DigaPixBlog

A funny thing happens when we introduce humans into a landscape photograph.  They invariably become the focal point of the composition.  It does not matter how small the human figure is in relation to the rest of the scene they draw the viewer’s attention. 

This shot has a group of hikers that are contrasted against the immensity of nature.  This gives us a good scale of reference as to the size of the canyon.  I like the way the photo-artist has used the river as a leading line into the scene.  The viewer can almost hear the sound of the moving water and feel the early morning chill.

The canyon is in shadow and shadows have a tenancy to shift the colors a little to the blue side of the spectrum.  The photographer could have used a warming filter on the camera at the time of the shoot or alter the saturation on the computer to warm up the image a little.  The people have been placed right at the center of the composition.  This may have been a little more interesting if they were more off center.

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Landscape photography is one of the simplest types of image the photo-artist can create provided we understand a few simple rules.  The first is light.  Golden hour is the premium time to shoot.  The second is having an interesting subject, and the third is the rule of layers.

The rule of layers states that a landscape should have foreground, middle ground and distance.  This adds depth to the image, leads the views eye into the scene and gives scale to the composition.

The photograph presented here has an interesting layering of light and shadow.  This shot was taken early in the morning which has allowed good exposure and contrast in the fog, sun light and shadows.  The viewer gets the feeling of a day just starting in the outback.

I would like the photographer to consider that this image is missing one element, foreground.  Without something in the foreground; a rock, a tree, an element of some kind there is nothing focusing the viewer’s attention.  This is why so many shots of places like the Grand Canyon are disappointing.  Photographers forget that small two dimensional images will not capture the scale of the scene without a foreground anchor.

Also the contrast and color saturation could be bumped up on the computer to give the photograph a little more snap. 

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The human eye is extremely sensitive to visible light.  We have the ability of see detail across a wide range of light and shadow.  The camera however can only record about four to five stops of detail in a scene.  This means that dark shadows have a tendency to block up and highlights to burn out in other words no details at the extreme ends of the exposure when the contrast is too great.

I think the photographer of this image had a good idea using the tree to frame the lone gazebo overlooking the water on an overcast day, giving it a feeling of aloneness.  The low horizon and negative space add to the mood.

The photographer may want to consider a few observations.  The exposure for this composition is difficult with little detail in the shadows or highlight while at the same time making the center of the gray scale look flat.   Another thing to consider is the slight tilt of the water’s horizon.  This may be due to the angle of the land on the horizon but it is a little distracting.

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The quality of light changes over the cycle of the day.  In the morning (the first hour after sunrise) and late afternoon (the last hour before sunset) the photographer gets their best light.  The sun is low in the sky, the contrast between highlight and shadow is within the capabilities of the camera and the textures of the subjects are strong.  This is often referred to as the golden hours.

This image of a small river has red leaves in the foreground helping to frame the scene.  I like the photographer’s choice to crop out most of the sky and concentrate on the river and the foliage.

I would like to suggest that the photographer experiments with this scene if possible by taking the same shot at different times of day under varying lighting conditions.  The midday light has washed out much of the color in the composition.  Some increase in hues can be achieved with the use of photo software on the computer.  Another thing I would like the photographer to consider is trying to find a stronger subject.  The river by itself does not have a strong attraction for the casual viewer.

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Midday landscapes can work but often they lack drama because of the flat light and deep shadows.  Early morning or late afternoon cross light has a much narrower contrast range, this allows the image to keep both the shadow and highlight details.

The midday landscape presented here has overcome most of the issues associated with flat light.  There is good detail in the foreground hillside with the flowers and the middle ground has the wonderful colors of this Pacific bay, a color not often seen along the California cost.   The photographer’s selection of the extreme vertical format creates additional interest to the scene.

There are a couple of suggestions I would like to make.  I know this is almost imperceptible but the horizon of the ocean in the distance is not quite horizontal.   It’s something   I always look for in a seascape.  The second recommendation I would like to make is the light to dark contrast is weighted a little too much to the dark side, by working with the levels curve this can be altered a little.  This will not bring out the shadows in the trees which were lost due to the midday contrast but it will brighten up the foreground and beach slightly.  At the same time the rocks in the distance could use a 20% dodge to bring out a little more detail.

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When traveling we sometimes see a scene that interests us but we don’t take the time to photograph it saying to ourselves that we will get it on the way back.  But when we return later everything has changed; the light is different or someone has started construction right in the middle of the landscape.  My advice to the photographer is take the image when you are inspired the first time.  You can’t go back.

This storm shot was taken during a road trip and as you can see the weather was changing by the moment.  I like the nice panoramic feel to this image.  There is a sparseness to the land that is dominated by the storm front.  The small rainbow in the lower left tells us there is wet weather passing through the area.  I like the fact that the photographer left a mass of blue sky above the storm balancing the parry.

There are a couple of things the photographer might wish to alter in this image.  The overall image is on the muddy side, there are no clean whites.  If the levels and curves are adjusted to the back and white points there will be better contrast in the scene.  The horizon is tilted.  This is probably the natural slope of the land but it might be interesting to make the horizon level to give a feeling of a flat plain. 

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In Monument Valley Arizona there is a beautiful over look of the valley, one of the stops on the guided tour.  I don’t think you can drive down in to the valley by yourself any more.  At this stop there is a concession where a rider is out on the point for the tourist’s photographs. 

This shot of the man and horse overlooking the landscape is a stock shot.  The problem is that it is hard to get a different or unique angle of this icon scene, so most of the photographs look pretty much the same.  I like the rich texture in the red foreground rock face created by the photo-artist on the computer using his sharpen filter.

There are a few things that concern me about this image.  I would recommend not placing the subject in the center of the frame.  The second thing I noticed is that the horizon and the surface the horse is on are not horizontal; they appear to be sloping slightly to the right.  The last and perhaps the most important is the over use of the sharpen filter.  It works well in the foreground but has cause a light outline around the dark animal against the light sky.  I feel this filter was over applied.

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What is exotic to a person in one culture is common to someone living in a different culture.   It’s interesting to reflect on the fact that no matter how foreign and unusual a scene may be someone lives there and takes it for granted and ordinary.    A photograph of Tucson or Hollywood is just as wondrous to a photographer in China as a photograph of the Forbidden City would be to a photographer in North America.

This image submitted by an Asian photographer is more than a travel picture; it is an illustration of a common sight.  The photo-artist has done a nice job of using the foliage in the foreground to frame the subject and give depth to his composition.  The boatman in the red jacket adds human interest to the scene and acts as reference point in the middle ground.  The tower itself stands out against the green foliage.

I would like to recommend to the photographer that they do a little more cropping and remove some more sky and some of the levees on the right hand side.  If they have access to photo manipulating software they could alter the hues to a little richer tone.

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Panoramic photographs can be stunning for their ability to capture such a unique amount of information.  However we sometimes forget that though they may be unusual these wide angel images must hold interest to the viewer other than just their vista.  The most common problem with this type of image is a lock of a strong subject.  Too often there is little to hold our attention within the vast expanse of scenic view.

This is our first true panorama photograph.  This image consists of sixteen photos stitched together using Photoshop elements 6.  The subject is the city of Tucson Arizona.  There is a rain shower in the frame on the right side.  On the left is the city down town area.  When I first saw this image I thought if was the San Fernando Valley in Los Angeles.

I would like to make a few suggestions to the photographer.  The image appears to be a little washed out in color and saturation.  The photo-artist may wish to consider working with the levels and curves on the computer to add a little contrast and color to the composition.  Also a viewer not familiar with the location might find the scene lacking a focal point, something to attract and hold their attention within the frame.

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When we first start out in photography we have a tenancy to include more information in our photographs than is necessary; too much sky, too much foreground, etc.  The photographer needs to say to themselves what in this scene interests me so much that I want to photograph it?  Then they must eliminate everything else that is not important in the telling of the story. 

This image from Asia has a nice feeling of an exotic location.  I like the placement of the small gathering of buildings off to the left side of the composition.  The riverbank and the trees work well as a leading line to the subject.  The color in the brown river is a nice rich hue.

The first suggestion I would make is to reduce the amount of sky.  It has very little detail and is not important to the photograph.  At the same time some of the sky reflection in the river can be cropped out.  This will allow the viewer to concentrate on the subject, the river bank and the village.  If the photographer has access to a computer with Photoshop or some other photography software I would suggest using the burning tool to darken the nice blue hills to give them more body.  This would also help the lighter areas of the river.

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Water, as we all know, can take many forms; gas, liquid and solid, depending on the temperature.  In photography this element takes on many of the same characteristics, depending on the shutter speed used.  The slower the shutter the more frothy its appearance and in converse the faster the shutter speed the more solid it appears.

This photographer has elected to use the slower shutter in order to create the feeling of a mist of falling water.  What I particularly like about this image is the number of layers starting with the rushing rivulet in the near foreground back to the still water followed by a series of steps to the top of the frame.  An inexperienced photographer would probably focus in on the primary water fall and not given the viewer the detail in the foreground.

This photo-artist has narrowed the view to only the detail information required to tell the story of this waterway in the forest.  The inclusion of the logs in the stream implies the nature of this wild and natural waterway.

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Photography has many levels and many purposes, from the snap shot of the kids to the archival quality print.  An image that is significant to one person is irrelevant to another and an abstract photograph hanging in a gallery is just a bunch of jumbled lines to some but high art to others.  There are only two people that can decide if a picture is good or not, they are the photographer and the viewer.  However they will not always agree.

This landscape taken in Ojai California does a nice job of representing the caricature of this small agricultural area.  In the foreground we see a field of commercial lavender, with palms and young citrus trees in the middle ground backed up by golden hills in the distance.  The field of lavender has a nice graduation of detail receding into the tree line.  This is a good candidate for a local calendar or post card about the regain.

If the photo-artist wished the foreground area could be selected and the color punched up even more using the levels and curves on the computer.  It’s always a call between as seen and as imagined. 

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There are a number of slot canyons in the American southwest.  For a list of these works of nature look on ‘The American Southwest’ web site http://www.americansouthwest.net/slot_canyons/index.html.  These are a favorite of photographers because of their remarkable light, color and patterns.  One of the best times to photograph these remarkable features is a high noon when the source of light reverberates off the walls.

The photographer here has attempted to give scale to the geological features by adding a person to the scene.  His fellow photographer dressed in blue ads a counter point to the rust reds of the canyon walls.  You will note the reflection of the rosy hue on his shirt and jeans.  This shot was taken at sometime other that noon.  The hues are almost pastel with little contrast in the shadows.

The subject is well placed in the composition but it would have been nice if he were in a more active posture, perhaps semi profile looking through the camera photographing.  A little more color and contrast could be added using the computer if the photo-artist wished.

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Some subjects lend themselves to certain formats.  A tall building generally looks natural using a vertical format and a long train would lend itself to a horizontal.  Panorama shots are normally wide and narrow.  That’s not to say you should not take chances and experiment.  Keep in mind just because the camera is setup with a particular aspect ratio you can re-crop to you own format size.

The image we have here has been shot so that the sun is visible in the scene.  The photographer has done an excellent job of reducing the lens flair.  You can still see a little in the water just under the bridge but it is almost unnoticeable.  The exposure is a good compromise.  I like the bird placed in the sky on the opposite side of the frame from the sun.  The shore makes a nice diagonal graphic.

I would recommend trying to crop this shot to more of a horizontal format is possible.  Another thing the photographer could have done was to get down just a little lower to change the relationship of the beach to the bridge and reduce the amount of smooth water.  This would give a little more texture to the image.

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Photography is like the old game of rock, paper and scissors. There are three things you need in any photograph; light, subject, and composition.  Of these light can make or break the subject and the subject will often lend itself to a particular composition.  But with the wrong light the best composition and subject will lack interest and drama. 

The photograph presented here is an excellent example of how light can transform a scene from ordinary to wonderful.  This panorama of the Arizona desert has a certain snap and crispness created by the dappled late afternoon light through the clouds.  There is good detail in the major shadows while the whites in the clouds hold detail.  The dark to light to dark foreground and mid ground adds depth to the composition.

Can you imagine what this landscape would look like if it had been photographed in the unrelenting mid day sun.  It would be a totally different scene.  The right light is what has made this simple composition work.

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Nature has constant wonder and beauty for the eye.  Too often it only lasts for a moment and then it passes.  As a photographer we must be prepared to capture these images with instantaneous spontaneity.  Once the moment has passed you can’t go back, so be prepared for the unexpected. 

This image is an excellent example of what are often called ‘Gods Rays’.  They have been interpreted in paintings since the Renaissance.  But unlike the painter the camera captures only what is there without additional embellishment.  This photograph is as inspirational as any nineteenth centenary painting.

One of the interesting features about this composition is the contrast in color above and below the clouds.  The blue-gray above represents misery and the yellow-gold below can be seen as hope and warmth.  This is an interesting graphic going on within this simple composition.  You will note that the landscape rises from the horizontal plane to the mountains on the left.  The clouds mirror this rise from right to left.

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When shooting sunsets the photographer often needs more than just a nice colored sky to hold the viewers attention.  The foreground adds depth and interest to the image.  As much attention should be given to the quality of the foreground as is given to the primary subject for one often cannot stand without the other.

This photographer has selected the interesting silhouette of beach grasses to frame the setting sun.  The graduation of color from pink to blue sky gives a pleasant sensation.

I would like to suggest that the sand in the foreground is a little distracting and could be removed.  This may work very well as a narrow horizontal image.

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In the days of film, slide film in particular, we were restricted to the format size of the film.  Today with computers and our ability to print our own stuff the format size is no longer an issue.  So don’t be afraid to crop images to sizes that fit the subject or composition.

This landscape was taken during the golden hour of morning or late afternoon.  Notice how the hues of the summer grasses, which would look pail and dry in mid day light, are rich and golden at this time of day.  The right light can take something that is flat and uninteresting, rich and attractive.  I like the shadow in the foreground that separates the hills from the plants along the bottom edge of the frame.  If anything I would like to see a little more of these to give us a stronger foreground.

The photographer may wish to consider cropping out about half the sky.  The clouds are nice but not essential to the story of the California landscape. 

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Fill flash is a useful tool too often overlooked.  It can be used to fully or partially stop action, fill in shadows, balance light intensity or light color.  It is best used when it is least noticed, like the music in a movie score, if you don’t notice it is when it is the most stressful.

This photograph uses fill flash to illuminate the three crosses on an overcast day.  If the photographer had not used the flash he would have had to increase the exposure and lost much of the detail in the sky.  The fill light also gives the subjects a surrealistic feeling as if they are standing out separately from the prairie below and the sky above. 

I like the effect but it is not very subtle.  There appears too be a little to much light on the grass.  It is nice that you were able to reduce the amount of shadow cast by the intense light of the flash.

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Wow this is a knock out shot.  Talk about drama, I don’t know how much color manipulation was done but this is one of the best lighting shots I have ever seen.  Last week I saw for the second time the 2005 move ‘War of the Worlds’ and this photograph could have been used in one of their promotional flyers. 

In addition to the sky, and what a sky, the plants in the foreground and the mountains in the distance act as reference points for the lighting strike, giving a three dimensional feeling.   The subject, the lighting strike, is not centered in the composition and nicely balanced by the relatively tranquil sky over the mountains.  I feel the small clump of vegaation in the lower right are extremely important to this composition.

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There are four distinct deserts in North America, the Sonoran, the Mojave, the Chihuahuan and the Great Basin.  Southern Arizona is Sonoran desert with mild winters and rain fall in both winter and summer.  The best know symbol of this region is the saguaro cactus (Cereus Giganteus). 

The photograph show here is typical of what you will see in Pima County around Tucson.  The photographer has captured a typical saguaro forest on a pleasant day.  The colors are soft muted hues of green and gold with a cloud filled sky that gives the impression of a mild winter day.  This shot appears to have been taken in the late afternoon.

This is a nice vista shot with interesting detail but may be lacking a strong focal point.  The photographer may wish to consider using something such as the barrel cactus in the foreground as an anchor point for their image.   Consider using a wide angle lens and getting down low with an interesting anchor up close with the vista in the background. 

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Slovenia was a republic of Yugoslavia until their independence in 1991.  Located at the eastern end of the Alps just south of Austria it is one of the most beautiful areas in Europe, form Mediterranean beaches to Alpine forests.

Our world traveler photographer has returned with this image of Lake Bled.  The photo-artist has given us a scene of a home on an alpine lake.  The composition only shows water and trees, this technique allows our imagination to determine how high the mountains are in the background.  The architecture of the house leads us to believe this to be a European scene rather than one here in North America.  Locating the house on the one third line rather than the center of the frame adds depth to the image.

I would like to suggest to the photographer that they consider removing the reflective surface of water along the bottom of the frame to give a more consistent look.  Also the colors could be punched up a little.

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Man in nature can give interesting contrasts by using the juxtaposing of the natural world with manufactured elements.  This can be done by showing man dominating nature or the insignificance of man in the larger scheme of things.  This theme has been used in photography for the past two hundred years.

The photograph shown here has many manmade elements; the wire fence, orange grove, power lines, superimposed over the Topa Topa Mountain near Ojai California.  The cloudy sky takes up about half of the composition.  The layering of shades of green is interesting.

There may need to be some work done with the contrast and color saturation.  This would give the image a richer feeling.  Along the left hand edge there is a black line that could be removed.  I do not feel the fence is a particularly strong element in this composition however I would not crop it totally out of the image.  But the gray ground under the trees could be removed.  This would simplify the layout and take the viewer deeper into the scene.

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I want to encourage every amateur photographer to experiment and try new techniques.  You have nothing to lose and you may just learn something, even from your mistakes, and once in a while you will get an image you are proud of.  Don’t just stick with what you already know try something different.

This long exposure image was taken after sunset at a time that appeared to have little or no light in the sky.  The photographer tried an experiment and came up with these interesting colors and cloud patterns in the sky.  You will note the visible small squares in the upper left hand corner.  These are what are called noise in digital camera; this is roughly comparable to grain in film.  A digital camera builds up heat when opened for long periods of time and thus noise is a result in the image.  There is computer software that will correct for this condition.  The photographer has created an interesting experiment.

The image could use a stronger subject.  The silhouette does not have a subject of much interest and the graphics are not particularly strong.  I do like the cloud formation on the right and the light cast on the distant hill.  I would suggest to the photo-artist that they continue working with long exposures and learn as much as you can by solving the technical issues and finding strong subjects to work with.

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The bristlecone pine is known to live up to nearly 5,000 years.  There are three species of bristlecone pine spread over six states in the American southwest.  They live at the very top of the tree line in areas with low temperatures in dry soil.  Their growing seasons are quite short.  The wood is one of the hardest making it almost impervious to insects and other pests.  The Bristlecone is sometimes called the Methuselah tree of obvious reasons.

When I first saw this shot I was impressed with the clarity and crispness of the air.  The colors are bright and full with a nearly perfect tonal range from the whitest whites to deep black.   The photographer has thrown the subject off to the right asking us to look over the crest and at the landscape beyond.  I like the placement of the clear blue sky behind the tree thus keeping our attention on the subject.  You can see from the landscape this species does grow in a dry, cold environment at the top of the tree line.

This is an interesting image that could be used for commercial purposes such as a calendar or book on the area.  With this layout it could be cropped a number of ways to fit different formats.  But there may be some printing problems with the bright rocks in the foreground.

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Most images are made up of lines.  When you look at an image try to imagine how you would draw the subject with the fewest lines to capture the essence of the graphic elements.  This will give you some idea about what is important in the composition regardless of the subject matter.

The landscape in this photograph consists of three main elements; the island (foreground), the sloping hill side (middle ground) and the snow capped mountain (distance).  These make up the distinct graphics of this composition.  The cloud bank in the distance blends into the white of the mountain so I see is as only a secondary feature.  The photographer has elected to place the peak of the mountain on the center line of the composition.  Often it is not a good idea to make a layout so symmetrical but in this case it works, I think partly because of the weight given to the sloping hill which adds some tension to the right side.

The lighting is nice early morning light giving sharp texture to the island and yet not so bright as to lose detail in the distant shadows.  I would like to make one observation and suggestion.  The viewer expects to see nature in its pristine beauty yet there is a yellow cast to the white of the snow.  This can be improved by adding a little of the complementary color to the photograph, in this case blue.

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Some subjects are difficult to photograph not because they are hard to capture with our cameras but because they have been photographed so often that everyone believes they have seen or taken the same image, they have become cliches.  Show me an interesting photograph of a ground squirrel and I will show you a great photographer.

Rainbows fall into this often photographed catagory of images.  However this composition stands out from most rainbow photos.  It has context, good lighting and decent graphics.  It is basically a landscape photograph with a rainbow for interest.  I feel the ark of the rocks opposing the curve of the colored bands adds an interesting graphic element. 

There are a couple of things the photographer may wish to consider.  This being a landscape the photo-artist could have included a little more foreground at along the bottom of the frame, this would add depth.  By cropping the intersection of the rainbow with the opposing curve of the rocks and the waterfall would not be in the exact center of the picture.  Also you might consider a little due and color enhancement on the computer to make the rainbow colors pop.

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Finding ways to photograph subjects that have become clichés is exceedingly challenging.  They force the creativity out of the photo-artist.  Some of the ways to make an image stand out are to try a different shooting angle, unusual lighting conditions or special filters and computer manipulations.

This photograph of a Japanese rainbow bridge could have been just another record shot of a familiar composition but the photographer has applied an inferred filter to the scene to give it a little different feel.  In addition some pastel greens and pink tints have been applied to offset the strong whites and blacks of the layout. The weeping willow tree to the right has some particularly nice textures and detail bought out by the inferred filtration.

It is a matter of choice, the current composition has the viewer standing at the end of the waterway but if the image were cropped a little tighter the viewer would have more of a feeling of being able to cross over the bridge.  It’s one of the personal choices photographers have to make with every scene they present; there is no right or wrong decision just personal perspective.

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Last night I read an interesting comment about California’s wild mustard.  The author said that the mustard plant is not native to this part of the country and the legend was that the Spanish Franciscans spread the seed by the handfuls along the Camino Real to mark the trail.  I don’t know it it’s true but it adds a little romance to the lowly mustard plant.

There is a striking similarity in the composition and subject matter in this image and the posting titled ‘Yellow 2′.  They both use a fence in the foreground to frame the landscape in the middle ground and have hills and blue sky in the distance.  They were taken at the same time of year with the wild mustard in bloom. 

The fence in this image does not have a strong graphic impact and blends into the middle ground without much impact.  The landscape is nice but appears to be muted and washed out.  I would like to recommend working with the levels, curves and saturation.  If you are not familiar with this process you may wish to visit Darrel Priebe’s web site on www.DazzlingPhotography.com.

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There are so many ways to make a photo work and just as many ways to weaken an image that I don’t know where to begin.  Just to state a few things that make or break a photograph; interesting subject, good lighting, strong graphics, good technical skill and the list goes on.    There are also those images that break the rules that work and are so interesting as well as so strong that they are can be considered innovative and creative.    It’s like most things we have strong opinions on “I don’t always know how to explain it but I know it when I see it.”

The scene presented here has a number of elements working for it.  First the strong graphic of the fence in the foreground dominates the image but is not the subject.  The middle ground, the mustard, is the subject because without it there would be little of interest to see in the composition.  Thou this was taken after the golden hour the strong light is on the far side of the fence and this keeps most of the white surfaces in shadow and reduces their impact and contrast allowing the yellow to capture our attention.  The distant hills with the graduated blue sky are dark in tone and this traps our attention in the middle ground field of flowers.  The fence does not lead us into the image but acts as a bottom frame for the field.

You will note a potential problem this photo-artist managed to avoid.  In the lower right hand corner the edge of the fence is just above the apex of the corner, thus avoiding an intersection.   Another thing that works in this composition is that the flowers are in full bloom and the photograph is taken at a low angle which has the effect of streanthing the yellow saturation by eliminating as much of the green in the middle ground as possible.  The photographer wants us to pay attention to the yellow and in this composition he has succeeded.

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