Tuesday, December 27, 2011
Intensify Your Landscape
How to give your scenics extra punch when the situation calls for added intensity
There's a time for subtle, and there's a time to punch things up. Extra intensity is usually associated with punched-up saturation, but that only works when you have a shot that's strong to begin with. In fact, all of the techniques we discuss here are about bringing a photograph that's a nine up to a solid 10. Taking a weak shot, then leaning on the saturation slider, won't suddenly make it into art. But when you do have something special opening up in front of you, try some of these tips to take the shot to the next level.
1) When faced with wild, vivid sunset skies like this, many photographers pull out telephoto zooms and try to capture a small portion of the horizon, sun and sky. Instead of taking that approach, Steve Perry used a wide-angle lens and composed a shot that brings in a huge expanse of sky. He also got low and found a boulder to add interest in the foreground. The wide-angle perspective makes for a much more intense photograph. Also notice how the water has some motion blur in it. By using a tripod, Perry was able to choose a slower shutter speed, which gave the lapping waves just a hint of motion and a perfect blurred splash on the rock. Telephotos are very useful for many landscape situations, but when you have a sky with a lot of detail, color and drama, go for the wide-angle to intensify the shot. Also, look for a foreground element to add some visual interest and balance to the overall image.
Miners Beach, Lake Superior, Pictured Rocks National Lakeshore, Michigan
Nikon D3X, AF-S Nikkor 14-24mm ƒ/2.8G ED, Gitzo 3-series tripod, Really Right Stuff BH-55 ballhead
2) Rich, colorful fall foliage is always a favorite for nature photographers, but dealing with the vibrant and often contrasty scenes is a challenge. HDR photography has revolutionized the way you can get the most out of a landscape like this one. To get the best results, you need to plan for the HDR capture. Here, Don Biresch made a series of five exposures one stop apart, ranging from two stops under to two stops over normal exposure. In the computer, he applied HDR software to combine the images. The result is an intense image that shows the vibrant autumn hues without looking overdone.
Austinburg Road, Tioga County, Pennsylvania
Nikon D3, Nikkor AF-S 24-70mm ƒ/2.8G ED, Gitzo tripod, Really Right Stuff ballhead
3) In this scene of Yosemite's Bridalveil Fall seen from Tunnel View, the play of shadows and light positively makes the shot. Michael Warwick took the dramatic lighting a step further by choosing a 300mm telephoto lens on his Mamiya film camera and eliminating the horizon and sky from the frame. The result is a dynamic, graphic composition that makes it a photo to frame and hang on the wall. Notice, too, the sharpness in the shot. A sturdy tripod is a necessity for this kind of image. The sharpness down into the trees in the lower-left corner invites the viewer to explore the whole photo.
Bridalveil Fall from Tunnel View, Yosemite National Park, California
Mamiya RZ67, Fujichrome Velvia 50, 300mm lens, Bogen 3021 tripod and 3028 head, dual cable release
4) We always advocate getting things right in the field rather than relying on a "fix it in Photoshop" mentality. Using filters while you're shooting and seeing the effect they have becomes part of the creative process. Ya Zhang employed a combination of a polarizer and a split ND filter to make this shot. The polarizer cut the glare, helped darken the sky and intensified the red color in the sand. The split ND helped Zhang to balance the contrast above and below the horizon. Anytime you shoot with filters, it's a good idea to take at least one shot without the filter.
Monument Valley, Arizona
Canon EOS 5D, Canon EF 17-40mm ƒ/4L USM, Benro C-328 tripod, Arca-Swiss Monoball Z, Hoya HD PL-CIR and Singh-Ray ND 3G filters
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