100 Ways Take Better Landscape Photographs. Guy Edwardes

failure. I find that it needs less compensation than Fuji suggest; about + 1/2 stop at 10sec, + 1 stop at 20sec and, as on this occasion, + 1 1/2 stop at 1min. I have often exposed it for up to 15min (at + 2 1/2 stops) with no adverse effects. When shooting sunsets I never try to filter out any colour shifts that occur as they often enhance the mood of the image.

      Canon EOS 3, 24mm lens, 2-stop neutral density graduated filter, Fujichrome Velvia, 1min at f/16

      Light and the landscape

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      Shoot stormy weather

      Stormy weather can be the perfect time to make dramatic landscape images. Head to an accessible location where you can include elements that will help to capture the atmosphere on film. Look for windblown foliage, bending trees or blowing sand. One of the best locations is the coast, where the landscape is exposed to the full force of the elements. A telephoto lens can be used to compose an image from a safe distance, but use a sturdy tripod and weight it down with additional ballast. Position your body to shield the camera from the buffeting wind. If your camera has a motordrive use it to take three consecutive shots – the second frame will often be the sharpest. Be prepared for spectacular lighting effects as the storm clears, when rays of sharp sunlight illuminate the landscape – a strong contrast with the dark clouds above.

      Storm

      When this winter storm was predicted, I tried to make sure that I was well prepared. My tide tables showed me that high tide was at midday, so this was when the waves would be crashing most ferociously against the sea wall at Lyme Regis, Dorset, England. My main aim was to exaggerate the town’s seemingly precarious coastal position. Much of the sea-front here is protected by a high harbour wall, so I had no trouble finding a safe position from which to shoot. Using a 300mm telephoto lens enabled me to compose tightly around the main area of interest. This also had the effect of compressing perspective, thus making the sea front buildings appear much closer to the breaking waves. Even though I was using a sturdy tripod, the constant buffeting of the wind combined with low light levels would have made obtaining a sharp image very difficult without the aid of an image-stabilized lens.

      Canon EOS 5, 100–400mm lens, Fujichrome Provia 400F (uprated to ISO 800), 1/125sec at f/5.6

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      Make the most of the golden hour

      When the sun is high its light is neutral but the closer it gets to the horizon the warmer its rays become. Some of the best lighting conditions for landscape photography occur early and late in the day. The light during the hour after sunrise and before sunset paints the landscape with warm, low-contrast light. This is beneficial to scenes that include a lot of detail, as the soft light enables film and digital sensors to record this in all areas of the image. The low angle of the sun also casts soft shadows, which reveals the shapes and textures of the land. The changes that occur during this brief period can have a profound effect upon the landscape and the way it records on film. Spend the harsh daylight hours searching for the right spot from which to shoot later in the day or the following morning.

      Gold Hill

      Shooting late on an autumn afternoon enabled me to make use of the warm, low-angled sunlight striking this row of attractive cottages in Dorset. The angle of the light also helped to reveal the textures of the stone, thatched roof and cobbles. The lighting effect on this occasion was amplified by the fact that it was pouring with rain as the image was made. The raindrops have been illuminated by the warm light of the sun, but haven’t recorded on film due to the long exposure. The light reflecting off the wet surface of the cobbles also helps to brighten the foreground considerably. This combination of heavy rain and late afternoon sunlight is an unusual occurrence, but was highly effective in injecting additional atmosphere into the scene.

      Canon EOS 5, 28–70mm lens, polarizer, Fujichrome Velvia, 1sec at f/22

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      Utilize low light

      The hour before sunrise and after sunset can be a magical time for landscape photography, as the soft light and pastel colours create an atmosphere of calm and tranquillity. On overcast days, a cool blue colour cast will result, but on cloudless days the colour will vary from yellow to magenta. Search for locations such as lakes, rivers and beaches, where the colour of the sky can be reflected into the foreground of your image. In mountainous areas, watch out for alpenglow, which can paint the higher peaks with soft red light. Metering can be tricky, as the electronic exposure systems of many modern cameras can only be set up to 30 seconds. This means that you will have to resort to the old-fashioned method of timed exposures (using the bulb setting) with a cable release and illuminated stopwatch. Exposure times can extend into several minutes, so a sturdy tripod becomes even more essential.

      Kimmeridge Bay

      As the tide was rising, I knew that the pebbles on this beach would have dried off during the day. For this reason, I took a watering can along so I could damp down the area I intended to use as foreground. The wet pebbles reflect the colour of the sky and brighten the foreground. This shot was taken in mid-December, about 30 minutes after sunset. I placed the camera low to the ground so that the foreground pebbles would add depth to the shot. The small aperture that was required for sufficient depth of field, together with the very low light levels and slow-speed film, resulted in an exposure time of 4min. I didn’t use a colour-correcting filter to remove the blue cast, as I wanted to maintain the colour contrast with the warm orange afterglow along the horizon. 1 and 1/2 stops of extra exposure were required to compensate for reciprocity failure.

      Canon EOS 5, 28–70mm lens, 3-stop neutral density graduated filter, Fujichrome Velvia, 4min at f/16

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      Make use of overcast days

      Although some photographers regard overcast days as unsuitable for landscape photography, some scenes lend themselves to these conditions. Try to tackle subjects that don’t work well in direct sunlight. A cloudy sky acts as a diffuser, creating low-contrast, even illumination that records colour accurately and reveals detail. Such conditions are ideal for shooting detailed, colourful scenes, such as woodlands in spring and autumn, and wildflower meadows in early summer. Colour variations will play a big part in the composition of your image. A bland sky will often detract from the main subject, so it is best excluded. A polarizing filter is vital on overcast days, as it can revive the colours of flowers and foliage that were previously muted by reflected light. A well-saturated transparency film will also enhance the natural colours of the scene.

      Lupins

      Many of the roadside verges along the west coast of Norway are transformed by a brilliant display of wild lupins during early May. Their vibrant colours appear washed out in all but the weakest sunlight, making overcast conditions a necessary requirement for recording them accurately. I was struck by the sheer variety of colours among this display on the island of Runde. In persistent drizzle, I searched a stretch of roadside verge for the best composition, finally settling upon this section of colourful blooms. The vertical format was rather dictated by the arrangement of the flowers, but helps to emphasize the conical shape of the individual flower spikes. Once I was happy with the general composition, I spent time carefully checking the edges of the frame and recomposing to avoid too many neighbouring blooms intruding into the picture. A polarizing filter removed reflections from the wet leaves and revived the vibrant colours.

      Canon EOS 3, 28–70mm lens, Fujichrome Velvia, 6sec at f/16

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      Keep