Photography 2: Landscape Written by Michael Freeman
About the author
Michael Freeman is one of the world’s most highly respected professional photographers. He is widely published, published, with more than 80 books to his credit credit including the classic 35mm handbook (over 1.5 million copies sold). His publications include Spirit of Asia; Angkor: Cities and Temples (both Thames and Hudson); Japan Modern and The Modern Japanese Garden (both Mitchell Beazley). Michael has also produced a unique series of guide books for the digital photographer and this is published by ILEX, who are digital media specialists. He has worked on commissions for many well-known publishing clients, including Time-Life , Reader’s Digest , Condé Nast Traveller and GEO. He is also the principle photographer for the Smithsonian Magazine.
Contents Introduction A universal theme The landscape tradition Further resources The equipment you will need Following the course Assignments Your portfolio Your logbook On completing the course Project and Tutorial Plan
1:
The design elements The shape of the frame Project 1: the horizon line Project 2: horizontal vs vertical Project 3: panorama Project 4: collage Project 5: interacting subjects Project 6: framing the view differently Project 7: figures in a landscape Perspective and distance Project 8: using perspective to help composition composition Colour Project 9: colour themes Project 10: soft colours Assignment 1: the season
2:
Light and its measurement The crucial element Properties of light
Project 11: the colour of daylight Advanced light measurement Measuring light Project 12: contrast and exposure Project 13: throughout the day Project 14: changing light/changing light/changing views Project 15: planning your portfolio Your logbook Assignment 2: one acre
3:
Using available light Project 16: dusk Project 17 (optional): adding light at dusk Project 18: sunrise and sunset Project 19: choosing the moment Shooting into the sun Project 20: sun stars and diffraction Project 21: silhouettes and reflections Project 22: positioning the sun Project 23: soft light Project 24: clouds and sky Project 25 (optional): snow Moon and moonlight Project 26: shooting the moon Project 27: by the light of the moon Project 28: intimate landscape Reminder Assignment 3: a linking theme
4:
Viewpoint and lens Project 29: re-photo r e-photographing graphing a well-known image Wide-angle lens Project 30: wide-angle views - near and far Telephoto lens
Project 31: telephoto views - compressing planes Project 32: telephoto views - a variety of images Project 33: using a tripod Graduated filters Project 34: using a graduated gr aduated filter Neutral density filters Polarising filters Project 35: using a polarising filter Assignment 4: a critical review
5:
Style and themes Project 36: defining a style The dramatic and the ordinary Project 37: ways of dramatising a landscape Black & white Project 38 (optional): burning in the sky Project 39 (optional): printing a backlit landscape Project 40 (optional): coloured filters with black-and-white black-and-white film Project 41: grain Project 42: man-made landscape Reminder Assignment 5: in the style style of an influential photographer photographer
Your portfolio At the end of your course Appendix A: if you plan to submit your work for formal assessment Appendix B: information concerning the proper use of materials and equipment Further reading
Project 5: interacting subjects Over the last few projects I have tacitly assumed a fairly simple type of image, in which most or all of the subject is at a distance. A number of landscapes are, of course, just like this, especially those seen from high overlooks. Such scenes, like the one below are uncomplicated - they exist by virtue of the viewpoint which is relatively fixed. Later in the course we will look at ways of wringing as much variety as possible out of them, by changing the focal length of the lens, but in a standard angle of view, similar to that of your own eyes, the most important design decision is usually to arrange the proportion of land to sky. Nevertheless, in the general run of landscapes there is much more choice. There are also many more potential subjects: trees, rocks, water, stone walls, farmhouses, and so on. It may sound too obvious to mention, but the more that you involve the foreground in a landscape image, the greater possible variety you will have in composition. From 100 feet a cairn is likely to be a barely noticeable pile of rocks; from 10 feet it can dominate the landscape seen through the viewfinder. With a sufficiently wide-angled lens stopped down to its smallest aperture for the maximum depth of field, and the camera close to the ground, even a flower can have more visual importance than the hills beyond. 4: Viewpoint and lens looks at camera position in relation to lens focal length in more detail, but for now you should begin to look at a landscape as an assembly of potential picture elements that you can rearrange by moving the camera and so changing the view. Climb a little higher up a slope and a stone farmhouse may appear separated from the wall behind it, and so become more prominent. Move a little to the left of where you are standing and the overhanging limb of a tree close to you frames the view. The photographs of the windmill below show a sequence of frames taken in the same location, all using the same wide-angle lens. The relatively small change in position between the last 2 pictures brings into view the foreground vegetation, and alters the composition noticeably.
Changing the viewpoint on a subject.
b
a
c
d
e
a Subject centred laterally for symmetry – surroundings cropped at bottom to simplify colours colours and a nd shapes. shifted to left for more balanced composition – frame kept high to b Subject shifted limit trees – shot timed so that clouds are clear of t he windmills sails. xaggeration of perspective c Viewpoint and framing accurate for symmetry – e xaggeration makes the curve of the platform dominant. surroundings – d Low viewpoint and high horizon give prominence to the surroundings subject small but recognisable. e Including more vegetation to create depth – maximum depth of field for clear detail.
In looking at this example, it may have occurred to you how specific the details are. It is indeed difficult to generalise about landscape composition without it becoming meaningless. The reason why this applies to landscape more than to most other topics of photography is because landscapes are often amorphous and complex. Only occasionally will you find a single, discrete subject, such as an isolated mountain. More commonly, landscapes are visually disorganised and untidy. Let's now go straight on to a practical project in which you can explore for yourself the multiple choices.
This is a sample from Photography 2: Landscape. The full course contains 42 Projects and 5 tutor-assessed Assignments
