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Light and the landscape

11

Shoot stormy weather

Stormy weather can be the perfect time to make dramatic landscape images. Head to an accessible location where you can include elements that will help to capture the atmosphere on film. Look for windblown foliage, bending trees or blowing sand. One of the best locations is the coast, where the landscape is exposed to the full force of the elements. A telephoto lens can be used to compose an image from a safe distance, but use a sturdy tripod and weight it down with additional ballast. Position your body to shield the camera from the buffeting wind. If your camera has a motordrive use it to take three consecutive shots – the second frame will often be the sharpest. Be prepared for spectacular lighting effects as the storm clears, when rays of sharp sunlight illuminate the landscape – a strong contrast with the dark clouds above.

Storm

When this winter storm was predicted, I tried to make sure that I was well prepared. My tide tables showed me that high tide was at midday, so this was when the waves would be crashing most ferociously against the sea wall at Lyme Regis, Dorset, England. My main aim was to exaggerate the town’s seemingly precarious coastal position. Much of the sea-front here is protected by a high harbour wall, so I had no trouble finding a safe position from which to shoot. Using a 300mm telephoto lens enabled me to compose tightly around the main area of interest. This also had the effect of compressing perspective, thus making the sea front buildings appear much closer to the breaking waves. Even though I was using a sturdy tripod, the constant buffeting of the wind combined with low light levels would have made obtaining a sharp image very difficult without the aid of an image-stabilized lens.

Canon EOS 5, 100–400mm lens, Fujichrome Provia 400F (uprated to ISO 800), 1/125sec at f/5.6

12

Make the most of the golden hour

When the sun is high its light is neutral but the closer it gets to the horizon the warmer its rays become. Some of the best lighting conditions for landscape photography occur early and late in the day. The light during the hour after sunrise and before sunset paints the landscape with warm, low-contrast light. This is beneficial to scenes that include a lot of detail, as the soft light enables film and digital sensors to record this in all areas of the image. The low angle of the sun also casts soft shadows, which reveals the shapes and textures of the land. The changes that occur during this brief period can have a profound effect upon the landscape and the way it records on film. Spend the harsh daylight hours searching for the right spot from which to shoot later in the day or the following morning.

Gold Hill

Shooting late on an autumn afternoon enabled me to make use of the warm, low-angled sunlight striking this row of attractive cottages in Dorset. The angle of the light also helped to reveal the textures of the stone, thatched roof and cobbles. The lighting effect on this occasion was amplified by the fact that it was pouring with rain as the image was made. The raindrops have been illuminated by the warm light of the sun, but haven’t recorded on film due to the long exposure. The light reflecting off the wet surface of the cobbles also helps to brighten the foreground considerably. This combination of heavy rain and late afternoon sunlight is an unusual occurrence, but was highly effective in injecting additional atmosphere into the scene.

Canon EOS 5, 28–70mm lens, polarizer, Fujichrome Velvia, 1sec at f/22

13

Utilize low light

The hour before sunrise and after sunset can be a magical time for landscape photography, as the soft light and pastel colours create an atmosphere of calm and tranquillity. On overcast days, a cool blue colour cast will result, but on cloudless days the colour will vary from yellow to magenta. Search for locations such as lakes, rivers and beaches, where the colour of the sky can be reflected into the foreground of your image. In mountainous areas, watch out for alpenglow, which can paint the higher peaks with soft red light. Metering can be tricky, as the electronic exposure systems of many modern cameras can only be set up to 30 seconds. This means that you will have to resort to the old-fashioned method of timed exposures (using the bulb setting) with a cable release and illuminated stopwatch. Exposure times can extend into several minutes, so a sturdy tripod becomes even more essential.

Kimmeridge Bay

As the tide was rising, I knew that the pebbles on this beach would have dried off during the day. For this reason, I took a watering can along so I could damp down the area I intended to use as foreground. The wet pebbles reflect the colour of the sky and brighten the foreground. This shot was taken in mid-December, about 30 minutes after sunset. I placed the camera low to the ground so that the foreground pebbles would add depth to the shot. The small aperture that was required for sufficient depth of field, together with the very low light levels and slow-speed film, resulted in an exposure time of 4min. I didn’t use a colour-correcting filter to remove the blue cast, as I wanted to maintain the colour contrast with the warm orange afterglow along the horizon. 1 and 1/2 stops of extra exposure were required to compensate for reciprocity failure.

Canon EOS 5, 28–70mm lens, 3-stop neutral density graduated filter, Fujichrome Velvia, 4min at f/16

14

Make use of overcast days

Although some photographers regard overcast days as unsuitable for landscape photography, some scenes lend themselves to these conditions. Try to tackle subjects that don’t work well in direct sunlight. A cloudy sky acts as a diffuser, creating low-contrast, even illumination that records colour accurately and reveals detail. Such conditions are ideal for shooting detailed, colourful scenes, such as woodlands in spring and autumn, and wildflower meadows in early summer. Colour variations will play a big part in the composition of your image. A bland sky will often detract from the main subject, so it is best excluded. A polarizing filter is vital on overcast days, as it can revive the colours of flowers and foliage that were previously muted by reflected light. A well-saturated transparency film will also enhance the natural colours of the scene.

Lupins

Many of the roadside verges along the west coast of Norway are transformed by a brilliant display of wild lupins during early May. Their vibrant colours appear washed out in all but the weakest sunlight, making overcast conditions a necessary requirement for recording them accurately. I was struck by the sheer variety of colours among this display on the island of Runde. In persistent drizzle, I searched a stretch of roadside verge for the best composition, finally settling upon this section of colourful blooms. The vertical format was rather dictated by the arrangement of the flowers, but helps to emphasize the conical shape of the individual flower spikes. Once I was happy with the general composition, I spent time carefully checking the edges of the frame and recomposing to avoid too many neighbouring blooms intruding into the picture. A polarizing filter removed reflections from the wet leaves and revived the vibrant colours.

Canon EOS 3, 28–70mm lens, Fujichrome Velvia, 6sec at f/16

15

Keep an eye on the sky

The sky is a hugely important element in many landscape photographs. However, it should only be included if it adds a positive element or improves the composition. As landscape photographers prefer to shoot early and late in the day in order to catch the best light, we tend to witness some of the most spectacular skies – rapidly changing, with sudden bursts of colour and shafts of light. It is vital that we keep an eye on these developments in order to exploit every opportunity. As the sky is generally brighter in tone than the landscape or foreground of any scene, the use of a neutral density graduated filter will often be necessary to help control contrast as, otherwise, your film may be unable to record sufficient detail. A polarizing filter can also be used to control contrast, as well as to enhance cloud formations and saturate colour.

Loch Etive

When I arrived at this location in Scotland, late in the afternoon, the sky was clear and blue. However, within half an hour, broken cloud began to appear from the east and soon covered the sky above me. It was now just before sunset and the last rays of the sun began to add a little subtle colour to the encroaching clouds. Fortunately, the air was still and the surface of the loch was perfectly calm, providing a mirror image of the colourfully patterned sky above. A scene like this would be impossible to capture accurately on colour slide film without the help of a neutral density graduated filter. On this occasion, I used a 2-stop hard-edged filter positioned with the transition line directly upon the distant horizon. When photographing reflections, it is vital to choose the correct density of filter, as the image in the reflection should never appear brighter than its source.

Canon EOS 3, 28–70mm lens, 2-stop hard-edged neutral density graduated filter, Fujichrome Velvia, 2sec at f/11

16

Be prepared for transient light

Some of the most memorable landscape images are made when fleeting glimpses of light break through an otherwise overcast sky. Some of the best opportunities occur around sunrise and sunset, when passing weather fronts allow the sun to briefly appear close to the horizon – often leading to spectacularly colourful skies. The best way to record transient light is to plan your shot. Choose a location, research lighting angles and select a composition in advance. A spot meter is best for metering for a scene in transient light. Take a reading from an area within the pool of sunlight and assign it a tonal value (see page 33). Set this reading on your camera, re-compose the scene and fire away! The sunlit areas will then be correctly exposed whilst the unlit areas will record as a dark tone, capturing the drama that initially attracted you to the scene.

Harbour sunrise

This particular day in early summer dawned cloudy, still and rather uninspiring. Nevertheless, I made my way down to the harbour at Lyme Regis at 5am in the hope of catching a colourful sunrise. I noticed a thin strip of orange sky along the horizon to the east and immediately began to set up my camera in a predetermined position on the harbour wall. It wasn’t long before the fiery disc of the sun began to appear, casting a beautiful clear light across the scene. However, within five minutes it had risen behind the encroaching clouds and remained hidden for the rest of the day. My main concern with this shot was to avoid flare – not easy with the sun included in the frame. I minimized the chances of flare occurring by using a prime lens. Fortunately, as the sun had only just broken the horizon, the contrast levels were not that great, and the film was able to record the scene exactly as I had remembered.

Canon EOS 5, 50mm lens, 2-stop neutral density graduated filter, Fujichrome Velvia, 1/2sec at f/16

17

Control flare

Shooting into the light can dramatically increase the atmosphere in your pictures. Zoom lenses are more prone to flare, making prime lenses favourable. Optical surfaces should be kept spotlessly clean and filter use kept to a minimum. Lens hoods are ineffective if the sun is included in the frame. With a tripod-mounted camera it is best to shade the lens with your hand or a piece of card. When using telephoto lenses, you should cast a shadow across the front element from as far away as possible – the further from the lens you are, the sharper and more accurately placed the line of the shadow will be. If the sun is included in the frame you could try to partially conceal it behind a tree or similar element within the image. Take great care to prevent the sun from striking the front element of your lens, or any filters that you have in place.

Beech trees at sunrise

This row of hilltop beech trees on the northern edge of the Exmoor National Park in Somerset, England, was a scene that I had considered photographing many times. Although there was the potential for a good shot in favourable light, the view never really inspired me. However, I noticed that at sunrise a more atmospheric image might be possible by shooting into the light. I decided to return in mid-June, when the sun would rise roughly behind the line of trees. In fact, the sun appeared directly behind the centre tree. Not only did this help to balance the composition, it was also a great help in preventing flare from spoiling the image. I used a prime wide-angle lens with a 3-stop hard transition neutral density graduated filter to help retain detail in the foreground field without losing detail in the bright sky. I had only a minute or two to get the shot, because once the sun had risen above the tree line the effects of flare became unavoidable.

Canon EOS 3, 35mm lens, 3-stop neutral density graduated filter, Fujichrome Velvia, 1/4sec at f/16

18

Develop a workflow

There is a lot to think about when taking a landscape photograph; technical and aesthetical decisions have to be made, and often quite quickly. It is easy to forget a vital point, which may lead to the loss of an image. All photographers eventually develop a natural workflow but initially it is worthwhile making a simple list to follow. The fundamental factors of composition, focusing, exposure, filtration and camera set-up should be noted in the order you are most comfortable with. You should familiarize yourself with the layout of your camera bag so that you can find any item quickly. After finding the optimum position from which to shoot, run through your workflow to make sure that you’ve remembered everything. These steps will soon become second nature and you will be able to concentrate fully on capturing the scene before you.

Woodland reflections

When walking along the shore of this small Scottish lochan on a very foggy early summer morning, I kept catching tantalizing glimpses of the opposite shoreline reflected in the calm water as the mist began to clear. I knew that the effect would not last long because, as the sun rose higher, the fog would begin to burn off and the breeze would pick up, destroying the reflections. It was essential to work quickly in order to capture the atmosphere of the moment. Having a basic workflow to follow provides an added safeguard that might just prevent disappointment when an opportunity like this arises. The main area of interest was quite distant, so I needed to use a telephoto lens to compose an image without too much blank space. Once I had set up my camera, using a polarizing filter to saturate the fresh spring foliage, I only needed to wait a few seconds before the mist cleared just enough to reveal sufficient contrast in the distant trees.

Canon EOS 5, 100–400mm lens, polarizer, Fujichrome Velvia, 1/15sec at f/11

19

Take control of exposure

Control of exposure is fundamental to successful landscape photography. All reflected light meters will give the correct reading to expose whatever they are pointed at as a mid-tone in the prevailing lighting conditions – even a white or black object would be recorded as a mid-tone grey if you used the setting suggested by your camera. This can be used to your advantage if you learn exactly how much compensation your camera meter requires in order to record white subjects as white and black subjects as black. Pure white subjects generally require 2 stops more exposure than the light meter will suggest, whilst pure black subjects need 2 stops less exposure. By using these extremes as a guideline you can work out how much compensation is required throughout the whole range of tones you are likely to encounter in the field.

Glen Lyon

It is important to work within the limitations of film and digital capture. I like to keep the range of tones in any scene within roughly 3 stops whenever possible, as this produces a more balanced result with plenty of detail throughout the image. I normally achieve this by shooting in low-contrast lighting conditions, or by using neutral density graduated filters to reduce contrast within the image. If I ever need to sacrifice detail in harsh lighting conditions in order to capture a specific scene, I always opt to lose detail in the shadows, as the human eye accepts dense shadows more naturally than blown highlights. This frosty shot of Glen Lyon, in Scotland, in winter was taken in very soft light. There was only a 3-stop brightness range in this scene, so the film has been able to record plenty of detail in both shadow and highlight areas.

Canon EOS 3, 24mm lens, Fujichrome Velvia, 1sec at f/16

20

Master your metering technique

You shouldn’t rely on your camera’s standard metering system. You will achieve better results by taking a spot meter reading directly from the most important tones in the scene. If your camera doesn’t have a spot-meter, attach a telephoto lens and fill the frame with the area you want to meter from. Once you have metered the most important tone in the scene and worked out an exposure setting that will record this tone at its correct brightness level on film (see page 32), meter other areas of the scene to make sure they are within the 5-stop brightness range that transparency film and digital sensors can handle. If certain parts of the scene, such as the sky, are outside this range, you might be able to reduce the contrast by using a neutral density graduated filter. You will have more control if you use your camera in manual mode. Handheld exposure meters are another option and many incorporate a spot meter.

Larch sapling

I discovered this lone larch sapling on the edge of a spruce plantation. Its bright yellow autumn foliage contrasted vividly with the monotonous green surroundings. Even though the overcast light provided soft and even illumination, the predominance of dark tones in the scene would still have fooled most in-camera metering systems into overexposing the image. I had two options: to take a spot meter reading directly from the yellow larch and increase the metered exposure by one stop to place it as a light tone on film; or, meter from an evenly lit section of green spruce and reduce the metered exposure by one stop so that it recorded as a dark tone. In such even light, both methods would have resulted in the same end exposure value.

Canon EOS 5, 100–400mm, polarizer, Fujichrome Velvia, 1/2sec at f/22