Techniques |
I've always found the word technique in landscape photography, quite crude,
its definitely not a word that comes to mind when creating an image, and
although not entirely inappropriate, its place seems more suited to the
science involved in-camera. I will try to divulge both, as one is of no use without the other.
What I look for in an image I can try and articulate, but it has to be said that this is likely to have more to do with ones personality, and can be more accurately be formed as a feeling then described later, crucially in that order, and not the other way round. What works for one may not work for another, and it is essential that your pursuit is entirely personal and that you are pleasing yourself. Curiously however, there seems to be an area in art, that when found, holds a common ground, and appears to strike a chord in most viewers, almost as if it has drawn something out of us that we all posses, consciously or not.
It starts with a desire, without this you will achieve nothing, this cannot be added to you neither can it be taken away, and in the same way, what you
achieve and how you expand your vision, is a process of uncovering this
mysterious aspect of yourself, in the way that a flower does not come from
anywhere else other than itself. What you will learn on the way will be yours in such a way that changes the meaning of the same information passed on to you by another, in other words, and crucially, it becomes knowledge rather than information. This is yours to twist and turn because you own it, you understand it, you found it, and this is called creativity.
This may seem far from 'technique', and as we said earlier, in a way it is,
but I will stick my neck out here and say, it may be some of the best advice
you will hear.
Practically speaking with my own work, a successful image is never only
comprised of one thing, its the marriage of two fundamental aspects working
simultaneously, Subject/composition and light. One can occur without the
other and often does, and its all about understanding both and creating your
'luck' when bringing them together. When they do its like visual alchemy.
- When composing an image I am always conscious of spatial awareness, keep it simple and let subjects speak louder as a result. Too much information can distract and loose its purpose, as with a good artist, he always knows when to stop painting, similarly if you are shooting something that catches your eye, remember your composition is as much about what you exclude as what you include.
Although you are never manipulating the landscape, (and that with my
philosophy, would be sacrilegious), you are choosing and selecting,
remembering a photograph of a mountain is not a mountain, its a photograph of a mountain, and with that comes a different set of parameters. The eye wants to see differently with its new dimensions and restrictions, this can enhance a subject or kill it, depending on how your awareness of this is applied. Try to treat your subject matter as shapes and lines and how these relate to the new world you've created through the frame, detach yourself from what your subject actually is, and more an interaction of space and form. I always look for a certain sense of order and flow in my images, sometimes nature does not want to comply, and thats the challenge, making success all the more rewarding when you find it. Keep all this as background information and try not to think about it, remember its a feeling you ll be motivated by, which you fine tune over experience, enjoy yourself and go with what moves you. If your reading this, chances are you are inspired and half way there.
- As a thing on its own, composition is a very one dimensional thing when
it comes to fine art photography. How light interacts with your subject is
the X factor element. Natures own light show is infinite, varied and
stunning. It has its own depth, temperature, tone, colors and strength, all
creating drama, mood, and ambience. Not being able to control this, adds to the excitement, freedom and wildness of your work, this is what landscape photography is really about and most true landscapers including myself will be moved by nature herself, before being motivated to capture. Some interesting points are this: There is no wrong light, just bad use of it, whilst a great scene can be mundane in poor light, a weak scene can be made usable in great light.
To divulge some of the secrets of its application will take away your fun,
taking away the prize of your discoveries with it. Get out there and live
the photograph, your successes and failures will be your knowledge, and your joy, to prescribe a formula for a perfect shot is not what this is about and neither is there one. This way you will also learn WHAT IS POSSIBLE TO ACHIEVE and apply it again armed with your new knowledge.
You will notice with all good landscape work, that flawless quality of image is not a compromise, and perhaps because of the nature of its subject, without this, its point is lost. Again an example of when something on its own is not enough, because photography is a science expressing art, a good eye will not complete your vision alone. This is where in-camera technique and knowledge is essential. e.g.: Whether your shooting film or digital, your speed rating will always want to be as slow as your exposure times will allow you to go depending on the specific requirements of that shot. In the same way you will be mostly after front to back sharpness, requiring maximum depth of field with your aperture settings. Both these aspects will inevitably result in longer exposures, but can be used to creative effect as your vision and understanding grows.
Lens quality is an essential ingredient to your mix. The quality of your glass is everything, the best lenses you can afford will usually reflect this. Its the very last point of failure or success in image quality after you have put the hard work in with your inner eye and inner-camera technique. Don't let yourself down last minute with cheap glass if you can help it.
As far as in-camera quality, this will usually be based on the amount of
information the sensor or film can pick up, and this will be determined by film size or sensor pixel size. As these things get bigger so will its quality and with it its cost. In short, what information is picked up is in-camera, and what information is seen, is in the lens. You will want both to maximise your image sharpness and detail.
THATS IT........
Don't be seduced by equipment any more than by its ability to give you the quality you're after for the vision you want to express, this being the
creative aspect no camera can, or will ever, achieve for you. This is a line
that becomes very blurred by a surprising number of photographers, where the idea Photographer and Photography become one in the same, not only is it untrue, but its mere notion or belief will make you lazy, looking less deep into your subject and more into your equipment for brilliance, where you will be searching forever. In this lies much of the prejudices that came with the arrival of digital photography, where as its only ever going to be a question of the eye behind the camera not the eye of it... |
