client\u00a0cameras!<\/p>\n\"\"\n

Custom controls<\/strong>
\nCustom controls are a great way of storing a snapshot of the entire camera\u2019s settings and retrieving them via a quick turn of a dial for handheld landscapes. Many cameras contain as many as three custom settings or more (C1, C2, C3), so store\u00a0your presets to save you from menu digging. Set C1 to\u00a0aperture priority, single shot, f\/5.6, ISO 200, and daytime white balance. Set C2 to the same, but with ISO 1600 (for darker environments). Then set C3 to the same again, but with low-speed continuous shot and servo focusing, in case something unexpected happens (like a wildlife opportunity).<\/p>\n\"\"\n

Ride the colour temperature<\/strong>
\nRather than relying on\u00a0a pre-programmed white balance value (such as sunny or cloudy) to set your white balance, choose the K setting and learn to set your white balance to match the scene you are shooting. Higher values of\u00a0K warm the scene up, whereas lower values cool your picture. It\u2019s a great idea to match your live-view screen to what you see, as this really helps to provide you with a great starting point when it comes to your processing.<\/p>\n

Image stabilisation<\/strong>
\nSometimes you need to use all the tools you can get to achieve that sharp shot, so image stabilisation saves you from reaching for the tripod. My record for a pin-sharp handheld shot at 400mm is 1\/3sec! Image stabilisation\u00a0(IS or VR) works by using gyroscopic elements to correct any physical movements, operating a lens element to
\nmove in the opposite way to that direction. When on the move, or in failing light, let IS help you get that successful shot. Leave it switched on all the time, but not when on a tripod, although some professional lenses recommend leaving it switched on.<\/p>\n\"\"\n

Change the aspect ratio<\/strong>
\nLearn to see differently by using the camera in different aspect ratios. The beauty of these modes\u00a0is that they teach you to spot compositions and encourage a more interesting approach to an image \u2013 a bit like choosing different time signatures in music. Most cameras have additional aspect ratios, such as 4:3, 16:9 and my favourite, 1:1. Learning to see square is one of the most powerful lessons and creates a wonderful alternative portfolio. Remember to shoot in raw, as this will ensure you can revert to 3:2 when processing.<\/p>\n

Kit list<\/strong>
\nReally Right Stuff BH-55
\nThere is no ballhead more\u00a0sturdy or more heavyweight than this one. It\u2019s the most stable of platforms and is essential for my long-lens landscape work.<\/p>\n

L-bracket<\/strong>
\nBy keeping the centre of gravity over the centre of the tripod, the L-bracket ensures the most stable of images, whether you are using landscape or portrait orientation.<\/p>\n\"\"\n

Levelling base<\/strong>
\nI\u2019m a panoramaholic, so I use a levelling base (above) \u2013 it ensures a flat plane of rotation in one motion, without all\u00a0the faff of levelling the legs\u00a0individually.<\/p>\n\n

\"\"
\nYour guide: Mark Bauer
\n<\/strong>Mark Bauer has been a full-time professional landscape photographer since the early 2000s, supplying images for editorial and commercial use to clients around the world. He is the author of six books, and has won a number of\u00a0awards in major competitions. See his website<\/a> for more.<\/p>\n

Lighting<\/h2>\n

Reading and understanding natural light is fundamental to landscape photography<\/span><\/p>\n\"\"\n

Use backlighting for drama<\/strong>
\nShooting into the light \u2013 especially when the sun is low\u00a0in the\u00a0sky \u2013 can produce dramatic results, with shadows fanning out towards the camera and emphasis on shape and form. Choose bold, graphic compositions, and if there are strong shapes in the foreground, consider silhouetting them by metering from the bright sky. If you are not aiming to silhouette your subject, keep an eye on the histogram and be\u00a0prepared to increase exposure, as backlighting can fool meters into underexposing. Flare is also a potential problem, so use your hand to shade your lens from the sun.<\/p>\n\"\"\n

Dealing with midday sun<\/strong>
\nIt\u2019s perfectly possible to shoot good landscapes in the less photogenic light of the day. Waiting for the right moment pays dividends. Clouds diffuse harsh sunlight, so shoot when the sun is covered or partially covered. On blustery days when the clouds are moving quickly, there is potential for dramatic light as the sun bursts through and creates a spotlight on the land below. In harsh light, consider shooting monochrome. Contrasty scenes containing deep shadows and bright highlights make good mono conversions with the right subject.<\/p>\n\"\"\n

Make the most of dull light<\/strong>
\nOn dull, overcast days, it can be tempting to stay at home and catch up on image processing, or sit on the sofa and read a book. But you\u2019re missing a trick if you don\u2019t head out with the camera, as this type of lighting can be incredibly productive. One option is to pack a set of neutral-density filters and head to the coast to shoot some long exposures. Keep compositions simple and exploit the negative space around your subject. Long-exposure minimalism works best when it highlights the contrast between a static subject and the moving elements around it.<\/p>\n\"\"\n

The blue hour<\/strong>
\nMost photographers pack up as the\u00a0colour drains from the sky after the golden hour. However, if you like moody, romantic landscapes, then you should stay around for the \u2018blue hour\u2019: the period of twilight when the residual sunlight takes on a blue hue. Alternatively, get to dawn shoots early for the morning blue hour. Cityscapes are a natural choice of subject, as the blue backdrop contrasts with artificial lighting. With rural landscapes, look for water as reflections make great foreground interest.<\/p>\n

Transitional light
\nThe most dramatic lighting for landscapes usually happens during the transition from one state to another \u2013 light to dark or vice versa, the transition from one season to another or as one weather front replaces another. Showery days are one of the best examples of this: as a shower passes and the sun breaks through, the light is dramatic with amazing clarity. The key to success is to anticipate the change and set up early \u2013 even if that means standing in\u00a0the rain with your camera under a raincover. If you set up after the rain stops, you\u00a0will miss the moment.<\/p>\n

Focusing<\/h2>\n

Obtaining front-to-back sharpness doesn\u2019t need a maths degree, just a little patience.<\/p>\n\"\"\n

Differential focusing<\/strong>
\nAlthough we are used to the majority of landscape images exhibiting front-to-back sharpness in \u2018near-far\u2019 compositions, there is no rule to say all our landscapes have to follow this convention. In fact, by doing the opposite, you can make your images stand out from the crowd. Use a telephoto lens and open it up to maximum aperture to restrict depth of field, and then either throw the background or foreground out of focus to force attention onto your main subject. An out-of-focus foreground can make an effective frame for the subject and add a touch of impressionism.<\/p>\n\"\"\n

Double distance focusing
\nThe usual advice for maximising depth of field is to focus \u2018a third of the way in\u2019. However, this is rather vague and doesn\u2019t guarantee good results when there is close foreground. Focusing on the hyperfocal distance is more precise, but if messing around with charts isn\u2019t your thing, try double distance focusing. Identify the nearest object in your composition that you want sharp, calculate its distance from the camera and then focus at double that distance. If you\u00a0are shooting with a wideangle lens and a mid-to-small aperture, this technique will deliver front-to-back sharpness.\u00a0To be sure, check the review image for depth of field.<\/p>\n\"\"\n

Focus stacking<\/strong>
\nWith very close foreground interest, even careful focusing may not get you enough depth of field. One option is\u00a0to use tilt\u2013shift lenses, but these are expensive optics. A cheaper alternative is to use a technique known as focus stacking. Take a\u00a0series of shots, covering the\u00a0scene from foreground to\u00a0infinity, with depth of field overlapping from one shot to the next. These can then be blended in software into a single file with extensive depth of field. There are plenty of online tutorials to help you perfect the technique.<\/p>\n

Back-button focus<\/strong>
\nPurists will try to insist that you focus manually, but autofocus is quick, convenient and accurate, so why ignore it? More important is to know where in the scene to focus and to make sure that focus is\u00a0locked once achieved. Back-button focus enables this. Via a custom setting, most cameras allow you to assign one of the buttons as an \u2018AF-On\u2019 button and decouple focus from the shutter button. You then focus with the back (AF-On) button and when you press the shutter button, the camera does not refocus before opening the shutter.<\/p>\n

Kit list<\/strong>
\nSun app:<\/strong>\u00a0I use a sun position app, such as Sun Surveyor or Sun Seeker, in order to help me find when the best light is at a particular location.<\/p>\n\"\"\n

LEE filters:\u00a0<\/strong>In my landscape photography arsenal is\u00a0a\u00a0set of LEE filters (above) including various grads, neutral-density filters and a polariser.<\/p>\n

Raincover:<\/strong>\u00a0I use chamois leather\u00a0as a raincover to protect the camera from the elements and also for wiping kit down if it does get wet.<\/p>\n\n\n\n\n\n","protected":false},"excerpt":{"rendered":"

From finding the perfect location to composing pictures with maximum impact, four top landscape photographers offer their top tips for show-stopping scenics<\/p>\n","protected":false},"author":7,"featured_media":141167,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[39],"tags":[],"product-category":[],"class_list":["post-141135","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-photo-news"],"yoast_head":"\nPro tips for great landscape photography - Amateur Photographer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/pro-tips-for-great-landscape-photography\/\" \/>\n<meta property=\"og:locale\" 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