A Post By: Darren Rowse

1. Maximize your Depth of Field

While there may be times that you want to get a little more creative and experiment with narrow depth of fields in your Landscape Photography – the normal approach is to ensure that as much of your scene is in focus as possible. The simplest way to do this is to choose a small Aperture setting (a large number) as the smaller your aperture the greater the depth of field in your shots.
Do keep in mind that smaller apertures mean less light is hitting your image sensor at any point in time so they will mean you need to compensate either by increasing your ISO or lengthening your shutter speed (or both).
PS: of course there are times when you can get some great results with a very shallow DOF in a landscape setting (see the picture of the double yellow line below).

2. Use a Tripod

As a result of the longer shutter speed that you may need to select to compensate for a small aperture you will need to find a way of ensuring your camera is completely still during the exposure. In fact even if you’re able to shoot at a fast shutter speed the practice of using a tripod can be beneficial to you. Also consider a cable or wireless shutter release mechanism for extra camera stillness.

3. Look for a Focal Point

All shots need some sort of focal point to them and landscapes are no different – in fact landscape photographs without them end up looking rather empty and will leave your viewers eye wondering through the image with nowhere to rest (and they’ll generally move on quickly).
Focal points can take many forms in landscapes and could range from a building or structure, a striking tree, a boulder or rock formation, a silhouette etc.
Think not only about what the focal point is but where you place it. The rule of thirds might be useful here.

4. Think Foregrounds

One element that can set apart your landscape shots is to think carefully about the foreground of your shots and by placing points of interest in them. When you do this you give those viewing the shot a way into the image as well as creating a sense of depth in your shot.

5. Consider the Sky

Another element to consider is the sky in your landscape.
Most landscapes will either have a dominant foreground or sky – unless you have one or the other your shot can end up being fairly boring.
If you have a bland, boring sky – don’t let it dominate your shot and place the horizon in the upper third of your shot (however you’ll want to make sure your foreground is interesting). However if the sky is filled with drama and interesting cloud formations and colors – let it shine by placing the horizon lower.
Consider enhancing skies either in post production or with the use of filters (for example a polarizing filter can add color and contrast).

6. Lines

One of the questions to ask yourself as you take Landscape shots is ‘how am I leading the eye of those viewing this shot’? There are a number of ways of doing this (foregrounds is one) but one of the best ways into a shot is to provide viewers with lines that lead them into an image.
Lines give an image depth, scale and can be a point of interest in and of themselves by creating patterns in your shot.

7. Capture Movement

When most people think about landscapes they think of calm, serene and passive environments – however landscapes are rarely completely still and to convey this movement in an image will add drama, mood and create a point of interest.
Examples – wind in trees, waves on a beach, water flowing over a waterfall, birds flying over head, moving clouds.
Capturing this movement generally means you need to look at a longer shutter speed (sometimes quite a few seconds). Of course this means more light hitting your sensor which will mean you need to either go for a small Aperture, use some sort of a filter or even shoot at the start or end of the day when there is less light.

8. Work with the Weather

A scene can change dramatically depending upon the weather at any given moment. As a result, choosing the right time to shoot is of real importance.
Many beginner photographers see a sunny day and think that it’s the best time to go out with their camera – however an overcast day that is threatening to rain might present you with a much better opportunity to create an image with real mood and ominous overtones. Look for storms, wind, mist, dramatic clouds, sun shining through dark skies, rainbows, sunsets and sunrises etc and work with these variations in the weather rather than just waiting for the next sunny blue sky day.

9. Work the Golden Hours

I chatted with one photographer recently who told me that he never shoots during the day – his only shooting times are around dawn and dusk – because that’s when the light is best and he find that landscapes come alive.
These ‘golden’ hours are great for landscapes for a number of reasons – none the least of which is the ‘golden’ light that it often presents us with. The other reason that I love these times is the angle of the light and how it can impact a scene – creating interesting patterns, dimensions and textures.

10. Think about Horizons

It’s an old tip but a good one – before you take a landscape shot always consider the horizon on two fronts.
• Is it straight? – while you can always straighten images later in post production it’s easier if you get it right in camera.
• Where is it compositionally? – a compositionally natural spot for a horizon is on one of the thirds lines in an image (either the top third or the bottom one) rather than completely in the middle. Of course rules are meant to be broken – but I find that unless it’s a very striking image that the rule of thirds usually works here.

11. Change your Point of view

You drive up to the scenic lookout, get out of the car, grab your camera, turn it on, walk up to the barrier, raise the camera to your eye, rotate left and right a little, zoom a little and take your shot before getting back in the car to go to the next scenic lookout.
We’ve all done it – however this process doesn’t generally lead to the ‘wow’ shot that many of us are looking for.
Take a little more time with your shots – particularly in finding a more interesting point of view to shoot from. This might start with finding a different spot to shoot from than the scenic look out (wander down paths, look for new angles etc), could mean getting down onto the ground to shot from down low or finding a higher up vantage point to shoot from.
Explore the environment and experiment with different view points and you could find something truly unique.
Always Be Ready Unfortunately, as a landscape photographer, you don’t have the option of scheduling the perfect shot or creating the perfect lighting when you want it. You have to be willing to work with factors outside of your control and capitalize on these factors when they work in your favor. Photographs taken in the early morning hours are much different than those taken near dusk, and those beautiful thunderstorm clouds outside your window aren’t going to stick around while you decide whether or not you feel like shooting. If you want to take incredible landscape photographs, it’s a good idea to keep your gear bag packed by the door in case something interesting starts happening outside.
Be Patient Although it may seem strange that landscape photography requires grabbing an interesting shot on short notice, landscape photography actually requires a lot of patience. The moments in time captured by a landscape photographer’s lens will likely never happen again in quite the same way, so be prepared to wait for the perfect shot.
So it should be no surprise that landscape photography can be deceptively complex. It seems that all a landscape photographer would need is a camera and some nice scenery, however, a good photographer really needs a bit more. A photographer needs the right equipment, a patient mindset plus an understanding of how the time, weather and photo composition all come into play into creating an outstanding image. With those couple of things, you can start taking great landscape pictures that you’ll be proud to display on your wall.

Post by Darren Rowse

1. Shoot in RAW

I know many readers of DPS can’t shoot in RAW (because their camera doesn’t offer it) or don’t shoot in RAW (because they either don’t know how or don’t like to) but for the most control in the post production phase of converting your color images into black and white ones – you’ll want to shoot in RAW if your camera does allow it. Of course shooting in JPEG doesn’t stop you shooting in black and white – but if it’s an option, give RAW a go, you might be surprised by what it offers you in post production.

If your camera doesn’t allow you to shoot in RAW (or you choose not to) – shoot in color and do your conversion to black and white later on your computer.

2. Shoot in Color

While most digital cameras offer you the option to shoot in Black and White (and can produce some reasonable results) you have more control over your end results if you have the color data to work with in your conversion on your computer.
Update: There is an exception to shooting in Color and it’s when you’re taking note of point 1 above (shooting in RAW). When shooting in RAW and switching to Black and White mode you see your results in the LCD in black and white but the camera actually records all of the information (including color) – the best of both worlds. But if you’re shooting in JPEG – shoot in color and do the conversion later.

3. Low ISO
Shoot with the lowest possible ISO possible. While this is something that most of us do in color photography it is particularly important when it comes to black and white where noise created by ISO can become even more obvious. If you’re after this ‘noise’ (or grain) you can always add it later in your post production – but it’s harder to go the other way and take noise out.

4. When to Shoot

Many digital photographers actually prefer to shoot images for Black and White in low contrast situations. So an dark or overcast day can be a great time to shoot out door shots.
Ironically these are the days that those who shoot only in color sit at home complaining about the ‘poor light’. So next time you find yourself with a dark and gloomy day – shoot some black and white shots.

5. Composition
Most of the general tips on how to compose or frame a good shot apply just as well to black and white photography as they do when shooting in color – however the main obvious difference is that you’re unable to use color to lead the eye into or around your shot. This means you need to train yourself to look at shapes, tones and textures in your frame as points of interest. Pay particularly attention to shadows and highlights which will become a feature of your shot.

By Ian Plant on November 6, 2013

5 Composition Tips For Better Nature Photography
A snapshot shows the world what your camera sees, but a thoughtfully composed photograph shows the world what you see. While composition can be complex, several basic strategies arise when making pictures of natural subjects. Here are five such techniques for powerful image-making.

1. Lead the eye in.


Sea stack, Samuel H. Boardman State Park, OR: A 1/2 sec exposure blurs the wave. Shot with a Canon EOS 5D Mark III and 16–35mm f/2.8L II Canon EF lens at f/16, ISO 50, on a tripod.

One of the most effective ways to create a powerful composition is to use visual elements to lead the viewer’s eye into the scene. Leading elements can be just about anything—lines, curves, or a progression of shapes. Leading lines that stretch from foreground to background are especially powerful, propelling the viewer into the scene. In the image at left, I used an outgoing wave to act as a leading line. Other shapes placed in the foreground can do the same: a curving river can compel the eye to meander throughout the frame, whereas a triangle-shaped rock can point into the composition. Multiple elements can more subtly encourage the viewer to explore the photograph—a near-to-far, bottom-to-top visual progression is often particularly effective.

2. Find a good foreground.


Los Cuernos, Torres del Paine National Park, Patagonia, Chile: A 24–70mm f/2.8 Di VC Tamron SP lens was used with a polarizing filter to intensify the colors, and a 3-stop ND filter for a cloud-blurring exposure: 30 seconds at f/11, ISO 100.

Foregrounds add depth, and the best add punch, too. Providing a point of reference, they can simplify chaotic scenes. At this placid pool of water during a fiery sunrise, I backed up to incorporate the curving shoreline. Its shape frames the reflection of the mountains, enhancing the composition and adding depth to the image.

3. Engage the eye with repeating patterns.


Tarn 2, Acadia National Park, ME: A polarizer over a 100–400mm f/4.5–5.6L Canon EF IS lens helped intensify the reflection of autumn colors. EOS 5D Mark III, 1.3 sec at f/32, ISO 100.

People are naturally attracted to patterns, part of our ability and biological need to organize our chaotic world. When the eye explores one, it tends to want to visit each and every repeated element; accordingly, the savvy photographer can use repeating shapes and colors to encourage the viewer to visit multiple parts of the composition. Visual repetition gets the viewer’s eye moving, engaging interest and creating compositional energy.
On the flip side, repetition can also help create harmony and balance, adding structure to a composition, as well as to create order in an otherwise chaotic scene.
You can also create effective images by making the pattern itself the entire focus of the composition, as I did with the quirky shapes and patches of color in the little pond seen here. The less dynamic shapes of the lily pads floating in the water fade to the background, providing general structure and order for an otherwise energetic, chaotic collection of visual elements.

4.Emphasize your subject.


Red howler monkey, Tambopata National Reserve, Peru: A 500mm f/4L Canon EF tele with 1.4x Canon EF Extender III was shot wide open for shallow depth of field. Plant’s exposure: 1/200 sec, ISO 800, on his tripod-mounted EOS 5D Mark III.

Use visual elements to direct your viewer’s attention to what’s important. Framing is one effective tool for simplifying and focusing interest. Examples include arcing tree branches, barn windows, and natural arches, but frames can also be made by arranging multiple visual elements around a subject. Sometimes it works best if there is an element of contrast between the frame and the subject—silhouetted trees around a sunlit mountain peak, for example.
Another way to draw attention to your primary subject is through the use of light: spotlighting, or a dose of brightness behind your subject, can focus the viewer. For this image, I selected a position that framed the monkey with a pattern of out-of-focus leaves lit by the setting sun. A hint of that light on the monkey also helps focus viewers’ attention.

5. Create visual energy.


Lago Pehoe, Torres del Paine National Park, Patagonia, Chile: A 60-second exposure at f/5 created an eerie motion blur in the clouds. Plant used an EOS 5D Mark III and 16–35mm f/2.8L II Canon EF lens on a tripod for the ISO 400 shot.

Look for ways to convey a sense of energy. Use lines or shapes that tilt or point in opposite directions; think of a line of trees whose branches reach at differing angles into a cloud-filled sky. But be careful: Too much energy going one way and not enough going the other can look unbalanced—a classic example is an animal running out of the edge of the frame rather than into it. Long exposures of moving elements can also convey a sense of energy; motion blur creates compositional lines and shapes, adding further interest. Here, the streaking clouds form staggered, diagonal lines, which add energy to the frame.

By Simon Bray,27 Nov 2010

Photographing reflections can be extremely rewarding and produce stunning results, but sometimes achieving those dramatic shots can be harder than first thought. Today I’ll be highlighting a few quick tips for dealing with reflections, and helping you on your way to taking some breathtaking photographs!

Step 1. The Basics
Reflections come in many different forms and guises, varying from dramatic landscape shots to detailed macro compositions, but there are a few fundamental techniques which will help you achieve better results when dealing with reflections.
With regards to depth of field, try to select a high f-number such as f/11 or higher, this will help level out the subjects of the shot so the eye perceives them in closer relation, enhancing the reflection effect.
Focus depends a lot on the distance between the subject and the reflection. First, try focusing on the subject, then trying focusing on the reflection. This should produce slightly varied results and your preference will depend on how much attention you want to draw to the reflection.
Finally, think about the angle of the light and how it affect the reflection. In a studio setting you can manipulate this to emphasise the reflection, but in a natural setting you may want to explore different viewpoints to find the angle at which the reflection is most visible.

Step 2. Water & Landscapes
The grandeur, colors, and patterns offered by nature can be breathtaking and for me, the essence of this is displayed in a snowy-topped mountain reflecting upon a serene lake. The scene is a photographers dream, but how do you maximise its potential to capture a breathtaking shot?
Firstly, try and go when the light is at it’s best, either bright and early, or in the evening as the sun is setting. Be sure to take along your tripod to ensure a sharp shot and try using a couple of filters. A polarising filter will help you to control the amount of surface shine from the water, and a graduated neutral density filter will help ensure that the sky isn’t overexposed.
Try experimenting with slightly longer shutter speeds than normal to smooth out the water and, as I mentioned before, be sure to take into account the depth of field, angle of the light and try focusing in on the water for that extra level of drama.

Step 3. Shiny Things!
Photography involving reflections doesn’t have to be restricted to water-based landscape shots, there are plenty of other reflective surfaces to utilise that we encounter in everyday life such as mirrors, glass, metal, ceramic tiles and even varnished wood.
It’s important to remember that shiny surfaces such as these don’t absorb light, so if using artificial lighting, think carefully about the amount and angle of the light in relation to your surface. You may want to experiment with lighting from above or behind your subject.
This also applies to the use of flash, which will probably be limited as the light will often just bounce straight back at you.
Try to ensure that your surface is clear of scratches and fingerprints, especially when focusing in on detail within the reflection. Flat surfaces are easier to work with, as they will give more complete reflections.
Once you’ve found your surface, try using different subjects to see what reflections you can achieve. You can use anything you like, but the more interesting the shape, the more interesting the formation of the reflection will be.

Step 4. Experiment and Enjoy
Reflection photography is often described as abstract, which I think can be the case, but when utilising reflections, the type of shots that you create are totally up to you, the photographer.
You may want to utilise a reflective surface to make an otherwise predictable photo shoot more interesting, you may want to capture stunning real life landscapes, or you may want to experiment with angles and lighting to create eye catching abstract art shots. The joy is in the variety of potential shots, now it’s up to you to go and capture them!

The rule of thirds is a “rule of thumb” or guideline which applies to the process of composing visual images such as designs, films, paintings, and photographs.

The guideline proposes that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections.
Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject would.

The photograph to the right demonstrates the application of the rule of thirds. The horizon sits at the horizontal line dividing the lower third of the photo from the upper two-thirds. The tree sits at the intersection of two lines, sometimes called a power point or a crash point.

Points of interest in the photo don’t have to actually touch one of these lines to take advantage of the rule of thirds. For example, the brightest part of the sky near the horizon where the sun recently set does not fall directly on one of the lines, but does fall near the intersection of two of the lines, close enough to take advantage of the rule.