A landscape photographer’s goal, especially in the most dramatic and massive locations, is to demonstrate the size and scope of the landscape in a photo. However, it is quite difficult to translate the three-dimensional world into a flat rectangle — certain aspects of a scene, including the scale of the landscape, can get lost along the way. In this article, I’ll go over some common ways to put the size of a scene into perspective.
If you have read any of my previous articles, then you would know I have two Nikkor super telephoto lenses and I often use them in wildlife photography. I also often mention that reach is important in wildlife photography and getting highly detailed and crisp images. Two of the super telephoto lenses I have are the 600mm f/4 prime and the 800mm f/5.6 prime and they are amazing lenses that give me amazing reach for wildlife, but this reach can also be a problem when multiple eyes are involved (ie: several animals in same frame).
Lets take a look at a nightmare photo to get with a 600mm lens at optimal distance requiring minimal cropping:
In this second installment to this series on visualization and film photography, I have selected two photographs, “Gravida” and “Pyramis” (both architecture), to share and discuss. As in Part I to this series, I will provide a detailed description of the thought process behind the construction of the photographs, the choice of tools, and the technical considerations involved.
One of the most amazing landscapes in the world is Iceland’s Jokulsarlon lagoon — famous for its massive and beautiful icebergs. And if the lagoon isn’t enough, these glass-like icebergs routinely wash ashore on a nearby black-sand beach. This crazy combination is enough to attract photographers from across the globe. In this article, I will share some tips for photographing Jokulsarlon that will help you make the most of your trip to Iceland.
As a follow-up to my previous essays on visualization, in this article I will share select photographs made on film with a detailed description of the thought process, the choice of tools, and technical considerations that were involved. I have chosen two starkly different photographs (both landscapes) to discuss. I hope that these photos with the accompanying narrative will prove interesting and helpful to beginning film photographers and perhaps guide more experienced photographers in advanced techniques and approaches. Of note, Photography Life contributors John Bosley, Laura Murray and Vaibhav Tripathi have previously written excellent essays on film photography that may also be of interest.
Landscape photographers work primarily in natural light, which presents a few problems — for starters, the most beautiful lighting conditions each day last for no more than a few hours. Other times, sunsets will be lost behind cloudy skies, making it impossible to see a landscape at its best. When the sky is gray or the sun is directly overhead, it can be tough to find inspiration for high-quality photography. My hope with this article is to share some tips that have worked for me when I photograph in bad lighting conditions — something which every photographer experiences at some point.
Quite a few people have emailed me in the past to write about shooting cityscapes with a long exposure and I have repeatedly asserted that while it is not especially complicated, I am certainly no expert on the subject. In fact, finding the time to write an article about it was a much greater challenge!
In this post the value of using high dynamic range (HDR) photography for landscape and particularly panorama photography will be examined. This combination of two fairly widely used photographic techniques, the making of panoramas with HDR photographs is described in books dedicated to HDR techniques. This discussion will provide the reader with some methodological starting points and provide examples showing why the extra effort is worthwhile. Previous Photography Life posts are excellent reference primers for landscape photography and should definitely be consulted for their insights. In this post the term “panoramic” is used to indicate that two or more adjacent photographs covering overlapping parts of the same scene have been combined to make the single final image. “Landscape” is used to describe final photographs produced from a single image. All of the photographs in this post are panoramas by these definitions.
The 21st century is also known as “the era of smartphones”. Smartphones evolved rapidly in this decade and became a huge success, and so did cell phone photography. Today’s smartphones are well-equipped and loaded with features and specifications, from fast processors to high resolutions displays. And these smartphones are also quite powerful when it comes to photography, featuring wonderful built-in cameras. Despite having tiny sensors, most smartphones are integrated with small and compact lenses capable of delivering crisp images that can directly compete with many point and shoot cameras in terms of image quality.
My name is Ori Cohen, I am a semi-serious photographer, and a computer science PhD student. Last year my wife and I traveled to Switzerland, so I packed a Sony NEX-7, a Sony 16mm f/2.8, a Minolta 24mm f/2.8 attached to an LA-EA4, and a Haida ND1000 filter.