by Timm Allrich
Landscape photography – it’s just for loners and outdoorsy nerds, right?
For many years now, photography has been enjoying a great deal of popularity; in fact, it has become one of the most well-loved hobbies. This comes not least as a result of digitalization and the widespread phenomenon that is smartphones, some of which are equipped with exceptionally good cameras. In an age bursting with 3D blockbusters, “conventional” images are all the rage and continue to hold the top spot as far as visual media are concerned. Landscape photography is a very specific branch of the discipline and, in much the same way as animal photography, is often deemed a rather outdated practice. This is what makes landscape photography such a worthwhile pastime: you can get so much out of it and wash some of your troubles away.
In the following article, I would like to briefly mention what I think is essential if you plan to take up landscape photography, and encourage all interested parties to venture into the great outdoors and discover it in a whole new way.
Why landscape photography, you ask?
If you’re someone who finds the thought of being outside simply revolting and gets no pleasure out of being at one with nature, then there’s no sense in you reading on. If you’re still with me at this point, then you already have what it takes to become a passionate landscape photographer.
© Timm Allrich
One thing all of us landscape photographers have in common is the desire to go in search of the special places and phenomena of our planet and immortalize them as images. They could be places themselves or fascinating interplays of light, or even extreme or rare weather phenomena. Those who wander through nature with photographic eyes will quickly spot subjects that are otherwise seen only rarely. They are more aware of nature, more attune to it, and quickly learn to train their eye to recognize spectacles worth capturing and preserving. Images help bring people and nature closer together – the more impressive an image, the more it will draw people in. I am convinced that photography has assumed a major role in nature conservation; after all, it’s only what people can see, feel and understand that encourages them to take on a more active role and campaign for nature conservation. Landscape photography is very much dependent on light. A further draw is that the most wonderful places can be experienced in the best light, which is pleasing to the lens and the eye in equal measure. Even trips that don’t yield excellent photos are successful ones nonetheless.
For me, the most important thing is the feeling of freedom and independence that comes with being at one with nature early one morning, most often on your own. Anyone who has already had such a spiritual experience of feeling so very close to nature and enjoying it more or less for themselves will understand why we are drawn to it time and again, sometimes at truly ungodly hours
At a Glance
Go out early in the morning to catch the best light and avoid people
Strive for unique light or wait for it to come to you
Begin by getting to know a location before you charge in without any kind of planning
Check your gear before you go out (battery charged, memory cards formatted, tripod and the right lens)
Consider getting an ND filter
Don’t forget a snack – you might be out in nature for a couple of hours
A great landscape photo should depict a balanced image, unique lighting and a special and rare setting
Find angles in your frame to draw the viewers attention
Develop your very own visual language
What do I need to keep in mind?
First of all, know that preparation is everything!
I’ve already mentioned the most important point, which is that light is usually what determines the quality of an image. Rare occurrences and weather phenomena are the exception to the rule: their sheer uniqueness can make for an impressive photo, even in less-than-extraordinary light. It all comes down to this: you need to strive for unique light or, in actual fact, wait for it to come to you. The most impressive shots are to be had at sunrise and sunset. I myself am a great fan of sunrise because you’re almost always guaranteed to find some peace and quiet at this time: that’s generally not the case in the evenings. Of course, you do have to figure out where the light will come from for each location you choose, and then decide on the best time to take your photos. The quiet afforded by the morning as you observe the world awakening will never cease to amaze and will make you glad you decided to get up so early.
© Timm Allrich
In addition to tuning in to local weather reports, I pay very close attention to the weather myself. Cycles of high and low pressure invariably result in interesting combinations, which provide excellent subjects. The more familiar you are with the weather in a given region, the more accurately you can predict favorable lighting. This will leave you feeling less frustrated about “failed expeditions.”
I always suggest that you begin by getting to know a location before you charge in without any kind of plan. It’s usually advisable to have scoped out a place before you make your way there with your equipment in tow. That way, each and every one of your movements will help you capture excellent shots in good lighting, even if it lasts mere moments. In the early morning in particular, when you’re capturing images from the cover of darkness, these movements should be second nature to you so that you don’t notice the best light just as it disappears. Various tools are now available to help you prepare for your photo session, including the appropriate times to do so (sunrise and sunset, moonrise and moonset). I use the apps The Photographer’s Ephemeris and PhotoBuddy, both of which provide me with key features in a quick and easy-to-understand manner. This is another way of improving time management.
What do I need, you ask?
Well first of all, a camera, of course. Makes sense. I’ll spare you the know-it-all tips about making sure the battery is charged and your memory cards have enough capacity. You also need the right lenses, which should match the quality of your camera. They form the optical part of the camera and ultimately determine the quality of your photos. For instance, I was previously unaware just how much colors depend on and are impacted by the quality of the lens. At the end of the day, professional demands and images can only be achieved using a high-performance camera with the optics to match. In the many years I have spent as a brand ambassador, I’ve shaped and furthered this great demand for camera lens development at ZEISS time and again.
Another essential piece of equipment is a sturdy tripod. The perfect symbiosis between stability and weight can be found in carbon tripods which, sadly yet clearly, are at the top end of the price spectrum. Nevertheless, it is advisable to make a sound investment here to obtain a reliable tripod for your camera. For time exposures in particular, a good tripod pays for itself – by rewarding the photographer with razor-sharp images. Even during the day, I take all my photos using a tripod, as it affords me the peace of mind I need to compose an excellent image. All it takes to ruin an image is a few millimeters – that’s very easy if all you’re using are your hands.
Anyone who hates time-consuming follow-up work or exposure bracketing should also get their hands on a graduated filter, which is essential in low sun and low light. For some time now I have been using glass filters from Lensinghouse, which match the quality of my ZEISS lenses and mean there are no optical losses. Even the best lens will not be able to achieve its true potential if you stick a plastic filter full of scratches over it. Then again, even the finest glass filter will go to waste if used in combination with second-class optics. The most important filters are gray graduated filters. My basic equipment includes a weak filter and a strong filter, each of which features hard and soft graduation (i.e. 4 filters in total) and a reverse gray graduated filter, which is particularly useful in low sun with maximum brightness just above the horizon and creates very natural lighting.
Other tools I always have with me are rain boots, mosquito repellent and a flashlight. A little chocolate or gummy bears always come along for the ride, as does a bottle of water!
© Timm Allrich
What makes a great landscape photo?
I don’t think there’s a good answer to that question. Any photo that people like is a good one. I’m sure there’s a whole host of things that make an image great, but there are always deviations from classic design rules that still make for extremely impressive photos that wow people. A great landscape photo should depict a balanced image, unique lighting and, the icing on the cake, a special and rare setting. If all of this comes together and the relevant technical knowledge for capturing such an image is at hand, then all the ingredients required for an exceptional image are in play.
Speaking of technical knowledge: the reliable and targeted use of one’s own equipment is one thing that, while it can certainly be explained, can only truly be learned when applied to a real-life scenario. Practice makes perfect: while overused, there is much truth to this saying. The more frequently you use your camera and lenses and the more familiar you are with them, the more comfortable you’ll feel. Terms such as aperture, shutter speed and ISO sensitivity will eventually become second nature to you and soon cease to daunt you.
© Timm Allrich
But let’s get back to image composition: ultimately, the angle is what ultimately determines this, and whether or not the image is pleasing to the viewer, on both a superficial and a deeper level. An image must (always) have a structure that immediately attracts attention to it and invites the viewer to discover the remainder of an image – but structures that draw the viewer out of an image are unfavorable as they cause them to look away. You can try this out for yourself, perhaps even with friends, looking at many images one after the other as per the criteria detailed above. You will quickly realize that there’s almost always something that draws your attention in the first place. In a large group, it quickly becomes evident that everyone’s attention is immediately drawn to the image in the same way. Interestingly, left-handed people sometimes see images differently – I think that’s just fascinating as it means that, in theory, the “perfect photo” that everyone can appreciate simply does not exist.
At the end of the day, the person beholding an image has no way of knowing how it continues beyond the frame – either upward, downward, or to the left or right. This would also mean that what can actually be seen in no way satisfies the curiosity of the eye or the mind. The section presented must therefore be enough, in and of itself, to respond to any questions the viewer may have. A tall order, but one that’s nevertheless possible. When focusing on your subject, you should ask yourself this very question and assess the image on this basis. Don’t worry – over time and as you gain more experience, even this will become second nature. People are amazed at how even small modifications to an image can have a great effect (e.g. viewing height, distance to foreground). Working with a tripod is a great help.
A final and essential point that I can mention about improving your photos is that you will develop your very own visual language. There are a great many technically gifted photographers who are great at copying and can even go one better when it comes to familiar perspectives and photos. That said, this demands little by way of artistic talent and it will be difficult to stand out from the crowd if all you’re delivering are run-of-the-mill shots. In this respect, I would stress once again that you should attempt to take photos that depict something out of the ordinary and develop new kinds of images of your own. The aim is neither to check off top photography locations nor to potentially stress yourself out while doing so. It’s much more a question of the natural marvels of our world, which are ubiquitous yet well-hidden and offer you some rest and relaxation – this is something you’ll certainly get out of this fantastic hobby, which lays the foundations for capturing emotive images bursting with character.
So can I get started?
Yeah, pretty much. If you know where you’re going and when, and you’ve got all the equipment you need, then you’re more or less good to go. I make a point of looking up new places online before I set off so that I’m not in for any nasty surprises.
Now you can get started. And don’t forget: nature itself is the experience. Images go some way toward keeping the emotions experienced and moods created on your journeys alive and well. But please remember: an image must never become an end in itself and must always determine your actions in and interactions with nature. If not, that’s when the joys of photography and a respect of nature will evaporate – and that’s precisely what we want to avoid
Series: Nature Photography 2/3
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