In the second of a series of follow-up articles to The Quality of Light, I have posted this article to share a series of photographs (along with the thought processes behind them) that captures the quintessence of a well-known and spectacular light display, often referred to as the ‘Second Sunset’. As with many of my previous articles, my goal with this post is to encourage my fellow photographers to be inspired by light, composition, and mood, to spur them to explore their creative potential, and to get out and make beautiful photographs.
In the first of a series of follow-up articles to The Quality of Light, I have posted this article to share a series of photographs (along with the thought processes behind them) that I hope will accentuate the interplay of light, directionality, shadows, and mood in landscape photography. As previously discussed, the directionality of light is a powerful factor in defining the quality of shadows, the contrast, textures, and three-dimensionality of a scene, as well as the mood and emotion that the photograph will convey. In particular, unidirectional light qualities (e.g., side lighting and backlighting) serve this purpose well in landscape photography.
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.
Three years ago, when I made my first photo tour through the magnificent landscapes of Iceland, I fondly recall an interesting dinner discussion with my fellow photographers. We had just returned to our guest house from a memorable photo shoot. As we shared good wine, food, and laughs, the discussion pleasantly turned to photography. After the seemingly prosaic and obligatory discussion of camera gear, we got around to more interesting topics such as light, travel destinations, and our individual exploits. One pleasant, wise, and well-traveled gentleman from Holland made an interesting comment that has resonated with me ever since. With a blend of delight and amusement, he said, and I paraphrase him: