About Light
Many photographers look at the work of experienced landscape photographers and ask themselves, "Why can't my work look like that? Why are my photographs flat-looking and uninteresting?". The secret is the quality of the light. If we see the work of professionals landscape photographers, we will see that in the vast majority of cases the images were created within two hours of sunrise or sunset, or in fog, mist or rain. Why?
The answer is that the character of the light is as critical a component of a strong image as is the subject matter itself. Take as an example the image below.
This photograph was taken about an hour before sunset. The low sun created strong shadows on the foreground and the accumulated heat of the day had created a haziness to the air that softened the distant mountains and makes them featureless - a perfect backdrop for the photographer who is silhouetted against them. To get a shot like this we have to be prepared to rise very early in the morning to arrive at the preferred location and then be ready to end the shooting session within a couple of hours after sunrise. Good light begins a couple of hours before sunset.
Occasionally we can break the rule and shoot well into the late morning. Here is an example of a photograph that break the above rule.
As we can see here, this photograph was taken during late morning. It breaks the rule against mid-day shooting because the subject matter itself is so arresting. This photograph would have been even stronger if the buttes of the valley in the distance were illuminated by the rising or setting sun, or if the clouds in the distance had a bit more definition as a result of stronger side lighting.Early morning is in many ways more preferable for shooting than in sunset. In many locations early morning is also a time of ground mists. Even when the day is overcast these conditions can create a moody effect that enhances an otherwise mundane scene.
Zen and The Art of Landscape Photography
Contemplation-not
Most people think of landscape photography as a quite and contemplative art. But it can also be considered more akin to the rush of a big game hunt. Because this type of photography is about the ever-changing nature of light as much as it is about location, in the rush to capture the fleeting moment of best-light, some people shoots in a sort of "mindless state" - where they simply focuses on being technically correct but not totally aware of what are they photographing.
To take pictures this way a photographer must trust his/her instinct and have the equipment and technique down pat. Only when photographer and equipment are in sync, and the photographer can take a photograph without even thinking about the gear, are the photographer let the "mindless" state take over and produce the best image it can.
It's a winner
Many times a photographer set out to do some serious photography only to return empty handed. Sure, they have a number of exposed roles of film, but not too many if any winners. This is the way things are. Only when they are in some of the most extraordinary locations and the light and mood are all cooperating do they get more than one or two really worthwhile images in a day; a long day. Most of the time things don't go that well. There's only one solution to this problem, Get out there and do some more shooting.
But it looked great when I was there
The shots that we think at the time are going to be the best, rarely are. If we are very exited about an image at the time of the shooting, we frequently will miss the mark. But, a shot taken at another time in an almost off-hand manner can often become one of the winners. Don't second guess. If it appeals at the time, shoot it. Let the subconscious work for us, not against us.
Extracted from an article written by Michael Reichmann
