To culminate more than a year of work, Spencer and I are very excited to announce the release of our first eBook, Creative Landscape Photography: Light, Vision, and Composition. This 149-page Level 3 book dives into the creative side of landscape photography, including everything from finding subjects to composing difficult scenes. There are some exciting details below, so we encourage you to keep reading:
Colorado has been my home for the past 20 years. Having had the chance to travel all over the USA for photography and other personal and professional needs, every time I would come back to Colorado, I would tell myself that there is simply not a better place to live and be. The Centennial State is remarkable in so many ways, that the more I explore it, the more I fall in love with it. Here in Colorado, we have everything from the stunning mountain views of the Rocky Mountains to canyons, plains and deserts – a truly rich and diverse land. Without a doubt, it is a photographer’s paradise. Having been photographing in Colorado for over 10 years now, I decided to show some of its beauty through pictures and hopefully give you an idea about what locations you should visit.
In a follow-up to a previous article, “A Study in Vision, Light, and Shadows”, I decided to share my thoughts and experiences on my most inspiring topic in photography – light. For simplicity, I decided to write about light in a narrow context from the perspective and experience of a landscape photographer, since outdoors scenes are what I gravitate to. Much of the analysis and discussion that follows is equally applicable to other genres of photography, such as portraits, macro, still-life, and commercial photography. In this article, I will cover broadly what quality of light means for me in landscape photography as well as discuss a variety of scenarios where the scenic photographer can use different properties of light to create a given effect. Please note that this discussion is based on my own personal observations and experiences, which may differ from those of other photographers. My goal is to help beginning landscape photographers understand the different qualities of sunlight and how this instrumental tool can be harnessed to fulfill the visualization process.
A lot of landscape photographers are interested in focus stacking — combining multiple images of the same scene, each focused at different distances, into a single photo. This is a useful tool to have at your disposal, since it lets you take pictures in more situations than you otherwise could. For example, if elements of your photo are very close to your camera, focus stacking may be the only way to get a sharp shot. Although I don’t use this technique for every photo, it’s something that I keep in mind when I’m taking pictures in challenging conditions. This article gives an overview of focus stacking for landscape photography, including step-by-step instructions on how to focus stack photos in Photoshop. All of these tips are also relevant for other types of photography, not just landscapes.
Millions — perhaps billions — of people take pictures every day. Famous places and people have been photographed more times than anyone can count. All of this leads to the deluge of images that we are seeing online and in social media. Every time that a photographer visits a beautiful location for the first time, thousands of people already photographed it under the best possible conditions (and the worst conditions, and everywhere in between). Recently, I have heard more than a few people say that photography has become boring to them; everyone copies everyone else, and it doesn’t seem like there is anything new left to photograph and explore. Is that mindset justified? Can photographers still create unique photos?
Last week, for our How Was This Picture Made? series, I had posted a landscape photograph to share and discuss. Thanks to our PL commentators, Gary Bunton, Brian Webster, and Shane, for their participation and sage commentary on the techniques employed and the overall considerations. Well done!
The name Henri Cartier-Bresson does not immediately remind most people of landscape photography. It shouldn’t; he wasn’t a landscape photographer! Instead, of course, Henri Cartier-Bresson was a street photographer — arguably the founding father of the genre. However, although he rarely took photos of nature, his intimate approach to street photography still has value to people who prefer the company of grand landscapes. One technique is especially worth learning, no matter what genre of photography you do: the decisive moment.
This summer’s Photography Life road trip has come to an end, but not before a final visit to Olympic National Park. After dropping John off at the Seattle airport, Nasim and I spent a couple of days exploring Washington’s dramatic coasts and rainforests, taking some photos and filming the remainder of our Composition chapter. Hopefully you have enjoyed these quick articles from the road. I certainly have had fun sharing our experiences!
After a few weeks of travel, the three of us — Nasim, John Bosley, and I — have made it back from our landscape photography road trip through the Western United States. From the Rocky Mountains to the Cascades, we visited some of the country’s most beautiful landscapes, and we captured some footage that we are very excited to add to our upcoming landscape photography video course. We’ve already written about our sunset and nighttime photography in the Grand Tetons, Yellowstone’s dramatic hot springs, and the incredible views at Glacier National Park. As the trip entered its final stages, our second-to-last stop was at Washington’s beautiful Mount Rainier.
In the past month, I have visited more National Parks than in any other time of my life. I have seen some of the most beautiful places in the world under incredible conditions, and I managed to take photos of landscapes that I had heard of since I was a young child. That’s why I am happy to say that today, August 25th, marks the 100th anniversary of the National Park Service in the United States.