{"id":14812,"date":"2011-11-15T18:53:00","date_gmt":"2011-11-15T18:53:00","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/uncategorized\/masterclass-with-tom-mackie-landscape-north-yorkshire-14812"},"modified":"2014-10-23T11:30:56","modified_gmt":"2014-10-23T10:30:56","slug":"masterclass-with-tom-mackie-landscape-north-yorkshire","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/landscape_photography-technique\/masterclass-with-tom-mackie-landscape-north-yorkshire\/","title":{"rendered":"Masterclass with Tom Mackie – Landscape, North Yorkshire"},"content":{"rendered":"

Most towns and villages have a legend or two, and Hole of Horcum in North Yorkshire is no different. According to folklore, a giant called Wade scooped up a huge clod of earth resulting in a hollow that is 400ft (120m) deep and wide. The reasons for Wade\u2019s actions seem to differ depending on who you ask, but however the hollow was formed it has created a landscape photographer\u2019s dream. In the right conditions, the area offers spellbinding banks of mist blanketing the area and the morning sun throws shafts of light onto the land. In winter, snow transforms the area into a stunning white vista offering the kinds of moments every photographer prays for.<\/p>\n

Gathered in the cold and blustery early morning air, Tom Mackie and four AP readers survey the land and discuss their tactics for the day. <\/p>\n

\u2018This is a prime location for showing off the gentle undulations of the heather-covered landscape,\u2019 says Tom. \u2018You\u2019ll find all sorts of beautiful details here, such as bracken and rosebay willowherb, that we can use in our foregrounds to great effect. Beyond that, you have nice strong lines and S-shapes that can guide the viewer\u2019s eye through the location. There are also a few barns and farmhouses that we can potentially use as subjects. <\/p>\n

<\/img>Photo by Andrea Hargreaves<\/em><\/p>\n

\u2018We\u2019re going to be covering various techniques to create exciting landscapes using composition, filters and depth of field,\u2019 he says. \u2018The light is a little flat today, but that\u2019s fine because in a location like this, evocative and dramatic images are a given.\u2019 <\/p>\n

Tried-and-tested tools, such as polarising filters and neutral density (ND) graduated filters, can help to bring out the best in a location. \u2018Using polarising filters, we can increase colour saturation and, weather permitting, darken the blue skies to give us deep rich tones,\u2019 Tom explains. \u2018We\u2019ll also be exploring ND grad filters, which we can use to control and balance the exposure of our images. As we\u2019re going to be faced with bright skies on top of landscapes where we want to retain the detail, this is going to a particularly useful tool.\u2019 <\/p>\n

As well as Hole of Horcum, Tom and the AP readers also plan to explore Falling Foss in May Beck \u2013 a stunning natural waterfall that is one of North Yorkshire\u2019s best-kept secrets.<\/p>\n

Your AP Master\u2026<\/strong><\/p>\n

<\/img>Tom Mackie <\/em>
\nA former contributor to AP\u2019s Photo insight series, Tom Mackie is one of the world\u2019s leading photographers. He has spent many years as an architectural, industrial and landscape photographer, and has a penchant for panoramic photography. <\/p>\n

Tom has published several books and written numerous articles for photography magazines. He also lectures on photography and regularly holds workshops in the UK and abroad. www.tommackie.com<\/p>\n

The AP readers\u2026<\/strong><\/p>\n

<\/img>Andrea Hargreaves<\/em>
\nAndrea likes to capture wildlife, urban portraits, abstracts, action and travel photographs. She uses a Canon EOS 60D with a Canon 18-200mm zoom. \u2018The day was relaxed and informative,\u2019 she says. \u2018We learned how to use graduated filters and their benefits in landscape photography.\u2019<\/p>\n

<\/img>Phil Hargreaves<\/em>
\nPhil\u2019s favoured subjects are aircraft, landscapes, travel and wildlife photography. He shoots using a Nikon D7000 with Tamron 17-50mm and Sigma 70-300mm zoom lenses. \u2018We learned to assess the view from different sites and different angles,\u2019 he says. \u2018We also looked at how to compose the image.\u2019<\/p>\n

<\/img>Adrian Ward<\/em>
\nAdrian likes shooting events, festivals, macro flower photography and landscapes. He uses a Nikon D60 with a Sigma 18-250mm lens. \u2018This has inspired me to do more landscape photography,\u2019 he says.\u2019 I\u2019d forgotten how colourful the North Yorkshire Moors are.\u2019<\/p>\n

<\/img>David Walker<\/em>
\nDavid enjoys experimenting with different subjects, but landscapes remain his firm favourite. He uses a Canon EOS 500D with a 15-85mm lens. \u2018It was a great experience,\u2019 he says. \u2018Tom got me thinking about focusing and composition in ways that I had never considered before.\u2019 <\/p>\n

<\/p>\n

Would you like to take part?<\/h2>\n


\n
\n <\/p>\n

<\/img><\/p>\n

Every month we invite three to five AP readers to join one of our four experts on a free assignment over the course of a day. If you would like to take part, visit www.amateurphotographer.co.uk\/masterclass<\/a> for details of how to apply. Please remember to state which Masterclass you would like to attend and make sure you include your name, address, email address, daytime telephone number, some words about your work and three or four of your images.<\/p>\n

<\/p>\n

Background & Foreground<\/h2>\n

When exploring the landscape, there are
\ntwo elements that vie for the photographer’s eye. These are the wide
\nexpanses of land that stretch from the midground to the horizon, and the
\n immediate rich detail of the foreground that lies just beneath the eye
\nof the lens. According to Tom, though, these two features need not stand
\n alone – both can easily be incorporated into one image.<\/p>\n

\u2018If
\nyou’re able to include the immediate foreground as well as the
\nlandscape, it’s worth looking at how those elements can work together,’
\nhe says. \u2018Not only does it add depth to your image, but it also puts the
\n details of the foreground in context and presents them within the
\nbigger picture.’ <\/p>\n

<\/img>Photo by Phil Hargreaves<\/em><\/p>\n

Gathered
\n in the cold and blustery early morning air, Tom Mackie and four AP
\nreaders survey the land and discuss their tactics for the day. <\/p>\n

\u2018This
\n is a prime location for showing off the gentle undulations of the
\nheather-covered landscape,’ says Tom. \u2018You’ll find all sorts of
\nbeautiful details here, such as bracken and rosebay willowherb, that we
\ncan use in our foregrounds to great effect. Beyond that, you have nice
\nstrong lines and S-shapes that can guide the viewer’s eye through the
\nlocation. There are also a few barns and farmhouses that we can
\npotentially use as subjects. <\/p>\n

\u2018We’re going to be covering various
\n techniques to create exciting landscapes using composition, filters and
\n depth of field,’ he says. \u2018The light is a little flat today, but that’s
\n fine because in a location like this, evocative and dramatic images are
\n a given.’ <\/p>\n

Tried-and-tested tools, such as polarising filters
\nand neutral density (ND) graduated filters, can help to bring out the
\nbest in a location. \u2018Using polarising filters, we can increase colour
\nsaturation and, weather permitting, darken the blue skies to give us
\ndeep rich tones,’ Tom explains. \u2018We’ll also be exploring ND grad
\nfilters, which we can use to control and balance the exposure of our
\nimages. As we’re going to be faced with bright skies on top of
\nlandscapes where we want to retain the detail, this is going to a
\nparticularly useful tool.’ <\/p>\n

As well as Hole of Horcum, Tom and
\nthe AP readers also plan to explore Falling Foss in May Beck – a
\nstunning natural waterfall that is one of North Yorkshire’s best-kept
\nsecrets.<\/p>\n

<\/p>\n

Lenses<\/h2>\n

When shooting the landscape, it is a
\n good idea to have a telephoto lens as well as the obvious choice of a
\nwideangle. Both lenses can bring out unique characteristics of the land
\nand reveal the myriad components that make up a successful landscape
\nimage. <\/p>\n

<\/img>Photo by Adrian Ward<\/em><\/p>\n

\u2018Using
\n a wideangle lens serves the purpose of giving you a dramatic and
\nsweeping view of the landscape,’ says Tom. \u2018You’re able to include a lot
\n of foreground as well as the midground, horizon and sky. However, you
\nshouldn’t stick with this lens because the telephoto has much to offer
\nin the landscape. A telephoto lens can take little pockets of scenery
\nout of the overall landscape and produce various compositions. If you
\nuse a telephoto you can get in close and explore all the little
\nintricate lines and details of the landscape that can draw your viewer’s
\n eye into a subject of your choice, such as a barn or an arrangement of
\ntrees.’ <\/p>\n

Using a telephoto lens, which can cause distortion, also
\n means that you can experiment with pan stitches. This is a technique
\nthat is particularly effective when faced with wide-open spaces. <\/p>\n

<\/img>Photo by David Walker<\/em><\/p>\n

\u2018Pan
\n stitches, or panoramas, give the viewer a real sense of just how huge
\nthe location is,’ says Tom. \u2018They can be incredibly effective. You shoot
\n a sequence of images and then piece them all together in
\npost-production to form one huge photograph. Make sure you have a sturdy
\n tripod on a flat surface and that your camera is set to manual
\nsettings, which you should be using anyway. Also make sure that the
\nautofocus function is turned off. Then gradually pan your camera in
\nincrements from one end of the landscape to the next, taking a photo
\nwith each pan. Once you have your images, import them into Photoshop and
\n use the Photomerge function (File>Automate>Photomerge).’<\/p>\n

Tilt-and-Shift Lenses<\/h2>\n

Locations
\n such as Hole of Horcum offer copious amounts of detail, as well as
\nsweeping fields. A good tool to use when attempting to capture both
\nelements is a tilt-and-shift lens (for more on tilt-and-shift lenses,
\nsee AP explains… on pages 64-65 of AP dated 10 September 2011). <\/p>\n

\u2018Locations
\n such as this are an ideal spot to try out a tilt-and-shift lens,’ says
\nTom. \u2018We mostly associate this lens with art-based images that have
\nlarge portions of blur surrounding selective pin-sharp areas that create
\n faux miniature scenes. Here we’re going to putting the lens to
\npractical use.’ <\/p>\n

<\/img>Photo by Tom Mackie<\/em><\/p>\n

In
\n landscape photography, getting everything in focus is usually the
\nobjective, but it is one that can often prove difficult when dealing
\nwith points of focus that are both near and far away. Using the tilt
\nfunction on a tilt-and-shift lens means that once the background is in
\nfocus, the foreground can also be brought into focus without having to
\nresort to a large f-number. <\/p>\n

\u2018With the windy conditions that
\nwe’re facing in these early hours, it’s going to be a problem using a
\nstandard wideangle lens,’ says Tom. \u2018Obviously, we want a large depth of
\n field in order to get everything in focus, but consequently that means
\nwe have to resort to a long shutter speed. This means that the foliage
\nin our foreground is going to move. If you have a tilt-and-shift lens
\nthis problem can be easily overcome. <\/p>\n

\u2018When using a
\ntilt-and-shift lens you can leave your aperture fairly wide open because
\n you’re focusing on one part of the composition, such as the midground,’
\n Tom continues. \u2018Once you have that one plane in focus, you can adjust
\nthe tilt button on your lens and bring your foreground into focus. That
\nmeans you can get everything you want in focus and shoot using 1\/60sec
\nor 1\/80sec. By using the tilt function you can control the focus
\npoints.’<\/p>\n

Hyperfocal Distance<\/h2>\n

Hyperfocal distance is the
\nnearest distance at which a lens can be focused while keeping objects in
\n the background (infinity) acceptably sharp. <\/p>\n

<\/img>Photo by Andrea Hargreaves<\/em><\/p>\n

\u2018To
\n put it simply, hyperfocal distance is making the most of your depth of
\nfield,’ says Tom. \u2018Let’s say that you’re shooting at f\/14. In the
\ndistance there’s a barn you’d like to get in focus. If you focus on the
\nbarn, all of that usable depth of field is going on the barn and it’s
\nnot bringing anything to the foreground, which will be out of focus.
\nHowever, if we take the image above as our example, you’ll see that the
\nbest place to focus is one-third into the frame, which is the edge of
\nthe heather ridge [that’s one-third into the image you see through the
\nviewfinder or in live view, not the environment as you see it outside
\nthe camera]. If you focus at that point, you are maximising your depth
\nof field. That means that everything is acceptably sharp.’<\/p>\n

Using a Filter<\/h2>\n


\nFilters
\n allow photographers to retain more control over the final result of
\ntheir images. Some produce subtle effects, whereas others are more
\ndramatic. In some cases, they actually help to create images that would
\notherwise not be possible without them. <\/p>\n


\n<\/img><\/p>\n

Photo by Andrea Hargreaves <\/em><\/p>\n

Without filter<\/p>\n

\u2018With
\n some landscape images you’re going to find that there is a drastic
\ncontrast between the necessary exposures for your sky and foreground,’
\nsays Tom. \u2018When you’re faced with this situation, you need to apply a
\nfilter – in this case, a graduated neutral density filter, otherwise
\nknow as a split neutral density filter. With a graduated filter, half
\nthe filter is neutral density. This means that half the filter is grey
\nand either reduces or modifies the intensity of wavelengths of light or
\ncolours.’
\n <\/p>\n


\nGraduated neutral density filters are used to bring an
\n excessively bright part of a scene into balance with the rest of the
\nimage. It can be used to darken a bright sky so that both the sky and
\nsubject can be properly exposed. The easiest way to remember this is:
\nthe greater the contrast, the darker the grad.
\n \n<\/p>\n

\u00a0
\n<\/img><\/p>\n

Photo by Andrea Hargreaves<\/em><\/p>\n

With ND Grad<\/p>\n

\u2018ND filters can
\nbasically be split into two categories: hard and soft,’ explains Tom.
\n\u2018Hard and soft refer to the transition between the grey half and the
\nclear half of the filter. With a hard edge, the transition is abrupt and
\n is used when there is a distinct change in brightness levels, such as
\nin a picture of a field with a horizon line that splits the landscape
\nfrom a bright sky. A soft-edged filter is used when there is no clear
\ndistinction between the light and dark portions of your image.’
\n <\/p>\n


\nFilters
\n are available in a range of intensities (how many stops down you want
\nto bring your highlights), ranging from 0.3 ND\/1 stop to 0.9\/ 3 stops.
\nSome manufacturers produce more advanced filters (including the famed
\n10-stop filter), but most photographers use 1-3 stops.
\n <\/p>\n


\n\u2018Sometimes
\n you may find yourself in a position where the intensity of the filters
\nyou have aren’t quite up to the job,’ says Tom. \u2018It may turn out that
\nyou need a 4-stop filter. The easiest solution is to use two filters
\ntogether such as a 0.3 and a 0.9 filter. Of course, there’s always the
\noption to work on the image in Lightroom [as we’ll see later], but it’s
\nalways better to get it right in-camera.’
\n <\/p>\n


\nA polarising filter
\nhas two distinct uses: it can darken skies by filtering out the
\npolarised component of skylight, and it can remove reflections from
\nsurfaces such as water.
\n <\/p>\n


\n\u2018I often use a polarising filter when
\nshooting foliage,’ says Tom. \u2018Using the filter can actually reduce
\nreflections, which is something we wouldn’t commonly associate with
\nvegetation. If you hold up a polariser and look through it at some
\nleaves, you’ll see that the colours look incredibly fresh and saturated,
\n particularly in the greens. However, you should always remember to add
\n11\u20442-2 stops of exposure because you’re losing some light with the
\nfilter on your lens.
\n <\/p>\n


\n\u2018People new to polarisers shouldn’t allow
\nthe differences between circular polarisers and linear polarisers to
\nconfuse them,’ adds Tom. \u2018Visually, there is no difference between the
\ntwo. It’s just that they polarise the light passing through in different
\n ways. Circular types are best for any camera with AF.’
\n \n<\/p>\n

<\/p>\n

Post-production<\/h2>\n

<\/p>\n


\nThere
\n are a number of software packages that can bring out the hidden
\nqualities of your landscape images. Despite your best efforts out on the
\n field, even images taken in ideal conditions can sometimes appear
\nstrangely flat and unsaturated. Tom’s favoured software is Adobe
\nPhotoshop Lightroom, a program designed to assist Adobe Photoshop in
\nmanaging large numbers of digital files and handle post-processing
\nduties on images that need adjusting.
\n <\/p>\n


\n\u2018There are some features
\nin Lightroom that are, in my opinion, a little more user-friendly than
\nin Photoshop,’ he says. \u2018But equally there are some features in
\nPhotoshop that I find easier to work with, such as the Clone and Healing
\n tools. It’s all about personal preference.’
\n <\/p>\n


\n<\/img>Photo by Adrian Ward<\/em>
\n <\/p>\n


\nTom
\n takes the users through a handful of key features of Lightroom. \u2018You’ll
\n be working on the raw files that you’ve shot on location, but it’s
\nimportant to remember that the processing you’re doing in the software
\ndoesn’t affect the actual raw file,’ says Tom. \u2018You don’t ever affect
\nthe original file. So if you end up making some major changes that you
\ndislike, there’s no need to panic.
\n <\/p>\n


\n\u2018Generally, there is a set
\nprocess of things I look at,’ continues Tom. \u2018I often start by checking
\nthe exposure and taking that up or down depending on requirements. You
\nhave the option of moving the exposure slider up and down, which will
\nadjust the overall exposure of your image so the whole picture either
\ngoes lighter or darker. But you also have the option of adjusting the
\nblacks, fill light (midtones) and, with the Recovery tool, you can
\nrecover details in your highlights that were lost during the exposure.’
\n <\/p>\n


\nNext,
\n Tom looks at the saturation and vibrancy of his image. \u2018People often
\nconfuse the saturation and vibrancy settings,’ says Tom. \u2018Vibrancy acts
\non unsaturated pixels, whereas saturation works on the whole image.
\nGoing too far on either setting can give your image a very unrealistic
\nfeel. I generally limit myself to 30 or 40% on both settings.’
\n <\/p>\n


\nThe
\n Crop tool, under the Develop menu and the third icon along underneath
\nyour image preview screen, is particularly important, as it can help fix
\n crooked horizons – a flaw that can spoil an otherwise good image.
\n <\/p>\n


\n\u2018In
\n Photoshop, the Free Transform and Rotate tools can leave you with a lot
\n of blank canvas, meaning that you have to crop out portions of your
\nimage,’ says Tom. \u2018This doesn’t happen in Lightroom. If you move the
\nslider on the Angle control, it will straighten your image. There won’t
\nbe any annoying black canvas to crop out.’
\n <\/p>\n


\n<\/img>Fig 1
\n <\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n


\n<\/img>Fig 2
\n
\n
\n
\n
\n <\/p>\n

\nLastly,
\n Tom takes the AP readers through Lightroom’s in-built Gradient tool.
\nUsing this tool can help the photographer achieve similar effects to
\nthose gained using a ND graduated filter on their camera lens. <\/p>\n

\u2018The
\n Graduated Filter tool is something that you can spend an age playing
\nwith,’ says Tom. \u2018It can help you to darken skies, and give your image a
\n dramatic and moody veneer. But it can also help to bring out details by
\n brightening certain areas of your image.’ <\/p>\n

To apply a gradient
\nfilter, select the Graduated Filter tool (Figure 1) in the Adjustment
\nBrushes panel. \u2018Click on the edge of the image closest to the region you
\n want to make the adjustment,’ explains Tom (see Figure 2). \u2018In the case
\n of our images, it’s likely to be the top of the image where the sky is.
\n Then, drag the gradient marker towards the centre of the image,
\nstopping where you want the adjustment to fade out. You can use the
\nbuttons and sliders in the Mask panel (just below the brush selector) to
\n adjust the selected portion. It’s as simple as that.’<\/p>\n","protected":false},"excerpt":{"rendered":"

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