The Landscape Photography Workshop - Ross Hoddinott & Mark Bauer
The Digital SLR
What is a digital SLR?
digital single lens reflex camera
the photographer is looking through the actual taking lens when he or she peers through the viewfinder
a mechanical mirror system and pentaprism to direct light from the lens to an optical viewfinder
when a photograph is taken, the mirror assembly swings upward, narrows to the specified setting, and the camera’s shutter opens to allow the lens to project light onto the digital sensor positioned behind it
typically offer photographers greater creative control, lower levels of noise, superior build quality, superb ergonomics and a large, bright viewfinder, which aids focusing and precise composition
The Digital Sensor
heart of every digital camera is its sensor, which determines the camera’s resolution and image quality
Full frame sensors
Full frame sensors also possess large photosites. Therefore, they are able to capture more light with less noise, so images are smoother, sharper and more detailed.
Lenses
Focal Length
determines its angle of view and the extent to which the subject will be magnified
also helps to determine perspective
the power of a lens is represented in millimetres - a low number indicates a short focal length (or large angle of view) and a high number represents a long focal length (small angle of view)
Human eyesight is roughly equivalent to 50mm on a full frame DSLR, so focal lengths in this range are considered ‘standard’. Anything smaller than 50mm is typically referred to as ‘wide-angle’, while anything longer is considered ‘telephoto’.
Prime versus Zoom Lenses
A prime - or ‘fixed’ - lens has a specific focal length that cannot be altered. The focal length of a zoom lens is adjustable, allowing you to choose from a range of focal length without having to change the lens.
Lenses for Landscape Photography
Wide Angle Lenses
enable you to capture expansive, distant views, and one of their key characteristics is the way in which they stretch the relationship between near and far, exaggerating the scale of foreground subjects
Standard Lenses
display minimal distortion and provide a natural looking perspective, making them well suited to landscape photography
want to place more emphasis on background subjects, or when you simply wish to guard against the risk of foreground objects dominating your composition
Telephoto Lenses
can prove very useful for isolating detail and interest within the landscape
Exposure
process of light striking a photosensitive material, such as a digital camera’s image sensor
Understanding Exposure
Underexposure can be remedied by increasing the aperture (smaller f/number), selecting a slower shutter speed, or increasing ISO sensitivity
Overexposure can be corrected by making the lens aperture smaller (large f/number), increasing the shutter speed, or reducing the ISO sensitivity
Aperture
common term for the iris diaphragm of a lens. This consists of a number of thin blades that adjust inwards or outwards to alter the size of the near - circular hole they form (the aperture) through which light passes. Altering the size of the iris determines the amount of light that is allowed to enter the lens and hit the sensor (exposure)
a small aperture (large f/number) will create a large depth of field, while a large aperture (small f/number) will produce a shallow depth of field
Shutter Speed
if the shutter speed is too short, insufficient light will reach the sensor and the image will be too dark. If the shutter is open too long, too much light will strike the sensor and the image will be too light
Understanding Shutter Speed
by adjusting the shutter speed you can control the way that subject movement is recorded in your images. A fast shutter will freeze the subject, while a slow speed will blur the subject movement - this creates the impression of motion
ISO Sensitivity
a low ISO rating - or number - is less sensitive to light, so it requires a longer exposure. A high ISO rating is more sensitive to light, so it requires less exposure.
Depth of Field
Understand Depth of Field
refers to the zone - in front of and behind the actual point of focus - that is recorded in sharp focus
by varying the size of the aperture, you will generate either more or less front to back sharpness. At large apertures - f/2.8 or f/4, for example - depth of field is shallow.
small apertures, in the region of f/16, are the most common choice for scenic photography. They generate extensive depth of field, particularly in combination with short focal lengths. When shooting large, sweeping vistas, a small aperture enables you to capture everything from foreground interest to infinity in acceptably sharp focus.
Exposure
- Process of light striking a photosensitive material
- Three principal mechanisms to control exposure - shutter speed, lens aperture and the ISO sensitivity
Understanding
A 'correct' exposure is one that achieves the desired effect for the photographer
Underexposure can be remedied by increasing the aperture (smaller f/stop), selecting a slower shutter speed, or increasing ISO sensitivity
Overexposure can be remedied by decreasing the aperture (larger f/stop), increasing the shutter speed, or reducing the ISO sensitivity
Compensation
If a scene is rendered too light shorten the exposure by applying negative(-) compensation
If it is too dark then apply a positive (+) compensation
When applying compensation use the images histogram to guide you
Aperture
- Aperture is the common term for the iris diaphragm of a lens
- Altering the size of the iris determines the amount of light that is allowed to enter the lens and hit the sensor
- Also dictates the depth of field - smaller aperture (large f/stop) will create larger depth of field, large aperture (small f/stop) will create shallow depth of field
Understanding F/Stops
Similar in principle to the pupil of an eye - the pupil widens or contracts to control the amount of light that hits the retina
Shutter Speed
- If the shutter speed is too short then insufficient light will reach the sensor and the image will be dark
- If the shutter speed is too long then too much light will hit the sensor and the image will be overexposed
Understanding
Adjusting the shutter speed means photographers can control the way that subject movement is recorded in the image
A fast shutter will freeze the subject movement
A slow shutter will blur the subject movement
Bulb Setting
For exposures longer than 30 seconds the camera needs to be set to 'Bulb' or 'B' - this will allow the shutter to remain open as long as the shutter release button is pressed
ISO Sensitivity
A low ISO rating is less sensitive to light so requires a longer exposure
A high ISO rating is more sensitive to light so requires less exposure
Every doubling of the ISO speed halves the brightness of the light, or the length of time required
At higher ISO ratings the amount of signal 'noise' increases and this degrades image quality
Depth of Field
Understanding
Refers to the zone in front of and behind the point of focus
By varying the size of the aperture you will generate more or less front-to-back sharpness
At large apertures (small f/stops) depth of field is shallow - helps throw background or foreground details out of focus
Small apertures (large f/stops) are more commonly used in landscape photography - allows you to capture everything from foreground to infinity in acceptable sharp focus
The distance between the camera and the subject affects this - the closer you are the less depth of field you will obtain
Exposure Modes
The Core Four
Programmed Auto
Fully automatic mode where the camera selects what it believes is the best combination of aperture and shutter speed
It is fine for test shots and quick snaps
Shutter Priority
You set the shutter speed and the camera selects the corresponding f/stop
Useful for determining the appearance of motion
Particularly suited to sport, action and wildlife photography
Aperture Priority
Most suited to landscape photography
Works in the opposite way to Shutter Priority - you select f/stop and the camera sets the corresponding shutter speed
Designed to give photographers control over depth of field
Manual
The most flexible exposure mode, but relies most on photographers input
Photographer sets both aperture and shutter speed
Allows you to quickly fine-tune exposure and apply exposure compensation
Histograms
Using the Histogram
Gives a graphic illustration of how the tones are distributed in the image
Two-dimensional graphs which often resemble mountain peaks
The horizontal axis represents the pictures tonal range from black to white
The vertical axis shows how many pixels have that particular value
When it displays large number of pixels grouped at either edge it is often an indication of poor exposure
A graph with a narrow peak in the middle illustrates a photograph that is lacking in contrast
The 'Perfect' Histogram
A perfect histogram is one that displays good range of tones across the horizontal axis, the majority of pixels around the middle
Viewing the images histogram is a good method of assessing exposure
White Balance
- Designed to neutralise colour casts produced by the varying temperatures of light
Understanding Colour Temperature
Lower temperatures have a greater percentage of red wavelengths so they appear warmer
Higher temperatures have a greater proportion of blue wavelengths so they appear cooler
The temperature of light is measured in Kelvin
Most scenic photographers stick to the Daylight preset on the DSLR, as they do not want to neutralise the warmth of early morning or late evening light
Deliberately mismatching the white balance will create a colour cast that can be far more striking
Rules of Composition
The Rule of Thirds
Imagine a grid overlaying the viewfinder, dividing it into thirds both horizontally and vertically
Organise the elements in the scene according the lines
Starting point is to place the horizon on one of the dividing lines, most divided into one third land one third sky, although if the sky is dramatic it may be reversed
The points where horizontal and vertical lines intersect in the grid are the best places to put points of interest
The Golden Section
The rule of thirds is a simplified version of the Golden Ratio - or when applied to a rectangle the Golden Section
Should provide an even more harmonious division of the frame
If you divide the frame into two rectangles, the ratio of the small rectangle to the large one is the same as that of the large one to the whole frame
The sections can then be divided by the same ratio, ending up with a grid similar to the rule of thirds
The intersections of the horizontal and vertical lines are ideal places for focal points in the image
The Rule of Odds
Far less mentioned than the rule of thirds, it simply states that odd numbers in a composition are more pleasing than even numbers
Balance of Harmony
Placing the Subject
Most successful landscapes contain a strong point of interest, or focal point
Placing the subject in the centre usually results in a static composition as the viewers gaze is not encouraged to travel around the frame
Setting the subject off-centre is more dynamic as the viewer is encouraged to travel around the frame seeking out the subject
Lead-In Lines
Using lines to lead the viewer's eye through the frame
Can also help to highlight the relationship between the subject and the foreground enhancing the feeling of depth
Lines do not have to be 'real' they can also be implied such as the patterns created by waves or a row of objects
Wide angle lenses can help you achieve this as distortion at the edges of the frame can stretch and enhance lines and angles
Having 'pointers' in the corners of the frame also helps direct the attention inwards
Diagonals and Horizontals
Suggest action and depth
Work particularly well if the come from the left and travel towards the right, this follows the natural scanning pattern of the human eye
Bottom left to top right suggests depth
The feeling of dynamism is increased if you shoot in portrait as this allows more acute angle
There is a risk that strong diagonals will lead the eye out of the photograph - use them to highlight a point of interest to avoid this
Diagonal lines should enter the frame from just above or below the corner
Horizontal lines are more relaxing than diagonals, they suggest peace, calm and a sense of restfulness
Symmetry
Balance
One way to create balance in an image, but doesn't always produce harmony
Symmetry occurs when objects on one side of an imaginary line that bisects the frame are mirrored on the other side
A vertical plane of symmetry tends to provide the best feeling of balance
Reason for this is that our own plane of symmetry is vertical, so images this was are naturally pleasing
However horizontal plane of symmetry can also work with subjects such as; reflections in lakes
With a vertical image top to bottom balance is important - most images look better if the bottom is slightly heavier
For a symmetrical composition to work, the plane of symmetry must be centred
Centring The Horizon
Placing the horizon in the middle contradicts the rule of thirds
Although it can result in a dull, static composition, it can emphasise a feeling of stillness and tranquility
Creating Depth
- The world is three-dimensional but the medium in which we are trying to represent it has only two dimensions
Foreground Interest
One very effective way to create depth is to have a strong foreground element
Photographers seem to fall into the trap of sticking anything and everything in the foreground
Using Colours To Enhance Depth
Warm colours advance and blue colours recede
We can use this to enhance the image - place the warm colours in the foreground and cool colours in the background
Layers and Planes
Layers can be formed by producing a series of overlapping shapes or by strong side lighting
Layered look can also be enhanced by aerial perspective in which receding shapes appear lighter the further away they are - noticeable in hazy, misty or foggy conditions
Big Foregrounds
Made popular by Joe Cornish
Worth remembering the foreground interest doesn't have to be big to be effective
Other Compositional Tricks
Frames Within Frames
Keep a tight composition and focus attention on the main subject by using a natural frame
By framing the scene attention is focused inwards
Also effective to partially frame a view - works well if there is a strong sky above the landscape
Movement And Texture
One way to create lines and pointers in an image is to use movement
In macro shots texture can be a subject in itself - in landscape can be used as effective foreground
Used well it can make the viewer want to touch the subject and feel it
Contrasting textures can also provide tension within a composition
Shapes and Patterns
Different shapes have different aesthetic properties
Squares and rectangles are static - tend to block view
Triangles are dynamic - they lead the eye into a picture, with its base at the bottom suggest stability, with the apex at the bottom it suggests imbalance
Circles are calming
Breaking the Rules
- If you slavishly follow the rules of composition you will create work that is competent but unimaginative and predictable
Placing the Horizon
Placing the horizon at the very bottom of the frame to emphasise a dramatic sky - has the effect of increasing a sense of emptiness and isolation
Breaking The Rule of Thirds
Centrally placed subject works when there is a strong sense of balance within the scene
Breaking The Rule of Odds
Focal Points
It is possible to create pictures without an obvious subject
One common example is when the light becomes the subject
Focus on Composing Photos - Peter Ensenberger
What is my subject?
“Composing an aesthetically pleasing scene around your subject requires an assessment of the subject and its surroundings; light direction and shadows; viewpoint and perspective.”
The subject is the central figure around which a photograph’s story revolves
Objects offering interesting textures, colours, shapes, and lines often make the best subjects
Boldly featuring the subject in a composition leaves no doubt about the story being told
Compositional elements may include colours, patterns, textures, leading lines, main and subordinate subjects, and even blank or neutral space.
Main subject versus focal point
The viewer’s eye always goes to the brightest part of the scene
The main subject is the primary element around which the photograph’s narrative is arranged. The focal point is the precise spot in the composition that draws the attention of the viewer’s eye
Harmony and Emphasis
Your subject should look perfectly at home within the frame
Harmony refers to the inner sense of order among all the elements in a unified composition so that each contributes to the overall story being communicated.
Size, colour, and placement within the frame play important roles in differentiating between the subject and the supporting elements as they compete for dominance and subordination in the scene.
Large objects dominate smaller ones. Positioning your camera closest to the intended subject usually accomplishes this effect. But even if your main subject is small, you can give it prominence as the focal point by composing empty space around it.
Warm coloured objects dominate cool coloured ones.
Keep it simple
Simplicity is an easy concept to grasp but often a difficult result to attain
“if your pictures aren’t good enough, you’re not close enough” - Robert Capa
Travel and Nature Photography - Rick Sammon
Jumpstart your photography
Enjoy the wonderful process of taking pictures and travelling
If you enjoy the moment, the people you photograph will enjoy the moment as well.
Recipe for successful photographs
Of utmost importance in an interesting subject. The subject is the reason why most of us travel to take pictures.
Of course we need to be inspired to take good pictures
That inspiration drives us to get up extra early to photography sunrises and keeps us out into the night to photograph sunrises. It compels us to approach strangers in strange lands with our cameras, hoping to capture an interesting face or activity. That inspiration draws us to sweeping landscapes and seascapes, places where we can ‘stop and smell the roses’, recording our memories to be relived through our photographs.
Oftentimes, we need patience for a good picture.That may mean often waiting hours for just the right light, waiting for someone to walk in or out of a scene, waiting until we get comfortable shooting in a location, or waiting for our subjects to get comfortable with us.
Knowing what our camera and image editing program can and cannot do will help us make decisions to get creative pictures.
Another ingredient in the recipe for successful photographs is learning about the subject, be it a landscape, a person, an animal, or a place. The more you understand about a subject, the better you’ll be able to photograph it.
When it comes to luck, however, I can tell you this: The harder you work, the luckier you become.
The key is not to put your camera away when the sun goes away. Keep a positive attitude and get out there and shoot! You may be surprised at the ‘moody’ scenes you capture.
We can improve our chance of getting the kinds of pictures we want if we check the weather for out destination before we leave home.
While we are growing as photographers, it’s a good idea to look back on our progress and to learn from our mistakes. In addition, while we are out taking pictures, it’s a good idea to look back, literally.
It’s nice to get the sharpest and clearest unobstructed pictures of a subject. However, sometimes it is also nice to hide a subject somewhat with a foreground element.
Moving just a few feet or even inches from one position to another can make a big difference.
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