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Advanced landscape photography

Anonymous Mon 17 Sep 2018 08:34:59 No.3358767 View View Reply Original Report

Quoted By: >>3358777 >>3358782 >>3358785 >>3358806 >>3359029 >>3359182 >>3359246

So, let's say you understand setting up and using your gear. You're familiar with basic composition techniques and fairly consistent when it comes to basic edits like exposure, hsl, split-toning etc.

Of course you can (and should) always improve on what you already know, but where do you go to get that extra punch for your landscapes? I'd love to learn some advanced stuff like exposure and composition blending, sharpening using a high pass filter etc. and could use some tips where should I look.

Are advanced courses worth it? Any good books on the matter? I'm willing to invest a bit, but I'd rather not pay the price of new ND filter set just to get told to bump my aperture to f/22 and pray

Anonymous

Anonymous Mon 17 Sep 2018 09:04:10 No.3358777 Report

Quoted By: >>3358806

>>3358767
TK Actions & Sean Bagshaws tutorials are a great resource. Best thing I ever purchased.

http://goodlight.us/writing/actionspanelv6/panelv6.html

Anonymous

Anonymous Mon 17 Sep 2018 09:24:01 No.3358782 Report

Quoted By:

>>3358767
I join the question! What about moving within a landscape? How do I recognize interesting spots of perspective in advance, so that I can move there?

Anonymous

Anonymous Mon 17 Sep 2018 09:34:10 No.3358785 Report

Quoted By:

>>3358767
>but where do you go to get that extra punch for your landscapes?
Editing.
What separates competent and good landscape photography is light
What separates good and great landscape photography is editing

The other advice I give when this question comes up is to go back to composing and artistic approach- everyone understands the advantages of foreground interesting and generic rules and ratios for landscape but getting deeper into colour balance, weight, referencing and all the other traditional artistic points of painting and photography come into play more when you have a genre as plain and boring as landscape with so many people doing it

and obviously, as with everything else, mastering other genres helps immensely. Street photography is something that helped my landscapes because it taught me how to see and create flow, how to compose a foreground to match a background, et al

Can't give you anything specific but the one thing I would say is don't spend money on learning landscape- all the information you could ever want is available for free and you're not going to make any money from landscape anyway, so why rush?

Anonymous

Anonymous Mon 17 Sep 2018 11:41:04 No.3358806 Report

Quoted By: >>3358861 >>3359032

>>3358777
Are there any competent v6 tutorials out there jet? I see some for v4, not much else.

>>3358767
f22 is meme digital phototogs throw at newbs to make them look bad. It's the other way around for large film formats, but I bet you're talking digital. f's are lens/system dependent, most often you've no reason to go past f11 on most lenses, and even lower on some crop sensors, you'll be entering diffraction land on closed apertures. Familiarizing yourself with your lenses and system is much more important. Filters are real, nd and polarizers both tend to be vital to get the colours right, fool around with some cheap screwins at first to get your bearing and what you think works for you, then invest into universal square filters with good holds. Also, don't spend money on wide angle lenses, biggest meme of them all.

Anonymous

Anonymous Mon 17 Sep 2018 15:23:50 No.3358861 Report

Quoted By: >>3358876

>>3358806
yes when you buy the panel buy the Sean Bagshaw videos in a bundle, worth every penny.

Anonymous

Anonymous Mon 17 Sep 2018 15:44:15 No.3358867 Report

Quoted By: >>3358888 >>3358977

For me improving in landscape photography has never been about the technical aspects. I know how to compose, expose and process. Of course there’s room for improvement, but by far the most important areas I and many others can develop is getting the time and place right. Putting in those extra hours of driving, or hiking way off the path, or waiting in the rain in the vague hope the clouds let some light through. That’s going to give you way more than a Lightroom course ever could.

The best landscape photos I’ve ever seen have never been particularly ‘advanced’ in technical terms. That’s not what landscapes are about.

Anonymous

Anonymous Mon 17 Sep 2018 15:56:52 No.3358876 Report

Quoted By:

>>3358861
Yeah, looking at anything but Bagshaw. Getting out of camera results as good as his bled series...

Anonymous

Anonymous Mon 17 Sep 2018 16:45:18 No.3358888 Report

Quoted By: >>3358977

>>3358867
I agree with this anon. There is only so much delta that more technical knowledge (exposure values, filter usage, etc) can give you over a photographer without it. But what really makes a landscape photo stand out is finding something extremely unique. No one wants to see the same tired compositions of El Capitan or the Oregon coast or Arches National Park or whatever.

Go out and find something truly unique, combine that with lucky lighting/weather (which is more a trial of patience than anything) and add the technical basis on top of it and I believe it will produce the most appealing and the most satisfying photos.

Anonymous

Anonymous Mon 17 Sep 2018 21:07:36 No.3358977 Report

Quoted By: >>3358988 >>3359085 >>3359171 >>3359205

>>3358888
>>3358867
So what's your experience in traveling and hiking? How do you plan which direction to go? Hiking along water? Towards the sun? Following upland or valleys? How do you handle sun light, dusk and dawn?

Anonymous

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Anonymous Mon 17 Sep 2018 22:04:36 No.3358988 Report

Quoted By: >>3359085

>>3358977
I personally, never plan the shoot, I'll plan the tour, then if I'm lucky I'll get something along the way. But then again, I'm not awfully disappointed by not getting anything. Now, if I did plan for a shoot, I can't imagine what nightmare that would be. You can't plan for sun, you can't plan for fog and you can't plan for rain, so even if you're shooting sunset at some location, a single cloud can fuck you up royally.
I was up the local mounts the other day, forecast was for clear and sunny whole day, and I got shitty conditions all the time, I barely took the camera out of the backpack. While descending at the evening, everything cleared out, and sun came out. If I stayed up half an hour longer I imagine I could have taken something quite good. But I've no regrets, I was beat, sweated all my shirts, my knees hurt, and I actually had a good time descending in those conditions. Other time, bad forecast, I just wanted to get up an easy but obscure peak that's been luring me from afar for some time now. Four hours up, four down, no chances of planning on anything. Rained along the ascend, hid myself for a while under some roof, then sun showed itself, and I got some of my best shots of the year. Fantastic clarity of the mountainsides, just right lighting, and I've not touched those shots for a month now, fooling with mushrooms and perfecting lesser stuff.
What I do see often is people converging on sweet spots, not necessarily the best photo opportunities, but just spots from where good shot were taken in the past. It's not hard looking up and figuring at what light and where the cam was stationed for most landscapes. Now these fuckers will go to exactly the same space, set tripod and just camp there waiting for good light. I'd say that's photographers way. I wander around, stumble upon something from time to time and then cherish it.

Anonymous

Anonymous Mon 17 Sep 2018 23:34:21 No.3359029 Report

Quoted By:

>>3358767
The hard part is finding something worth taking a photo of. The worst part is finding something worth taking a photo of and fucking it up due to lack of experience or knowledge.

Anonymous

Anonymous Mon 17 Sep 2018 23:35:51 No.3359032 Report

Quoted By: >>3359458

>>3358806
>diffraction land

I've yet to see that being a problem on moderate to good lenses even when pressed to f/32.

Anonymous

Anonymous Tue 18 Sep 2018 02:23:11 No.3359085 Report

Quoted By: >>3359205

>>3358977
I try not to plan trips around photo opportunities because its so easy to fall into the habit of looking up popular shots at wherever you're going and then copying that. I just find places (national parks, BLM land, etc) that I want to go to and I know I will enjoy camping at and bring my camera gear along. I keep my trips very free-form so I can spend all day or none of the day shooting depending on conditions. Like >>3358988 said, if you try to plan for certain conditions you will drive yourself crazy from the inconsistency of mother nature. Of course I do try to be in nice spots during sunrise and sunset - e.g. start hiking well before those times so I'm not stuck in a forest or valley floor when the light is likely to be favorable.

Just go out and go out often. Good opportunities will soon present themselves. Even if they don't, at least you got time to hike out in nature which is infinitely better than sitting behind a computer screen or in an office all day.

Anonymous

Anonymous Tue 18 Sep 2018 07:01:03 No.3359171 Report

Quoted By:

>>3358977
Like the others said, you need to stay flexible. But I spend a lot of time looking at maps and pictures of the area, checking various weather forecasts and the sun trajectory. I work out where I can be for certain times of day, and the way the light’s going to be hitting the land, and plan around that.

Anonymous

Anonymous Tue 18 Sep 2018 08:03:01 No.3359182 Report

Quoted By:

>>3358767
What you're looking for is called artistic vision.

Anonymous

Anonymous Tue 18 Sep 2018 09:19:20 No.3359205 Report

Quoted By: >>3359385

>>3359085
Can you elaborate>>3358977 on especially the latter questions? Say you stand somewhere looking around

Anonymous

Anonymous Tue 18 Sep 2018 11:07:21 No.3359246 Report

Quoted By: >>3359307

>>3358767
>taking photos of rocks
0/10

Anonymous

Anonymous Tue 18 Sep 2018 11:30:31 No.3359255 Report

Quoted By: >>3359280

I need composition 101. Is there a vid or a book anyone would recommend?

Anonymous

Anonymous Tue 18 Sep 2018 13:12:11 No.3359280 Report

Quoted By:

>>3359255
https://digital-photography-school.com/9-composition-techniques-to-use-to-improve-your-photography/

I'd suggest these to start out, you can later expand on the ones that fit your style

Anonymous

Anonymous Tue 18 Sep 2018 14:46:37 No.3359307 Report

Quoted By:

>>3359246
>Needs desperately flashy subject to mask your lack of talent

Anonymous

Anonymous Tue 18 Sep 2018 18:40:08 No.3359385 Report

Quoted By:

>>3359205
Well you will (roughly) know that you have sunrise in the East and sunset in the West, and your phone can tell you when those will be happening. Beyond that I might do some pre-scouting online for neat places. Certain features will almost always photograph well like alpine lakes, big rock faces, flower meadows, etc. So those are generally a safe bet. The best thing is having patience and watching as the light changes. Whether it is rising or falling, it can change pretty drastically from minute to minute in some conditions and a shot can really present itself out of nowhere. This also means you need to be prepared - tripod setup, metering ready, camera ready to fire. Keep in mind Moonrise Over Hernandez was about 5 seconds away from never happening.

Anonymous

Anonymous Tue 18 Sep 2018 21:24:05 No.3359458 Report

Quoted By: >>3359822

>>3359032
Diffraction has just about nothing to do with lenses. You might simply have pretty damn fat pixels on your camera or not be that critical about it.

F32 is already pretty harsh diffraction wise on 4x5, on any existing digital sensor you are losing a lot when you shoot f32.

Anonymous

Anonymous Wed 19 Sep 2018 16:14:17 No.3359822 Report

Quoted By:

>>3359458
Not nothing, there are noticeable differences thanks to lens designs, but sensor size is of a much higher importance. Thanks to it people are talking about sweet spots, f11 tend to be one for full frame, f8 m43, large film format can go up to f64, but obviously needs something in the range of 11x14, and so on.

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