Landscape photography is one of the most popular niches of photography. Whatever you find in front of you and your camera is a landscape – be it a stormy sea. Lens choice for landscape photography. Wide angle lenses. Standard lenses. Telephoto lenses. Ideal lens options - x crop sensor cameras Landscape photography generally requires more of the image to be in focus and sharp than other forms of photography. DOF is determined by.
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lesforgesdessalles.info Landscape photography is one of the most challenging and most rewarding. LANDSCAPE PHOTOGRAPHY TIPS AND TRICKS. • Wide angle lens desirable. • mm good focal length for APC-C sensor. • Telephoto also produce. lesforgesdessalles.info - Download as PDF File .pdf), Text File .txt) or read online.
I ve also tweaked the white balance to add warmth and increased saturation too. In this 9 minute video you will learn Composition is the art of arranging the elements of a scene in such a way that they are visually pleasing. I adjust the Hue and Saturation sliders until I am happy with the colour. The optimum distance at which you should focus is termed the hyperfocal distance and there are various elaborate ways of calculating it.
The article above will go through all of them for you. Lens filters are extremely beneficial for landscape photography when used correctly. A neutral density filter pulls the light out of the scene you want to capture.
This helps you correctly expose long exposures. A graduated neutral density filter is a piece of glass that is an ND filter on one side, going from transparent to filter in a gradient. These are specifically for darkening one area of your scene.
The sky is the most basic reasons why you would want to use one of these filters. You will find that the sky is much lighter than the landscape or cityscape that you want to photograph. A graduated ND filter will pull out the light, adding detail to that brighter area.
This creates a more correctly exposed scene overall, instead of having an area one or two stops lighter than the others. Read our article here on how to use them. That extra file size comes from the image data that the raw file keeps and JPEG discards. This extra data allows you to get so much more range from exposure, colour and white balance in post-production.
Histograms are a step closer to becoming more professional in your workflow. Using the LCD screen to determine how your highlights and shadows look can be misleading depending on ambient light. The histogram, however, is a clear indicator of under or overexposure.
A small icon of a person in a frame indicates a portrait and an icon of a mountain for landscape. Fortunately, we have moved forward into a more refined age. It lets you concentrate on exposure time and depth of field while keeping a correct exposure value.
Now that you have all of the equipment to get around in the great outdoors, you can move on to capturing the image. Your aperture, shutter, and ISO all work together to give you that perfect exposure. This means not overexposing the highlights and underexposing the shadowy areas. The in-camera metering modes are there to help you get as close as possible to the correct overall exposure. The shooting and focus modes help you highlight what the most important part of the image is and keep it in the best possible light.
Panoramas are a great way to show one spectacular view from a very wide angle. These are perfect from high altitudes, where you want to show everything from the same perspective. You can capture a panorama shot from any lens and a tripod. With a little help from post-processing, you can then create an iconic, memorable image and this article will show you how.
Here are 12 tips to help you get the best from your photography when you have the landscape in front of you and want to capture it in the best possible light. There is nothing better than being outdoors when you see the sun is setting.
The sky lights up with colours you never even thought existed.
Here there are some great tips on why it is really worth getting up early. The sunset provides the golden hour but at the end of the day, rather than the beginning. Our article has 5 great tips on how to photograph the sunset perfectly. Like most landscape images, planning is paramount.
This can be done with smartphone apps or scouting the area beforehand. Be patient, practise as much as you can and you will soon find that all of the ideas fit together to help you create something stunning.
Photographs along the coastline and seascapes are landscapes, but they have their own specific techniques. Here are some very handy ways to make your coastline photography captivating, dramatic and unique! Any area of photography can be improved upon by using research.
The research you should look at concerning the sea is about the tide and swell of the water. The weather forecast is essential in this field. It will let you know when the tide is in or out. Some landscape areas will only work when the tide is out, revealing more of the landscape. This could turn a good image into a great one. You will always find that no matter where you are, there are general landscape photography rules that apply.
Things such as composition, perspective, and framing are all key. Photographing in a forest, however, has its own extra set of challenges. You have to deal with the topographic element the forest offers, the less available light, and a possibly changing landscape.
Creating black and white landscapes is a beautiful way to show the scenery. We look at black and white images very differently than those in colour. The monochromatic style lets us focus on the texture, shape and contrast of a scene. Colour can distract from the scene, where the strong greens and blues can take away importance from the overall image. An image where the colours are not pleasing can be converted into black and white to create a more interesting landscape.
The desert is a great place to start with landscape photography. This is a landscape that rarely changes, so you can keep the same settings for long periods. This is good for practising. Here, you can concentrate on shapes and forms of the area. Textures and shapes are also great things to look for as us, the viewers will find them interesting. Filling the frame will help make the scene seem gargantuan as the viewers perspective is limited. Get out there already! There are a few reasons why you would want to use a long exposure.
If you want to achieve the correct light exposure or remove unwanted clutter from images, for example. It is also a great way to show movement when a still image is not enough.
Long exposure can be used day or night. You can capture the popular light trails of cars, experiment with light writing or capture lightning striking the Earth.
Night photography means incorporating the starry skies alongside the scenery. And it comes with its own set of challenges. Nighttime landscape photography means you have to keep moving objects like the stars still in relation to the scenery. Light is the biggest challenge to overcome, so you should focus on dealing with low light conditions.
Fast apertures, tripods, and trial-and-error are your best friends. Our ultimate guide to nighttime photography will give you even more tips to get that perfect shot of nighttime scenery. Any scene can be a landscape. The seaside, rolling hills — even photographing in the street can turn into a landscape photograph. It all depends on the focus.
Harsh weather conditions think stormy clouds, not force 12 winds , can bring atmosphere and a sense of drama into an otherwise dull image. The weather has the capacity of completely changing the mood of the landscape. It can provide a completely different experience for those viewing the final photograph.
Our article will show you how to transform your landscapes by taking advantage of dramatic weather conditions. There is a reason it is so ingrained in us photographers. It actually matters where you set yourself up to photograph. Other locations can be found with a little research. There are even apps that help you visualise what the location will look like at a particular time of day. Judging sunlight and moon positions, these can give you all the information you need to find that great scene.
As a landscape photographer, you should go out before sunrise, before sunset, during nighttime and during all weather conditions. The seasons are no different. That lake might be boring during the Summer, but during the Winter months, it turns into a frozen wonderland. All those bare trees bloom during Spring and the sun becomes stronger.
Winter is over. Things are growing again, and the sun starts to strengthen. Exploiting this newfound sun gives you shadows and a fresh look at recovering vegetation. The weather conditions are also working in your favour. Fog and dew can help you to take better, more atmospherical images.
Spring photography can even lead to some mystical, dreamy photos! You would think that summertime photography is the easiest and most enjoyable.
That might work for some pictures, but not all. And then photographed it again. The season of colour. You can take advantage of all the beautiful scenery to create some stunning pictures.
Isolating colours, using backlight on the foliage to make the colours pop, or low angles to extend scenes and shapes are just a few ways to experiment with this season. One of the trickiest things in photography is trying to get the correct light exposure.
This is even worse in the winter. Snow acts like a big reflector and trying to photograph a white winter wonderland can quickly become nightmarish. Filters can also give you a little more room in moving closer to that perfect light reading. One of the most basic ideas of composition is the rule of thirds. Rather than shooting everything from head height. It is an ability that becomes instinctive the more you take photographs.
Some DSLRs allow you to display grid lines in the viewfinder to assist composition. All types of subject can be used: Powerful compositions often have strong lines passing through them. I tried taking a few shots looking directly down its length. While they might both be essential ingredients to great scenic shots.
I spent an evening on Dartmoor photographing the moors. I used a Nikon D with a Nikkor mm zoom. Composition is the art of arranging the elements of a scene in such a way that they are visually pleasing. Often a lead in-line that stretches diagonally works best. This leads your eye into the picture and towards the horizon. I moved closer to the wall to use it as a lead-in-line and took this shot looking down its length. The rule-of-thirds requires that you imagine the frame is split into nine equal parts by two horizontal and two vertical lines.
When shooting landscapes. I composed the shot with one-third sky. A horizon that cuts centrally through an image normally weakens a shot. A vertical format worked best. Positioning the horizon Though it may seem natural to place the horizon in the centre of the image. By using two relatively simple guidelines. The technique works well in tandem with the rule-of-thirds. In this instance. I fired the shutter with a remote release. I also used a Lee Filter system using a polarising filter and 0.
Without a lead-in line. Though the evening light was warm. A lead-in line uses the natural perspective of receding or converging lines to create foreground interest. For instance. I may well have considered giving it more emphasis in the frame. By using such an object in the foreground. Placing the horizon along the centre of the frame will normally create a poor composition. Almost anything can be used 3 Diagonally does it! I was able to compose the scene so that the wall cut diagonally across the frame.
By altering my shooting position by a few steps. While water can make an attractive subject. Try moving lower and closer to your desired foreground. One mistake many photographers make is to always shoot at eye-level. By reviewing my shots on the LCD monitor. So whenever I head out to take landscapes. It is simple. I know. By following these simple measures.
I was able to check the exposure and depth-of-field to ensure I got the best possible result. I look for a location that has a lot of potential shooting opportunities. Having said that. Once I have chosen the area in which I want to shoot. While your natural instinct may be to extend your tripod and shoot from a standing position. As I favour landscapes. This plant is quite unattractive. I begin to search around for foreground interest..
Only you can be the judge of what you want to focus on and. Using a tripod really helps with landscape photography. But it is important to pay careful attention to which objects you include.
I adjusted the height until I was happy with the composition and used a polariser to improve the colours. For this same reason. There are no rules as to what qualifies as good foreground interest but. I almost always look for natural elements to make a foreground — rocks. On arrival. When selected carefully and photographed well. The most important thing is always the main subject in your image.
Get low down and close to the foreground to add impact 4 ensure sharpness Set a small aperture and focus a third of the way in 5 USe your lcd Review results on the LCD. There will be an optimum exposure setting but it could be a compromise. The basic problem is that as we gaze at a beautiful landscape our eyes adjust constantly to register detail in the highlights and the shadows.
Overexpose and you will lose cloud detail and the blue sky. This image presents the landscape photographer with the greatest challenge extreme light levels with a need to capture detail in the bright sky and the shadows.
Our pupils open and close according to the level of light and our optic nerve has impressive range and latitude. We need to help our camera to expose the right part of the scene. If your digital SLR doesn t capture the information. Our cameras. And don t be fooled by that wet sand in the foreground. Of course. A perfectly-exposed sky results in gloomy shadows. I ve also tweaked the white balance to add warmth and increased saturation too.
The nearest image is around one stop underexposed to maintain highlight detail and the shadow curve has been pulled up to match the exposure in the correctly exposed version on the right. I ve brought the exposure down slightly and added more contrast. Basing exposure readings on a mid-tone.
I also took a shot underexposed by one stop. This leaves the shadows muddy and lacking in detail. As you can see. Mark explains. Having found a composition based around one of the crosses. Setting an exposure for the land. But there is loss of detail in the brighter parts of the sky so I reduced exposure by two thirds of a stop and reshot. The scene is very contrasty. I used a soft grad. On the other hand.
In low light. This could even be below the horizon. So you need to keep an eye out for any large areas of particularly bright or dark tones and apply exposure compensation accordingly. There can also be a huge range of contrast within any one scene. It is good practice to check the histogram after each shot and be prepared to re-shoot if necessary. To capture the drama of waves breaking on the shore. They may range from several seconds to minutes.
As waves wash around rocks or up and down the shore while the shutter is open. When assessing a histogram. This is a tricky one to answer. The vertical axis shows how many pixels have that particular value. To rectify this. A histogram with a sharp peak to the far right will normally indicate that an image is suffering from areas of overexposure. Despite what some people may say.
Although its appearance is also dictated by the colour and tone of the subject. It simply tells us how a picture is exposed. With the help of this guide.
Using the histogram is a far more reliable method of assessing exposure than looking at images on the LCD screen. Pixels that do so are not given a value. If the histogram indicates underexposure. If pixels are grouped to the right hand side and the image appears overexposed. A large number of pixels grouped to the right of the histogram normally indicates an image which is overexposed.
Whist an even spread of pixels throughout the greyscale is often considered desirable. White or very light subjects in direct sunlight are especially prone to this.
A graph with a narrow peak in the middle and no or few black or white pixels indicates an image lacking contrast. To do this. Most digital SLRs record a 12 bit image capable of recording 4.
The image will probably look a little light once in the Raw converter. But the tonal values are not spread evenly across the six stops. This might seem confusing but. Exposure to the right of the histogram will capture maximum detail and minimum noise. So if you deliberately underexpose to ensure detail is retained in the highlights a common practise among many digital photographers you are potentially losing a large percentage of the data that can be captured.
The result is a histogram with the majority of pixels grouped to the right of mid point hence the name expose to the right. With this technique you effectively push exposure settings as close to overexposure as possible without actually clipping the highlights. As a result. When shooting portraits.
Your DSLR will then be set to aperture priority mode and all you need to do is rotate the small adjustment dial found either on the handgrip or on the top right corner of the rear of your camera to change your aperture. In other words. Full-auto Mode Program works in a similar way to full auto. If light levels change. These two shots show how different apertures can produce very different results. Read on. In shutter-priority S or Tv mode. Shutter Priority You manually set both the aperture and shutter speed independently of each other.
Aperture-priority mode lets you do that easily. Landscape photography is the best example. If you lightly depress the shutter button to activate the exposure system. Settingaperture-priorityonyourDSLR Choosing aperture priority mode is simple all you need to do is turn your exposure dial or in some cases push the exposure mode button and select A or Av. Subject Modes. So what is it that makes the aperture-priority mode more useful than any of the other exposure modes when shooting landscapes.
That said. Aperture-priority is also a handy mode to set for general use. For even slower shutter speeds and the chance to lift your landscape photography to another level. Wait for the wind. The effect of setting a long exposure is to give images extra depth and dimension whilst illustrating a real sense of movement. As you lower the shutter speed. You can. For optimum results shoot at dawn and dusk and always use a tripod. So why choose the shutter speed rather than the aperture? This ensures you get the right exposure as you set the shutter speed for the desired length of time.
Note how the movement of the grass in the breeze becomes increasingly blurry as the shutter speed is slowed.
Shooting in Raw. Be careful not to overexpose an image when shooting. This is easily done by setting your camera to shutter-priority Tv or S on the mode dial. But remember. My favourite image from the sequence is the longest exposure.
I used the self-timer and an exposure of 1. On windy days. Shoot on darker. The result is usually closer to how you remember the scene. I used the histogram and the image on the review screen to check the exposure and any blown-out highlights. I simply click Open. Techniques used in this easy-to-follow step-by-step tutorial include exposure adjustment. With the underexposed file active. The initial layer work is complete.
I use the Exposure control circled and move the slider left. I gradually erase areas of the newly-exposed layer. This time. With both layers merged. With the sky layer active and using the Rectangular Marquee I select a large area of foreground.
One contains the original exposure and the other is the new underexposed image. Happy with the results. With the two exposures in place I want to combine the correctlyexposed foreground with the newly-exposed sky. Elements 4. Photoshop expert Luke Marsh shows how to use the Photoshop Elements Raw converter to create two different images at different exposure levels exposures from the same Raw file and then recombine them for the perfect result.
I click Open to take the image into Elements. I reopen the original Raw file. I click OK to apply the changes. This technique is especially satisfying as you are only working with image data captured in the original single exposure.
For the first step. I change the Blend Mode in the layer palette to Soft Light.
I focus on the edges of the frame and build the effect up gradually. I darken the exposure of specific areas. To use it. I start by clicking the Colorize box and immediately see the effect in the preview.
Using the Rectangular Marquee tool. I adjust the Hue and Saturation sliders until I am happy with the colour. In the window. Change the Blend Mode of the new layer to Soft Light.