Mastering Landscape Photography: Six Essential Steps for Stunning Shots

Capturing the landscape can be quite challenging, often requiring significant effort. It usually involves getting up long before dawn and often working under demanding conditions. Frequently, you will find yourself in the wilderness until well after dark, patiently awaiting the perfect moment, which may not always materialize—even with your best efforts. Therefore, it’s wise to do everything possible to improve your chances. Here are some insights on that.

1. Be Present!

There is no alternative to being at the site when the light is optimal, and all atmospheric conditions are favorable. An old adage by a photographer known as “Weegee the Famous,” from the 1940s and 1950s states, “f/8 and be there!” Probably the most crucial aspect for any photographer is to be present when the action occurs! You cannot capture an image of something the camera isn’t focused on.

Examine your sites thoroughly. I typically revisit favored sites multiple times across various seasons until I become well-acquainted with them. I understand their nuances, where elements are located, and how the light behaves at different times of the day and in various seasons.

2. Observe the Light

Light is the essence of photography, and exceptional lighting can render even the most mundane subject visually captivating. Become a scholar of light. Analyze how it impacts the subject you wish to portray. Presumably, everyone understands that we must control the amount of light passing through the lens and then through the shutter, which alters the characteristics of either the film or the camera sensor, thus forming a latent image. However, many individuals do not fully grasp the additional properties of light we must consider to create good—or even outstanding and meaningful—photographs.

Once you comprehend light—what it is and its effects—you can capture images of virtually anything and enhance its appeal. I plan to write another article soon focusing on light, its nature, its functions, and how to manipulate it so that your photographs become effective instruments that communicate your intended message.

3. Control Depth of Field

Ansel Adams once famously remarked, “The only thing worse than a sharp photograph of a fuzzy idea is a fuzzy photograph of a sharp idea.” There is almost nothing more disheartening in photography than reviewing an image you labored over, only to discover that it is either hopelessly out of focus or that your depth of field does not suit the subject.

I utilize a mechanism in almost all of my large-format photographs known as “The Scheimpflug Principle.” When applied, it shifts the depth of field from a horizontal near-far arrangement to a vertical relationship. This technique allows me to adjust my camera so that instead of the depth of field running horizontally, it shifts vertically. When this occurs, I achieve a depth of field that is sharply focused from the foreground to infinity at a wide-open aperture. (I will discuss this principle further in a later post about depth of field and how it is often improperly taught and misunderstood—even by experienced photographers like myself!)

Here is a portrait of a desert Bighorn Ram I encountered while in the desert. I was walking along a path and heard small stones cascading from the cliffs above. Realizing I was being observed, I concentrated focus on the ram’s eye. Using limited depth of field and contrasting light, I isolated this beautiful, nearly full-curl desert ram from the chaotic background.

4. Disregard Composition Rules

Numerous photographers limit their creativity to strictly adhering to the “rule of thirds.” They would achieve better results by photographing from their hearts and expressing genuine emotions rather than following stringent, archaic guidelines they do not fully comprehend. I once knew a photographer from Albuquerque, New Mexico, who marked the rule-of-thirds intersections on the ground glass of his view camera and never deviated from them. If you consistently comply with a set of prescribed “rules for fools,” your images will inevitably appear the same.

Here is a photograph I took in a forest above Steamboat Springs, Colorado. By positioning the most notable aspen in the foreground, I amplified its size in relation to the surrounding trees. At first, I found the fallen timber at the base of the main tree distracting and attempted to remove them. However, they were too firmly wedged in place. Later, I recognized that those three lifeless trees made the image unique.

5. Acknowledge the Works of the Great Masters

As much as I admire Ansel Adams, there are other exceptional landscape photographers whose work I also highly regard, including Morley Baer, Christopher Burkett, Joseph Holmes, and John Sexton. Become a diligent student of the photographers whose work resonates with you, as well as those whose styles you may find unappealing, until you become adept at recognizing their techniques. Not to imitate, but to build upon their foundations and extend beyond their achievements. Analyze their work to understand what you appreciate and what you do not, thereby becoming visually literate.

6. Steer Clear of Iconic Locations

Aim to communicate something unique about the location you are photographing, contrasting with what everyone else conveys. I once arrived well ahead of sunrise at Mesa Arch in Canyonlands, only to discover a parking lot brimming with cars and throngs of people. Unsurprisingly, the effort was for naught. Lesson learned! To distinguish your landscape photographs from others, you must adopt a different approach. Remember, very few venture more than thirty feet from their vehicle, so you may need to explore further.

Many years ago—over 35 years ago—I discovered a small canyon in Northern Arizona. No one would reveal its location, so I embarked on a quest. Eventually, I located the canyon and captured it numerous times before it garnered attention from others. Now, visiting Antelope Canyon without encountering massive crowds is virtually impossible. What was once a peaceful retreat is now too crowded for me to work effectively.

At the time I captured this image, I was able to spend upwards of five days in this small canyon with my wife—just the two of us and one of our dogs. I would position the camera, open the shutter for the scene I was capturing, and step out into the sunlight to enjoy my lunch. The exposure ultimately lasted about 50 minutes due to the low light and reciprocity conditions. Recently, I watched a video produced in that vicinity, and it was teeming with people, illustrating how artistically capturing that location today would be nearly impossible. If someone aspires to photograph in slot canyons, dozens of them exist in the nearby area. The issue now is that if I showcase this photograph at a gallery exhibit, nearly everyone present will have visited the canyon, diminishing the uniqueness of my vision in the crowd.

Therefore, seek out your own distinctive locations and revisit them continually until you become intimately familiar with them. Locations are akin to discovering a new relationship—they are thrilling, yet you will never discover their secrets through a single encounter. To truly grasp the essence of a place, multiple visits are essential before it reveals its mysteries to you. Be mindful, however, that the public will eventually seek out your hidden gems, necessitating a search for new ones.

I acquire all my film and paper from B&H in New York. They are outstanding, having everything I require readily available, and their shipping service is excellent. Here’s a link to their film page: B&H Film.

Photographic chemicals are also available for purchase there. Most of what I utilize is produced by Photographers’ Formulary in Condon, Montana, and sold through B&H. Here’s a link to the chemical page: B&H Chemicals.

The photograph of the Desert Ram was initially captured using a Canon 6D camera paired with a Canon 70-200mm lens. Large format generally does not lend itself well to most wildlife photography.

The remainder of the photographs were taken using a Toyo 45A camera along with various large-format lenses. The “Eye of the Storm” image was created using a Crown Graphic camera.