The Art of Photography

Why Landscape Photography?

There are as many styles of photography as there are photographers.  We eachpursue the fulfillment that our art offers by interpreting the world in different ways.  For many years, working as a professional photographer, I produced commercial workof various types but found fulfillment (and for a time, income) as a photojournalist.

After a lengthy absence from photography — ending in about 1994, I found that Ineeded a new outlet — a new source of inspiration and expression.  I found it inlandscape photography.  I love nature and the outdoor world and whereas as a youngerman I would wander the streets of major cities photographing the urban condition I nowfind that hiking in the mountains at sunrise is what satisfies my soul.

In the months ahead I will elaborate on this theme and also hope that readerscontribute their thoughts and feelings to this section.  Let me hear from you.

About Light

Many photographers look at the work of experienced landscape photographersand ask themselves, "Why can‘t my work look like that? Why are myphotographs flat-looking and uninteresting?" I know the feeling,because I‘ve been there — and done that!

The secret is the quality of the light. Browse around the rest of the site, including the work of our guestphotographers. You will see that in the vast majority of cases the images werecreated within 2 hours of sunrise or sunset, or in fog, mist or rain. Why?

The answer is that the character of the light is as critical a component of astrong image as is the subject matter itself. Let‘s take as an example the"signature" image of this web site that you saw on the titles page.

Photographer on The Dunes, 1997

This photograph was taken about an hour before sunset. The low sun createdstrong shadows on the foreground and the accumulated heat of the day had createda haziness to the air that softened the distant mountains and makes themfeatureless — a perfect backdrop for the photographer who is silhouettedagainst them.

If you click here,or on the picture above, you can read more about this shot, or click hereto see an enlarged version. (Afterward, use your browser‘s BACK buttonto return here.) An additional point worth making was that for the 5 or 6 hoursprior to taking this photograph I drove around to various locations in DeathValley, but didn‘t take a single shot.  I was scouting where I would shootlater in the day or the following morning. The reason my cameras stayed in thetrunk was that I knew that with the exception of a very few special subjects,mid-day light is hash and uninteresting.

What this means is that you have to be prepared to rise very early in themorning to arrive at your preferred location and then be ready to end yourshooting within a couple of hours after sunrise.  Good light begins again acouple of hours before sunset. 

Do I follow my own advice?  Usually.  But, occasionally I‘ll shootwell into the late morning because I‘m enjoying the location.  Truth is,almostalways these transparencies end up in the circular file.

Here‘s an example though of a photograph that breaks the above rule.

Yellow Stripe Hwy, OutsideMonument Valley, 1999

As you can read more about here,this photograph (shown here enlarged)was taken during late morning while driving between locations.  It breaksthe rule against mid-day shooting because the subject matter itself is so arresting. (So will you be if you lie down in the middle of the highway, the wayI did.)

As it is I had to enhance the image digitallysomewhat by making the yellow stripe a bit brighter than it otherwise appeared. Still, this photograph would have been even stronger if the buttes of MonumentValley in the distance were illuminated by the rising or setting sun, orif the clouds in the distance had a bit more definition as a result of strongerside-lighting. 

Early morning is in many ways more preferable for shooting than is sunset. In the Southwest it is always a lot cooler then, and as well the air is frequentlycleaner and clearer.  In many locations early morning is also a time ofground mists.  Even when the day is overcast these conditions can create amoody effect that enhances an otherwise mundane scene.

Road Into theMist, Ontario, 1996

In this image an overcast early-morning in rural Ontario produced anenchanting photograph because of ground-mist.  Fifteen minutes after thispicture was taken the sun burned off the mist and the scene becauseharsh and uninteresting.

What then are the critical components of the best natural light for photography?

Are there others?  Of course. But when you start to look at the lightas well as the subject you will be on the way toward better landscapephotographs.

Zenand The Art of Landscape Photography

Striped Dunes - Death Valley, 1999

Contemplation - Not

Most people think of landscape photography as a quiet and contemplative art.Maybe for some, but for me it‘s more akin to the rush of a big game hunt.Because this type of photography is about the ever-changing nature of light asmuch as it is about location, in the rush to capture the fleeting moment ofbest-light I frequently find myself shooting in a sort of "mindless"state — where I am simply focusing on being technically correct but nottotally aware of what I‘m photographing. Somehow, my emotional state creates thecomposition and it isn‘t until afterwards on the light-box that I‘m really awareof what I‘ve shot. These are frequently my best images.

Conversely, there are times that I have worked slowly and contemplatively,and when the results are reviewed I‘m disappointed. Usually it‘s because there‘sno emotional context — good technique but no involvement.

There‘s not much that can be done about the latter. It seems that whenever Itry and force the issue, taking a photographs because I‘m "there" andit took an effort of some sort to arrive, the results aren‘t worth the film usedto record them. Only when the rush of the moment says, "There‘s a shot...get it," that I switch into some sort of automatic mode and my best workresults. 

The lesson to be learned from this, I suppose, is — trust yourinstincts, and have your equipment and technique down pat. Only when you andyour equipment are in sync, and you can take a photograph without even thinkingabout your gear, are you free to let your "mindless" state take overand produce the best images that it can.

It‘s a Winner

How many times have you set out to do some serious photography only to returnempty handed. Oh sure, you have a number of exposed roles of film, but not toomany if any winners. This is the way things are. Only when I‘m in some of themost extraordinary locations and the light and my mood are all cooperating do Iget more than one or two really worthwhile images in a day; a long day. Most ofthe time I don‘t even do that well. Sure, I make a few prints, but nothingthat‘s worth exhibiting or sharing with others.

There‘s only one solution. Get out there and do some more shooting.

But it Looked Great When I was There

The shots that you think at the time are going to be the best, rarely are.I‘ve found that if I‘m very excited about an image at the time I shoot it, it frequentlywill miss the mark. But, a shot taken at another time in an almost off-handmanner can often become one of the winners. Don‘t second guess yourself. If itappeals to you at the time, shoot it. Film is cheap and you‘ll be surprised athow many interesting images pop out at you on the light-box. Let yoursubconscious work for you, not against you.

About FocalLengths

I was asked recently about how to choose which focal lengths to buy and use.In 35mm usage where zooms are now most prevalent this is not such a big concern.A couple or three lenses and you‘re covered from ultra-wide to ultra-long. But,in medium format or if you‘re choosing primes for 35mm work this can be a toughdecision. Too closely spaced and you end up carrying too much gear and spendingtoo much money. Too far apart in focal length and you wish you had some in-betweenlenses.

Here‘s a trick that I learned a long while back but which I haven‘t seen mentionedin print in a long time. Space your focal lengths using F stop increments ormultiples thereof. This gives a logarithmic spacing which works well. For example,in my Rollei medium format system I have40 / 90 / 180 and 300mm lenses. This is close to a "2 stop" spacingbetween lenses. If they were exactly 2 stops apart the focal lengthswould be 40mm (f/4), 80mm (f/8), 160mm (f/16) and 320mm (f/32), but manufacturerschoose other focal lengths based on convention and other considerations. Inany event, the spacing is close enough to ideal.

In the days before zooms my working 35mm system consisted of 20mm, 28mm,35mm, 55mm, 85mm, 135mm, 180mm and 300mm lenses. In other words, each waslogarithmically spaced about 1 Stop apart. When planning your next lens purchasesee how it fits into a one or two stop spacing.

FocalLength Comparison

Photographers considering a new lens purchase often have a hard time visualizingwhat differences the various focal lengths produce. On thispage I show five different focal lengths and an example of their coverage.

TheCost of a Photographic Adventure

A number of correspondents have asked about the cost of a major photographictrip, figuring that it must take thousands of dollars and a week off work to doone.  Not so. Here‘s a simple budget for a trip that I‘ve done severaltimes.

Firstly, a great deal of photography can be done in 3 days. Sometimes morethan that can be exhausting. If you plan to go on a holiday weekend by takingjust one or two extra days (depending if you‘re traveling from the east or thewest coast), you need hardly take any time off work.

My favourite destination is Las Vegas. (I said favourite destination,not favourite place). One can fly to Las Vegas from almost anywhere in NorthAmerica for around $300 or less, if you book ahead on a special fare ticket.Motels for 4 nights will cost under $350 and figure another $300 for a 4WDrental with unlimited mileage.  If you do this trip with a friend the roomand car expenses can be split, significantly reducing the overall cost.

That‘s less than $1,000 for a great long weekendthat can take you to Zion National Park, Death Valley, the Eastern Sierra, anddozens of other great locales. Of course you‘ll also need to eat, but there‘slittle gourmet dining in this part of the world and $25 a day is more thanenough. Of course you‘ll have to purchase film and pay for processing, butthat‘s part of the entry price for this crazy hobby/art-form.

If you want any advise on planning a trip like this letme know. There no better way to improve your photography than to head outeither alone or with a photographic colleague for a few days of pre-dawn to after-dusk shooting, particularly in thered-rock country of the Southwest. Go for it!

 June,2001 ‹ An article on the perils and joys of shooting alone in remotelocations can now be found here.

Workshops

If the idea of planning a trip like this is a bit intimidating, think aboutjoining a workshop. There are a great many available to choose from. I usuallyconduct at least two workshops a year. One in the spring and one in the fall.If you‘re interested have a look at my current Workshopspage. If the current workshop is sold out (they usually are within 24 hoursof announcement) ‹ fill in the application form anyhow and you‘ll automaticallybe added to the waiting list for the next one ‹ with no obligation of any sort.

You might also want to look at having a private photographic tour organizedfor you. Have a look at such a service being offered by SteveKossack.

On Photography

It often isn‘t clear, even to ourselves, why we pursue our art and craft withsuch passion. This issue explores one recent occasion when I learned somethingabout my motivations, and myself.