Landscape is probably the easiest type of photography to shoot, but one of the most difficult to make impressive. With the large number of photographs produced under this category, mediocre compositions become cliche, and making unique shots involves much more effort. To produce outstanding images, the photographer needs to think continually, never allowing the creative process to end. Intended for those that understand the basics of photography, this article aims to stimulate creativity and point out where special attention must be paid while shooting.

All photographs posted here are taken by the author. Clicking on the photos will link you to larger versions and technical details of the shots. Note that some links will take you to the copyrighted work of other photographers. Please observe their copyright statements regarding usage.

Reflections

Mirror-like reflections are always impressive. Reflection shots are probably made famous by photographs shot in the Rocky Mountains. Photographer Tim Fitzharris did an entire book on mountains reflected off calm lakes. If the light is right and the water is calm, the results can be outstanding.

When shooting a scene that is just stunning and in light that is just incredible, it is easy to forget all about contrast and exposure latitude. In most reflections, the actual object is brighter than the reflected image by 2 to 3 stops of light. With the narrow exposure latitude of films (espeically slides), the same exposure for both would result in either the actual object being overexposed or the reflection being underexposed. Thus, the use of a neutral density graduated filter is often necessary to reduce the contrast of the scene for better exposures. This filter is half dark, half clear with a feathered edge so that the transition is smooth and not noticeable in the final image. The filter comes in both circular screw mount and rectangular (Cokin) mount. The rectangular ones are better for precise positioning for the desired effect. They also come in different strengths (usually 1, 2, or 3 stops). It is important to use the right strength of filtration. Over-filtration can be very obvious if the reflection is brighter than the actual object, a physical impossibility. In addition to reflection shots, this filter is also necessary for any scene with extreme light and dark areas that cannot be accommodated by your film. Because of the usefulness of this filter in shooting landscapes, I recommend buying from the higher quality brands. Tiffen and HiTech, both available in the popular Cokin sizes, are good compromises in terms of price and quality. The actual Cokin filters often carry an undesirable colour cast that is noticeable in the final image.

In shooting reflections, keep in mind that smaller, shallower ponds are most likely to be still and will throw off the sharpest reflections. Exercising patience in waiting for the wind to die is often necessary. In windy conditions, look for pools protected by fallen logs or rocks. In making his book, Tim Fitzharris scouted out the area prior to the shoot, got up before sunrise for the best light, and put himself and his gear in the middle of shallow pools (wearing chest waders) for the best compositions and clearest reflections. His dedication should inspire all aspiring photographers.

Golden Light

The best-selling landscapes are almost exclusively shot with the golden glow of sunrise and sunset light. At these “golden” times, ordinary objects can become stunning with the added saturated colour. The warmth of the sunlight is the result of the sun’s rays passing throw more layers of the atmosphere, which filters out the blue end of the spectrum, giving the light an orange cast.

Not much technique needs discussion here. Careful planning and being there at the right time are definitely the most important. Here are a few strategies on how to maximize success for shooting at these times. For sunrise shooting, getting up extra early allows you to get there and set up well before first light hits. Since you will likely arrive at the location in near complete darkness, it is often very helpful to scout out the area in daylight beforehand so that you know exactly where to set up for the best composition. Bring a compass with you when scouting for best calculation of the direction of the light. Sunset shooting is much easier but being prepared is still good practice. Noteworthy is that during these times, the angle of the light is very low so that frontlighting (sun behind you) casts almost no shadow on the subject, sidelighting casts strong shadows, and backlighting silhouettes the subject. The quality of light can be amazing at these times and many possibilities for good photographs exist.

Stroke of Light

While shooting on clear, sunny days can yield good photographs, more unique, dynamic shots are made in stormy, inclement weather. When cloudy with sunny periods is in the forecast, rays of light through the clouds can cast very dramatic spotlighting on your subject, better isolating it from the background. Also, the interplay of bands of light and shadow can increase the visual impact of the image. Magnificent captures can result.

The most important aspect of shooting that amazing stroke of light is patience. Often in this kind of weather, the winds are strong and the clouds move fast. The break in the clouds will move and eventually cast gorgeous spotlighting on your subject. Be alert to sudden shifts in light and shadow and be prepared to capture the fleeting moment. Take extra care to protect your gear from the elements. I keep all my gear in a water resistant backpack, in which I carry an umbrella and a poncho, so that everything stays dry even in pouring rain. In composing for these images, the graphic lines created by this unique lighting can be used effectively for better contrast and impact.

Waterfalls

Shooting waterfalls with a slow shutter speed often yields very impressive results. The technique is simple. By using a shutter speed of 1/2s or longer, the falling water is blurred and takes on a silky, flowing texture. This technique also works with seascapes, river rapids or small streams.

Since the shutter speed is slow, caution must be exercised to achieve maximum sharpness. To eliminate camera shake, shooting on a good solid tripod is necessary and the use of a cable or remote shutter release is always good practice. Also, take great care to ensure that the water is the only element in the frame that is moving. In windy conditions, foliage or grass will not stay put for the time that the shutter is open. Thus, accidental motion blur can result. To minimize this, use a shutter speed of 1/2s (just enough to blur the water) and wait for the wind to die. Correct exposure can be tricky at longer shutter speeds. Be sure to check the over-exposure indicator (if available) when shooting in shutter priority mode. Especially with faster films, the shutter speed might be too long for even the smallest aperture. Also, remember that the creative process doesn’t end with blurring the water. Look for more interesting compositions that may include colourful foliage or rocks, frame the shot with trees, add something to the bottom of the frame for anchorage, or shoot against a breathtaking background.

Sense of Scale

Often, in order to clearly emphasize the immensity of the subject or the vastness of the scene, it is necessary to include in the frame something that can be easily recognized in terms of size. Objects that can provide a sense of scale include people, animal, and sometimes plants. Besides acting as a reference, these objects can also increase the visual interest of the image.

The technique is not tricky here. In the absence of wildlife or recognizable plants, your hiking buddy is probably your best bet. In terms of posing, the arms in the air pose can be cliche. The more important thing is probably where the person is looking. For example, looking up can emphasize height and looking out can emphasize depth. For a more pleasing composition, be sure that there is enough breathing room in the direction to which the person faces. Putting yourself in the photo can also be interesing.

Wide Angle Photography

Wide angle lenses give the image great depth by accentuating the near objects and pushing back the distant objects. Photographer John Shaw defines wide lenses as focals lengths of 35mm or shorter (in the 35mm format). These lenses are great for recording the vastness of grand vistas and can create dramatic images.

To compose for maximum depth in wide angle shots, the best strategy is to emphasize a clear foreground against a distant background. Choose an interesting object to anchor the foreground, get close to it and shoot from a low angle, letting the background stretch out from behind it. Placing the horizon higher in the frame (3/8 from the top, for example) draws the eyes into the picture space and increases the depth of the shot. Check to ensure that the horizon is level, tilting is very disconcerting to the eye. Also, be careful not to put the horizon too close to the edge of the frame. Wide angle lenses often have noticeable distortions especially near the edges, where the horizon will curve. The extreme inclusiveness of wide angles can tempt the photographer to include too much in the picture. Remember that a simple, uncluttered composition creates the most visual impact.

With so much depth, it is important to make sure that everything is in focus (unless the desired effect is to blur the background). The zone of acceptible sharp focus is termed depth of field (DOF). The most convenient way of maintaining sharp focus for the entire depth of the frame is by focusing at the hyperfocal distance. To do this with your lens, align the infinity symbol on the distance scale with the appropriate aperture on the DOF scale. The maximum DOF for the particular aperture used will result. With modern SLRs, only prime (fixed focal) lenses and the most expensive zooms have a decent DOF scale. If your lens does not have this scale, use the DOF preview button on your camera to check for zones of unsharpness. If your camera does not have this feature, refer to a DOF chart. Since the smaller the aperture, the greater the depth of field, it is often tempting to use the smallest aperture (such as f/22). But, using a bigger aperture that will provide sufficient DOF is often better. Larger apertures (say f/11 to f/16) allows for shorter shutter speeds and the nearer the aperture is to f/8 (at which the optics of the lens yields the sharpest image), the sharper the photo.

If you have any questions or comments regarding the article or the photographs, please contact the author by email.

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2.    Fitzharris T. The Equinox Guide to 35mm Landscape Photography. Camden House, New York,   1994.
3.    Fitzharris T. Rocky Mountains; Wilderness Reflections.Firefly Books, New York, 2000.
4.    Hill M, Wolfe A. The Art of Photographing Nature. Three Rivers Press, New York, 1993.
5.    Li Y. Stroke of Light, in Outdoor Photographer, Dec 2000.
6.    Shaw J. John Shaw’s Nature Photography Field Guide. Amphoto Books, New York, 2000.