The Landscape Photography Workshop by Mark Bauer & Ross Hoddinott

Author:Mark Bauer & Ross Hoddinott [Bauer, Mark & Hoddinott, Ross]
Language: eng
Format: epub
Publisher: UNKNOWN
Published: 2018-07-04T23:00:00+00:00

Trees can also add a sense of scale to far-reaching vistas. Windswept trees are particularly photogenic, helping to communicate just how wild the landscape is. Dead or weathered trees are common in moorland, and add a focal point, scale and depth to an image.

When photographing hills and mountains, include elements such as people, buildings or trees to help create a sense of scale. This will make the environment appear more dramatic and imposing. Canon EOS 5D Mk III, 24–105mm f4 at 28mm. ISO 100, 1/6 sec at f/11, two-stop ND grad, polariser

When you’re shooting from a high vantage point, the weather and lighting will have a big impact on the feel and mood of your images. Side-lighting is often best when photographing mountains and hills, as it emphasizes contours, texture and rugged detail. At higher elevations, the crisp, clear air can create a cool cast, potentially adding a slight blue hue to images. This can be particularly noticeable if there is snow in the shot. Increasing the colour temperature will correct this – you can do this in-camera using the white-balance controls (see pages 36–7) or during processing if you are shooting in Raw format (see page 122).

Hills and mountains often exhibit their own peculiar weather conditions. Thick fog and heavy rain is common, so patience is often required. One of the best times to visit high ground is in winter, when there is a covering of snow. Snow needs to be photographed while fresh, clean and brilliant white. Footprints can ruin landscape images, so be mindful of where you walk.

When you are photographing hills and mountains, the use of graduated ND filters (see pages 81–2) to lower contrast is often less practical, as the peaks will break the skyline. If you’re shooting an uneven horizon, opt for a grad with a soft transition. Blending exposures (see pages 116–7) may be the most effective way to achieve correct exposures of mountains or hills.

Take care when using a polarizing filter at high altitude. The air is cleaner and the atmosphere thinner, so clear, blue skies will appear naturally saturated. As a result, the risk of over-polarization (see page 78) is far higher.

Woodland interiors are a popular subject for landscape shots: the light filtering through a canopy of leaves can be dappled, beautifully diffused and atmospheric. However, strong viewpoints that clearly direct the viewer’s eye around the image can be difficult to locate. Sometimes you literally can’t see the wood for the trees.

At first glance, coniferous woodland can look very regimented, with row after row of tall, straight trunks, while ancient woodland seems messy and disorganized, with the woodland floor littered with fallen trunks and stumps. The key is to make use of such elements, organizing them into a composition that has depth and interest. For example, rows of tall, upright trunks can be eye-catching when they fill the frame. A short telephoto or zoom will allow you to crop in tight to the trees, emphasizing their regimented appearance and stature. Results can look graphic and abstract.

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.