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Patrick Smith Photography - Methods |
Things to Remember when Making a Landscape Photograph
There are many factors that go into creating a high quality landscape image. Being in the right place at the right
time, exposing the image accurately, and processing the image correctly, are three of the most important
factors. Then look at your work with a critical eye.
Being in the right place at the right time
Light: This is the most important factor in determining how a landscape image will look. Under harsh midday
light you can be at a spectacular place like Yosemite and still take shots that look bad, or at least rather plain. But
under light at the start or end of the day, even a common scene can look good. The hour after sunrise, or the
hour before sunset are usually the best times to do photography. The light has a warmer feel and is more even
with less contrast.
There are many factors that go into creating a high quality landscape image. Being in the right place at the right
time, exposing the image accurately, and processing the image correctly, are three of the most important
factors. Then look at your work with a critical eye.
Being in the right place at the right time
Light: This is the most important factor in determining how a landscape image will look. Under harsh midday
light you can be at a spectacular place like Yosemite and still take shots that look bad, or at least rather plain. But
under light at the start or end of the day, even a common scene can look good. The hour after sunrise, or the
hour before sunset are usually the best times to do photography. The light has a warmer feel and is more even
with less contrast.
This view of Yosemite Valley taken at this spot is spectacular, but it was taken in the middle of the day so it looks
just like any common photo. Even though I used an ND grad filter to darken the clouds so that they were not so
bright, there is still too much contrast. As a result the image is very stark and cool. So this image does not really
feel good on the eyes. Also, I should have used a weaker grad filter, as the top of the sky is too dark, and
bringing it back in Photoshop yields artificial looking results.
just like any common photo. Even though I used an ND grad filter to darken the clouds so that they were not so
bright, there is still too much contrast. As a result the image is very stark and cool. So this image does not really
feel good on the eyes. Also, I should have used a weaker grad filter, as the top of the sky is too dark, and
bringing it back in Photoshop yields artificial looking results.
This view of Tuolumne Meadows at 8,000 feet elevation was taken just 5 minutes before the sunset. Even though
the sky is blue, the light is lower and warmer. There is less contrast and the colors are richer and more inviting.
Though this view is not as spectacular as the Yosemite Valley, it is a better image.
Weather: Clear skies look good to our eyes, but they produce too much contrast in a photograph. So a photo
taken on a clear day will either be overexposed in the bright areas, too dark in the shadows, or both. A low sun
angle helps a lot during clear days. So partly or mostly cloudy days are often better, as they produce more even
light. One exception however, is for waterfalls and rivers. A completely dull and flat sky often produces the most
even light for photographing them. Also, a landscape photograph should have interest everywhere in the frame.
A dramatic sky full of interesting cloud cover is far more interesting than flat blue skies. Sometimes the worst
weather days produce the best photographs. Dramatic rain clouds and fog can add that missing ingredient to
what might be an average scene. The interaction of sun and cloud on the landscape can help to focus attention
on a subject. One reason that there are so few great landscape photographs out of the millions taken each year
is that the good ones are often taken when everybody is sleeping or hiding from the bad weather.
the sky is blue, the light is lower and warmer. There is less contrast and the colors are richer and more inviting.
Though this view is not as spectacular as the Yosemite Valley, it is a better image.
Weather: Clear skies look good to our eyes, but they produce too much contrast in a photograph. So a photo
taken on a clear day will either be overexposed in the bright areas, too dark in the shadows, or both. A low sun
angle helps a lot during clear days. So partly or mostly cloudy days are often better, as they produce more even
light. One exception however, is for waterfalls and rivers. A completely dull and flat sky often produces the most
even light for photographing them. Also, a landscape photograph should have interest everywhere in the frame.
A dramatic sky full of interesting cloud cover is far more interesting than flat blue skies. Sometimes the worst
weather days produce the best photographs. Dramatic rain clouds and fog can add that missing ingredient to
what might be an average scene. The interaction of sun and cloud on the landscape can help to focus attention
on a subject. One reason that there are so few great landscape photographs out of the millions taken each year
is that the good ones are often taken when everybody is sleeping or hiding from the bad weather.
In this view from Treasure Island taken before sunset, the clear sky is empty and rather boring. It has also
created too much contrast, so detail is missing or limited on the buildings and other areas. I will come back to get
an improved shot when conditions are better and I'll include more sky.
created too much contrast, so detail is missing or limited on the buildings and other areas. I will come back to get
an improved shot when conditions are better and I'll include more sky.
In this view, taken at sunrise (maybe 50 feet from the previous view) there is much more interest in the sky and
plenty of detail everywhere. This is due to clouds reflecting light into areas that might be darker on a clear day. I
liked the sky so much that I split the composition at 50/50 land and sky.
Focal Point: It is good to have a focal point in your image. It can be a path through a field leading to a bridge, a
bench with a view of the ocean, people on a beach at sunset, or something similar. Without a subject, people will
look at the image and wonder what it is all about. Or worse yet, they may never take more than a passing glance
at it. An image without a strong focal point will not be noticed across a room, nor on a web page full of thumbnail
images.
plenty of detail everywhere. This is due to clouds reflecting light into areas that might be darker on a clear day. I
liked the sky so much that I split the composition at 50/50 land and sky.
Focal Point: It is good to have a focal point in your image. It can be a path through a field leading to a bridge, a
bench with a view of the ocean, people on a beach at sunset, or something similar. Without a subject, people will
look at the image and wonder what it is all about. Or worse yet, they may never take more than a passing glance
at it. An image without a strong focal point will not be noticed across a room, nor on a web page full of thumbnail
images.
While I like the warm glow of this photo, it does not have a strong focal point. I wanted to have the tree on the
right as the focal point. However, it does not stand out well when it's viewed in a small thumbnail or at a distance.
right as the focal point. However, it does not stand out well when it's viewed in a small thumbnail or at a distance.
This photo stands out well, whether it is viewed across the room or in a thumbnail. People will look because the
subject is strong. I am going back to retake this photo under similar fog conditions. While I like the reflection of
the underside of the tower, it feels a little empty. Even if a viewer does not like it, he or she will at least take a
glance.
Composition: Once you have a focal point in mind, it is important to arrange it in such a way that it fits well into
the frame. If there is more interest on the landscape than the sky, give it about 2/3 of the frame. If the sky is the
center of attention, give it more than half of the frame. If a foreground rock is an important focal point, put it
near the lower right or left corner, but don’t let it get too close to the edge of the image. Make sure that small
details on the edge of the frame such as trees or animals are not cut off. Walk around with the camera and
arrange things in the frame as though you are painting a picture. A small move can result in a completely
different image.
subject is strong. I am going back to retake this photo under similar fog conditions. While I like the reflection of
the underside of the tower, it feels a little empty. Even if a viewer does not like it, he or she will at least take a
glance.
Composition: Once you have a focal point in mind, it is important to arrange it in such a way that it fits well into
the frame. If there is more interest on the landscape than the sky, give it about 2/3 of the frame. If the sky is the
center of attention, give it more than half of the frame. If a foreground rock is an important focal point, put it
near the lower right or left corner, but don’t let it get too close to the edge of the image. Make sure that small
details on the edge of the frame such as trees or animals are not cut off. Walk around with the camera and
arrange things in the frame as though you are painting a picture. A small move can result in a completely
different image.
In this photo I tried to get a log into the foreground but it did not quite fit in. As a result, it is chopped off and the
foreground looks unfinished. I was up against a rock and could not back up. In this case, it was best to try
another composition. Also, there is no interest in the sky, so I did not include much of it, which makes it look
unbalanced.
foreground looks unfinished. I was up against a rock and could not back up. In this case, it was best to try
another composition. Also, there is no interest in the sky, so I did not include much of it, which makes it look
unbalanced.
In this view of Stinson beach from Mt. Tamalpais, the foreground rock easily fits in and does not block the view.
The storm was approaching rapidly, and it created a lot of interest in the sky. Therefore I devoted at least 1/3 of
the frame to it. There was so much interest in the land that it still won out over the sky, so it got 2/3 of the frame.
It would be nice to have more direct light on the land, so I'll be going back here again.
Foreground: It is easy to see something like a famous bridge or a scenic mountain and just take a shot of it. It is
better, however to look around for foreground interest in order to place the focal point into perspective. Get
some rock, grass, waves, sand or other elements in the foreground so that the viewer is in the scene with you.
Foreground is very important and gives depth to most landscape images.
The storm was approaching rapidly, and it created a lot of interest in the sky. Therefore I devoted at least 1/3 of
the frame to it. There was so much interest in the land that it still won out over the sky, so it got 2/3 of the frame.
It would be nice to have more direct light on the land, so I'll be going back here again.
Foreground: It is easy to see something like a famous bridge or a scenic mountain and just take a shot of it. It is
better, however to look around for foreground interest in order to place the focal point into perspective. Get
some rock, grass, waves, sand or other elements in the foreground so that the viewer is in the scene with you.
Foreground is very important and gives depth to most landscape images.
I saw some nice light on a mountain on Kauai's north shore just as the sun rose. It would be easy to just shoot a
close-up of the mountain like this. In this view, there is no foreground, just the mountain. You can't even tell what
is in front of it. Is it a field? A lava bed? The beach? Probably, but the viewer is left guessing.
close-up of the mountain like this. In this view, there is no foreground, just the mountain. You can't even tell what
is in front of it. Is it a field? A lava bed? The beach? Probably, but the viewer is left guessing.
Here is the entire frame. It is really composed to be a walk along the beach at sunrise while walking away from
the sun. The beach leads the eye right along towards the mountain in the distance. This one is in the Hawaii -
Kauai gallery.
Remove distractions: Since you will often include foreground interest, don’t forget to walk around and clean it up.
Remove unwanted branches, rocks, grass or other distractions before you take the shot. It is easier to do it for
real than in PhotoShop. And don’t let your footprints be visible. If you can’t clean up a foreground, try to move
around until the distractions are not in the way of a clean image.
the sun. The beach leads the eye right along towards the mountain in the distance. This one is in the Hawaii -
Kauai gallery.
Remove distractions: Since you will often include foreground interest, don’t forget to walk around and clean it up.
Remove unwanted branches, rocks, grass or other distractions before you take the shot. It is easier to do it for
real than in PhotoShop. And don’t let your footprints be visible. If you can’t clean up a foreground, try to move
around until the distractions are not in the way of a clean image.
It looked like it might be the best sunset of the year illuminating Mt. Diablo. So I headed up to the hill to my
pre-planned site about 30 minutes before sunset. The clouds were dramatic so I set up right where I had wanted
to be and took a shot. There was dry grass all over the nice looking foreground rocks, and there were houses in
the lower right of the frame that were definitely distracting from the light on the mountain.
pre-planned site about 30 minutes before sunset. The clouds were dramatic so I set up right where I had wanted
to be and took a shot. There was dry grass all over the nice looking foreground rocks, and there were houses in
the lower right of the frame that were definitely distracting from the light on the mountain.
So I cleaned up the grass and recomposed to exclude the houses. Then I waited for about 15 minutes until the
light got lower and warmer. A hole opened in the clouds and Mt. Diablo was in the spotlight. See how much
warmer this light is when compared to the preceeding photo? 15 minutes can make a big difference! This photo is
in the Contra Costa gallery.
Research: Plan out your images in advance. Always be on the lookout for a good shot, even if it is not currently
the right time of day or even the right time of year. You may pass a spot on a sunny summer afternoon and
think to yourself, ‘when the rainy season comes and the grass is green, this will make a good shot at sunrise.’ Or
you may be out at the beach at high tide on a sunny day and realize that a particular scene will make a great
image at sunset on a partly cloudy day when there is a low tide. Make notes about what images you want to get,
and plan on being there when the time is right. Look at weather reports, tide tables, satellite movies and
especially right out the window to determine when you should get the shot you want.
light got lower and warmer. A hole opened in the clouds and Mt. Diablo was in the spotlight. See how much
warmer this light is when compared to the preceeding photo? 15 minutes can make a big difference! This photo is
in the Contra Costa gallery.
Research: Plan out your images in advance. Always be on the lookout for a good shot, even if it is not currently
the right time of day or even the right time of year. You may pass a spot on a sunny summer afternoon and
think to yourself, ‘when the rainy season comes and the grass is green, this will make a good shot at sunrise.’ Or
you may be out at the beach at high tide on a sunny day and realize that a particular scene will make a great
image at sunset on a partly cloudy day when there is a low tide. Make notes about what images you want to get,
and plan on being there when the time is right. Look at weather reports, tide tables, satellite movies and
especially right out the window to determine when you should get the shot you want.
I have been to this location above Stinson Beach 5 times now, trying to be there at the right time. It is difficult to
get to this spot, but I keep returning because I like this composition. I like the sweeping curve of the beach and
the expanse of the open ocean. But I want the image taken when there is good light on the ocean and land. I was
hoping that conditions would improve, but they never did. So I took a few shots and enjoyed the view. On the
way back home, I realized that further down the coast some holes had opened up in the cloud deck. I missed
what might have been a good shot. That is how it goes sometimes. But it is still great to get out for a nice hike in
such grand scenery.
Observation: After you take each shot, look closely at the scene your camera just photographed. Compare it to
what you see on the screen on the back of your camera. Look at the exposure curve if you use digital.
Remember what the scene looks like so that you can accurately restore the photo to how you saw it with your
eyes.
When I took the image of Stinson Beach (above), the sky was ominous and it had a slight blueish cast to it. When
I got home and looked at this image on my computer, it had an extremely strong blue cast. I de-saturated the
blues only, but even then this image had more blue than what I saw. When I tried to remove more blue, the
image started looking artificial. I will have to go back and take this photo again. I want the photograph and print
to appear as I saw it with my own eyes.
Location: Don’t settle for simply pulling off the road and setting up your tripod. The best shots are rarely seen
from the side of the road. Considerable hiking or climbing may be required to get into the best locations. Even if
there is a good vista point, you will be getting the same shot as everybody else. You often see this phenomenon
at the Golden Gate Bridge and other famous places. Often, a dozen tripods will be placed in nearly the exact
same spot at the same time just a few steps from the roadway. Try to get a unique perspecive on famous places!
get to this spot, but I keep returning because I like this composition. I like the sweeping curve of the beach and
the expanse of the open ocean. But I want the image taken when there is good light on the ocean and land. I was
hoping that conditions would improve, but they never did. So I took a few shots and enjoyed the view. On the
way back home, I realized that further down the coast some holes had opened up in the cloud deck. I missed
what might have been a good shot. That is how it goes sometimes. But it is still great to get out for a nice hike in
such grand scenery.
Observation: After you take each shot, look closely at the scene your camera just photographed. Compare it to
what you see on the screen on the back of your camera. Look at the exposure curve if you use digital.
Remember what the scene looks like so that you can accurately restore the photo to how you saw it with your
eyes.
When I took the image of Stinson Beach (above), the sky was ominous and it had a slight blueish cast to it. When
I got home and looked at this image on my computer, it had an extremely strong blue cast. I de-saturated the
blues only, but even then this image had more blue than what I saw. When I tried to remove more blue, the
image started looking artificial. I will have to go back and take this photo again. I want the photograph and print
to appear as I saw it with my own eyes.
Location: Don’t settle for simply pulling off the road and setting up your tripod. The best shots are rarely seen
from the side of the road. Considerable hiking or climbing may be required to get into the best locations. Even if
there is a good vista point, you will be getting the same shot as everybody else. You often see this phenomenon
at the Golden Gate Bridge and other famous places. Often, a dozen tripods will be placed in nearly the exact
same spot at the same time just a few steps from the roadway. Try to get a unique perspecive on famous places!
I visited Julia Pfeiffer Burns State Park south of Carmel, in order to plan out a composition that I'll do later. It is
difficult to get a truly unique photograph of this place because it is so commonly photographed and nobody is
allowed down onto the beach. Visitors must stay on just a few paved pathways. This is a spectacular view, but
there is too much contrast and the image is hard on the eyes. This is not the composition I have in mind, but I
took the shot in order to keep the place fresh in my mind. The best time to photograph this beach will occur in
December and January when the sun sets behind this beach and there is a better chance of clouds to fill the sky.
Patience: In order to get the shot you want, you may have to wait for hours or even years. Often you may get to
your location and realize that the conditions are not right. Often, waiting patiently will bring great results.
However, waiting can be risky. If you wait too long and nothing happens, you may miss taking a great
photograph somewhere else. You will often have to go back to the same location many times in order to get the
shot you want. So don’t give up!
difficult to get a truly unique photograph of this place because it is so commonly photographed and nobody is
allowed down onto the beach. Visitors must stay on just a few paved pathways. This is a spectacular view, but
there is too much contrast and the image is hard on the eyes. This is not the composition I have in mind, but I
took the shot in order to keep the place fresh in my mind. The best time to photograph this beach will occur in
December and January when the sun sets behind this beach and there is a better chance of clouds to fill the sky.
Patience: In order to get the shot you want, you may have to wait for hours or even years. Often you may get to
your location and realize that the conditions are not right. Often, waiting patiently will bring great results.
However, waiting can be risky. If you wait too long and nothing happens, you may miss taking a great
photograph somewhere else. You will often have to go back to the same location many times in order to get the
shot you want. So don’t give up!
The marine layer was extremely shallow, so I headed over to the bridge. I pulled off the road where no less than
15 photographers were standing around with their tripods. They had large lenses, and lots of gear. A few even
had large format view cameras. They were all waiting for that perfect moment. There were also dozens of
tourists taking snapshots. In the photo above, they were all a few hundred feet below the end of the path on the
right side of the frame. But there was a fog bank sitting right on top of them. I wanted a different perspective
than the crowd. So I climbed up the crumbly cliff and went to this spot. I have several spots in mind when I come
here, where photographers do not go. On this occasion, I was here for an hour and not a single person passed
by. During the day, many hikers use this trail, but not many photographers. After I waited for the sun to set and
for the fog to flow in just the right way, I took my shots and headed down the hill. When I got back to the road,
the photpgraphers were all milling about in the dense fog waiting for something to happen. Another nice
advantage to hiking up the hill is that it was calm and warm where I took this shot. But it was cold, windy and
damp where the road was.
Exposing the Image
Equipment: Conditions can change quite rapidly while you are photographing the landscape. Clouds can come
and go, resulting in radically different light levels. Waves break quickly and the wind can rise quickly out of calm
conditions. So it is important to be able to change the camera settings quickly and accurately so as to not miss
that perfect moment.
A good camera and lens is important when you want to create large prints. However if 12x18 is the largest print
you will make, then what you do with your camera equipment is far more important that the quality of the
equipment. A standard point and shoot camera with 5 megapixels can create great images.
The two most important pieces of equipment for taking landscapes are, a sturdy tripod and neutral density
graduated filters (ND grads). A tripod is absolutely required for the taking of all landscape images. If you have
3,000 pixels across an image, even a steady hand will move at least 1/3,000th of the way across an image during
a short exposure time. That means that one pixel will blur into the next one. That may mean nothing on a 4x6
print, but it will make a big difference on a 20x30. ND grad filters are important because often the sky is much
brighter than the land. Most landscape images taken without ND grads have a sky that is too bright, land that is
too dark, or both. ND grads reduce contrast, and are absolutely required in order to make an image that looks
the same as you saw it with your naked eyes. This is because your eye can adjust to a wider range of light levels
than even the best camera. Sometimes one ND grad is not enough and two strong ones may be required.
Darkening the sky in PhotoShop is no substitute for ND grads, if the sky is overexposed, you will not be able to
get back detail in those areas.
15 photographers were standing around with their tripods. They had large lenses, and lots of gear. A few even
had large format view cameras. They were all waiting for that perfect moment. There were also dozens of
tourists taking snapshots. In the photo above, they were all a few hundred feet below the end of the path on the
right side of the frame. But there was a fog bank sitting right on top of them. I wanted a different perspective
than the crowd. So I climbed up the crumbly cliff and went to this spot. I have several spots in mind when I come
here, where photographers do not go. On this occasion, I was here for an hour and not a single person passed
by. During the day, many hikers use this trail, but not many photographers. After I waited for the sun to set and
for the fog to flow in just the right way, I took my shots and headed down the hill. When I got back to the road,
the photpgraphers were all milling about in the dense fog waiting for something to happen. Another nice
advantage to hiking up the hill is that it was calm and warm where I took this shot. But it was cold, windy and
damp where the road was.
Exposing the Image
Equipment: Conditions can change quite rapidly while you are photographing the landscape. Clouds can come
and go, resulting in radically different light levels. Waves break quickly and the wind can rise quickly out of calm
conditions. So it is important to be able to change the camera settings quickly and accurately so as to not miss
that perfect moment.
A good camera and lens is important when you want to create large prints. However if 12x18 is the largest print
you will make, then what you do with your camera equipment is far more important that the quality of the
equipment. A standard point and shoot camera with 5 megapixels can create great images.
The two most important pieces of equipment for taking landscapes are, a sturdy tripod and neutral density
graduated filters (ND grads). A tripod is absolutely required for the taking of all landscape images. If you have
3,000 pixels across an image, even a steady hand will move at least 1/3,000th of the way across an image during
a short exposure time. That means that one pixel will blur into the next one. That may mean nothing on a 4x6
print, but it will make a big difference on a 20x30. ND grad filters are important because often the sky is much
brighter than the land. Most landscape images taken without ND grads have a sky that is too bright, land that is
too dark, or both. ND grads reduce contrast, and are absolutely required in order to make an image that looks
the same as you saw it with your naked eyes. This is because your eye can adjust to a wider range of light levels
than even the best camera. Sometimes one ND grad is not enough and two strong ones may be required.
Darkening the sky in PhotoShop is no substitute for ND grads, if the sky is overexposed, you will not be able to
get back detail in those areas.
While I like the way the fog looks here, it is still the typical shot from the side of the road that you see so often.
Getting a unique shot from the side of the road in such an over-photographed place is a little like betting on a
sports team that is highly likely to win. Sure, you may choose the winner, but you will rarely make much money
since everybody else is betting on the same thing.
Getting a unique shot from the side of the road in such an over-photographed place is a little like betting on a
sports team that is highly likely to win. Sure, you may choose the winner, but you will rarely make much money
since everybody else is betting on the same thing.
I wanted to show the close-up texture of the lava on Kauai's north shore, but still show the entire beach in focus.
So I went to F22, which is the smallest aperture on my lens. This made the entire photograph in sharp focus.
Once you have decided on how you want to present your image, knowing how to set the camera settings will
enable you to get the effect you want.
Get more than one version: If you manage to be in the right place at the right time, make the most of it. Get a
portrait version as well as a landscape version. Change foregrounds while keeping the same dramatic sky or
mountain in the background. Many completely different images can be made from the same location at the
same time.
So I went to F22, which is the smallest aperture on my lens. This made the entire photograph in sharp focus.
Once you have decided on how you want to present your image, knowing how to set the camera settings will
enable you to get the effect you want.
Get more than one version: If you manage to be in the right place at the right time, make the most of it. Get a
portrait version as well as a landscape version. Change foregrounds while keeping the same dramatic sky or
mountain in the background. Many completely different images can be made from the same location at the
same time.
In this image, not only were the waves moving rapidly but the light from the sun was changing constantly. So I
had to change the settings after every shot. I also had to cover the camera with a plastic bag in order to avoid
getting salt spray (or worse) on the lens. This is not the time to be figuring out how to change the settings! I
managed to get the exposure time right (1/100 at F4, ISO 400) in order to freeze the waves. But the area around
the sun is overexposed. So this is not in the gallery. I will try to get a better version of this photograph this winter.
Camera settings: Always use manual settings. You should be in full control of the images you produce.
Experiment with your camera and lens ahead of time. Note what aperture setting and focal points yield
sharpness over the range of distances you need. Use the hyperfocal distance technique. For example, at your
smallest aperture (often F22) you can focus 1/3 of the way into an image (focusing 5 feet away perhaps) and an
area possibly from 3 feet to infinity will be sharp. At F8, an area from 12 feet to infinity may be sharp if you focus
20 feet away. Know your limits ahead of time so that when you go out, you are ready to take your shots quickly
and accurately. Often I focus at infinity and can get objects as close as 3-4 feet to infinity in focus when at F16 or
smaller. And the far background appears to be just slightly sharper compared to when I use the hyperfocal
distance technique. However, the big problem with an F18 or smaller aperture is that there is some slight
distortion. This is because the camera can pick up the shape of the aperture or dust on the lens or sensor. But
usually, the advantages of using F22 outweigh the disadvantages.
had to change the settings after every shot. I also had to cover the camera with a plastic bag in order to avoid
getting salt spray (or worse) on the lens. This is not the time to be figuring out how to change the settings! I
managed to get the exposure time right (1/100 at F4, ISO 400) in order to freeze the waves. But the area around
the sun is overexposed. So this is not in the gallery. I will try to get a better version of this photograph this winter.
Camera settings: Always use manual settings. You should be in full control of the images you produce.
Experiment with your camera and lens ahead of time. Note what aperture setting and focal points yield
sharpness over the range of distances you need. Use the hyperfocal distance technique. For example, at your
smallest aperture (often F22) you can focus 1/3 of the way into an image (focusing 5 feet away perhaps) and an
area possibly from 3 feet to infinity will be sharp. At F8, an area from 12 feet to infinity may be sharp if you focus
20 feet away. Know your limits ahead of time so that when you go out, you are ready to take your shots quickly
and accurately. Often I focus at infinity and can get objects as close as 3-4 feet to infinity in focus when at F16 or
smaller. And the far background appears to be just slightly sharper compared to when I use the hyperfocal
distance technique. However, the big problem with an F18 or smaller aperture is that there is some slight
distortion. This is because the camera can pick up the shape of the aperture or dust on the lens or sensor. But
usually, the advantages of using F22 outweigh the disadvantages.
But once I had taken that shot, I decided to get something more smooth and flowing. So I chose a slightly
different spot and exposure time. That gave me a second version. Some people like the first one, while some like
the second one. Get as many shots as you can when conditions are right.
Processing the Image
Digital format: If you are shooting digital, shoot in RAW format. RAW contains far more detail than JPG’s. RAW
files can be converted into TIFF files, which do not lose detail each time they are edited. Invest in a good RAW
converter program like Capture One or the like. For example, if parts of your image are dark, it is much easier to
get detail out of the dark areas using RAW versus JPG’s. If you are using film or digital, shoot at the very lowest
ISO setting or film that you possibly can. There will be less noise and larger prints will look much better. You pay
for this extra quality in longer exposure times, but usually that is not a problem since you will be using a tripod.
Wind may be a problem though.
Workflow: Once you have taken your shots, processing is extremely important to the success of an image.
Image processing can be at least as important as the shooting of the image. Whether you are working with film
or digital, the camera will not be able to record the scene as well as your eyes. So each part of the image should
be given your undivided attention. Restore detail in dark areas and bright areas. Correct blemishes resulting
from dust spots or salt spray. Producing a good image may take 30 minutes to two hours or even more. Ansel
Adams and others often spent days working on a single image.
Digital Workflow: Each person will develop his or her own methods of processing. Here are some of my
techniques.
1. Shoot in RAW format in the Adobe color space. Check your camera settings.
2. Create a 16 bit TIFF file using a good RAW program like Capture one. Adjust exposure, color, contrast,
temperature, and possibly sharpen it slightly before converting to a TIFF file.
3. Look at the whole TIFF image on your screen in PhotoShop or your preferred image editor. Adjust the horizon
first.
4. On wide angle images, there may be vignetting (darkening around the edges), so fix this problem before
working on anything else.
5. Remove dust spots, and clone out any unwanted small objects like distant cars. I try to keep cloning to a
minumum and only use it when there is no better way to avoid a distracting element.
At this point, you can create individual layers to make the following adjustments. This is beyond the scope of this
brief overview. But you can work on the original layer if you want, and still get great results. I often just stick with
the original layer.
6. Look at each section of the image and decide what to do to each one. Use the lasso tool to select each area.
Then use ‘select/feather’ window to smooth out the effect around your selection so that there is a smooth
transition from the area you selected to the areas outside your selection. Depending on the situation, feathering
from 10-60 pixels is a good amount. Experiment each time before applying the change. Each area may need
small adjustments to look its best. The sky may need more contrast or more detail. The land may need more
light. A reflection may need adjustment. If you are using PhotoShop or similar programs, use the Levels control
to make these adjustments. Be careful when making adjustments to horizons or other areas where there are
sharp edges. You may get distracting halo effects around the edges. When making lasso selections, always
select inside of a region and then feather it. Dodging and burning is another way to make these adjustments, but
I find it to be more difficult to control when making subtle changes.
7. Once brightness and contrast look good, color saturation can be addressed. Be careful adding color. If you add
color where there was little, the image will just look manipulated. The more you increase color saturation, the
more grain and noise you add to the image. If the image is taken after dark, a blue cast can be removed by
adjusting levels for blues only. That will bring back what you saw with your eyes.
8. Once these adjustments have been made, go over the complete image with a fine tooth comb. View it at a size
where you can see the whole image at once. Make sure that overall it looks good. Then review the whole image
at full (100%) resolution.
9. Sharpen the image only after the previous steps are completely finished! If using PhotoShop, use the Smart
Sharpen option on selected parts of the image individually. Rarely should the sky be sharpened. It will only add
noise. Sometimes you can add a little contrast to the sky by sharpening it very slightly at an amount of 20%, a
radius of 10-40 pixels, and a threshold of 0 levels. The separate areas of the rest of the image should be selected
on the inside of each area. Feather each selection and then sharpen it. I often do two or three passes of
sharpening on each area. First at maybe (20% - 4.0 pixels – 0 levels.) This just adds a little contrast without adding
noise. Then I sharpen at (20-60% at about 2.0 pixels – 0 levels.) This makes things look a little sharper, also
without adding much noise. Then I do the ‘real’ sharpening at (50%-100% - 0.3-0.6 pixels – 0 levels.) Sometimes I
will select the edges of a mountain, horizon, or other boundary area and sharpen it separately. The edges often
get sharpening halos if the sharpening is not done correctly.
10. Remove noise. Select each area separately, and feather it just as you did when adjusting levels, saturation
and sharpness. Use the noise filter in PhotoShop, or the equivalent. This give you control over how much noise
to remove. Experiment with different settings so that you remove the noise without sacrificing detail. 'Revert' if
you go too far. If you remove too much noise, you end up with a strange look (especially in the sky) so be careful.
11. Once the TIFF file is completely finished, you can resize it for the web. After you resize an image, you often
have to sharpen it again. If the tiff file is too big, you can create a jpg image at 100% quality. This is a good way to
get a high resolution image for printing or sending via email. Often when creating web images, you can save it to
as low as 50% quality and 30% of the original jpg size and still have good quality for web applications.
Other considerations
Self-critique: It is very important to be realistic about the images you produce. Encourage and allow people to
say what they do not like about your images. You may think that a photograph you just took looks great because
you were there for that awesome sunset or storm. But you may not realize that the image does not convey the
drama of the moment. Listen to any critique you get and incorporate it into your next shot under similar
circumstances. For example, if someone says that a foreground rock is blocking the view, open up similar views
by reducing the size of the foreground rock. Don’t get ‘married’ to an image. There is always a way to improve it
by returning to the location for another shot or processing the existing image differently. But also remember that
you cannot please everybody all the time.
Photo websites: One of the best ways to learn landscape and other photography is to join a photo critique
website. I belong to www.ePhotoZine.com (see below) and have received many thousands of critiques on my
images. And making critiques on images created by others forces you to think about what is good and not good
in an image. Nothing beats direct and honest critique from an expert standing right in front of you, but
anonymous critique is often more honest and informative.
Summary
This article is about looking at your images in a critical way. While it is good to be proud of an image you just
made, try to be realistic and see what does not work in an image. Maybe the composition looks good, but when
you see the image after processing it look again. You may realize that parts of it are out of focus. Maybe part of
the sky is too bright. There are a million things that can go wrong. Don't ignore what you see. Put yourself in the
mind of an anonymous viewer. That viewer might spot that out of focus area straight away. I was recently at an
art festival where a photographer was selling a 50 inch tall vertical panorama of a beautiful town on the coast of
Italy for a LOT of money. The photograph showed lots of houses built on the hillside, but near the top was an
extreme case of lens barrel distortion with the vertical lines severely bent upwards and outwards towards the
edge of the frame. A couple of people were looking at the image as well. They were speaking in Russian, but
even though I could not understand them, I could tell exactly what they were talking about. They were using
hand gestures and pointing to the warped top of the image and were actually laughing. The photographer was
probably very proud of the image, but she should have been more critical of her own work. Especially when
trying to sell it for a lot of money!
Further Reading
I have learned a lot by reading many books on landscape photography. One great book that just came out is
called, The Guide to Great Photography. It was created by the founder of the largest photo critique website in
the UK, ePHOTOzine. I mention this website often, but I receive no compensation from them and there are
other websites that also offer critique and a good online community for learning.
There are many professional photographers that I admire. One is the late Galen Rowell. A book on his life's
works called Galen Rowell, a Retrospective represents an incredible body of work spanning the globe.
I have read many other books on landscape photography and will add them here soon.
Thanks for your interest!
Patrick
different spot and exposure time. That gave me a second version. Some people like the first one, while some like
the second one. Get as many shots as you can when conditions are right.
Processing the Image
Digital format: If you are shooting digital, shoot in RAW format. RAW contains far more detail than JPG’s. RAW
files can be converted into TIFF files, which do not lose detail each time they are edited. Invest in a good RAW
converter program like Capture One or the like. For example, if parts of your image are dark, it is much easier to
get detail out of the dark areas using RAW versus JPG’s. If you are using film or digital, shoot at the very lowest
ISO setting or film that you possibly can. There will be less noise and larger prints will look much better. You pay
for this extra quality in longer exposure times, but usually that is not a problem since you will be using a tripod.
Wind may be a problem though.
Workflow: Once you have taken your shots, processing is extremely important to the success of an image.
Image processing can be at least as important as the shooting of the image. Whether you are working with film
or digital, the camera will not be able to record the scene as well as your eyes. So each part of the image should
be given your undivided attention. Restore detail in dark areas and bright areas. Correct blemishes resulting
from dust spots or salt spray. Producing a good image may take 30 minutes to two hours or even more. Ansel
Adams and others often spent days working on a single image.
Digital Workflow: Each person will develop his or her own methods of processing. Here are some of my
techniques.
1. Shoot in RAW format in the Adobe color space. Check your camera settings.
2. Create a 16 bit TIFF file using a good RAW program like Capture one. Adjust exposure, color, contrast,
temperature, and possibly sharpen it slightly before converting to a TIFF file.
3. Look at the whole TIFF image on your screen in PhotoShop or your preferred image editor. Adjust the horizon
first.
4. On wide angle images, there may be vignetting (darkening around the edges), so fix this problem before
working on anything else.
5. Remove dust spots, and clone out any unwanted small objects like distant cars. I try to keep cloning to a
minumum and only use it when there is no better way to avoid a distracting element.
At this point, you can create individual layers to make the following adjustments. This is beyond the scope of this
brief overview. But you can work on the original layer if you want, and still get great results. I often just stick with
the original layer.
6. Look at each section of the image and decide what to do to each one. Use the lasso tool to select each area.
Then use ‘select/feather’ window to smooth out the effect around your selection so that there is a smooth
transition from the area you selected to the areas outside your selection. Depending on the situation, feathering
from 10-60 pixels is a good amount. Experiment each time before applying the change. Each area may need
small adjustments to look its best. The sky may need more contrast or more detail. The land may need more
light. A reflection may need adjustment. If you are using PhotoShop or similar programs, use the Levels control
to make these adjustments. Be careful when making adjustments to horizons or other areas where there are
sharp edges. You may get distracting halo effects around the edges. When making lasso selections, always
select inside of a region and then feather it. Dodging and burning is another way to make these adjustments, but
I find it to be more difficult to control when making subtle changes.
7. Once brightness and contrast look good, color saturation can be addressed. Be careful adding color. If you add
color where there was little, the image will just look manipulated. The more you increase color saturation, the
more grain and noise you add to the image. If the image is taken after dark, a blue cast can be removed by
adjusting levels for blues only. That will bring back what you saw with your eyes.
8. Once these adjustments have been made, go over the complete image with a fine tooth comb. View it at a size
where you can see the whole image at once. Make sure that overall it looks good. Then review the whole image
at full (100%) resolution.
9. Sharpen the image only after the previous steps are completely finished! If using PhotoShop, use the Smart
Sharpen option on selected parts of the image individually. Rarely should the sky be sharpened. It will only add
noise. Sometimes you can add a little contrast to the sky by sharpening it very slightly at an amount of 20%, a
radius of 10-40 pixels, and a threshold of 0 levels. The separate areas of the rest of the image should be selected
on the inside of each area. Feather each selection and then sharpen it. I often do two or three passes of
sharpening on each area. First at maybe (20% - 4.0 pixels – 0 levels.) This just adds a little contrast without adding
noise. Then I sharpen at (20-60% at about 2.0 pixels – 0 levels.) This makes things look a little sharper, also
without adding much noise. Then I do the ‘real’ sharpening at (50%-100% - 0.3-0.6 pixels – 0 levels.) Sometimes I
will select the edges of a mountain, horizon, or other boundary area and sharpen it separately. The edges often
get sharpening halos if the sharpening is not done correctly.
10. Remove noise. Select each area separately, and feather it just as you did when adjusting levels, saturation
and sharpness. Use the noise filter in PhotoShop, or the equivalent. This give you control over how much noise
to remove. Experiment with different settings so that you remove the noise without sacrificing detail. 'Revert' if
you go too far. If you remove too much noise, you end up with a strange look (especially in the sky) so be careful.
11. Once the TIFF file is completely finished, you can resize it for the web. After you resize an image, you often
have to sharpen it again. If the tiff file is too big, you can create a jpg image at 100% quality. This is a good way to
get a high resolution image for printing or sending via email. Often when creating web images, you can save it to
as low as 50% quality and 30% of the original jpg size and still have good quality for web applications.
Other considerations
Self-critique: It is very important to be realistic about the images you produce. Encourage and allow people to
say what they do not like about your images. You may think that a photograph you just took looks great because
you were there for that awesome sunset or storm. But you may not realize that the image does not convey the
drama of the moment. Listen to any critique you get and incorporate it into your next shot under similar
circumstances. For example, if someone says that a foreground rock is blocking the view, open up similar views
by reducing the size of the foreground rock. Don’t get ‘married’ to an image. There is always a way to improve it
by returning to the location for another shot or processing the existing image differently. But also remember that
you cannot please everybody all the time.
Photo websites: One of the best ways to learn landscape and other photography is to join a photo critique
website. I belong to www.ePhotoZine.com (see below) and have received many thousands of critiques on my
images. And making critiques on images created by others forces you to think about what is good and not good
in an image. Nothing beats direct and honest critique from an expert standing right in front of you, but
anonymous critique is often more honest and informative.
Summary
This article is about looking at your images in a critical way. While it is good to be proud of an image you just
made, try to be realistic and see what does not work in an image. Maybe the composition looks good, but when
you see the image after processing it look again. You may realize that parts of it are out of focus. Maybe part of
the sky is too bright. There are a million things that can go wrong. Don't ignore what you see. Put yourself in the
mind of an anonymous viewer. That viewer might spot that out of focus area straight away. I was recently at an
art festival where a photographer was selling a 50 inch tall vertical panorama of a beautiful town on the coast of
Italy for a LOT of money. The photograph showed lots of houses built on the hillside, but near the top was an
extreme case of lens barrel distortion with the vertical lines severely bent upwards and outwards towards the
edge of the frame. A couple of people were looking at the image as well. They were speaking in Russian, but
even though I could not understand them, I could tell exactly what they were talking about. They were using
hand gestures and pointing to the warped top of the image and were actually laughing. The photographer was
probably very proud of the image, but she should have been more critical of her own work. Especially when
trying to sell it for a lot of money!
Further Reading
I have learned a lot by reading many books on landscape photography. One great book that just came out is
called, The Guide to Great Photography. It was created by the founder of the largest photo critique website in
the UK, ePHOTOzine. I mention this website often, but I receive no compensation from them and there are
other websites that also offer critique and a good online community for learning.
There are many professional photographers that I admire. One is the late Galen Rowell. A book on his life's
works called Galen Rowell, a Retrospective represents an incredible body of work spanning the globe.
I have read many other books on landscape photography and will add them here soon.
Thanks for your interest!
Patrick
It was a superb morning in Monterey. First I wanted to show the waves crashing on the rocks.