Creative Collection , Composition, Lighting, and Landscapes

Ifocusedonthewaterdrop,lettingtheflowerinthebackgroundgooutoffocustobecomeanabstraction.

200mmmacro,36mmextensiontube,1/5ofasecondatf/32andISO100,tripodmounted

Titlepage:ThesoftfoldsofthehillsbalancedthecloudsinthisCaliforniacoastalrangelandscape.

120mm,1/640ofasecondatf/10andISO200,handheld

CreativeComposition

DigitalPhotographyTips&Techniques

HaroldDavis

IstitchedthispanoramaoftheGoldenGatetogetherfromtencapturestogiveasenseoftheentirevistafrommoonrisetosunset.

Eachexposure:42mmatf/4.5andISO100,tripodmounted

CreativeComposition:DigitalPhotographyTips&TechniquesbyHaroldDavis

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Ishotthisdetailofanartfullydecoratedcarusingmy105mmmacrolenstocapturethefulldetailofthepaintingat1/800ofasecondatf/8andISO200,handheld.

IntroductionDrawingisdeception.—BrunoErnst

Asimpleobservation,thataworkofartisnottheliteralequivalentofthesubjectitportrays,hasbeenlongbeenknowntophotographersaswellasartistsinothertypesofmedia.SincethedaysoftheRenaissance,painterssuchasLeonardodaVincihaveknownthatperspectiverenderingisanopticaltrick.ManyofthebestcreationsofM.C.Escherexploitthevisualconfusionbetweenthree-dimensionalrealityandthewaythisrealityisportrayedonaflatsurface.

Soifaphotographisnotreality,thenwhatisit?Thereareaprobablyanumberofgoodanswerstothisquestion.Myworkingdefinitionisthataphotographisatwo-dimensionalimagethatowessomeorallofitsorigintoaversionofitssubjectcapturedusingchemistryorelectronics.

Thisdefinitionisbroadenoughtoincludeanyphotograph.Fromtheviewpointoftheworkingphotographer,itleadsimmediatelytoquestionsaboutphotographiccomposition,including:

Whatarethetoolsofphotographictechniquethatyoucanusetocreate,andimprove,photos?Ifaphotoportraysasliceoflife,howcanyou“sliceanddice”life—andhowshouldyourphotobeframedtoreflectthatslicinganddicing?Howdoyouimprovethecoherenceandconsistencyofaphotowithinitsframe?Sincelifeinvolvesthepassageoftimeandstory-telling,whatkindsofstrategiescanyoucanusetointegratetimeandnarrativeintoyourphotographs?Howcanthesubjectmatterofyourphotobestbeintegratedwiththevisualappearanceofthephototocreateemotionalimpact?

InCreativeComposition:DigitalPhotographyTips&TechniquesItacklethesequestionsandissuesfromapracticalviewpoint,andinthecontextofdigitalphotography.ThisisnotabookaboutArtSchoolrules.Thisisabookaboutbecomingabetterphotographer.

Insomerespects,goodcompositionisaboutkeepingthingssimple—oratleast,

Insomerespects,goodcompositionisaboutkeepingthingssimple—oratleast,apparentlysimple.Badcomposition,ontheotherhand,isadealbreaker;itgoesbeyondalmostanyotherphotographicmistakeyoucanmake.Youcanoftenfixalousyexposure,butifyoucutoffyourAuntLouisa’shead,there’snothingyoucandoaboutitafterwardexceptapologize.Ofcourse,youmighthavewantedtoshowheadlessAuntLouisabecauseyouweremadather.Buteventhen,youshouldbeawareofyourintentionwhenyoutakethephoto,andyourcompositionshouldreflectyouranger.

Myhopeisthatyou’lluseCreativeComposition:DigitalPhotographyTips&Techniquesasacompaniontoyourphotography.Hopefully,thebookwillshowyousomeimportanttechniquesandhelpyouavoidsomebasiccompositionalmistakes.I’veprovidedsomesuggestionsforfurtherreadingintheResourcesSectiononpage234.

Ihopethisbookhelpsyoutoseeandthinkmoredeeplyaboutwhatyouphotograph,andtobetterintegrateyourthree-dimensionalworldintoits“wrapper”:thetwo-dimensionalphoto.

IlearnmostaboutphotographybylookingatphotographsthatIfindinteresting.Bydetermininghow,andwhy,thephotowasmade,Ilearnagreatdeal.

ThissensethatapictureisworthathousandwordsisthebasisforthenarrativestrategyofCreativeComposition.Sinceeachphotohereillustratesacompositionalpoint,you’lllearnwhyandhowIcomposedthephotosthewayIdid.Fulltechnicaldataisprovidedforeachimageinthebook.Pleaseenjoy!

Iwantedtomakesuretheviewerofthisphotowouldstartwiththereflectioninthecarmirrorandthenexaminethefence,soIusedaLensbabywiththe“sweetspot”trainedonthemirror.

LensbabyComposer,1/3200ofasecondusinganf/4apertureringatISO400,handheld

Camerasdon’ttakephotos,peopledo

LookingdownfromahighcliffatDrakesBayoffthecoastofCalifornia,Iwasstruckbytheabstractpatternsmadebythewaves.

TechniqueandComposition

Photographictechniquecanonlygetyousofar.Techniquebyitself—withoutpassionorvision—isshallowandmeaningless.Camerasdon’ttakephotos;peopledo.

Thatsaid,almostallphotographerswhocreateeffectivephotoshavemasteredtheircraft.

SometimesIthinkofmycameraasamusicalinstrument.IfIwanttobeavirtuoso,Ineedtopractice.Indeed,Itakephotosalmosteveryday.Ifaweek

virtuoso,Ineedtopractice.Indeed,Itakephotosalmosteveryday.IfaweekgoesbyinwhichIhaven’tdonemuchphotography,thenIfeelrustywhenIpickitupagain.Ittakesafewhoursformetoreallyfeelcomfortableandgetbackinmy“groove.”

Understandingmycameraandphotographictechniqueleadstoacompositionaladvantage.IknowhowthetechnicalchoicesImakeinthefieldwillaffectmycompositions;Ihaveanawarenessofthe“palette”oftechniquesavailabletome;andIcanusemycameraanditsfullrangeofphotographictoolstoenhancemycompositions.

Anotherwaytosaythisisthatunderstandingphotographictechniqueisnecessarytobeinggoodatcomposition,butit’snotsufficient.Beforeyougettothemoreabstractandvirtuosoaspectsofphotographiccomposition,youneedtounderstandthenotes—thebasicelementsofyourcraft.

Sohere’sthedeal.Almosttwo-thirdsofCreativeComposition:DigitalPhotographyTips&Techniquescoversphotographiccompositioninawaythatassumesyouknowphotographybasics.Thefirstthirdisakindof“cheatsheet”:Itbrieflycoverswhatyouneedtoknowabouttechniquetobecomeadeptatcomposition.

Specifically,thissectionontechniqueandcompositionincludesknow-howon:

Lensesandfocallengths,andwhatchoicestomakePre-visualizingExposuresandchoicesrelatedtoISO,shutterspeed,andapertureDepth-of-field,akeytoolinaphotographer’scompositionaltoolboxTheadvantagesofworkingwiththedigitalcameraRAWformat

Again,thesetopicsarecoveredbecause,whileCreativeCompositionisnotabookaboutexposure,forinstance,youdefinitelyneedtoknowsomethingaboutexposuretocomposegreatphotographs.You’llfindinformationaboutexposurebeginningonpage34.

EdgeofNight,shownbelow,isanelaboratecompositeimagecreatedfromthirteenfour-minuteexposures(forthenightsky),andoneten-minuteexposureintendedspeciallyforthelighthouse.IputtheimagetogetherusingtheStatisticsscript,whichisavailableintheExtendedversionsofPhotoshop.Inotherwords,creatingthisimagerequiredconsiderabletechniqueinordertoachievethelong

nightexposuresandtoassemblethepiecesthatmakeuptheimage.Ineededtechnical“chops”toachievethisimage,butIhadtostartoutwithapre-visualizationofwhatIwantedtoachieve.WithoutforesightofwhereIwasgoing,Icouldnothavecreatedthisphoto.SeeUnleashyourimagination(beginningonpage82)formoreaboutpre-visualization.

EdgeofNight:10.5mmdigitalfisheye,foreground10minutesatf/2.8andISO100,background13stackedexposuresat4minutesandf/4andISO100,totalcapturetimeaboutonehour,tripodmounted

200mm,1/500ofasecondatf/5.6andISO100,tripodmounted

Thephotosonthispagetellastoryofworkingwithyourcamera,andnotagainstit.Atbest,acameraisanextensionofyou:yourimplantwithdigitalimagestoragecapabilities.Whenyouaretruly“inthezone,”yourcompositionaldecisionsareachievedalmostasfastasthought—whichisgoodbecauselightcanchangeveryquickly.Ifyouhesitate,youmaylosethedecisivemoment.

Wakinguponawinter’smorninginYosemiteValleyIhurriedoutsidebeforesunrise…whiletheworldwasstillindarkness.Astherisingsunhitthewallsofthevalley,Iplacedmytripodinthesnowandusedamoderatewide-anglefocallengthtocapturethisimage.Themomentquicklypassed,andsoonthelightwasflatanduninteresting.

18mm,1/500ofasecondatf/11andISO200,tripodmounted

Isawtheearlymorningsunshiningthroughthispoppy.Downinthegrass

behindtheflower,wetwithmorningdew,Iusedmytelephotomacrolenstocapturethisnatural“stainedglass”effect.Momentslater,thesunwasupandtheopportunityhadpassed.

200mmmacro,1/500ofasecondatf/11andISO100,tripodmounted

LensesandFocalLengths

Focallengthisthedistancefromtheendofthelenstothesensor.Thismeasurement,incombinationwiththesizeofthesensor,determineswhetheralensappearstobringthingscloserormakesthemseemfurtheraway.

Normallensesprovideroughlythesameangleofviewashumansight,about43degrees.Youcanuseanormallenstomakethingsseem,well,normal.Images,intermsofperspectiveandangleofcoverage,willapproximatehumanvision.

Ifyouareworkingwitha35mmfilmcamera,a“normal”lenswillhaveafocallengthofabout50mm.Seepage18forinformationabouthowlensesonacamerawithadigitalsensorcomparetolensesontraditionalfilmcameras.

Telephotolensesbringthingscloser(think“telescope”).(Seepages16,18,and19forexamples.)Telephotolensesaregoodforisolatingspecificpartsofasubjectagainstanout-of-focusorblurrybackground.Theopticsofatelephotolensworktocompactlinesofperspective.Thiseffectcanbeusedwithmoderatetelephotolensestocreateflatteringportraits,and,insomecases,toincreasetheattractivenessoflandscapes.Moderatetelephotolenseshaveafocallengthrangingfromabout70mmtoabout150mm,andstrongertelephotolensesgoupfromthere.

Wide-anglelenses(pages20–23)showamorebroadviewoftheworldthanweareusedtoseeing.Theyaregoodforbringingexpansivesubjectsintoasingleframe;showacohesiveviewofasceneusingtheinherentlyhighdepth-of-fieldofwide-anglefocallengths.(Seepages50–55formoreaboutdepthoffield.)In35mmterms,lensesinthe28mmto40mmfocallengthrangeareconsideredmoderatewideangle;focallengthslessthan21mmin35mmtermsaredefinitelyextremewide-angle.

Muchofthephotographyyou’lldoiswithzoomlenses,whichoffervariablefocallengths.Somezoomlensesrangefromwide-anglethoughtelephoto.Soit’snotstrictlycorrecttospeakof“wide-angle”or“telephoto”lenses;itmayreallybethefocallengthsettingonazoomlensthatonerefersto.

Therearemanyspecialpurposelensesthatcanbeusedforcreative

Therearemanyspecialpurposelensesthatcanbeusedforcreativecompositionaleffects.SpecialpurposelensesthatIusefrequentlyincludeamacrolens,afisheyelens,perspective-correctinglenses,andaLensbaby.

Macrolensesareusedtocreateclose-upphotos.Amacrolenscanhaveatelephoto,normal,orwide-anglefocallength.Wide-anglemacrosareuncommonandundesirable.Macrolensescanalsobeusedtotakephotosthatarenotclose-up.Theytendtohaveacrisp,butflat,overalllook,whichworkswellfordetailedsubjects,butisnotflatteringforportraits.Goodmacrolensesaredesignedtobeopticallyfirst-ratewhenusedwithsmallapertures(whichisoftennotthecasewithnon-macrolenses).Formoreonapertures,seepages50–51;forexamplesofmacrolensesusedtoadvantage,seepages26–29.

Fisheyelensesareusedtocaptureanextremelywide-anglehemisphericalviewwithpronouncedopticalcurvature.(Seepages24–25formoreonthistypeofphotograph.)

PerspectivecorrectinglensesandtheLensbabyallowyoutomovethebarrelpositionaround.Perspectivecorrectinglensescanbepreciselyadjustedandareusedtoalterlinesofperspective.

TheLensbabystartedoutasapieceofopticalglassattheendofaflexiblehose!AndwhileLensbabieshavecomealongwayfromtheirorigin,theconceptofadjustingthelenstubetochangethe“sweetspot”offocusremainsthesame.(Seepages60–61foranexample.)

IphotographedthisviewofthesunsettingbehindthetoweroftheGoldenGateBridgeusingapowerfultelephotolens.Theimageisshownhereasit’sbeenpublished,croppedintocreatetheillusionthatthelargesunisproportionallyevenlarger.

SensorSizeandFocalLength

Notallsensorsarethesamesize.Thesmallerthesensor,thecloseragivenfocallengthlensbringsyoutoyoursubject.Forexample,ifasensorhashalftheareaofanothersensor,thenaspecificfocallengthlenswillbringyoutwiceascloseonacamerawiththesmallersensor.Yetsmallsensorsoftenhaveissueswithnoiseandresolution.Butthat’sadifferentstoryforadifferenttime.Formoreaboutnoise,seepages42–43.

Intermsoffocallength,smallersensorsaregoodfortelephotolensesandhardonwide-angles;largersensorsmakeforgoodwide-angleopticsbutdiminishthepotencyoftelephotolenses.

Sincedifferentcamerashavedifferentsizedsensors—unlikeinthedaysoffilm—itisnotpossibletohaveauniformvocabularyoflensfocallengths.Sopeoplecomparefocallengthstotheir35mmfilmequivalentbyadjustingforthesensor

comparefocallengthstotheir35mmfilmequivalentbyadjustingforthesensorsize.ThisiswhyIintroduced35mmfocallengthequivalencesinmydescriptionofnormal,telephoto,andwide-angleoptics.

Tomakethecomparisonwith35mmfilmfocallengths,youneedtoknowtheratioofyoursensortoaframeof35mmfilm,whichiscalledthefocal-lengthequivalency.Thephotosinthisbook(exceptasnoted)werecreatedusingNikonDSLRswitha1.5times35mmfocal-lengthequivalency.TofindouthowthefocallengthsIusedcomparewith35mmfocallengths,multiplymyfocallengthsby1.5.

Tocomputethecomparablefocallengthonyourowncamera,youneedtoknowthefocal-lengthequivalencyfactorofyoursensor.Checkyourcameramanualforthisinformation.

Forexample,ItookthephotoofthesettingsunandGoldenGateshownonthepreviouspageusinga400mmfocallength.The35mmequivalenceis600mm,oraboutonetentha“normal”angleofview.

Idon’tusuallytakewide-angleclose-upshots,butthisexotichydrangeablossomcalledouttome.Thefrontofmylenswasliterallyonehalfinchfromtheflower.Myideawastoexaggeratetheperspectivesotheflowerwouldseemtofilltheearth.

24mm,12mmextensiontube,13secondsatf/22andISO100,tripodmounted

Iuseda200mmtelephotolensfocusedonthepoppiesinthebackgroundtocreatethepainterlyeffectofthesoftflowersintheforegroundofthisphoto.

WhenIpre-visualizedthismotherandchildimage,Isawitwithinacircleofdimlight.IknewthatIhadtoframethephototoemphasizethedynamicsofthecircularmovementofthearmsholdingthebaby.

SinceIwasstandingclosetothesesleepingangels,theshotrequiredamoderatefocal-lengthlens.IusedahighISOsettingtodealwiththeextremelow-lightconditions.

Whenphotographingthisornateneo-baroquecathedralindowntownSanFrancisco,IsawthattocreateaneffectivecompositionIwouldneedtobringinasmuchofthechurchaspossible.IwentaswideasIcouldgoinmychoiceoffocallengthswithoutcausingvisiblecurvature.Opticaldistortionisaconcernwithextremewide-anglelenses.Insomecases,it’saninterestingeffectthatenhancesanimage,butthisdoesnottypicallyapplytoarchitecturalphotography.HereIneededthelinesofthechurchtobeappearstraight.

12mm,6secondsatf/13andISO100,tripodmounted

TogivethesensethatthisrockformationintheSouthwestUnitedStateswaslikeagiantflowerthathadbeenfrozeninstone,Iusedamoderatewide-anglefocallengthtobringinareasonablybroadvista.Thishelpstogivetheimageasenseofplacewithoutlosingthecompositionalabstraction.

UsingaFisheyeLens

Adigitalfisheyelensisoneofthosepiecesofopticalglassthatyoumightthinkisanovelty:funtoplaywithatfirst,butthenburiedinthebottomofyourcamerabagandseldomused.

Thisisnotthecase.Idon’tusemydigitalfisheyelensallthetime,butIuseitoften.Itispartofmy“carryeverywhere”kit.AndwhenIdousemyfisheyelens,nootherlenscouldpossiblygetthejobdone.Here’swhy:

Afisheyelenscanfitinmoreofascene.Iusethisspecial-purposelenswhenIcan’tgobackanyfurtherandneedtoincludeawidesubjectinmycomposition.Insomesituations,distortionthatcurvesafisheyeimage—mostnoticeablyalongthephoto’sperimeter—cantrulyenhanceacomposition.Fisheyephotosgetattention.Theseimagescanbeverystrikingand,yes,humorousaswell.Theyareconversationpiecesandcanengageyoursubjectswithyouraudience.

LyingonthefloorofFrankLloydWright’smagnificentMarinCentercivicbuilding,Irealizeditwouldbedifficulttogetboththeoval-shapedrotundaandthecast-irongatesinonecomposition.Iswitchedtomyfisheyeandusedmaximumdepth-of-fieldtogetbothcompositionalelementsinfocus.Ithinktheresultlookslikeabig,mechanicaldragonfly—trulyanabstractionofthewonderfularchitecture.

10.5mmdigitalfisheye,1/8ofasecondatf/22andISO100,tripodmounted

Itookthisfisheyeportraitofmydaughterdownonthegroundwithmyfisheyelensaboutaninchfromhernose.

10.5mmdigitalfisheye,1/250ofasecondatf/8andISO400,handheld

WorkingwithMacroLenses

Close-upphotographyisaspecialpassionofmine.Ilovetophotographflowers,insectsandweirdobjects…upcloseandpersonal.Therefore,asyoumightimagine,Ihaveanextensivecollectionofmacrolensesandclose-upequipment.Eachofmymacrolenseshasaspecialvisualsignature,andI’vecometoknowandrespectthesepiecesofglassfortheiruniqueindividuality.

Bytheway,youdon’treallyneedanexpensivemacrolenstotakegoodclose-ups.Aclose-upfilteronthefrontofyourlens,oranextensiontubebetweenyourlensandyourcamera,willoftendothejob.(Remember,camerasandlensesdon’ttakephotos;peopledo!)

Partoftheappealtomeofmacrophotographyistheextenttowhichitisajourneyofexplorationthroughtheunknown.Extremelyclose-up,thingsjustdon’tlookthesame.Beingextremelyclose-upisalsodisorienting.IoftenfindthatIneedtofocusonageneralareaofmymacrosubjectsandthenstartlookingthroughmymacrolensasthoughIwerenavigatingamap.

Mycompositionsbenefitfromthesevoyagesofvisualexploration,becauseIfrequentlymakediscoveriesthatresultinimagesthatdifferdramaticallyfromwhatIhadinmindwhenIstartedthemacrosession.ManyofmybestmacrosinvolvepatternsdiscoveredonlyafterIlookedverycloselyatmysubject.

IwassurprisedwhenIlookedthroughmycameralensatthisEchinaceaflowertoseetheinterestingpatternthewhitepetalsmade.Isettheaperture

atf/14togetenoughdepth-of-field(seepages52–55)tokeepthepetalsandflowercoreinfocuswhileblurringthebackground.

105mmmacro,1/4ofasecondatf/14,tripodmounted

Earlymorningwaterdropsshowedtherefractionsoftheclumpofvariegatedgladiolasthathostedthedrops.Bygettingvery,veryclosetothewaterdrops,Imadethemappearfarlargerthanlife—perhapsmorelikewatermelonsthanmorningdew.Thewholecompositionaleffectisunearthly,asthoughthisimagecomesfromanotherplanet.

200mmmacro,36mmextensiontube,+4close-upfilter,1/4ofasecondatf/36andISO200,tripodmounted

IphotographedthisIrisonawhitebackground,arrangingitcompositionallysoitlooksalmostmorerealthanrealbyappearingtocometowardtheviewer.Byfocusingthemacrolensonthemiddleportionoftheflower,andusingthemaximumpossibledepth-of-field,Iwasabletogettheentireflowerinfocus.

100mmmacro,fourcombinedexposuresbetween1/2ofasecondand2secondsatf/22andISO100,tripodmounted

Humanhandsarenotmytypicalclose-upsubject,butinthiscasethetinyhandofaprematurebabyholdingontothelargerhandofhermothertellsastorythatcannotbeignored.Imadethisphotographwithanon-macrolensandanextensiontube,whichwaswhatIhadwithmewhentheopportunityarosetotakethephoto.

Sometimesmacrophotosrevealtoomuch—inthiscase,thatthetiredmombadlyneededamanicure.Somypost-productionworkonthisimageincludedgivingheravirtualmanicure.

150mm,36mmextensiontube,1/25ofasecondatf/5.6andISO2500,handheld

Sometimesmacrosthatarefocusedononespecificpartofthesubjectcancreatealovelycompositionaleffect.Actually,havingareasofanimageoutoffocusmakesthecenterofthispoppyappearevenmoredefined.

100mmmacro,1/800ofsecondatf/2andISO200,handheld

ChoosingtheRightFocalLength

Ofcourse,youcan(andshould)experimentwithfocallengthswhenyouarephotographing.Byallmeans,seewhathappenswhenyouusedifferentlenses.Trytherangeoffocallengthsonyourzoomlens,andseewhatworks.Ialwaysencourageexperimentation!

Buttoreallybecomeamasteratchoosingtherightfocallength,youneedtohoneyourpre-visualizationskills.Topre-visualizemeanstobeabletoseeinadvancetheresultsofyourphotographic(andpost-production)choices.

Increasingyourabilitytopre-visualizeisoneofthemostimportantthingsyoucandotowardsbecomingamorecreativephotographer.There’sareasonmoviedirectorscarryaroundlittleviewfindersthathelpthemtopre-visualizetheresultsoftheirlenschoices.

Startbythinkingaboutwhatyouwantyourphototoshow.Forexample,ifyouarecapturingavastlandscape,awide-anglefocallengthwillshowthescopeandgrandeurofthescene.Atelephotoviewcanbeusedtoshowmoretexturaldetailsorperhapscompressthedetailsofacompositionintoanelegantsilhouette.

Iusedamoderatewide-angletocapturethescopeoftheGrandCanyonfromNavajoPoint.AhintoftheColoradoRivergivestheviewer’seyesomethingtoreston,andhelpstogivethecompositionitsmeaning.

20mm,threecombinedexposures,eachatf/11andISO100,tripodmounted,withexposuretimesof1/4ofasecond,1/3ofasecond,and1/6ofasecond

Atelephotofocallengthhelpedmecapturethepatternmadebythelate-afternoonsunreflectingontheColoradoRiverasitpassedthroughitsdeepgorge.

Iwasphotographingsunsetinthecontextofawidearea,namelytheSanFranciscoBaywiththesurroundingmountainsoftheCaliforniaCoastalRangeandtheGoldenGate.ThenIlookedatthediskofthesettingrun,visuallyseemingtoracealongaslotbetweenthemountaintopsandtheclouds.Irealizedthatthesuninits“slot”wasmycompositionalstory,andIswitchedtoalongtelephotolenstomakethisquasi-abstractcapture.Thevisualpoweroftheimagehasnothingtodowiththefamiliarnearbygeographiclandmarks.

UnderstandingExposure

Anumberofdifferentapproachescanbeusedtodissectphotographsinordertolearntomakebetterimages.Andwhiletheseapproachesmightseemtobedifferent,thetruthisthattheyareallrelated.Forexample,takethesubjectmatterofthisbook,composition,andexposure.

Toreallymastercompositionyouneedtobeabletoworkwithdepth-of-field(amongotherthings).Depth-of-fielddependsuponaperture.Andapertureisacomponentofexposure.Forthisreasonalone(andthereareothers),itmakessensetokeepexposurebasicsinmindwhenyouarethinkingaboutthecompositionofyourphotos.

Anexposuremeanstheamount,oract,oflighthittingthecamerasensor.Italsoincludesthecamerasettingsusedtocapturethisincominglight.

Givenaparticularcameraandlens,thereareonlythreesettingsthatareusedtomaketheexposure:shutterspeed,apertureandsensitivity.

Shutterspeedisthedurationoftimethatthecameraisopentoreceiveincominglight.Inotherwords,it’stheamountoftimethesensorisexposedtolightcomingthroughthelens.(Seepages44–49formoreaboutusingshutterspeedincomposition.)Apertureisthesizeoftheopeninginthecamera’slens.Thelargertheaperture,themorelightthathitsthesensor.Thesizeoftheapertureiscalledanf-stop,writtenf/n,andnisalsocalledthef-number.Somewhatconfusingly,thelargerthef-number,thesmallertheholeinthelens;thesmallerthef-number,thelargertheopening.You’llfindmoreaboutapertureonpages50–51.Depth-of-fieldislargelyafunctionofaperture,andIexplainhowtoworkcompositionallywithaperturestartingonpage52.Sensitivitydetermineshowsensitivetolightasensoris.SensitivityissetusinganISOnumber.ThehighertheISO,themoresensitivitytolight.You’llfindmoreideasaboutusingsensitivityinyourcompositionsonpages42–43.

Changinganyofthethreeexposuresettingsimpactsthelightnessordarknessofyourphoto.So—assumingyouwanttokeepyourphotoconstant—ifyouchangeonesetting,youalsoneedtochangeanothertocompensate.Eachoftheseadjustmentshascompositionalimplications.

Jugglingthesubtleinterrelationshipofshutterspeed,apertureandsensitivityislikeadancewithpossibilitiesandconstraints.Yourdecisionshaveaprofoundimpactonyourphotographiccompositions.

WhenIpre-visualizedthisblack-and-whiteimageofsurfcrashingonadarkbeach,IknewthatIwantedtomakethewhitesurfcontrastasmuchaspossiblewiththedarkshore.Ialsosawinmymind’seyeanimagewiththewavesabstracted,lookingalmostfeather-like.

Toachievethesegoals,Ineededtomaketheexposureaslongaspossible.I

Toachievethesegoals,Ineededtomaketheexposureaslongaspossible.IsetmyISOatitslowestpossiblesetting(100),andstoppeddownthelenstoassmallanopeningaspossible(f/32).Thesetwosettingsimplieda1.6secondexposurebasedonareadingofthelight(usingthecamera’sexposuremeter),longenoughtomakethewaveslooklightandfeathery.

170mm,circularpolarizer,1.6secondsatf/32andISO100,tripodmounted

Tomakethepatternofgrassblowinginastiffbreezesharp,Ineededafastshutterspeed.SoIsetthecameratoshutter-preferredmodeandusedashutterspeedof1/1000ofasecond.

Withthismedium-closeflowermacro,Iwantedasmuchofthesubjecttobeinfocusaspossible.SoIstoppeddownthelenstoitsminimumaperture:f/36.Iusedaperture-preferredmeteringtoletthecamerachoosetheshutterspeed.

UsingExposureModes

Themoreprofessionalthecamera,thefewerexposuremodesithas.That’sbecausetherearereallyonlyfourexposuremodes:programmedautomatic,shutterpreferred,aperturepreferred,andfullymanual.Here’stherundownofthesemodes:

Inprogrammed-automaticmode,thecameramakesalltheexposuredecisions.Dependingonyourcameramodel,ISOmay(ormaynot)beconstrained.SowithsomecamerasyoucandecideeithertosettheISOortoletthecamerasettheISOalongwithapertureandshutterspeed.

Idon’tuseprogrammedautomaticallthatoften,becauseIdon’talwaystrustmycamera’sjudgmentovermyown.Butsometimes,whenyouneedtomakeafast“grabshot,”there’snothinglikehavingthecameraonautopilot.

Inshutter-preferredmode,yousettheISOandshutterspeed,andthecamerapickstheaperture.Thisisausefulmodewhenyourcomposition

requiresaspecificshutterspeed(seepages44–49).Withaperture-preferredmode,youpicktheISOandaperture,andthecamerachoosestheshutterspeed.Aperturepreferredcomesinhandywhenyourcompositioncallsforaspecificaperturesetting.(Seepages50–59formoreinformation.)Whenthecameraissettomanual,youchooseISO,apertureandshutterspeed.

UsingExposureHistograms

Ahistogramisabargraphshowingadistributionofvalues.Anexposurehistogramshowsthedistributionoflightsanddarksinanexposure.

Yourcameracanshowyoutheexposurehistogramforacaptureyou’vemade,andsometimesbeforeyou’veactuallymadetheexposure.Checkyourcameramanualfordetailsonhowtodisplayexposurehistograms.

Inbrightconditions,whenyoucan’tseeyourLCDscreen,ahistogramisgreat.Butonceyougetinthehabitofcheckingit,anexposurehistogramcantellyoumoreaboutyourexposurethanviewingtheLCDinalmosteverysituation.

Theexposurehistogramofanunderexposedphotoisbunchedtotheleft,andthehistogramofanoverexposedphotoisbunchedtotheright.Atheoretically“correct”exposurewillberepresentedbyahistogramwithabell-shapedcurvesmackdabinthemiddle.

IphotographedthisClematisblossomonalighttablewiththeideaofcreatinga“highkey,”orverytransparentandbright,whitecomposition.Toachievemygoal,Ineededtofindexposuresettingsthat“pinned”thehistogramtotherightsideofitsgraph.Icreatedthiscompositeimagefromfiveseparatecaptures,usingthehistogramtomakesurethateachonewas,technicallyspeaking,“overexposed.”

85mmperspectivecorrectingmacro,fiveexposuresrangingfrom1/8ofasecondto2seconds,eachexposureatf/48andISO200,tripodmounted

CreativeExposures

Acreativeexposureisonethatdeviatesfromanoverall“correct”lightreadingofyoursubject,asdeterminedbythelightmeterinyourcamera.Thepointofthisexposuremodificationistoimproveacompositionbycorrectlyexposingforlightordarkportionsofyourphoto.Inotherwords,youcanmodifytheexposuretoreflectyourpersonalaestheticpreferencesthroughunderoroverexposure.

Mostexperiencedphotographersfindthatmany,ifnotmost,oftheirexposureshaveanelementofcreativity.Correctexposuresareusuallyblandandneutral,withanexposurehistograminthemiddleofthecurve.Strikingcompositionscanoftenbeachievedsimplybymovingthehistogramtotheleft(underexposing)ortotheright(overexposing).(Exposurehistogramsarefurtherexplainedonpages38–39.)Checkyourcameramanualforinformationaboutcreativeexposurecontrolsinautomaticmodes.Usually,there’sagoodwaytocompensatebyunderexposingoroverexposing.Youcanalsobracketexposuressoyou’llhavearangeofchoiceswhenyougetachancetolookatyourworklater.

Tounderexposemanualexposures,decreasetheISO,chooseafastershutterspeedorasmallerapertureopening(oracombinationofthethree).

Tooverexposemanualexposures,increasetheISO,andchooseaslowershutterspeedoralargerapertureopening(oracombinationofthethree).

Usually,oneofthethreeexposurecomponentsistheoneyoucareaboutforyourcomposition.Forexample,youmayneedtoexposeataspecificaperturetogettherightdepth-of-field.Oryoumayneedacertainshutterspeedtocapturemotion.Withthefixed-exposurecomponentinmind,adjusttheothersettingsasneededtoobtainyourcreativeexposure.

Iintentionallyunderexposedthisphotoofababyinhermother’sembracesothatthepotentiallydistractingbackgroundwouldgoblack.IthenlightenedthebabywhenIprocessedtheimage.

95mm,1/30ofasecondatf/5.3andISO2000

Thelineoflightaroundthefine“hairs”ontheflowerpodofthispoppybudmadeaninterestingshape.IthinkofitasaPoppysnake.Toshowonlythe“snake,”Iusedacreativeexposurethatintentionallyunderexposedtheoverallphoto.

ISOandNoise

Noiseisakindofstaticinadigitalimage.Alldigitalsignals,includingdigitalimagecaptures,createsomenoise.Noiseistheclosestthinginthedigitaleratograininafilmphotograph,andit’softenconsideredundesirable.

Soyoumaybesurprisedtolearnthatnoisecanbeusedeffectivelyasanelementofphotographiccomposition.

Therearemanycausesofnoise(seesidebar),butifyouwanttousenoisecompositionally,aneasywaytoincreasenoiseistoboostyourISO(sensorsensitivity).ThehighertheISO,themorenoise.Theamountofnoiseyou’llgetiscamera-,exposure-andsituation-dependent,butyoucanbeprettysurethatanISOabove1,000willproducenoise,althoughcamerasaregettingbetteratcapturinghigh-ISOimageswithlessnoiseallthetime.

CausesofNoise

It’safactoflifethatthesmallerthesensor,themorenoisethereisforagivencapturesize.Thisisbecauseamplifyingasignalalsoamplifiessignaldistortion.(Thesmallerthesensor,themorethecaptureneedstobeblownup,or“amplified.”)

Othercausesofnoise:

Thesensorandcamera’sprocessingsoftware:Thisvariesbymanufacturer.TheISOsetting:ThehighertheISO,themorenoisetherewillbe.Thesizeoftheimage:Thegreatertheblow-upfromthenativecapturesize,themorenoisewillbeapparent.Exposuretime:Exposuresthatarelongerthanaboutfivesecondscanbecomequitenoisy.Underexposure:Underexposedareastendtohavemorenoise.

Thefadingtwilightwasdim,butboostingtheISOto2,000allowedmetocapturethisunusualviewofadaisyatafastshutterspeedinabriskbreeze.ThehighISOhelpedcreateinterestingeffectsintheout-of-focusbackgroundareas.

LensbabyComposer,+4close-upfilter,1/1000ofasecondusingf/4aperturering,ISO2000,handheld

UsingahighISOhelpedmecapturethiscompositionofanarchitecturaldetailthat’sreflectedinthedarkindoorpoolatWilliamRandolphHeart’sSanSimeon.Thevisualimpactofthenoisecomplementsthecreativetilework.

75mm,1/125ofasecondatf/5.6andISO6400,handheld

ShutterSpeedandMotion

Aslongasyouunderstandthatsettingtheshutterspeedisreallysettingthelengthoftimethattheshutterwillbeopen,you’llfindshutterspeedeasytoworkwith.Thelongerthelengthoftime,themorelightisletintothecamera.Conversely,theshorterthelengthoftime,thelesslightgetsin.

Theprimarycompositionalimpactofshutterspeedisontherenderingofmotion.Ifanobjectandthecameraarecompletelystationary,thenitshouldn’tmatterwhatshutterspeedyouuse.Butonceeventheslightestmotionofcameraorsubjectisinvolved,itisaverydifferentstory.

Ifyouconsidercameraandsubject,thenthewaymotionwillbeappeardependsuponthemovementofthecamera,themovementofthesubject,therelativedirectionofthatmovement,andthedurationoftimethatisusedtocapturethemotion.

Obviously,ittakesafastershutterspeed(ashorterdurationoftime)tofreezearacehorseinmotionthanaturtleinmotion.Thatsaid,andassumingthatthecameraisstationary,youcanmaketheroughassumptionsshowninthetablebelowaboutthecompositionalimpactofshutterspeedonmotioninyourphotos.

ShutterSpeedRange ImpactonMotionVeryfastshutterspeeds:usuallyfasterthan1/250ofasecond

Mostmotionisstopped,renderedcrisply,andthesubjectinmotionappears“frozen.”

Fastshutterspeeds:between1/30ofasecondand1/125ofasecond

Dependingontheirspeed,objectsinmotionmayappearslightlyblurred.

Slowshutterspeeds:between1/15ofasecondand4seconds

Objectsinmotionareprobablyrecognizablebutverydefinitelyblurred.

Veryslowshutterspeeds:longerthan4seconds

Motioncreatessomedegreeofabstraction;objectsinmotionwilllikelytraverseacrossasubstantialportionofthephotoframe.

PhotographingafterdarkattheVenetianHotelinLasVegas,Nevada,Iwaitedforagondolatocomeintoviewoppositemycamera.Ipurposelyusedaslonganexposureaspossibletoturnthegondolaintoamotionblurwhilethebackgroundremainedsharp.

IwasphotographingonMareIsland,anabandonednavalbaseandshipyardnearSanFrancisco.Thisphotoshowsacardrivingupandthenturningoffitsheadlights.Thelong-exposurerenditionofthecarheadlightsmakesthisamoreinterestingphotocompositionallythananyoftheversionsImadewithoutthecar.

22mm,30secondsatf/5.6andISO100,tripodmounted

Whilemakingthis30-secondexposureoftheGoldenGateBridge,Imoved

thecameramid-exposure,comingupwiththecreativeeffectofmotionlines.

60mm,30secondsatf/4.8andISO100,tripodmountedinseveralpositions

Icreatedthiseffectfromcitylightsbymovingthecameraupanddownonthetripodduringtheexposure.(Ilayeredinthemoonlater.)

200mm,1.6secondsatf/2.8andISO200,tripodmounted

Ashutterspeedof1/400ofasecondwasfastenoughto“freeze”thewatertumblingoverVernalFallsinYosemiteNationalPark,California.

Iuseda1.6secondexposureinthisphotoofCataractFallsincoastalCaliforniatocreateapleasingeffectthatvisuallytransformswaterinmotion.

75mm,1.6secondsatf/22andISO100,tripodmounted

Aperture,FocusandDepth-of-Field

Anapertureisaholeinthelens.It’sassimpleasthat.Thesmallerthehole,thelesslightgetsin.Ifyoumaketheholebigger,morelighthitsthesensor.

Thesmallertheaperturehole,thelargerthef-numberusedtodesignatethathole.

Anf-stopisoneoverthef-number.Sof/22referstoaverysmallopeninginalens,whereasf/2.8isamuchlargerhole.If,infact,thelenscan’tbeopenedanywiderthanf/2.8,thenf/2.8iscalledthemaximumapertureofthelens.

Thediagramaboveshowssomeaperturesandthecomparativesizeholestheymake.

ThisphotoofaDahliawastakenwiththelensalmostallthewayopenforminimaldepthoffieldatf/4.ThephotoshowstheDahliainfocusandthebackgroundelegantlyblurred,isolatingtheflowerfromthebackground.

105mmf/2.8macrolens,1/1250ofasecondatf/4andISO100,tripodmounted

Iwantedasmuchofthisfloweraspossibletobeinfocus,soIstoppedthelensdownallthewayformaximumdepth-of-field.

200mmmacrolens,1/30ofasecondatf/36andISO200,tripodmounted

Depth-of-Field

Depth-of-fieldisthedistancebehindandinfrontofasubjectthatisapparentlyinfocus.Depth-of-fieldisakeycompositionalelementinmany,ifnotmost,photographs.Itisonethemostimportanttoolsaphotographercanusetocreatestrikingimages.

Thebiggestcompositionalimpactoftheaperturesettingisthatitcontrolstheextentofthedepth-of-field.Ofcourse,itdependsuponthelensyouareusingandwhereitisfocused,butgivenaparticularlensandafocussetting,your

andwhereitisfocused,butgivenaparticularlensandafocussetting,yourcontrolofdepth-of-fieldisbasedsolelyonhowyousettheaperture.

Thesmallerthelensaperture,themoredepth-of-fieldthereis.Atitsmaximumaperture,sayf/2,alenshasalmostnodepth-of-field.Atintermediateapertures,suchasf/11andf/16,thereissome,andattheminimumaperture,sayf/32,thereisagreatdealofdepth-of-field.

Sincedepth-of-fielddependsuponyourlensaswellastheaperturesettingyouchoose,opticalfactsoflifedocomeintoplay.Wide-anglelenses(seepages20–25)inherentlyhavefargreaterdepth-of-fieldthantelephotolenses(seepages16–19)…andmoreforgiveness.Butthemorepowerfulyourtelephoto,thelessdepth-of-fielditwillhaveatagivenaperture.Thismeansthatfocusbecomesfarmorecriticalwithlongerlenses.

AsI’venoted,choosinganaperturetomakeachoiceaboutthedepth-of-fieldisavitalpartofphotographiccomposition.Extremelyhighdepth-of-fieldcanbeusedtomakeanentireimageappearsharpandhyper-real.Lowdepth-of-fieldcanbeusedtocreateaselectivefocuseffectthatemphasizestheimportanceofaparticularpartofyoursubject.

Bytheway,justbecauseanimagehasahighdepth-of-fielddoesn’tmeanthatthephotowillappearsharp.Manyfactorsimpacttheapparentsharpnessofaphoto,includingthelightquality,theopticalqualityofalens,andmotion.

Tovisualizetheimpactofyourdepth-of-fieldchoiceonaphoto,youcansnapthepictureandviewtheresultsinyourLCD.Ifyoudon’tlikewhatyousee,changethesettingsandtryagain.Ifyouareworkinginverybrightconditionsandit’shardtoseetheLCD,orifyoursubjectismovingsoyoucan’tshootmultiplecaptures,thenyoucanusethedepth-of-fieldpreview.(Checkyourcameramanualtofindthelocationofthiscontrol.)Thedepth-of-fieldpreviewonaDSLRletsyoulookthroughthelensfullystoppeddown,soyoucangaugethedepth-of-field.Inaddition,somecamerasletyoucheckdepth-of-fieldinrealtimeintheLCDusinga“liveview”mechanism.(Onceagain,checkyourcameramanualtoseeifyourshasthisfeature.)

FocusingandtheHyperfocalDistance

Keepinmindtheinfinity(∞)settingonyourlens.Infinityisthefarthestdistancealenscanfocus.Normally,whenyoufocusalensoninfinity,everythingbeyond

infinityisinfocus,evenwhenusingthewidestaperture.Soinfinity,inphotography,isactuallyafinitedistance!

Aphotothatisentirelyatorbeyondinfinitywillbeinfocuswhenyousetyourlenstoinfinity,andyouraperturesettingdoesn’tmatter.Youcan’tbemore“infocus,”sodepth-of-fieldisirrelevantinthissituation.

Thehyperfocaldistanceistheclosestdistanceatwhichalens,atagivenaperture,canbefocusedwhilekeepingobjectsatinfinityinfocus.Ifyouhaveaphotothatincludesinfinityandsubjectmatterthatisnotatinfinity,andyouwantasmuchaspossibletobeinfocus,youshouldfocusatthehyperfocaldistance.Roughlyspeaking,ifyoustopalensallthewaydown,thehyperfocaldistanceisabouthalfthedistancefromthefocalplanetoinfinity.

Alsorememberthatthereisalwaysslightlymoredepth-of-fieldbehindthefocalpointthaninfrontofit.Therefore,thebestplacetofocusformaximizingdepth-of-field(assumingyouwillbestoppingyourlensdown)isslightlyinfrontofyoursubject.

I’mnotsayingthatyouneedtogooutandstartmemorizingopticalformulasandtables.Butdepth-of-field,controlledbyfocusandaperture,isanextremelyimportantcompositionaltool.Astimegoesby,makeapointofobservingaperture,focusanddepth-of-field,andbecomeacutelyawareofhowtheyinterplay.Then,useyourobservationstocontrolthisaspectofcompositioninyourownphotos.

Beyondthemechanicsofapertureandfocus,it’sgreattolearntousedepth-of-fieldtobringyourcompositionstolife.

Iusedselectivefocusandanopenapertureforshallowdepth-of-fieldtohighlightthevisualimpactoftheorangeflowerinthewind.

Iusedamacrotelephotolens,settoafairlyopenaperture,andfocusedonthewaterdropsIcouldseethroughthispinkpeony.Theresultisacompositioninwhichtheout-of-focusareaplaysanimportantrole.

Iusedamoderateapertureandfocusedonthedistantflowerstogetareasonableamountoffocusonthedistantflowerswhilekeepingthe

foregroundout-of-focusandimpressionistic.

Togetthisentirevistainfocus,Itookadvantageofthegreatinherentdepth-of-fieldinthewide-anglelensIwasusing,andIstoppedthelensdownallthewaytogetevengreaterdepth-of-field.

SinceIknewthatpartoftheimagewasatinfinityandthatIneededasmuchdepth-of-fieldaspossible,Itriedtofocusatthehyperfocaldistance—roughlyspeaking,thebushinthemiddle-leftforeground.

Icreatedthisflowerabstractionwithselectivefocusinmind,andIintentionallyusedanaperturewithlittledepth-of-field.Thisresultedinashallow-focusimagethatemphasizesthebrillianceofthebacklitflowerpetal.

Selectivefocusinthisportraitontheeyesofababycreatesamorepowerfulimagethanifithadbeensharpend-to-end.Theimagehasalmostnoinherentdepth-of-field;onlytheeyesaresharp.Iintentionallycreatedthiseffectsothecompositionwouldemphasizetheimpactoftheeyes.

LensbabyComposerwithaplasticlens,1/250ofasecondusinganf/4aperturediskatISO200

WorkingwithaLensbaby

TheLensbabyisprobablythemostinnovativenewlens—orsystemoflenses—tocomealonginrecentmemory.Theideaistomovethebarrelofthelensaroundonaflexibletube,soyoucanchangetheareaoffocus,calledthesweetspot.IntheoriginalLensbabies,thelenstubelookedlikesomethingyoumightseeonavacuumcleaner,butrecentmodelsaremuchmoresophisticated.

Youdon’tsettheapertureonaLensbaby;instead,youusemagneticapertureringsthatgoinsidetheflexiblelensbarrel.Thesmallertheaperture,themoredepth-of-field;soasmallapertureonaLensbabykindofdefeatsthepurposeofitsabilitytogiveyouaselective-focussweetspot.SoItendtousethemorewide-openapertureringswithmyLensbaby.

ThemostrecentversionoftheLensbaby,theLensbabyComposer,canbeusedwithanOpticSwapSystemthatallowsyoutoswapouttheglasselementandreplaceitwithanumberofoptions,includingaplasticlens,apinholeandmore.Youcanalsoaddauxiliarylenses,close-upfiltersandapertureringswithunusualshapestothemix.Forinstance,tocreatetheupperimageonthenextpage,Iusedanapertureringshapedlikeastartocreatethestareffectsinthebackground.

Don’texpectimageswithgreatend-to-endclarityfromaLensbaby;that’snotatallthepointofthistoolanditsrelatedaccessories.Thepointistoallowyoutocreateunusualcompositionsthatfeaturepartialclaritywithcontrolledblurring.Theseimagescouldnotbecreatedwithanyotherequipment.Withitsselectivefocuscapabilities,aLensbabyallowsyoutounleashyourcreativitybygivingyouthetoolstoexperimentwithnewwaysofseeing.

Thisbriefdiscussiondoesn’tbegintocovertheimmensemenuofopticalpossibilitiesthataLensbabyanditsaccessoriesprovide.

IusedtheselectivefocusoftheLensbabytoisolatethewhitetulipsandcrystalvasebytrainingthesweetspotontheflowers.Myideawiththisimagewastocreateamonochromephotoofflowerswiththecolorimplied,sotheviewerperceivescoloreventhoughtheimageisblackandwhite.

LensbabyComposer,1/640ofasecondusingf/4apertureringatISO200,handheld

IshotthisphotoofaShootingStarflowerusingacreativeaperturediskcut-out.IplacedthediskinthebarreloftheLensbabytocreatethestareffectsinthebackgroundofthisphoto.Inmyopinion,thestareffectgoeswiththeShootingStarflower.Usingblankdisks,youcancutoutanyshapeyou’dlike.Anyspecularhighlightsintheimagewillappearinthatshape.

Lensbaby2.0,+4close-upfilter,staraperturering,1/500ofasecondatISO200,handheld

UsingtheLensbaby“sweetspot,”IisolatedtheJaguarhoodornamentfromthecar’sredhood.

LensbabyComposer,+2.8aperturering,1/5000ofasecondatISO400,handheld

BlurandBokeh

Somephotographsarecompletelysharpedge-to-edge,andthebeautyofthesecompositionsoftenliesintheclarityateverylevelofdetail.However,notallimagescan—orshould—becompletelysharp.Inmanycases,blurredorout-of-focusareasbecomeanintegralpartofaphotographiccomposition.

Sometimesthepointofblurredorout-of-focusportionsofaphotoistoemphasizethepartsthatareinfocus.Comparinga“soft”backgroundtoaclearlydefinedforegroundelementcanmakethesharpelementseemmoreimportant.

Anotherapproachistouseunsharporblurredportionsofanimagetocloaktherealsubjectmatterofanimage.Whentheviewerfinallyteasesoutthesignificanceofthephoto,itcanseemmorepowerfulthanifitwereeasilyrevealed.

Furtheralongthespectrumofblur,therearepowerfulimagesinwhichthebluritselfisthemostimportantaspectofthephoto.

Photographswithcompositionsthatemphasizeblurringandout-of-focusareas,likesomepeopleyoumayknow,marchtothebeatofadifferentdrummer.

Therearemanycausesofblurring.Probablythesimplestwaytocreatethiseffectistouseselectivefocustocreatesomeareasthatareout-of-focus.Motionofthesubjectorcameracanalsobeusedtocreateblurs(seepages44–49).Andspeciallenses,suchastheLensbaby,canbeusedtointentionallycreateout-of-focuseffectsonsomeorallofacomposition.Anon-equipment-basedtrickistorubaclearfilterwithVaselineorusefabricinfrontofyourlens.

ThewordbokehcomesfromaJapanesetermthatmeansblurring,typicallyinthecontextofink-washpainting.Inphotography,bokehhascometomeanblurringinaselective-focusimage.Goodbokehissmoothandalmostcreamy,whilebadbokehshowsabruptlines.Howgoodorbadbokehis,andtheextentofthebokeh,dependsonthelighting,theapertureyouselectandtheopticalqualitiesofyourlensataparticularaperture.

Lensesthatroutinelyproducegreatbokehareveryspecialandshouldbetreasured.Generally,thebestbokehiscreatedusingshallowdepth-of-field.

treasured.Generally,thebestbokehiscreatedusingshallowdepth-of-field.Slightchangesinyourposition,yourpointoffocus,andthecameraangleinrelationtothesubjectandthedirectionoflightcanmakeahugedifferenceinbokeh,soitisworthexperimentingwiththesethings.

Atelephotomacrolens,usedinanextremeclose-upwithshallowdepth-of-field,createsaselectivefocuseffectandbokehthatpleasesbecauseitappearstobeglowing.

200mmmacro,56mmcombinedextensiontubes,+4close-upfilter,1/250ofasecondatf/5.6andISO100,tripodmounted

Thisexposuredemonstratestwokindsofblur:motionblursfromcarlightsandatmosphericblurfromtheeveningfogthat’screepinginofftheocean.Themotionofthecarlightsformastrongverticalelementthathelpstomakethisaninterestingcomposition.

Thisphotodemonstrateslong-exposureblurcausedbythemotionofthecloudsandsurf.Youcanalsoseemotionblurintheshiplightsouttosea.(Youwouldn’tseetheselinesinashorterexposure.)Thenoiseinthisimagealsoworkstocreatemoreblur.Theblurinthecloudscomplementsthewaveblurandcreatesaninterestingcompositionduetothecontrastwiththerelativelyfixed-motionstars,headlandandshiplights.

12mm,3minutesatf/5.6andISO100,tripodmounted

Thesharpimageofthewaterdropiscomplementedbythebokehoftheflowerinthebackground.

Thisextremeclose-upofthewingofaTipulidaeoleracea(“Mosquitoeater”)usesamoderateaperturetocreatealowdepth-of-fieldimagewithpleasingbackgroundblur.

105mmmacro,64mmcombinedextensiontubes,+4close-upfilter,4/5ofasecondatf/8andISO100,tripodmounted

UnderstandingDynamicRange

Imagineyouareinadarkroom.Suddenlytheblindsarethrownopenandashaftofbrightsunlightilluminatesonewall.Graduallyyoureyesadjust.Youcannowseedetailintheshadowareasoftheroomandalongthewallthatisilluminatedwithsunshine.

Similarly,dynamicrangeisthedifferencebetweenthelightesttonalvaluesyoucansee(thebrightsunshineonthewall)andthedarkesttonalvaluesthatstillemitafaintbitofdetail(theshadowsinthecorner).Brightareas,alsocalledhighlights,thataresobrightthatyoucannolongerseeanydetails,aresaidtobe“blownout.”Darkareasthathavegonetotallyblackare“plugged.”

Itisasadfactoflifethatthehumaneyeiscapableofperceivingagreaterdynamicrangethancanbecaughtonasingleframeoffilmorinasingleversionofadigitalcapture.I’veemphasizedthephrase“inasingleversion”becausethekeytocreatingimagesthatmatchandsurpassthedynamicrangeofhumanvisionistorealizethatdigitalphotographyisnotlimitedtoasingleversionofacapture,orevenonlyonecapture.Masteringthecraftofextendingdigitaldynamicrangeenablesyoutocreatecompositionsthatwouldhavebeenimpossiblebeforedigital.

WhenyousetyourcameratocaptureJPEGfiles,thenyougetonlyoneversionofyourdigitalcapture,anditsdynamicrangeislimited.However,theadvantageandpowerofshootinginRAWformatisthatyoucanaccessalltheinformationthatwaspresentwhenyoumadethecapture.Evenmoreexcitingisthatit’spossibletoprocesstheRAWfilemorethanonce,forbothlighteranddarkerpartsofthephoto.Youcanthenmulti-RAWprocess,whichmeansyoucreateacombinationofthebestofthevariousversionstogreatlyextendthedynamicrange.

Therearenoreal“gotchas”here,exceptittakesquiteabitoftimetocarefullyprocessaRAWimagefilemorethanonce.CombiningtheversionsinPhotoshoporsomeothereditingprogramalsotakestime.Ofcourse,therearesomecompositionsinwhichyouwanttheblackstobeveryblackandthewhitestobeverywhite;theseareprobablynotgoodcandidatesformulti-RAWprocessing.Inthesecases,asingleconversionwilldojustfine.

processing.Inthesecases,asingleconversionwilldojustfine.

AsingleprocessedversionofthisphotoofawhitefenceandthelongPointReyesNationalSeashorebeachwassufficientbecauseIwantedthefencetobebrilliantlywhite.Thereweren’tmanyshadowareasinthephoto,andIdidn’tmindiftheywentcompletelyblack.

ThisalmostmonochromaticimageofawinterstorminYosemitefeaturesahighdynamicrangebetweenthedarkareasunderthebranchesandthebrightestpartofthesnow.Itwouldnothavebeenpossibletoholdthedetailinbothlightanddarkareaswithoutprocessingtheseareasseparatelyand

combiningthemtomakethefinalimage.

Fromacompositionalstandpoint,thisimageworksbecausethedarkbranchesintheforegroundoftheimageframetheclassicviewofYosemiteValley.Withouttheabilitytoextendthedynamicrange,thecompositionwouldbelesssubtlebecausetheforegroundwouldbemuddyandextremelydark.

ExtendingDynamicRange

SnowinYosemiteNationalParkislikecatnipforalandscapephotographer.Ihadagreattimeshootingforanextendedbookproject,andIdidn’tworrytoomuchaboutthingslikedynamicrangewhileIwascreatingmyimages.

YetwhenIsawthiscaptureofasnowstorminYosemitefromthefamousTunnelViewoverlook,thecompositionseemedabitbland.IfIprocessedthephotofortheforeground,theskywouldbetoolight;processingfortheskyleftaforegrounddarkandwithoutdetail.

Fixingthecompositioncalledformulti-RAWprocessing.IcreatedtwoversionsofthephotofromthecameraRAW:oneprocessedfortheforeground,andoneprocessedforthesky.ThenIcombinedthetwoimagesusinglayers,alayermaskandtheGradientToolinPhotoshop.

Puttingtogetherthetwolayerstookonlyacoupleofminutesandresultedinacompositionwithafargreaterdynamicrangethaneitheroftheseparateconversions.Ofcourse,tofullybringoutthegrandeuroftheYosemitelandscape,afewfurthertweakstothecolorandcontrastwererequired;butthetwo-stagemulti-RAWconversionistheessentialbasisforthefinishedimage.

Imadethisversiondarkersothatthedetailsineventhelightestcloudareaswereheld.

IprocessedthisversionfromtheRAWfiletobringoutthedetailsintheforegroundtrees.

ThisviewofadramaticwintersnowstorminYosemiteValleyshowsagreaterdynamicrangethanwouldhavebeenpossibleinasingleversionofthephoto.

ExposingfortheEarthandSkyatNight

Adarklandscapewithastarryskypresentsanexposureconundrum:theskyismuchbrighterthanthelandscape.Tofixthiskindofcomposition,youcanusemulti-RAWprocessingtocombinelighteranddarkerversionsofthesamephoto.

Tocapturethisimage,Iopenedtheshutterforthirtyminutesatf/4,withtheskyandstartrailsinmind.WhenIprocessedtheskynormally,theTenayaValley(belowHalfDome)wasprettymuchblack(upperversion).

Byeye,Icouldseedetailsinboththeskyandinthelandscape.YetIknewthataconventionalexposurewouldnotbeabletorenderbothareasinmycompositionwithmeaningfuldetail.

Byopeninguptheexposureapproximatelythreef-stops,Iwasabletocreateaversioninwhichthevalleydetailwasrendered.Thisisaneight-times-exposuredifference,aseachsuccessivefullf-stopletsinhalfthelightoftheprecedingf-stop.

Usingmulti-RAWprocessinginPhotoshop,Icombinedthetwoversionsasthebasisforaninterestinglandscapecompositionwithstrikingstartrailsandanextendeddynamicrange.

Inthisinstance,extendingmydynamicrangeopenedcompositionalpossibilitiesthatdon’texistinconventionalsingle-capturephotography.

Iprocessedthisversionforthestartrails.

IprocessedthisversionforHalfDomeandthevalleyfloor.

FrommyperchonGlacierPoint,IwatchedthestarswheelintheirgreatdisplayoverHalfDome.Asmyeyesadjusted,IcouldbegintomakeoutdetailinHalfDomeandalongthevalleybottom.Idecidedtousemulti-RAWprocessingtocreateanimagethatshowedthisentiredynamicrangeinonecomposition.

12mm,about30minutes(1805seconds)atf/4andISO100,tripodmounted

Multi-RAWProcessingBeyondLandscapes

It’snotjustlandscapesthatneedmulti-RAWprocessing.Many,ifnotmost,capturesrequiremorethanoneprocessedversiontobringoutcolors,tonesandhiddendetailsinbothbrightandshadowareas.

Evenphotographsmadeinastudiocanusuallybenefitfrommultiplecombinedcaptures(seepages76–77foranexample).ButwhenImadethisimageofatinywildCalypsoOrchidontheforestfloor,IknewthatIwouldneedtoworkwiththeimagedatawithinasinglecapturebecausetherewastoomuchmovementtosuccessfullyalignmultiplecaptures.

PhotographingwildCalypsoorchidscanbeachallengebecausetheyareverysmall,pronetomovementandusuallyfoundindarkareasoftheforest.Topartiallyovercomethesechallenges,IboostedmyISOwhenImadethiscapture.

SometranslucentpartsoftheCalypsoOrchidreflectedindappledbeamsofsunshinewhereraysoflighthittheforestfloor.Iprocessedadarkversionfortheselightareas.Next,Iprocessedalighterversionforthecomparativelydarkpartsoftheflower.Iusedlayers,alayermaskandtheGradientTooltoputthetwolayerstogetherinPhotoshop.

IprocessedthisversionforthebrighterareasoftheCalypsoOrchidinsunlight,sotheversionisdarkoverall.

Iprocessedthisversionforthedarkerareasoftheorchidandbackground,sotheversionislightoverall.

AlongthePacificforestfloor,foraweekortwoinlatespring,Calypsoorchidsbloom.Youhavetoknowwheretolookforthesetinyflowers,whichareoftencamouflagedinoldleaves,pineneedlesandotherforestdetritus.Bycombiningthelighteranddarkerversionsofthiscapture,Icreatedacompositionthatispleasingacrossitsentiredynamicrange.

200mmmacro,36mmextensiontube,onesecondatf/40andISO400,tripodmounted

BracketingLandscapeExposures

Oneapproachtoextendingthedynamicrangebycombiningdifferentexposuresistousesoftwaretocreatethecomposite.IprefertouseahandHDR(HighDynamicRange)processinwhichIdecidewhatpartsofthecompositionaremappedtoeachexposure.Inmyopinion,handHDRleadstomorenaturalcompositionswithincreaseddynamicrange—althoughcombiningseparateimagesbyhandistimeconsuming.

LookingdownatZionCanyon,Utah,inthebrightspringsunshine,itwascleartomethatIcouldn’tcreateasingleexposurethatwouldcapturethedynamicrangefromthedeep,blackshadowsintheforegroundtothewhitecloudsinthebackground.

SoImadeanumberofdifferentexposuresataconstantaperture,bracketingtheshutterspeeds.Ithencombinedthedifferentexposurestocreateasingleimagewithgreaterdynamicrangethananyoneiftheindividualcaptures.

Top:Imadethisdarkestexposurewiththebrightcloudsinmind.

1/200ofasecond

Middle:Thisexposurewascreatedwiththemid-tonesofthelandscapeinmind.

1/100ofasecond

Bottom:Thisexposurebringsoutthedetailinthedarkshadowareasinthecliffalongthelowerleftoftheimage.

1/50ofasecond

Southwesternlandscapescanpresentphotographychallengesbecauseoftheextremedynamicrangebetweenshadowareasandthebrightsky.Forexample,thisviewofZionCanyoncouldnotencompassbothcloudsandshadowinasingleexposure.Withdigital,itispossibletocombineexposuresandcreatecompositionsthatshowdetailacrossatremendous

exposurerange.

Totheeye,thislandscapelooksnaturalbecauseitmimicsthedynamicrangeofhumanperception.Yetthephotopresentsapleasingcompositionthatcouldnothavebeenobtainedconventionallyandworksbecauseitcombinesthebesttonalrangeofseveralexposures.

Aboveandpage74:22mm,threecapturesatshutterspeedsbetween1/200ofasecondand1/50ofasecond;eachcaptureatf/10andISO100,tripodmounted

CombiningFlowerCaptures

Iphotographedthissmallfloweronalightbox,takingmultiplecaptureswithaplantocombinethemtogetthefulldynamicrangeofthetransparentflowerwithitsdarkerstems.

Iusedthesameapertureoneachcapture,varyingtheshutterspeed,andtookcarenottomovethecamera,flowerortripod.

Providedeachseparateexposureisexactlylinedup,itisveryeasytousethebest“passages”fromeachcapturetocomeupwiththefinalcomposition.

IreviewedthedifferentcapturesI’dmadeatdifferentshutterspeedsinAdobeBridgebeforehand-processingtheversionstogether.

Herearetheexposures,rangingfromlightesttodarkest:

Top:Iexposedthisversionat13secondstogetmaximumbrightness.

Seconddown:Ateightseconds,thedetailwaspleasing.

Thirddown:Liketheeight-secondversion,thefour-secondshowsnicedetail,butit’sabitdarkerformoresaturation.

Bottom:Thedarkestexposure,attwoseconds,suppliedsomeofthedarklinesforthefinalversion.

ThefourcapturesofthissmallNegillaDamascena(commonname,Love-in-the-mist)werecombinedtocreatethecompositeimageshownabove.Thecombinationofsharpandsoftelements,derivedfromthedifferentcapturesshownonpage76,makeacompositionthatisstrikingandunusual.

200mmmacro,36mmextensiontube,fourcapturesatshutterspeedsbetween2and13seconds;eachcaptureatf/32andISO100,handheld

ExtendingFocalRange

Usingthe“magic”ofdigitalphotographyandpost-processing,youcanextendmorethanexposurerangeinaphoto.Bycombiningcaptures,inaprocesssometimescalledfocusstacking,youcanextendthefocalrangebeyondwhat’spossibleinanysingleimage.

Thishigh-focal-rangetechniquecreatesakindofhyper-realimpactandisapowerfulcompositionaloptionthatwouldnothavebeenpossiblepriortotheadventofdigitaltechnology.

Generally,eachexposureinafocusstackshouldbeatthesameaperture.Ifyouvarytheapertures,thendepth-of-fieldwillnotbeconstant,leadingtoperceptualdifferencesinthecapturesthatmakeupyourimage.

Thisleadstothebiggestchallengeincreatingfocusstacks:composingyourimagessothattheyseamlesslyfittogether.

Besuretopickyourfocuspointswiththisissueinmind.Forexample,intheextremeclose-upoftheflowershownbelow,IknewthatIcouldeasilymeldthetopofthestyleontotherestoftheflowerbecausetheedgesweredefinedandtheexactsizingdidn’tmatter.

Justkeepinmindthatchangingthepointoffocusalsochangesthemagnification.Inotherwords,imagesofthesamesubjectthatarefocuseddifferentlywilllookbigger(orsmaller).Thismeansthatyouneedtochoosefocuspointsthatarefairlyclose.Iftherearesignificantgapsinthepointsoffocus,thenthecapturescannotbejoinedsmoothly.

Ifout-of-focuselementsareanannoyanceratherthananelegantpartofyourcomposition,youcanconsiderextendingthein-focusareasofanimageusingmultiplecapturesatdifferentfocuspoints.Thistechniquemakesitpossibletocreatecompositionswithgreaterapparentclarity.

Iphotographedthisverytinyflowerindoors(tocontrolwind)andbacklititwiththebrightlightofthemorningsun.YetIcouldnotgetboththestyle(whichsticksoutabit)andtheanthers(thethingscoveredwithpollen)infocus.

Mysolutionwastoextendthefieldoffocusbytakingtwoseparatephotographs,eachwithadifferentpointoffocus.SinceIusedthesameapertureineachexposure,Icouldmanuallycombinethetwoimagesaslayersinpost-processingtoextendthefieldoffocus.Inthiscase,Itooktwocaptures—onefocusedonthestyleandonefocusedontheanthers.

200mmf/4macro,36mmextensiontube,+4close-upfilter,twoexposureswithdifferentfocalpoints;bothexposuresat1.6secondsandf/36,ISO100,tripodmounted

Thereflectionsinthisswimmingpoolladderintriguedmebecausetheylookedlikeanabstractworkofstainedglass.Ifocusedonthreedifferentpoints,usingtwodifferentexposuresforeachfocuspoint,andlatercombinedthesixcapturesbyhandinPhotoshoptoextendboththedynamicandfocalranges.

Althoughthereissoftwarethatautomatestheprocess,IprefertomanuallycombineimageswithdifferentfocuspointsinPhotoshop.

Bycombiningthedifferentfocuspointsinthisimage,Imanagedtocreateacompositionthatcontraststheentirelyin-focusrailwiththeblurofthewaterinthepool.Iftherailwasnotcompletelysharp,thiscompositionwouldnotwork.

105mmmacro,sixcaptureswithshutterspeedsrangingfrom4/5ofasecondto2seconds;allcapturesatf/36andISO100,tripodmounted

WorkflowandDigitalAssetManagement

I’vementionedbeforethatitisimportanttophotographfrequently.“HowdoyougettoCarnegieHall?”goestheoldjoke,withtheanswer,“Practice,practice.”

Todevelopandmaintainphotographicvirtuosity,youneedtopractice,practice…bytakinglotsofphotographs.Anditfollowsthattakingmanyphotographsgeneratesmanyfilestostore,aneedforacoherentandconsistentworkflow,andtheneedtoprotectyourimagecollection—ideallywithadigitalassetmanagementscheme.

Photosthatrequiremulti-RAWpost-processing(seepages66–73)involvemultiplecapturestoextenddynamicrange(pages74–77)ortoextendfocalrange(pages78–79).Andmultiplecapturesconsumemorestoragespacethan“singleton”images.Plus,ifyouliketoplayinPhotoshop,asIdo,thatwillburnthroughevenmorespace.

Soyouneedanarchivingsystemthatwillallowyoutofindthecomponentpiecesoftheseimagesifyoudecidetoworkonthemmoreatalaterdate.

Youshouldarrangeahierarchicalfolderandfile-namingsystemthatenablesyoutofindyourimageseasily.Setupafolderforeachyear;andwithinanygivenyear,listfolderschronologicallybyyear,month,andday.Youcanuseadescriptiveslugoneachfoldertohelpyoufindyourphotosessions.

Ifyoudon’twanttocomeupwithyourownsystem,there’savarietyofsoftwarethatwillhelpyouwiththesetasks.

Everymajorstepinyourpost-processedworkflowshouldbearchived,soyoucangetbacktothatstepandresumeworkfromthereifyoueverneedto.

It’simportanttosaveredundantcopiesofyourphotofiles.Unfortunately,there’snoperfectwaytoarchiveyourbackupfiles.DVDdisksarenotgenerallyverystable,sothebestbetistostoreyourbackupsonharddiskdrives.(Iusenetwork-attachedstorageunitsinRAID5configuration.)Inaddition,ideally,onebackupcopyshouldbeoff-siteincaseoffire,theftorotherunexpectedevent.

event.

ThisisaphotographofapileofbarkfromaMulberryTree,sometimescalledthe“PaperTree.”Ienjoyedframingatexturalcompositionfromthistranslucentbark.

IcreatedthisabstractcompositionusingthephotoofPaperTreebarkasitsoriginalbasis.Therewerenumerousintermediatestepsinthisprocess,andIendedupsaving25differentfilesintheprocess.Thepost-processingworkinvolvedmorethan300layers.

Unleashyourimagination

SunsetcameswiftlyalongtheruggedCaliforniacoast;afewminutesafterItookthisphoto,theworldwasimmersedinfog.

20mm,2minutesatf/22andISO100,tripodmounted

UsingVisualAmbiguity

Lookatthephotoonthefacingpage.Whatdoyousee?

DoesthisimageshowaChineselandscapeofmountains?Lookagain.Lookmoreclosely.

Ifthisisaphotoofalandscapepaintingofmountains,whyaretherefootstepsrunningacrossthetopsofthemountains?And,couldthatbedriftwoodspecklingthescene?

Amomentofcloserinspectionwillrevealthatyouarelookingatapatternmade

Amomentofcloserinspectionwillrevealthatyouarelookingatapatternmadebywavesonabeach.Infact,thephotoonthefacingpageisacroppedandrotatedversionofthephotoshownbelow.

It’shumantoseeonlywhatweexpecttosee.Animplicationisthatphotographersoftenmissvisualambiguity.

Butambiguitypacksrealcompositionalpunch.There’ssomethingmagicalandcompellingaboutinspiringtheviewertosay,“Nowwaitaminute!”

Evenifyouknowperfectlywellthatyouarelookingatabeach,atsomelevelyoumaynotbecompletelysure.Seedingthiskindofdoubtintheviewer—ataconsciousorunconsciouslevel—addspowertoyourcompositions.

Lookforopportunitiestocreatecompositionsthatcompeladoubletakeandofferthedeliciousvertigoofvisualambiguity.Here’show.

Startbylearningtoidentifyvisualambiguitiesyourself.Watchforvisualsthatcanbeinterpretedinmultipleways.Someofthebestsubjectsforthisarefoundinnature:water,wood,animalsandtopographyappearinshapesthatresemblethingstheyarenot.

Onceyoubeginseeingtheseopportunities,youcanworkphotographicallytoemphasizetheambiguity.

It’salsoimportanttopayattentiontounusualdetailsandpatternsthatareeasytomiss.Sometimestheoverlookedaspectofasubjectisexactlywhatwillmakeaninterestingphoto.

That’swhyIwasthrilledwhenIsawthepatternofwavesonthebeachshownintheseimagesandrealizedtheyresemblemountainswhenthecropisturnedsideways.

Anotherpoint:It’salwaysworthtakingasecondlookatyourphotostoseeiftheymightbenefitfromadifferentcrop,enlargementorrotation.Sometimesaverysimplemovecanvastlychangethewayanimageisseen.

Bothcrops:LookingdownatthegreatbeachinPointReyesNationalSeashore,Iwasentrancedbythepatternsofwaterleftbythesurf.IusedaPolarizingfiltertobringoutthecolorinthewater.

170mm,circularpolarizer,1/200ofsecondatf/7.1andISO100,handheld

SeeingtheUnexpected

It’satruismthatweseewhatweexpecttosee.Preconceptionscolorandinfluencetheimageswefind,anditischallengingtomakephotosthatdon’tfitthemoldofourexpectations.Learningtobecomeflexibleaboutthephotoopportunitiesinfrontofyouisvitallyimportanttomakingphotosthatgobeyondtheordinary.

Iconfess:Iliketoreadfantasyandadventurenovels.I’veespeciallyenjoyedreadingnavaladventures—manysetintheNapoleonicera.Inthesestories,thehero,oftenadaringanddashingcaptainofasmallbutpowerfulfrigate,invariablysaveshiscommandfromsurpriseattack—becauseheisabletoseetheunexpected,suchasanenemyshipwherenoshipoughttobe.

Similarly,thesinglemostimportanttraitofacreativephotographerislearningtoputasideexpectationsandsee“whatisreallythere”withoutpreconceptions.

Onmyassignments—whetherfromaclientorself-assigned—Ialwaystrytolookbeyondtheliteralproject.Iaskmyself:Isthereanotherwaytoapproachthis?WhatifItryanewdirection,eventhoughitisnotquitewhereIexpectedtobegoing?

Whenyouwanderinanemptystadiumliketheoneshowninthephotototheleft,doyouseeseatsandbleachersorhorizontallinesdividedbydiagonallines?Whichinterpretationismorereal,whichisclosertowhatisreallythere,andwhichismoreinteresting?

Withoutacamera,observeasceneclosely.Lookfortheabstractpatternthatdominatesthescene.Decidewhetheryougetmoremileagefromthecontentofthephotoorfromtheabstraction.Eitherway,havingmorethanonewayofseeingathinghelpstoexpandyourworldofartisticoptions.

Asanexercise,picksomethingthatyou’velookedatoftenandthatyouthinkisvisuallyboring.Now,letgoofyourpreconceptionsaboutthesubject.Studyitcarefully.Findsomethingyouhaven’tnoticedaboutitbeforeandmakeanimageusingthisdetail.

Iguaranteethattherearenewwaystoseeanysubject—nomatterhowoftenyouhavelookedatit.Keeponthelookoutforunexpectedsubjects.Youneverknow

havelookedatit.Keeponthelookoutforunexpectedsubjects.Youneverknowwhereyouwillfindthem.Honingthese“unexpected”waysofseeingwillhelpyourphotosbecomericherandmorepowerful.

Iwasinastadiumlookingforanoverallarchitecturalshot,butthelightingconditionsdidn’tcooperate.Yetthestairsandemptystandsinthegoldenlateafternoonlightmadeaninterestingpattern.SoIletgoofmypreconceptionforthisshootandmadethephotothatwasthereforthetaking.

Onedoesn’texpecttofindastrikingbluefeatheronagrittyurbanstreet.SoIwassurprisedtolookdownandseethisbeautifulbluefeather.Itwasn’twhatI’dbeenexpectingtoseeortophotographthatday.ButIwasabletorecognizeasubjectdespitemypreconceptions.

Theambientlightonthefeatherwasgreatjustwhereitwas,soIgotdownonthesidewalkwithmytripodandmacrorigandstartedshooting.Passersbylookedatmeoddly,buttheonlyrealtechnicalhitchwasthatthefeatherkepttryingtoblowaway.

105mmmacro,24mmextensiontube,1.3secondsatf/40andISO200,tripodmounted

InremotedarknessIdescendedthestairstothePointReyesLighthouse.Dropletsofwaterhungtoeverythinginthedensefog.Soundsseemedmuffled;eventhesavagePacificOceanbreakerscouldbarelybeheard.Nightphotographyinthefogpresentedtwoenormouschallenges.Icouldhardlyseethehandinfrontofmyface.Thentherewasmomentarybrightness,andI“saw”thepossibilityofanunusualandsubtlecompositioninthefogthatemphasizedthebrightnessofthediffusedlight.

ThePowerofVision

Whenphotographersusethepowerofvision,theyknowwhatascenerevealsandhowtheywanttopresentitinthefinalphoto.Inotherwords,thethreestepstousingvisionare:

1. Clearlyseeingasubjectasitis,forbetterandworse,includingaspectsthatwereunexpected.

2. Pre-visualizingthefinalimage.3. Understandinghowtoaccomplishtheimageyouenvision.

Withoutpre-visualizinganimage,it’sdifficulttochoosethetoolsandtechniquesneededtocreateit.Knowingwhatyouwantwithanimagehelpsidentifythestepsyoumusttaketomakeit.

Sometimesphotographsarespontaneousandcasual“grabshot”responsestoasituation,andthat’softenokay.Butfrequentlyanimageisimprovedwhenamorethoughtfulapproachistaken.Ithelpstostartwithasenseofwhereyoumightbegoingvisually.Togainthe“PowerofVision”advantage,youneedto:

Practiceseeingwhatisinfrontofyou,includingtheunexpected.Figureoutwhatyourphotoisreallyabout.Workonpre-visualizinghowyourphotowillcomeout.Createagameplanforcapturingandprocessingtheimage.

Onceyouimplementthepowerofyourvisioninphotography,youwillprobablynevergoback.Yourworkwillbericherandshowaninnermeaning,becauseyourvisionwillfacilitatephotosthatareuniquelyyours.

Forme,thistreesymbolizesbothstrengthandsolitude,asitstandsaloneagainstalltheworld.Tobringthecompositionoftheimageinlinewithmyvisionofthesubjectmatter,IprocessedthephotoinPhotoshoptomakethebackgroundsoftanddream-likeincontrasttotheharderedgesoftheoff-centertree.

Withsunshineintermittentandminglingwiththestorm,Iphotographedthetreeswithgreatsnowycliffsbehind.Tovisuallyunderstandthescaleofthelandscapeinthisphoto,youneedtoseethetreesinthemiddledistance.Thecompositionisinterestingbecauseitcomparesthetinytreesinthedistancewiththemuchlargertreeintheforeground.InamedthisphotoEnteringtheSanctuary,becauseformeitisaboutcomingintoaveryspecialplace.

ComingintoYosemiteValleyinaragingblizzard,Istoppedtophotograph,intriguedbythegnarledshapeofthetreeatthelowerrightcornerofthephoto.Thestormliftedforamoment,andthecontrastbetweenthetreeandthedistantviewacrossthevalleycreatedaninterestingcomposition.

PhotographyisMagic

There’sathinlinebetweentheeverydayworldwethinkweknowwellandthemagicalworldofstunning—butoftenoverlooked—details.It’snotalwayspossibletocrossthislineandbe“inthezone”whenyouwantto.

Forme,sometimesitisn’teasycomingbackonceIaminthezonecreatingphotographicmagic.Butwhenphotographersareabletosuccessfullyintegratethephotographicworldsofthemundaneandmagical,interestingimagesusuallyresult.

InTheKingofElfland’sDaughter,EdwardianfantasywriterLordDunsanywroteaboutslippingoverthelinefromourworldbeyondthefieldsweknowintofaerie.Onreturning,yearshadpassedandnothingwaseverthesameagain.

Thethemeoffindingbeautybutatacostcomesupoverandoveragaininnearlyeveryartform.Onceyoufindyourcreativityandinspiration,youcan’tgohomeagain.Butwhywouldyouwantto?

IwasthinkingofDunsany’snovelwhenIslippedoutbeforedawntophotographdandelionscoveredinthemorning’sdew(imagetotheright).Asthemorningsunstartedtorise,thedropletsofdewwerecoloredwithmagicalcolorsandmyimaginationwastransportedtoanewandstrangeland.Ithinkthephotoconveys,asoneviewerhassaid,the“intricatedetailofnature’sperfection.”

Magicalphotographyhappensbymovingbetweentheworldofyourmundanerealityandfantasticpossibility.This,bytheway,doesn’tmeanthattheresultingimagesmustbebeautiful;thesephotographsarejustdifferentandofteninawaythatishardtocategorize.Thissenseofdifferenceisoftenwhatgivesmagicalphotostheirpower.

Toharnessthispower,startwithaplaceyouknowverywellandfindawayto“slipthroughthecracks”andseeitwithneweyes.Useyournewperceptionstocreatephotosyoucanbringbackandconnecttotheeverydayworld.

Incidentally,youdon’thavetobelieveinmagictomakemagicworkforyou.Attemptingtomergeexperienceandtranscendentpossibilitycanbeapproachedasanexercise.You’llbegintoseeunexpectedpatternsanddetailsandtoclaim

asanexercise.You’llbegintoseeunexpectedpatternsanddetailsandtoclaimyourownvision.Thisexercisewillhelpyouowntheprocessofimagecreationthatisakindofphotographicmeditation.

Inthechill,dampairbeforesunrise,Ilefttoexploreafieldinthefog.Asthesunrisebegan,thedewdropscoatingthissmallflowercamealivewithamyriadofunusualcolors.Ifocusedcarefullyonthecenteroftheflowertocreateanapparentexplosionofcolorinthewaterdropsthatreflectedthe

There’smagicinthemundane.Photographicmagicisnotjustaboutlargevistasandhugepossibilities;itisalsoaboutthesmallthingsinlife.Ifyoulookcloselyateverydayobjects,itisalmostcertainthatyou’llseedetailsyoudidn’texpect.Forexample,unlessyou’velookedreallycloselyatthekindofbabypacifiershownonthesepages,youmaynothavenoticedthattheopeningsaremoldedintheshapeofaheart.

Householdobjectsreflectthequietmagicofhearthandhome.Personalobjectscanconveythemagictheirowner.Indeed,sometimesyoucanfindartinthemostunlikelyplaces.

Wherecanyoufindmagicinthemundane?

Bothimages:105mmmacro,1/2ofasecondatf/40andISO100,tripodmounted

AWorldofMystery

Torevealallistoleavenothingmysterious—nothingtotheimaginationofthosewhoviewyourphotos.

Neverunderestimatethepowerofimagination.Fromsmallscrapsofavisualidea,imaginationcanbuildpalaces,peopleandlandscapesthatarefargranderthananythingyoucouldexplicitlyconstruct.

Ifyoushoweverydetail,there’snothingleftforyourviewertoexplore.

Ontheotherhand,ifyouframeyourphotosusingmystery,thentheportionsofyoursubjectmatterthatarehiddenwillbeasimportanttoyourcompositionasthepartsthatareclearlyvisible.

Fogcanbeusedasagreat“cloakingdevice”thatshroudsportionsofalandscapephoto.Whatotherwayscanyoucomposeaphotowithasenseofmysterybyonlypartiallydisclosingyoursubject?

Thefogonthecliffclearedforamoment,andImadesuretocaptureplentyofthewalloffogasabackgroundinthisphoto.Thisallowedthefogtoframethevisibledetailandtherebycreateasenseofmystery.

DoubleTakes

Visualpuns,ornearpuns,areagoodwaytocreateanimagethatmakesviewersdoadouble-take.

IfIhavetolooktwicetomakesurethataphotois(orisn’t)ofsomethingnaughty,thenI’mmorelikelytolooktwice.(Theflowerphotosonthenextpageusethiskindofvisualdoubleentendre.)Thesizeofreproductionplaysanimportantroleindouble-takesaswell.Whenaphotoislargeryoumaybeabletoclearlyseeeverythinginit,whichmeansthereismuchlesspossibilityofambiguityoradouble-takeresponse.Butwhenthesamephotoisshownatpostage-stampsize,itismorelikelythatthecontentmayappeartobesomethingitisnot.

Doubletakesdon’thavetobe—andusuallyarenot—absolute.Thehintofasecondmeaninginaphotohelpsprovideextrainterest.Butthehintdoesn’thavetofoolanyoneforverylong.

ShippedinfromChinaandclearingtheGoldenGateBridgebyonlyseveralfeetatlowtide,thesegiantcranesdominatePortOakland,California.Ienjoyedmakingthisphotobecausethesehugepiecesofindustrialequipmentresemblegigantichorses.

AsIstrolledacrosstheoldNavajoBridge,camerainhand,IrealizedthatafisheyeviewofthemoremodernparallelspanacrosstheColoradoRiverlookedsomewhatlikeahumaneyeifthesizeoftheimageisreduced.

Flowersareinherentlysexy,andnoflowerismoresothanpoppies;thisoneisshownclose-upwiththepodjustopening.Poppiestendto“pop”veryquickly(whichiswhytheyarecalledpoppies!).Ifyouwanttocatchonepopping,youneedtopaycloseattention.Iwatchedthispoppycloselyover

thecourseofafewhoursandcaughtitjustasthebudwasemerging.

Thisisanextremeclose-upofthespadix—thereproductiveorgans—ofaCallaLily.Imadethiscompositionbecauseitisanunusualviewofaflowerthatmostpeopleneversee.

It’seasytoprojectothermeaningsonthisphotoofawetIcelandicpoppy.Theinterestofthesubjectmatterisobvious;asapracticalmatter,gettingmytripodinpositiontoframethiscompositionwithitscrossingverticalanddiagonallineswasquiteachallenge.

105mmmacro,3secondsatf/36andISO200,tripodmounted

PhotographyandNarration

Photographstellstories.However,thestoryisnotalwayscleartosomeonelookingataphoto.Infact,thenatureofthenarrativeissometimesuncleartothesubjectofaphoto.Asaphotographer,youshouldbeawareofthestoryyouaretryingtotell.Youdon’tnecessarilyneedtofullysharethestorywithyoursubjects.

Forinstance,whenfamedenvironmentalportraitistArnoldNewmanphotographedGermanindustrialistAlfredKrupp,NewmanwantedtoshowKrupp’sroleasanemployerofslavelaborbehindtheNaziregime.AsNewmannotedinaninterview,“Kruppwasaveryevilman”whofedtheslavelaborersinhisfactorieshalfthecaloriesthatevenHitlerallowed.Andwhentheseprisonersbecametooweaktowork,Kruppmovedthemtoneighboringconcentrationcampstodie,replacingthemwiththenextbatch.

NewmanthoughtofKruppasa“devil”andknewthatwashowhewantedtoportrayKrupp.Atthesametime,Kruppwasnofool.ThestoryofhowthephotographerNewmanoutwittedtheevilindustrialistandhishenchmenbyhidingwhathewasdoingfromthemmakesgoodreading.

ClearlyNewmanneverwouldhavegotthegreatportraithedidwithoutbeingveryclearhimselfaboutthenarrativehewantedhisphototoshowandbeingpreparedtomanipulateKrupptogetit.

Newman’sportraitofKruppplaysonaworldstagewithextremeevilasthebackdrop.Butdramatakesplaceallthetimearoundus,onabigandsmallscales,inhomesandfamilies,allthetime.

Forexample,acarnivorousplantdigestsafly.Isthestoryofthisphotoaboutexoticflora,orisitaboutthetragedyofafly’sshortlifeandearlydeath?Asphotographer,ifyouplayyourcardsright,yougettodecide.

Ofcourse,timeisacrucialelementinmoststories.Somethinghappens,andaphotographcapturesafrozenmomentoftime.Eventsbeforeandafterarethere,butonlyimplied.Sometimesasinglephotocapturesthewholestory,butmoreoftenittakesasequenceofmanyphotostotellafullnarrative.

oftenittakesasequenceofmanyphotostotellafullnarrative.

Sothinkcarefullyaboutthenatureofnarrativeinyourphotos.Doyouuseyourphotostotellshortstories,novelsorpoems?

Aphotographwithanobviousnarrative—suchasNewman’sportraitofKrupporacarnivorousplantdigesting—islikeashortstory.Photographsthatarepoetic,suchaswaterdropsintherain,aremoreoblique.Likepoetry,thereisastory,butaviewermayhavetoteaseitout.Itisnotstraightforwardnarrative.

IttookthisVenusFlytrapquiteawhiletodigestthisfly,soIhadtimetocomposethisphotoandshowthestory.Ichosethisanglebecauseitbest

showedtheprocessoftheflybeingeatenbytheplant.

200mmmacro,1/60ofasecondatf/25andISO200,macrofillflash,tripodmounted

Thisportraitofafive-year-oldfocusesontheeyeofachild,andittellsastoryaboutthesimplepleasureofenjoyinga“chocolatesandwich.”

Thestoryofovernightrainturningtoasunnymorningistoldpoeticallyinthisphotoofwaterdropsonaleafthat’sreflectingthebluesky.Notallnarrativeisdramatic;inthiscase,Iwaslookingatwaterdropsonleavesinmygarden.IknewIhadaninterestingcompositionwhenthecloudsbegantomakewayforblueskyandbitsofthebluewerereflectedinthedrops.

PhotographyIsPoetry

Ithinkofmanyofmyphotosaspoems.Theseareshortpoeticworks.TheyarenotHomer’sIliadorOdyssey.TheyaremorelikeJapanesehaiku:offeringabriefglimpseofbeautysosweetithurts.

It’suptotheviewertotaketimewiththeseimagesandtofinddeeperpersonalmeaning.Atleast,itismyhopethatdeepermeaningcanbefoundinmyphotographs.

Itisn’talwayseasytocreateaphotographthatisapoem.Likemodernverse,photosthatarepoemscanbefree-formandunstructured.Inmyopinion,thebestapproachisoneofZen-likewonderment.IfyouhaveinternalizedphotographictechniqueasIdescribedinthefirstpartofthisbook,youcanletgoandimproviseasyoucreatephotos.

Whenthingsaregoingright,there’safeelingIhave.IknowwhenIam“inthezone”forcreatingpoeticphotos.Anditdoesn’talwayshappen.It’sagreatfeelingwhenitdoesthough.

Photosthatarepoemsareverycenteredinthemoment.Thereisnopast;the

Photosthatarepoemsareverycenteredinthemoment.Thereisnopast;thefutureisyettobe;andthebeautyandpoignancyofthepresentareallthereis.

Namedafterthewind,anemonesaredelicateflowersinthebuttercupfamily.IphotographedthisAnemoneJaponicatoemphasizetheinterplaybetweentheroundflowercentersandthetransparentpetals.

Iworkedhardtocapturetheelegantsimplicityandtransparencyoftheblossomsonthischerrybranch.Theprimarychallengewascreatingacoherentcompositionfromwhatseemedamass—albeitabeautifulmass—ofpetals.IovercamethischallengebycarefullyselectingthesegmentofthebranchIphotographed,arrangingthecompositionwithstrongdiagonalandverticallines,andusingahigh-keyexposuretobringoutthecontrastbetweentheblossomsandthebranch.

Isnow-shoeduptoVernalFallsinYosemiteValleytocapturethisshot.Inabreakinthestorm,Icapturedtheverticalmotionofthewaterinaworldofstillwhiteness.

Thetexturesofaworldundersnowcontrastwiththesingledetailofthecreekthat’sopenwithrunningwater.

PhotographyThatTellsaStory

WhenKatieRose,mydaughter,wasbornveryprematurely,shewasgivensingle-digitpercentagechancesforsurvival.Wepreparedfortheworst.Butinthedaysthatfollowed,KatieRosemiraculouslydefiedtheodds.

IknewIhadtophotographtotellthestory—tocapturethemedicalappliancesthatkeptKatieRosealive.Itwasalsoimportantformetocapturetheemotionalcoreofherstoryofhope.

Theremaybepoetryhere,butitisaby-product:thisisphotographyasnarrative.ThestoryisKatieRose’sprogress,organizedonatimeline.

PhotographinginaNewbornIntensiveCareUnit(NICU)presentedsomespecialchallenges:lowlight,widelyvaryinglighttemperatures,andasensitiveenvironmentwhereIcouldn’tuseflashtosupplementthelighting.

ItwasimportanttometotellthestoryofKatieRose’sprogressinamatter-of-factway,sothatotherfamiliesinsimilarsituationsmightbeabletofindhopefromourexperience.

Ialsowantedtoconveytheemotionalimpactoflivingwithababyinintensivecaredayafterday.There’salwaysthepossibilityofheartbreak,butthemiracleofholdingthislittleembodimentofthelifeforce“kangaroo”styleagainstone’schestislifechanging.

Parentsofpreemiesareencouragedto“kangaroo”holdtheirtinybabiesassoonasitismedicallysafe.Skin-to-skincontacthasbenefitsforbothbabyandparents.

KatieRosewasconnectedtoIVlines,andshebreathedwiththehelpofaventilator.“Bili”lightsworkedtopreventjaundice.Hereyeswerecoveredtoprotectthem.

WhenKatieRosewasborn,hereyeswerestillfusedshut.Itookthisphotothedayhereyesfirstopened.

KatieRose’sbigbrotherscometotheNICUandpeeredthroughtheportalsofherincubator.

HerpediatricianholdsKatieonherfirstvisitaftercominghomefromthehospital.Sheismanytimesherbirthweighthere.

IphotographedKatieRoseusingasinglelow-wattagelamptocreateachiaroscuroeffect.

KatieRoseandhermomenjoyaquietmomentathome,relaxingafterthestressofthemonthsinthehospital.Thiscompositionworksbecauseofthelightonthebaby’sfaceandthecircularmotionofthemother’sarmsaroundthebaby.

ResearchingYourSubject

AsLouisPasteurputit,“Fortunefavorsthepreparedmind.”Yourchancesofcomposingspecialphotosaregreatlyimprovedifyou’vedoneyourhomeworkbeforeyoustartshooting.

Photographypresentsavastarenaforunleashingyourimagination—thewholeworld…andbeyondtouniversesknownandunknown.Thekindsofresearchrequireddependsuponwhatyouareshooting.Herearesomegeneralideasaboutthekindsofresearchthatmayhelpyouwhenplanningyourphotographysessions.

TheInternethasmadepre-shootresearchmucheasier.Butitstillmakessensetouseold-fashionedtools.Beingabletoeasilyreadamapandfigureoutgoodphotolocationsisanimportantphotographicskill.Anddon’tforgettopickupthephone.Humanbeingtohumanbeing,youcanaskquestionsaboutlocations,conditions,permissionsandaccessibility.Bytalkingtosomeone,youmaygetinformationyoucouldneverfindonawebsite.

Ifyouaregoingtoalocation:Learnaboutthepeople,placesandthingsthere.Studyroadandtopographicmapscarefully.Reviewthehistoryofthearea.Understandthetopographyandtheplantsthatgrowthere.Makenotesinadvanceofsignificantstructures,theirhoursofavailability(iftheyareopentothepublic),andwhatyouneedtodotogetaccessiftheyareprivate.SinceIuseatripodinmostofmyphotography,andsincesomequasi-publicareasdonotallowtripodshooting,thisisanimportantpointformetoresearchinadvance.Ifnecessary,applyforaspecialpermit.

Ifyourshootdependsuponcelestialpositions:Checktheweatherforecastandsatelliteweathermaps.Verifysunrise,sunset,moonrise,moonphase,andmoonsettimesanddirections.YourGPSmayhelpwiththis,andtherearealsowebsitesthatcanproviderelevantinformation,suchastheUnitedStatesNavalObservatory,http://www.usno.navy.mil/USNO.

Ifyouareshootingspecificfloraorfauna:Learnasmuchasyoucanabouttheenvironment,habitsandbiologyofyoursubjects.AfterIhadbeenphotographingflowersforawhile,Ipickedupabotanytextbooktolearnmoreabouttheflowerreproductivecycle.TheknowledgeIgainedhashelpedme

composememorablefloralimagery.

Ifyouarephotographingpeople:Researchyoursubjectsiftimepermits.Mosteverybodythesedayshassomepresenceontheweb.Ifyouknowabitaboutwhatmakesyoursubjectstick,you’llbeabletobetterengagetheirinterest.You’llalsobeinabetterpositiontocomposeinterestingenvironmentalphotosofthem.

MareIslandisadecommissionedWorldWarIInavalshipyard.It’salocationwithplentyofromantic,industrialbuildingsandmachinery—someinruins.BeforeheadingtoMareIslandforanightshoot,Iresearchedthehistoryofthelocationaswellasthetimeanddirectionofmoonrise.Asthemooncameupbetweentheseabandonedcranes,Iwasreadyforit.

BeSpecific

Atonetimeorother,almosteveryonehasexperiencedtherevelationofunderstandingaworkofart.Theplotofanovelormoviethatseemedconfusingbecomesclear.Somethingout-of-focuscomesintofocus.Mostpowerfulofall,werealizethatsomethingunclearorvagueisactuallysomethingspecificwecanrelateto.

Bypresentinganapparentlychaoticcompositionthatisactuallyveryspecific,aphotographercangivethoseviewingtheimageasenseofaccomplishmentforpiecingtogetherthepuzzle.

Astheconundrumisresolved,theviewermay“becomeone”withthephotographer.Inotherwords,bringingorderthroughspecificityisagreatstrategyforengaginganaudienceinyourcomposition.Ithelpstoemotionallyalignthoseviewingyourphotographswithyou.

Manysurfaceshavereflections,andmostreflectionsarevisuallyinteresting.Thisdoorknobinalow-lightlocationprovidedaverywide-anglereflection(aswellasaportraitofthephotographer).

200mmmacro,3minutesatf/36andISO100,tripodmounted

Thisapparentlyabstractcompositionisactuallyahead-on“portrait”ofanantiquecrystaldoorknob.

Abstraction

Abstraction,asappliedtophotography,hasseveralmeanings.Anabstractphotoisaformalphotothatgetsitspowerandmeaningfromtheshapesandcolorsintheimageratherthanitssubjectmatter.

Takingitonestepfurther,abstractioncaninvolvetakinganimagethathasspecificandidentifiablecontentandusingthatcontentasthebasisforanewcompositionthatabstractsthesubjectsoitmaynolongerbeinterpretedliterally.

Notallattemptsatabstractioninthissecondsensewillwork.Makingthiskindofimagetakesagreatdealoftrialanderror.Butwhenthecompositionsdocometogether,theyareamongmymostartisticallyandcommerciallysuccessfulwork.

Thereflectioninthepotonthestovetopinterestedmebecausethecompositionseemedtoimplydomestic,householdmagic.

Iworkedtocreateseveralabstractionsfromtheoriginalphoto.

Lookingattheimagewithoutseeingthephotoitderivesfrom,aviewerperceivesanimagethat’strulyabstract.IworkedhardinPhotoshoptomakeanimagethatlooksmorelikeawatercolorthanaphoto;youcanseethisparticularlyinthebluebottleontherightsideoftheimage.

Allimages:105mmmacro,20secondsatf/36andISO200,tripodmounted

Iphotographedraindropsonaredsodacan(below).Next,Icreatedgreenandbluecanvasesfromtheredversionbyreversingcolorchannelswithintheimage(right).Then,Iproceededthroughaseriesofabstractions,whichIcombinedintothefinalversions(farright).

Allimages:200mmmacro,2.5secondsatf/22andISO100,tripodmounted

Itransformedthesimplephotoofashadowonacarpet(above)intotheinterestingabstractionshownontheright,usingPhotoshop.

Oneofmyfirststepswastorotatetheimagesothatitwashorizontalinsteadofvertical.Then,Iinvertedtheblackshadowtomakeitappeargrayish.Afterthat,Iusedpaintingandcolorizationtechniquestocomeupwiththepsychedelicpaletteyouseeintheimage.

Bothimages:52mm,1/200ofasecondatf/8andISO200,handheld

PlausibleAbstraction

Allowingviewerstoresolveanambiguouscompositionintospecificityisapowerfultechnique.(Thedoorknobphotosonpages120–121areexamplesofthistechnique.)However,attimes,abstractionitselfcreatesthepossibilityofcompositionsthatarericherthananythingfoundin“reallife.”(Youcanfindexamplesonpages122–127.)Howcanthisapparentcontradictionbetweenthenaturaldesiretoresolveambiguityandtheenjoymentofabstractionberesolved?

Thekeyistocreatepartialabstractionsthataregroundinreality.

Itmaynotbevitaltothesecompositionsthatthespecificsubjectmatterisrecognizable.Atthesametime,viewersshouldunderstandthatitisreal.

Thisgroundstheabstraction,makingitplausible,andpresentsthepossibilityofcreatingcompellingandmagicalimagerythatdoesn’toverwhelmtheviewerwiththekindofqueasinessonecansometimesfeelaftereatingtoomuchrichfood.

ThisisaphotographtakenattheMarinCivicCenterinSanRafael,California.ThebuildingwasdesignedbythefamousarchitectFrankLloydWright,asoneofhislastmajorprojects.Theuseofafisheyelensinthis

photoabstractsthecurveofthisstairwell,essentiallyusinganopticaltricktoturnwhatwouldbeaconventionalphotoofarchitectureintoaplausibleabstraction.

10.5mmdigitalfisheye,5secondsatf/22andISO100,tripodmounted

ThisisanotherphototakeninFrankLloydWright’sMarinCivicCenter.Asopposedtothephotoontheoppositepage,whichisclearlylookingdownastairwell,youmaynotbeabletotellthattheviewshowninthisphotoislookingupastairwell.Formanyviewers,ittakesabitoftimetoseethespecificityinthispartialabstraction.Thephotocanbeenjoyedonbothlevels:asanimageofarchitectureandasaplausibleabstraction.

15mm,10secondsatf/22andISO,tripodmounted

Photographyandparadox

Icombinedaphotographofaspiralstaircasewithoneofaspiralshelltocreateaseamlesscompositeoftwoverydifferentspirals.

Stair:18mm,6secondsatf/22andISO100,tripodmountedShell:50mmmacro,8secondsatf/32andISO100,tripodmounted

CombiningImages

EverytimeIcombinephotosintoacollage,Iunderstandthatmyfinishedimagesmusteitherworksurrealisticallyorhaveelementsofparadox…orboth.

I’vefoundthataverysuccessfulcompositionaltechniqueistoblendphotoswithcopiesofthemselves,reproducedatavarietyofsizesandangles.

Whethercompositinganimagewithitselforwithanotherimage,itisimportant

Whethercompositinganimagewithitselforwithanotherimage,itisimportanttokeepcontinuityofcompositioninmind.

Anoftenoverlookedpointisthatthecolorvaluesandlightingdirectionofallpartsofaphotocompositeneedtomatch.Inaddition,thecombinationshouldalmostalwaysbeseamlesssothatlinesandshapescontinuefromonepartofthecompositiontoanotherwithoutobviousbreaksordiscontinuities.

IshotthisspiralstaircaseinabackareaofSanFrancisco’sEmbarcaderoCenter.

10.5mmdigitalfisheye,10secondsatf/22andISO100,tripodmounted

ThisimageisreminiscentofM.C.Escher’sstaircases;thiscompositeiscomprisedofmanyresizedandrotatedversionsofthespiralstairsshownontheleft.

PhotographyIsDeception

ArtistM.C.Escher’sworkexploredthenatureoftherelationshipbetween“reality”andaperson’sperceptionofit.Hedidsobywarpingrealityintosomethingnewanddifferentthatlookedpossiblebutsomehowviolatedtheknownrulesofperspective.

OtherartistssuchasSalvadorDaliandReneMagrittealsodepictedrealitybutusedapparentlyrealelementstocreatescenesthatcouldnotpossiblybereal.

AsInotedintheintroductiontothisbook,aphotographisnotreality.Atmost,aphotoisatwo-dimensionalrepresentationthatinsomerespectscorrespondstoourperceptionofreality.

Accomplishedphotographersofthepre-digitalera,includingManRayandJerryUelsmann,usedthedarkroomtocreatecompelling,butunreal,imagesthatwereclearlyaformofdeception.

Theartofrearrangingtheelementsofaphotoorcombiningphotostocreateanewimageiscalledphotocompositing.Digitaltechnologymakesiteasierthaneverbeforetousephotocompositingtomakecompositionsthatareexplicitlyintendedtobefantastic,paradoxicalorsimplyunreal.

Infact,withdigitalphotographyithasbecomequiteachallengetodeterminewhatis“real”andwhatisnot.

Post-processinganimageshouldnotberegardedasasubstituteforcreatingthebestpossiblein-cameracompositionatthetimeoftheexposure.Forme,thepossibilityofextendingmyphotosusingcompositingtocreateimagesthatareimplicitlyorexplicitlyunrealaddsexcitingpossibilitiestomycompositionalpalette.

FortPointisahistoricmilitarystructurethatpre-datesCalifornia’sindependencefromMexico.Withinthedarkinteriorpassages,IsawatunnelthatpresentedthekindofrepetitivevisualelementthatIlookforwhencreatinganimagethathasanimpossiblydistantvanishingpoint.Ifyou’rethinkingofcreatingthiskindofimage,ithelpstorealizeinadvancethatyouwillneedpointstograftbiggerandsmallerversionsoftheoriginalimageontotheoriginal.Thisrequiredexactrepetitiononareducedscale.

Forinformationaboutcombiningmultipleimagesinpost-processing,seethesuggestionsforfurtherreadingonpage234.

Photocompositeofimagewithitselfinlargerandsmallerversions;originalphotoshotat14mm,3secondsandf/22,tripodmounted

PlayingwithScale

Scaleorientsusinlife.Apebbletousisahugebouldertoanant;toahypotheticalgiant,ourlakesarepuddles.

Withoutanextrinsicpointofreference,viewersofaphotoareunabletodiscernscale.Providingyouraudiencewithasenseofscaleisafunandinterestingaspectofcreativephotography.Playwithit!

Someofmycompositionsthatplaywithscaleviacompositesattempttocreateanillusion.Intheseimages,thescaleisnotwhatitseemsatfirstglance.Theapparentlyhugerocksbelowareactuallyquitesmall.

Inothercompositions,thescaleisobviouslywrongbecausetheelementsintheimageareabsurdtogether,likeaflowerblossomfillingaroom.Inthiskindofimage,asenseofwrongnessdrawstheviewerintotakeacloserlook.

Therocksinthisimageareaboutthreeincheshigh.AfterItookthephoto,Irealizedtheytherewasnoscalereference.Therockscouldbeanysize.Asgigantic,toweringrockformations—possiblyonanalienplanet—theyseemedtocalloutforamoon,soIobliged…bycompositingonein.

Moon:300mm,1/30ofasecondatf/8andISO200,tripodmounted

Rocks:18mm,1/250ofasecondatf/10andISO200,tripodmounted

IattemptedinthisimagetorecreateapaintingbyReneMagritte,TheWrestler’sTomb.ThepointoftheMagrittepainting,andmyhomage,isthedifferenceinscalebetweentheflowerandthebackground.

IknewthekindofimagethatIwantedtoputtogether,soIlookedthroughmylibraryfortheappropriatepiecesthatwouldechotheMagrittepainting.Thedarkshadowsoftheroom’sinteriormadeiteasytopasteintheflower.Iwasalsocarefultopicktwoimagesinwhichthelightcamefromthesamedirection.Formoreinformationaboutcombiningimages,seethesuggestedreadingonpage234.

Flower:85mmmacro,1secondatf/51andISO100,tripodmounted

Background:12mm,5secondsatf/22andISO100,tripodmounted

WhatIsReality?

Sometimesrealitysucks.Well,maybeitdoes;maybeitdoesn’t.Theworldcanbebothaterribleandwonderfulplace.Itcanalsobeboring.ThephilosopherHannahArendtspokeofthe“banalityofevil.”

Evilcanbebanalandlifeboring,butthere’snoreasonourimagesneedtoportraythis.Mostanythingcanbetransformed.

Iliketostartwithanapparentlyordinarysubject,suchasthecartireshowntotheright,andthenworktoconstructsomethingnewanddifferentfromtherawmaterials.Whowouldhavethoughtthatawheelhoststhesoulofaflower?

Startingwiththewire-rimwheelsofaclassiccar(below),Ilayeredinmanycopiesoftheimageandaddedcolortocreateaflower-likeimage(bottom).

Compositecreatedfromasinglephoto;85mmmacro,8/10ofasecondatf/45andISO100,tripodmounted

Iwasaskedtoillustrateabutterflycomingtolifeandbeginningtofly.First,Iphotographedadried,pinnedbutterflyonalightbox.Then,Icreatedthiscompositeusingthreedifferentcoloredversionsoftheoriginalphoto.Eachoneisplacedabitfurtherfromtheoriginalposition.

Compositeimagecreatedfromthreeversionsoftheoriginalphoto;100mmmacro,2secondsatf/8andISO100,tripodmounted

TheMysticalLandscape

Landscapesplayanimportantroleinmanykindsofart,includingink-brushChinesepaintings,impressionistpaintingsand,ofcourse,photography.Formanyartistswhoworkinlandscape,subjectmatterplaysanimportantroleandcantakeonamysticalquality.

Beautiful—andevenrelativelyordinary—landscapestendtosootheoursoulsandspeaktothespiritualelementwithinus.Whentheselandscapesareaccurateportrayalsofreality,theycanbeperceivedasplaceswe’dliketobe,orstatesofbeingweaspiretoattain.Ifyoufindyourselfinweatherthat’swreathedinfogoronalonelybeachattwilight,thenconsidermakingthiskindofimage.

Byaddingphotocompositingtechniquesintothemix,youcanaddworldsofpossibilities.Landscapesnolongerhavetobeliteralcapturesofanactualscene;instead,theycanshowplacesthatdonotexistasaphysicalplace—onlyasanideaorstateofbeing.

Asyoushoot,it’sreasonabletokeephalfaneyeonthepossibilitiescreatedbycompositingtools.Digitalmeansyoudon’thavetosayifonly…anotherelementwerepresentinascene.Youcanalwaysaddthemissingelementlater.

Justbecauseyoucandosomethingthoughdoesn’tmeanthatyoushould.WhenIcreateacompositelandscape,Itrytorememberthatmypurposeistomakeanimagethatisinteresting,orfeelsspecial.Iliketousemyskillsasaphotographerandcompositortopresentlandscapesthataretrueworldsofwonder.

IcreatedthiscompositeimageoftreesandreflectionsinapondtoillustratetheWoodbetweentheWorldsinoneofC.S.Lewis’Narniabooks.Itexploresthequestionofwhereoneworldendsandthenextonebegins.

Trees:105mmmacro,1/80ofasecondatf/14andISO200,tripodmounted

Pondreflections:65mm,circularpolarizer,6secondsatf/22andISO100,tripodmounted

ThemountainssurroundingYosemiteValleyarehardedgedandsevere,buttheyareevenmoreinterestingtomewhenwreathedinfog.Iprocessedthisimagetoexaggeratethecontrastbetweenthedramaticspiresandthefoggybackgroundbyincreasingthecontrastinthecomposition.

Dusk,whendayturnstonight,istraditionallythehourinwhichlightingmagicisreleasedintotheworld.Inthisphoto,Itriedtocapturetheessenceofduskinalonelyplace.Youcanseethefirstlonecarlightfarinthedistance.

Takenduringtheearlyhoursofanightphotographyvigil,thisphotopresentssomeoddvisualeffects,especiallywheretheoceanmeetsthehorizonline.

Ifyoulookcarefullyatthephoto,you’llseethatitdoesnotseemnatural.Thelinesofthewavesintheintermediateforegroundareechoedintheskyinawaythatisunusualinnature.Forme,themoralistokeepyoureyeswideopenwhenyouarephotographingsomeplacelonelyasnightcomeson.

TheNatureofParadox

Canwelovesomethingandhateitatthesametime?Canaphotoshowsomethinguglyandbebeautiful?Conversely,canaphotographofsomethingbeautifulseemugly?

Theanswertoallthesequestions,ofcourse,is“Yes!”

Compellingphotosembracethisparadox.Theyshowbothsidesofasubjectandpresentopposites—goodandbad,evilandkind,cityandwilderness—inasingleframe.

WanderingindowntownOakland,California,Isawthesereflectionsintheglassfaçadeofamodernofficebuilding.ThedistortednatureofthereflectionsremindedmeofafamouspaintingbySalvadorDali,ThePersistenceofVision.Andtheappearanceofthebuildings,astheywarpreflections,arereminiscentofthearchitectureofAntonioGaudi.

170mm,circularpolarizer,1/250ofasecondatf/7.1andISO500,handheld

Toincreasetheamplitudeandcolorofthereflections,IusedacircularpolarizerinthisseriesofphotostakenindowntownOakland.

200mm,circularpolarizer,1/320ofasecondatf/9andISO500,handheld

Ithinkourcivilizationisremarkableforwhatithasbuiltandforitsmanyaccomplishments.Butofcourse,thereareothersidesofcivilizationthatarenotsogood—frompollutionandglobalwarmingtowarsandconcentrationcamps.Photographyisapowerfultoolforremindingeachotherofourimpactonnaturallandscapes.

AsIbeganworkingtocreatethiscomposition,Imeditatedonboththegoodandbadofcivilization.Althoughtheimagecontainssomeunsettlingelements,itisessentiallydecorative.

Compositecreatedfromtwophotosofreflectionsonbuildings.Oneofthesephotosisthehorizontalimageshownonpage142.

“Ireadthenewstoday,ohboy,”sangJohnLennonoftheBeatles.AndIknowwhathemighthavemeant.WhenIreadthenews,whichIdoonmostdays,mythoughtscanturnnegative.Thewholeworldcanseemaconfusedjunglewiththingsupsidedownandoutofplace.

IcreatedthesephotocollagestoshowaspectsofsocietythatcanseemliketheTowerofBabel,withthingsgoingeverywhichway…andabeautifulbutscaryanarchypredominating.

Combiningimagesisoneofthosethingsthatisvisuallyharderthanonemightthinkatfirst.Notallimagesworktogether.Theremustbeacompositionalpointtotheblend,andacoherencytothefinalimages,orthecompositionwillnotbeofmuchinterest.

Withtheseimages,IwascarefultoretainthekeyrecognizablearchitecturalcomponentsfromtheoriginalphotoswhileIblendedtheminwaysthatwerevisuallyinteresting.Ialsopaidattentiontothecontextoftheshapeswithinthecompositionalframe.(Formoreaboutthesematters,turntopages180–197).

Ifyoulookatthefinalimagesfromthisviewpoint,you’llseethateachhasacoreverticalspiralshapeflankedbyalessphoto-manipulatedframetotheleftandtotheright.

Forinformationaboutcombiningmorethanonephotoinpost-processing,seethesuggestedreadingonpage234.

Allimages:eachcompositecreatedfromtwophotosofreflections,oneofwhichistheverticalimageshownonpage143.

Surrealism

Surrealismbeganasanartisticmovementinthe1920sasareactiontothetragedyoftheFirstWorldWar.Itwasalsoarevolutionaryresponsetotheperceivedinequitiesandinefficienciesofbourgeoissociety,anditevolvedasaliteraryandartisticmovement.

Surrealistworksofartareintentionallysurprising.Theyfeatureunexpectedcombinationsandjuxtapositions;visualscombinedascomponentsofasingleimagethatdon’tmakesensetogether.Atthesametime,foraphotograph(orotherworkofart)toachievesurrealintentions,someplausibilitymustexist.

Surrealphotographscreateanalternativereality.Butthisisanalternativethatcallsattentiontoitselfandemphaticallystatesthatitisdifferent…andmanipulated.Thisisadifferentphotographicintentionthansubtlymanipulatedphotos.Forexample,mysticallandscapes(seepages138–141)maybeunreal,buttheintentistocreateauniversethatisplausibleandserene.Surrealistimagesareintentionallyjarring,andthescenestheydepictarerarelyplausibleinarationalsense.

Iwantedtocreateanimagethatshowedthereishopeinthefaceofdespair.Thisisacombinationofaphotoofamountainlionskullandaphotoofa

dragonfly.Themountainlionskullrepresentsdeathanddecay,andthedragonflyinvokesthepossibilityofresurrection.Butisresurrectioneverentirelystraightforward?Thereisasinisteraspecttothedragonflyinthiscomposite.

Mountainlionskull:85mmmacro,1.6secondsatf/51andISO100,tripodmounted

Dragonfly:200mmmacro,2secondsatf/32andISO100,tripodmounted

Thisimagecombinesphotosofasunset,wavesandagroupofflowerstocreateanunearthlycompositionthatwouldnotbepossiblein“reallife.”

Whenchoosingimagesforthiscomposition,Iwascarefultopickphotoswithcomparablyintensetonalvalues.Theorangeofthesunisaverydifferentcolorthantheblueofthewavesorflowerpetals,butitsharesalevelofintensitywiththeseotherelements.Withoutthiscommonality,thecompositionwouldnotwork.

Sunset:400mm,1/800ofasecondatf/9andISO100,tripodmounted

Waves:200mm,1/250ofasecondatf/6.3andISO100,tripodmounted

Flowers:85mmmacro,fivecombinedexposuresatshutterspeedsfrom1/2secondto8seconds;allexposuresatf/51andISO100,tripodmounted

Here,IwastryingtoillustratealinewrittenbyHermanMelvilleinMobyDick:“Yes,aseveryoneknows,meditationandwaterareweddedforever.”

Tocreatethesenseofpeacefulmeditation,Ioriginallycombinedpondreflectionswithbackgroundtrees.Theresultingcompositiondidn’tprovidequiteenoughspecificityforme.Therewasnowherefortheeyetorest.SoIaddedthelotusflowerstothelowerrightfromathirdphoto.

Itwouldhaveseemedartificialfortheretobeonlyoneflower.However,Ididnotwantthelotusflowertobethemostimportantelementinthecomposition.SoIplacedthreeflowersonthelowerright.

Theeyecanstartwiththeflowers,butitdoesnotlingerthere.Thekeypointinthiscompositionisthecontrastbetweenthesereneforestandskyreflectionandthebusysurfaceofthepond,filledwithdetailssuchasleavesandsticks.

Compositeimageofthreephotos:

Lotusflowers:200mmmacro,1/500ofasecondatf/8andISO200,tripodmounted

Pondreflections:65mm,circularpolarizer,6secondsatf/22andISO100,tripodmountedBackgroundtrees:105mmmacro,1/80ofasecondatf/14andISO200,tripodmounted

Ifyoulookcloselyattheeyeinthecenterofthissucculent,you’llseethatitshowstheplantitself.Inmycombinedimages,Iliketopresentdetailsthataren’timmediatelyobviousbutsignificantwhenyouseetheminalargerscale.

Compositeimageoftwophotos:

Succulent:75mm,1/60ofasecondatf/22andISO100,tripodmounted

Eye(massivelycropped):140mm,1/40ofasecondatf/5.3andISO500,handheld

Icomposedthisphototoshowaframedsequenceofdiminishingdoorways,eachdoorsmallerthanthepreviousone.Maximumdepth-of-field,achievedbystoppingdownthelenstoitssmallestpossibleaperture(f/22),insuredthatallthedoorswereinfocus.

WhenIlookedattheresults,thedoorswerenottrulyendless.Thecorridorwentagooddistance,butitdidcometoanend.Iwantedtheimagetoshowanapparentlyinfiniteprogression,soIcompositedlargerandsmallerversionsoftheoriginalphototocreateanextensionofthelineofthedoors.

Thedoorsgoonfurtherthanyoucanseeunlessyougetthechancetoviewareallylargeprintwithamagnifyingglass(ormagnifythehighresolutionfiletothesinglepixellevelonagoodmonitor).Youcan’tseeit,soyou’llhavetotakemyword,butatthesinglepixellevel,withinthefinaldoor,

havetotakemyword,butatthesinglepixellevel,withinthefinaldoor,I’vesignedmyinitials.

Photocompositeofimagewithitselfinlargerandsmallerversions;originalphotoshotat95mm,10secondsatf/22andISO100,tripodmounted

Photographyisdesign

IphotographedtheseGazaniapetalsclose-uptocreateanabstractcompositionoflinesandshapes.

105mmmacro,36mmextensiontube,+4close-upfilter,1.3secondsatf/40andISO200,tripodmounted

Theworldaroundusisfilledwithlines:outlinesandwispsofclouds,silhouettesofmountains,telephonelinesstretchingfrompoletopole,andsoon.Linesconnectpointstocreateshapes.Shapeshaveedges,andedgesarethemselveslines.

Linesandedgesdefinethewaywesee,andtheyarefundamentaltophotographiccomposition.

Thinkaboutlinesforamoment.Lineshaveadirection:theyarehorizontal,verticalordiagonal.Astraightlinelooksdifferentfromacurvedline.Lineshavewidth;theycanbewideorthin.Somelinesaredark;somearelight.Alinegoingfromdarktolightmaylooklikeitisfadingtonothing;alinegoingfromlighttodarkappearstobedeveloping.Somelinesaresimplymoreexpressivethanotherlines.

Despitetheimportanceoflines,wedon’ttypicallyphotographlinesbythemselves;rather,weseeacompositionwithshapesthatarereducedviaabstractionintohorizontal,verticalanddiagonallines…triangles,curves,circlesandsoon.Uselinestomakeyourcompositionsmorecompelling.

Lookforthelinesinasceneandusethemcreatively.Beginbypre-visualizingyourcompositionsstrippedtotheessentialelements.Whenyoudothis,thereshouldonlybeafewshapesleftassurrogatesfortheentirecomposition.Think:Ifyouactuallydrawthelinesthatformtheshapesinacomposition,wouldtheselinesmakeaninterestingdrawing?Howcanyoushiftyourlens,positionandlightingtomaketheintensity,direction,flowandinteractionofyourlinesmoreinteresting?

Therearetwomajorlinesatworkinthiscomposition:ahorizontallinecreatedbythemountainsinthebackground,andtheverticallineoftheblackroad.Thedottedlinerunningdownthemiddleoftheroadrecedesintothedistance,drawingyoureyeintothescene.

Shapes

Linesformshapes,andshapesarethebuildingblocksofacomposition.Shapescomeinmanyvarieties.Therearerectilinearshapes,curvilinearshapesandrepeatingshapes.

Youcancategorizeshapesindifferentways,butit’simportanttorealizethatyourphotosarealwaysmadeupofshapes.Photosworkonmanylevels.Oneoftheselevelsthatispresentineveryphotoistheinterrelationshipofshapeswithintheimage.

Evenwhenthesubjectmatterofaphotoiscompellingandclear—andthephotoisaboutthesubjectmatter—thearrangementofshapesshouldcreateacompositionthatsupportsthesubjectmatter.Thewaytheseshapesfittogetherissignificanttoourappreciationofaphotoandcompelsasecondlook.

Ifyoucomposeaphotoandknowthatyouarelookingataface—orabridgeorashadow—itismuchhardertoseetheunderlyingshapes.SowhenI’mwearingmycompositionalhat,Itrytoignoresubjectmatter.Ijustlookatthewaytheshapesfittogether,andwhetherthelinesattheedgesoftheshapesareinteresting.Shadowarea?Maybe—butforcompositionalpurposes,itisanirregular,darkshape.

Lookingatshapesasshapes,andseparatingthemfromtheirreal-worldsubjectmatter,helpsmeanalyzethem.Iliketomakeanassessmentaboutwhetherashapeispredominantlypositive—theshapeitselfissignificanttothecomposition—ornegative.Anegativeshape,orspace,isformedbyothershapes.

There’sasubsequentstageofcompositionalanalysis,whichstartswithanunderstandingofhowcompositionanditslines,shapes,andperspectiveimpacttheimage.IfIunderstandwhatmyphotoisabout,andwhichportionsofthecompositionareimportanttothismeaning,thenItrytoadjustthecompositiontosupportthemeaningbymovingmyposition,changingmyfocallength,oradjustingmyexposuresettings.

It’sworthrememberingthatcompositionalassessmenttakesplacewhileyou’rephotographing,eitherinthefieldorinthestudio,throughtheviewfinderorLCDofyourcamera.Itcanbedifficulttoextrapolateontherelationshipsofshapeswhilelookingthroughasmallviewfinder,andwhenyouareundertimepressure.Butseeingthestructureoftheunderlyingcompositionisaveryimportantskillforphotographers;itisworthtakingthetimeandefforttodevelopit.

LookingdownatthedeYoungMuseuminSanFranciscofromthemuseum’sobservationtower,Inoticedthatthejuxtaposedshapesofthesegmentedroomprovidedpotentialforaninterestingcomposition;thesubjectofthephotoisn’timmediatelyclear.Andthedarktriangularshapesmakeanunusualcontrastwiththepredominantlygrayshapes.

Thiscompositionisfullyabouttheshapesthatthephotoshows:thearchedbridgeintheHagiwaraTeaGarden,thecircularnegativespaceunderneaththebridge,andthereflectioninthepondofbothpositiveandnegativeshapes.Whenyouarethinkingaboutshapesinyourcomposition,keepyoureyeoutforcircles;thesearerelativelyunusualandalmostalwaysleadtointerestingcompositions.

Inthisphotograph,whenIoverexposedinthestrong,lateafternoonlight,thesummitofMountTamalpaisandthepeaksoftheCaliforniaCoastalRangebecamesilhouettesandwerereducedtotheiressentiallinesandshapes.

PhotographyandZen

ZenisaformofBuddhismthatcentersonthepracticeofmeditationandtheadherencetodharma,one’srighteouspath.Asanaestheticmovement,Buddhism—particularlyJapaneseBuddhism—isassociatedwithminimalismandnaturalism.

Lifeisneverstatic.Itisalwaysinprocess,becomingorending.TheZenaestheticismoreinterestedinlife’stransientstates,thebeautyofablossomopeningordecaying,thaninmomentsofperfection.Thatwhichfadesistruetolife.Beautyisstarkandsimple…andneverartificial.

WhileimagesintheZentraditionaresimple,theyalsohaveemotionalcontent.Forexample,theEnso,orcircle,isaJapanesecalligraphicsymbolassociatedwithZenthatrepresentsbeautyandstrength,andthetransitionfromnothingnesstolifeandbacktothevoid.

Forme,thepracticeofphotographyasZenbeginswithaclearingofmymind.ImeditateuponthecompositionIamabouttomakeandIcontinuetomeditateonthecompositionasImakeitandafteritismade.Suchasessionisnotsomuchaboutthephotographicresultasitisabouttheprocess.

MyworkisbestwhenIlosemyselfintheprocess.Iamnotthinkingaboutwheremyphotoswillbepublishedorhowmuchmoneytheymaymake.Iamnotcaughtinaninnerdialogwithmyself.InsteadIaminacreativetrance,wherenothingmattersbutthecreativeprocessitself.

PhotographiccompositionsthatshowZenaspectsaremeditative.Theshapesusedintheseimagesareoftencurvesandcirclesratherthanstraightlinesandrectangles.Compositionsbuiltuponcurvilinearshapesoftenworkbecausetheyaresimple;theyfeelnatural;andtheyavoidartificialcomplexity.

Thissimpleimageofaflowergonetoseedusesacircularcompositiontoechothecontentofthephoto:lifeislikeawheel,andresurrectionisalwayspossible.

Asubtlecompositionofcurvingshapesthatarealmostparallelmightinspireasimplemeditationaboutsunsetonthewater.

Patterns

Lifeisfullofpatterns.Asaphotographer,Iamintentlydrawntothem.

Sowhatisapatternexactly?Ithinkofvisualpatternsasasimilarrepetitiveorsemi-repetitivesetofshapesthatcreateamotiforholisticseries.Patternsareimportantbecausetheyhelporganizetheworld.

Ashumanbeings,wearehard-wiredtoexpect,recognizeandenjoypatterns.Fromourearliestyearsinschool,wearetaughtvisualpatternsusingblocksandothervisualaids.Encounteringapatternvalidatesaphotographasadesign.Evenapparentlyrandomandmessycompositionsusuallyhidepatternsiftheimageswork.

Everywhereyoulookyou’llfindpatterns,buttheperceptionofapatterndependsuponscale.Fromanairplane,fieldsandroadsmakeapattern;however,atgroundlevelthispatternishardtodetect.Curtains,blanketsandothertextilesmayappeartobesmooth.Butifyoulookatthemcloselyenough,you’llseepatterns.Atverycloseinspection,butterflywingsandfeathersbecometexturedwithdetail;fromadistance,thecolorsinthebutterflyorfeatherformadifferentkindofpattern.

Patternsaremadeoflines,shapesandtexturesaswellascontrastsoflightanddarkness,andsunandshadow.Patternsbringordertothechaosaroundus—eveniftheyarepartofit.

Symmetry,partialsymmetryandreflectionsareimportantelementsofsomeofthemostpowerfulpatterns.

Nothinggoesonforever.Sometimesthemostinterestingthingaboutapatternisitsedges:wherethepatternstops.WhenIseeapattern,Ilookfortheboundaries.Includingsomeboundaryareasinphotoscanmakeyourcompositionmuchmoreinteresting.

Checkouttheeverydayworldaroundyou.Howmanypatternscanyoufindtophotograph?

Iphotographedthis1939Buickataclassiccarshowandconcentratedonthepatternmadebythegrill,ignoringtheoverallcar.Theresultisapartialabstraction.Asathumbnail,thephotocouldbeaclose-upofafeather.Thepatternofthegrillismoreinterestingbecauseofthewaytheverticalpatternendsontherightandahorizontalpatternbegins.

Lookingupatthisrestoredantiquedome,Ivisualizedanimagethatplayedwithpatternandscalebymakingthearchitecturaldomeappeartobeacameojewelifglancedatcasually.Thispatternradiatesoutwardfromacentralcore.

Adandeliongonetoseedhasahighlystructuredpattern,almostlikeasmall-scaleversionofaworkofhumanengineering.Theoriginofthefloweristhecenteroftheflower.

Thisphotographofwaves—shotfromthetopofaclifflookingstraightdown—showspatternsatanumberofdifferentlevelsthatcomplementeachother.There’sapatterninthewhitefrothofwavesinthewater,anoverallpatternmadebythethreelinesinthephoto,andapartiallysymmetricalpatternmadebythereflectionatthebottomofthephoto.

Thepistilsofthisconeflowerformacomplexpatternthaninvolvesinterconnectionandintertwining.

Thepatternsinthiswildturkeyfeatherarevisibleupcloseatthemicroscopiclevel.IusedamounttoattachmycameratotheeyepieceofavintageZeissmicroscopetomakethisimage.Youmightthinkthatthepatternwasmadeatamuchlargerscale.

ZeissIconmanualmicroscope,universal“T”adapter,1/15ofasecondatISO140,35Xmagnification

Iteration

Aniterationisapatternthatconsistsofshapesthat,tosomedegree,repeat.Patternsthatuseiterationtypicallyshowobjectsenmasse.Thesekindsofpatternsoftenfilltheentirephotoandbecometexturaltoanoverallquickglance.

Aphotowhosesubjectisagroupofsimilarobjectsstopsbeingabouttheindividualobjects.Compositionallyspeaking,thiskindofimageisaboutthepatternthattheobjectsmakeinrelationshiptooneanother.

Alargenumberofsimilarobjectscanbeveryeffectivevisually.Inmanycases,thesheernumberofthesubjectscanmakeaviewersay,“Wow!”Othercompositionsthattakeadvantageofiterationmakeviewersquestionhowmuchtheypreviouslyreallysawthesubject.Forexample,itwasarevelationformetoseethestrawberryseedsupcloseandpersonal.

Onlythephotographerknowsthetrueextentoftheobjectscapturedinan“enmasse”photo.It’snaturaltothinkthatthiskindofpatterngoesonforever,particularlyifnoboundaryareasareapparentinthephoto.Sotheimpactofaniterativephoto—intermsoftheviewer’sideaabouttheextentoftherepeatedsubjectmatter—canbegreaterthanonemightexpect.

Theseedsonthesurfaceofastrawberryformarepetitivepattern.

Inthisthumbnailview,it’snotclearwhatthesubjectmatteris.Itcouldbea

shellratherthanwavesonabeach.Repeatingpatternsoftenbecomeabstractwhenyouchangethescale.

Inthiscompositionofwavesonabeach,theiterationisarepetitionofthe

scallop-likeshapeofthewetsand.Ifyouweren’tsureofthescaleorifyoulookedatasmallversionoftheimage,thiscouldbeaphotoofashellaseasilyasatelephotoshotofwavesontheshore.Thisambiguity,combinedwithanintriguingpattern,addsinteresttothephoto.

Thesewaterdropsenmasseonaspiderwebshowaninterestingcontrastoflightsanddarks,evenwithnocentralpointofinterest.

200mmmacro,1secondatf/36andISO100,tripodmounted

Raindropscaughtinaspiderwebareagreatsourceofiterativepatterns.Thesedropsglistenedinthemorningsunshinethatfollowedanighttimeshower,reflectingtheirenvironment(andthephotographer,ifyoulookcloselyenough).

Rhythm

Inmusicorspeech,rhythmisthevariationofthelengthandaccentuationofaseriesofsoundsthatcreateapatternofsounds.Inphotography,rhythmgenerallyreferstoacompositionwithapatternthatgivestheviewerasenseofmotion.

Photographsofobjectsenmassedon’tprovidearhythm,andimagesoflines,shapesandpatternsofferasubduedsenseofrhythmatmost.

Musicalrhythmmotivatesdance.Similarly,you’llknowyouareseeinganimagewithrhythmifitmakesyouwanttomove:upanddownorsidetoside.(Sidetosideismorecommonthanverticalrhythminphotographs.)

TheshadowofVenetianblindsonacurtainhasadefinitehorizontal,dippyrhythm.

Thereflectionsinthepolishedchromeofa1950scargeneratecomplexrhythmsthattracethecurvatureofthereflection.Theyareacounterpointtotheconcentricroundlinesintheheadlight.

Translatinga360ºWorld

Standinginagivenposition,weseetheworldinanapproximately40-degreeslice.Buttheworldgoesonaroundusforafull360degrees.Howcanyoutranslatethisfullworldintoanimagethatcanbepresentedinasinglephotoframe?

Extremewide-anglelensescansometimesaddressthischallenge;however,theselensescreateagreatdealofdistortion.Specializedequipmentsuchaspanoramiccamera,tripodheads,andsoftwarecancreatepanoramas.Andwhilepanoramascanbeagreatdealoffun,thiskindofimageoftendoesnotappearnatural.Theyalsorequirespecializedequipment.

Anotherapproach,shownhere,istomakeseveralexposuresnormallyandcombinethemintoasinglepanoramainpost-processing.Thisprocessiscalledmerging,anditgenerallyinvolvesshootingmorematerialthanyouneedsothatthepanoramacanbeoverlappedandthencroppedseamlesslyandwithoutanylossofsubjectmatter.

AsyoulookattheentireskylineinthisimagethatincludestheGoldenGateBridgeandSanFrancisco,youhavetomoveyourheadfromleft-to-right(orviceversa)toseeitall.Iwantedtocapturethiswidevistashowingbothmoonriseandsunsetatthesametime.Theonlywaytodothiswastocreateapanoramamadeupofmanycaptures.Ihikedtothetopofahill

overlookingthebayandsetupmycameraonatripod.Aftereachexposure,Icarefullyrotatedthecameraafewdegrees(withoutmovingthetripod),incrementallycapturingtheentireview.

EightcapturesmergedinPhotoshop,eachexposureat42mm,1/6ofasecondatf/4.5andISO100,tripodmounted

SeeingtheFrame

Everyphotographisanimagewithinaframe—thatis,therectanglethatformstheboundaryofaphoto.Inthissense,photographyisapplieddesignthatmustworkwellwithinthephotographicframe.

Akeyaspectofalmosteveryphotographiccomposition,theframecannotbeignoredwithoutthrowingawayoneofthemostimportantformalaspectsofyourphoto’scomposition.

Someinterestingphotosplaywiththeconceptofthephotographicframe,invitingtheviewertoplayalong.Thesephotosinvolveakindofmetacompositionandmaybeinwholeorpartaboutvisualframing.

Itismorecommon,however,forphotographerstopresentascenewiththeworldframedinaninterestingway.Theframe’spurposeistocomplementthecomposition,butitisnotwhatthecompositionisabout.

Whenevaluatingaphotograph’stotalcomposition,thinkabouthowitchangesyourperspectivetoseetheworldasthoughitwereframedandboundedbyarectangle?Whatmakesaparticularframingtechniqueinterestingandcompelling?And—perhapsthemostimportantquestion—howdoesthedesignofaphotomeshwithitsframe?

ThetipsofthepetalsofthisGazaniablossomappeartotickletheframe.Iplacedtheflowersothatitwasalmostcentered,butnotquite—andsosomeofthetipsofthepetalsextendbeyondtheframe—toaddinteresttothecomposition.Itkeepstheviewerslightlyoffbalance.

Thefocusofthiscompositionisthewaterdrop,whichrestsonabranchthatappearsto“hang”fromahorizontalandaverticaledgeofthephotoframeitself.

Thisphotoshowsreflectionsandtherearlightofaclassiccaronadiagonalwiththephotograph’srectangularframe.Boththereflectionsandthelightrunofftheframe,sotheviewermustextrapolatewhatliesbeyondtheframe.

IphotographedthiswaterdroponaCymbidiumorchidusingtwosmallmacroflashunits:onemountedattheendofthetelephotomacrolensandtheotherhandheld.Thehand-heldflashunitcausedtheburstoflightyoucanseeonthewaterdrop.

Asoriginallyshot(seeversionbelow),thecompositionshowsthewaterdrophangingonanorchidpetalinamuchbroaderviewthanmyfinalversion(totheright).Ifeltthattheframingonthecompositionbenefitedfromaclosercrop,whichemphasizesthedramaofthewaterdrop.Ialsoflippedtheimageverticallytoimprovetheimpactoftheblacknegativespaceintheframe.

200mmmacro,36mmextensiontube,macroflash,1/60ofasecondatf/45andISO200,tripodmounted

Ioriginallyframedthisphotoasavertical,usingaverymoderatetelephotolens(82mm),shownherebeforeprocessing.ButasIstudiedthescene,IrealizedthatIneededtopresentahorizontalframeandtocomeincloseronthesceneoffogonthehills.

Inthefinalversion,Iswitchedtohorizontalframingandincreasedthefocallengthofthelenstoimprovethecompositionoftheimagebyemphasizingthesubtlegreensinthefoggyhillsandthestrongdiagonallinesinthehorizontalcomposition.

Inthisfirstversion,shownherebeforeprocessing,Itriedtocapturethewholescene.Sincenothingextraordinaryisemphasizedinthiscomposition,IrealizedIneededtogetacloserview.

Asthesunsetprogressed,colorsbecamemoresaturatedandthecontainershipmovedintotheframe.Inthisfinalversion,Icomposedthephototoshowacloserviewofthebridge,moonandskyline.

WiththemooncomingupbehindaspectacularSanFranciscovista,Itriedtocaptureeverything:bridge,cityandsky.Buttoshowthedramaofthemoonriseinmycomposition,Ineededtoframeinclosersothattheelementsthatreallymattertothisscenearebigger.Iusedalongerfocallengthlenstoemphasizetheimportanceofthemoonwithinthecompositionalframe.

There’snothingterribleabouttheframingofthefirstversion.Afterall,itisaphotographtakenofadramaticsettingindramaticlight.ButIprefertheframingofmysubsequentcompositionbecauseitemphasizesthedramaofthefullmoonandclouds.Onemoral:Ifyouarephotographinginabeautifulsetting,besureto

tryavarietyoffocallengthsandcamerapositionssothatyouendupwiththeframingandcompositionthatworksbestforyou.

DividingtheFrame

Oneapproachtocontrollingtherelationshipofyourphototoitsframeistodividetheframe.Useoneormorestrongvertical,horizontal,curvedordiagonalshapesorlinestosplittheframelikeawindowthatissplitintopanes.OftenIfindthatadiagonallineshapemakesthebestframedivider.

NotethatwhenIrefertolines,Imeanshapesthatapproximatelines.Also,linedirectioninframedivisionisusuallynotexact.Somecurvaturemayworkbetterthanabsolutelystraightlines.Afterall,straightlinesdonotgenerallyoccurinnature.

Onepurposeforframedivisionistoseparateareasofthephotothatarevisuallydifferent.Framedivisioncanbeusedtobreakupclutteredcompositions,toseparatetheearthfromtheskyandtoemphasizethesubjectofyourcomposition.

Onecommonschemeforframedivisioniscalledtheruleofthirds.Accordingtothisrule,twohypotheticalverticallinesandtwohypotheticalhorizontallinesevenlydividethecompositionintothirds.Importantelementsofthecompositionarethenplacedwheretheselinesintersect.

Somepeoplethinkthatthistechniqueforframedivisionandplacementcreatesmoreinterestingcompositionsthanthosethatsimplycenterasubject.Thatsaid,Iamalittleskepticaloftryingtoapplytheruleofthirdstoorigidly.

Themostimportantthingistobeawareofcompositionalissuesinvolvingtheframeandframedivision.Idon’tbelieveinstickingtoanykindofruleallthetimewhenitcomestomakingphotos.But,ifyouwantyourphotostoachievemaximumvisualimpact,youdoneedtobeconsciousofformaldesignissueswhenyoucreatecompositions.

Thes-shapedcurvemadebythelightsofcarsontheapproachtotheGoldenGateBridgedividestheframeofthisphotointwo,creatingdramawiththecomparisonofthedarkportionsandthelighttrails.

ThiswintershotoftheYosemiteValleyfloorhasanumberofdifferentframedivisions.Thewhitesnowdividestheframehorizontally,andthedarktreesandtheirreflectionsworkasverticalframedividers.Thewateritselffurtherdividestheframeasdoesthehorizonline.

Theformaloppositionofspacescreatedbyframedividersofdifferingdirectionscomplementsthenaturalexposurecontrastbetweensnow,waterandtrees.

Thestrong,predominantlyverticaldiagonallinescausedbythetransitionfromsuntoshadowdefinethiscompositionintermsoftherelationshipofthetransitionwiththeframeinthisminimalistblack-and-whitephoto.Delicateandsensitivehorizontallinesofwavesplayagainstthedominantverticalshadowsinthisdeceptivelysimplecomposition.

TheGoldenRatio

SincetheancienttimesoftheEgyptiansandGreeks,theGoldenRatio,roughly1.6to1,hasbeenthoughttobetheproportionofthemostvisuallypleasingrectangles.Thelongsideoftherectangleinthisscenariois1.6timesthelengthoftheshorterside.

TheGoldenRatiooccursinthepyramidsofEgypt,thefloorplanoftheancientGreekParthenoninAthensandinmanyworksofartandarchitecturesincethen.

Forexample,LeonardodaVincicalledthegoldenratiothe“divineproportion”;ifyoudrawarectanglearoundtheheadoftheMonaLisa,therectanglewouldbeproportionedaccordingtotheGoldenRatio.

Sincerectilinearshapesingoldenratioproportionsareintuitivelyattractive,lookforopportunitiestousetheseshapesinyourcompositions.

Keepinmindthatnooneexpectsyoutobringatapemeasureandcalculatorintothefieldtoverifythatobjectsinyourcompositionareproportionedinthegoldenratio.Butit’snotdifficulttogetfamiliarwiththeappearanceofthisattractiveproportionandrecognizeitwhenyouseeit.

Iuserectilinearshapesingoldenratioproportionsasabuildingblockformycompositions.IfIamframingacompositionwithstrongrectangularshapesandtheserectanglesdivergesubstantiallyfromthegoldenratio,thenIlookcarefullytomakesurethatmycompositionalchoicesareappropriate.

Croppingthisclose-upofastamensothatitsframeisinroughlygoldenratioproportionscreatesanintuitivelypleasingeffect.

200mmmacro,36mmextensiontube,+2close-upfilter,6secondsatf/40andISO100,tripodmounted

Ifyoudrawarectanglearoundtheextendedbunchofflowersandstemsshowninthisphoto,you’llseethattherectangle,whichispositionedonadiagonaltotheimageframe,isroughlyingoldenratioproportions.Thispartiallyaccountsfortheeleganceofthesimplecompositioninthisprize-winningimage.

70mm,1/8ofasecondatf/22andIS0100,tripodmounted

FrameswithinFrames

Creatingaframewithintheframeofyourphotoisaneffectiveandeasywayaddinteresttoyourcompositions.Theinnerframefocusesontheimportantaspectsofyourcomposition,whiletheouterframeusuallyaddsadecorativeelement.

Aframewithinaframecanpresentvisualsymmetry,orechoesofsymmetry—partialsymmetrythattheviewer’smindcompletes.Dependinguponthekindofinnerframeyouuse,multipleframescaninvitetheviewertojoinincollaborative“voyeuristic”peekingwiththephotographer.

Therearemanypossiblekindsofinnerframes.Thesecompositionaldevicesrangefromabrightlightordeepshadowasaframingmechanismtoliteralframes,suchaswindows,doorsandgates.

Thereisnoshortageofframingdevicesoutthere.Youcanfindframeseverywhere.Soconsiderenrichingyourcompositionsbyaddingaframewithinaframewhenitseemsappropriate.

Thewindowthroughwhichyouseethechildinthisphotofunctionsasaframewithintheframe.Itaddsmotionandfocusescompositionalinterestontheprimarysubject,thechild.

Inthisphoto,theroundopeninginthegardengatefunctionsasaframewithinaframe.Withoutthiseffect,thegardenimagewouldbemuchlessinteresting.

Thedeepshadowareasoftheleavessurroundingthesebacklitwaterdropsonaspiderwebserveasadark,curvilinearframe.It’sunusualtousenaturalshapesinthisway(asaninnerframingdevice),butIwasstruckbythepossibilitiesofthiscompositiontheminuteIlookedthroughmyviewfinder.

200mmmacro,66mmcombinedextensiontubes,2secondsatf/32andISO100,tripodmounted

Althoughitisoftenoverlookedasastructuralelement,colorisaveryimportantpartofcompositioninanycolorphoto.Learntoseecolorsintermsoftheshapestheyconstruct,ratherthanonlyviewingthemasadesignelement.Todothis,takeamentalstepbackandlookatthephotonotforwhatitdepictsbutfortheshapesitcontains—andmorespecifically,forthecolorsthatareusedtoconstructthoseshapes.

Thinkabouthowcolordrawsyoureyeinaspecificdirectionandhowcolorhelpsyouorganizethewayyouperceiveanimage.Colorcandictatewhereyoulookfirstandtheorderinwhichyoulookatthings.

Forme,themostimportantaspectofcolorincompositionisitsemotionalimpact.Fromanearlyage,kidshavefavoritecolors.Animagethatpresentsdarktonesandshadowsislikelytoconveyfearoranger.Whereassofter,warmercolorscanconveycomfortandarestfulquality.Asyoucreatephotographiccompositions,thinkabouttheemotionalimpactofthecolorsyouseeeverydayandhowtousethemeffectively.

RepeatingcolorstripesintwotonescreatetheunderlyingcompositionofthiswetGazaniaflowerinthesunlight.

Thecontrastbetweenthedark,almostblack,shadowsandthelightercolorsonthesmallstatuettefacehelpstocreateemotionalcontentinthiscomposition.

OriginalLensbaby,+10close-upfilter,f/5.6aperturering,1/160ofasecondatISO200,handheld

Thisselective-focusimageusestwocolors—andessentiallyonlytwocolors—topackitspunch.Thesoft,orangebackgroundispleasing,butthebrightyellowinteriordrawsattention.

OriginalLensbaby,+4close-upfilter,f/4aperturering,1/125ofasecondatISO200,handheld

Fromaformalperspective,lightinaphotographisrenderedasshapes,linesandtonalvalues.However,whenyouareformingyourcompositions,itissmartertothinkoflightasanindependentforceofnature—whichiswhatitis.

Inonesense,allphotographsareaboutlightandtheeffectsof“writing”withlight.Fromtheviewpointofcreativephotography,theuseoflightisacriticalelementinyourcomposition.

WhenIamcomposingphotos,lightismyfriendandally.Iamalwaysstudyinglight:itsintensity,directionandcolor.

Intermsofspecificcompositions,Ialwaysaskacoupleofquestions:

Howwilllightappearinthisphoto?HowcanIarrangethesubject,shiftmyposition,changemyexposureorlensfocallength,oradjustthelightitselftoimprovetheroleoflightinmyphoto?

Thisphotoofanopiumpoppyistakenfrombehind,anditseffectivenessdependsuponthelightshiningthroughtheflower.

Thestar-likeeffectshowninthisphoto,calledasunburst,iscreatedwhenaverybrightlightsource,suchasthesun,iscapturedthroughalensthatisstoppeddowntoasmallopening.Inthiscase,awaterdropreflectedthesun,andthesunburstwascreatedbecausemylenswasstoppeddowntof/36.

Theexteriorofthisoldchurchwaslitbymoonlight,buttheinteriorwaspitchblack.Duringthislengthyexposureofabout18minutes,Iwalkedaroundandaroundandaroundthechurch,lightingtheinteriorspacewithasmallflashlight.

12mm,about18minutesatf/16andISO100,tripodmounted

WorkingwithTones

Tonereferstogradationsofacolororcolors.Obviously,colorplaysanimportantroleincomposition.Andtheimpactofrelativelysubtletonalshiftsincolormaycomeasasurprise.

Fromacompositionalviewpoint,thereareseveralinterestingtonalstrategies.

Oneistousecolortonesthatarefairlyclosetoeachotherinarepeatedpattern.Anotheristocontrastoneoveralltonalvalueforanimagewithstrips,orswaths,ofanothertone.

It’salsosometimeseffectivetocreatecompositionsinwhichonecolortonepredominates,andacontrastingtoneisusedtohighlightaccentareas.

Alongwithbroaderissuesofcolorincomposition,Ipayattentiontohowtonesinteractwitheachother.Thesubtleissuesofhowcolortones“play”witheachothercanmakeorbreakacomposition.

Alternatinggreen,whiteandpinktonesofroughlythesameintensityhelpmakethisflowerclose-upinteresting.

200mmmacro,threecombinedexposuresatshutterspeedsrangingfrom1to3seconds,allexposuresatf/40andISO100,tripodmounted

Thetonesofthesunset,seenonthedistantmountaintopsthroughthetrees,contrastspleasantlywiththeoveralldarkerforegroundtonesofthephoto.Thesunsettonesinthereflectionsinthewaterseem,ifanything,tobemoresaturatedthanthoseonthemountains,andthisenhancesthecomposition.

12mm,fivecombinedexposuresatshutterspeedsrangingfrom1/15ofasecondto1/125ofasecond,allexposuresatf/7.1andISO100,tripodmounted

SeeingtheComposition

Blackandwhitephotographyisapowerfulartform.Ithasavenerablehistoryandexistedlongbeforetherewascolor.Ienjoybothhistoricalandcontemporaryblackandwhitephotographyverymuch.

Fromacompositionalviewpoint,blackandwhiteshowsthestructureand“bones”ofacomposition.Colorcanmakeitdifficulttoseetheunderlyingdesignofacomposition.Butwhenanimageisreducedtoasinglecolor—blackandwhite,forexample—compositionisalmostallthat’sleft.

Backintheolddays,Iusedtodomyowncolorprinting.WhenImadeacolorprint,anenlargerprojectedthecolorphotosinblackandwhiteontheeaselinthedarkroom;soIcoulddecidehowtoarrangeandcropmyprint.InoticedthatitwasfareasiertoseetheimportantaspectsofmycompositionswhenIwasn’tdistractedbycolor.

However,it’sacolorworldoutthere.WhatIsometimesdo,tobetterseemyunderlyingcompositions,istoaskmyselftovisualizewhatmycompositionwouldlooklikeinblackandwhite.

Atrickyoucanuseistosetyourcameratocaptureinblackandwhite,andviewtheresultsonyourLCDtohelpyouseethecomposition.

Bytheway,ifyoureallywantablackandwhitephoto,don’tuseyourcamera’sblackandwhitemode.Forrichertonality,gobackandcapturetheimageincolorandconvertitinpost-processing.

Iphotographedthiswoodlandpathincolor,shownhereinitsoriginalversionbeforeprocessing.Tome,thecolorversionseemedprettymuchajumble.Thecompositionlookedconfusedandtheframedivisionlineswereunclear.Thebluecolorcastinthephotomadetheimagelookdullwithoutprovidingaplacefortheeyetorest.

Itwasn’tuntilIconvertedthephototoblackandwhitethatIsawthesubtleandmagicalcomposition.Thewoodlandpathleadstheeyebelowandintheoppositedirectionofthestrongverticallinesofthetrees.

BlackandWhite

AsI’vementioned,Ienjoyblackandwhitephotographyimmensely.I’malwayslookingforstrongblackandwhiteimagestoaddtomycollection.ButI’vecometorealizethatnotallsubjectsareappropriateforblackandwhite.Also,forblackandwhiteimagerytoworkforme,thephotohastobeaboutitsowncompositioninafarmoreintensewaythanwithacolorimage.

Theabsenceofcolorinblackandwhitedoesn’tmeanthatcolorisn’timplied.Weallknowthattheworldaroundisperceivedincolor,sowhenweseeamonochromaticimage,weextrapolatecolorsbasedonourexperienceandimagination.Examplesofthiseffectincludethewhitetulipsreproducedonpage60andtheblackandwhitesunsetshownonpage191.

Whenphotographingtocreateblackandwhiteimages,besuretolookforformallystrongcompositions.

Lines,shapes,framesandthewaytheframeisdividedcanallcreatevisualexcitementandworktogetherwithoutthecrutchofcolor.Mostofthetimeyou’llalsowanttolookforhigh-contrastsubjectsfromatonalperspective.Inotherwords,blacksshouldbeveryblack,andwhitesverywhite.

Alsolookforcompositionsinwhichthedirectionandflowofthestructurehighlightsandsupportskeysubjectareas.

MyattentionwasfocusedontheGoldenGateBridge,withfogandcloudsalternatelycoveringanduncoveringthestructure.ThenIturnedaroundandsawtheweathercomingdownovertheMarinHeadlandhillsbehindme.Thiswasahigh-contrastsituation,withsomeareasbrightlylitbythesettingsunandothersverydarkundertheclouds.Iknewthatthescenewouldmakeaninterestingblackandwhitecomposition.Thestrongdiagonalframedividersmadebythecloudscontrastwiththemoresubtlecurvilinearlineoftheroad.Bothmeetatthepartiallyfog-enshroudedtree.

Anightphotographthatcapturesthemotionofmovingvehiclesisn’tyourtypicalblackandwhitesubject,soIwaspleasedwhenthisonecameout.Compositionally,theroadwayinthemiddleofthebridgedividesthephotohorizontally;thebridgetowersdividethecompositionvertically;andthestreetlightspresentareceding,iterativepattern.Thisworkswellbecausethereissomuchfortheeyetolookat,butitispresentedinanorderlyfashion.

Thehorizontaldivisioncreatedbythebridgedefinesthiscomposition,andtheroundballofthesettingsunabovethebridgeisbalancedbythesailboatbelowthebridge.

ThisblackandwhiteviewofSanFranciscoandtheGoldenGatepresentsaniterativeprogressionofcloudsreceding.

ContrastingColorwithBlackandWhite

Contrastingcolorwithblackandwhiteoftenachievescreativeandinterestingresults.Thereareseveralwaystogoaboutcreatingthiscombination.

Withdigital,itisperfectlypossibletocreateanimageincolorandthenprocessitforblackandwhite.SometimeswhenIdothis,Ienjoydisplayingbothversionstogether;thecontrastofthecolorandblackandwhitecreatesgreatercompositionalinterestthaneitherversionseparately.

Anotherinterestingeffectistocombinecolorandblackandwhiteinasingleimage.Keepinmindthatthereshouldbesomecompositionalpointtothiseffectthatgoesbeyondthedemonstrationthatitcanbedone.

Whenyoude-saturateacolorimagesothatonlycertainareasretaintheircolorvalues,beveryselectiveaboutwhichareasstayincolor.Thiskindofimagetendsworkbestwithonlydabsofcolor.Thatsaid,selectivecolorinapredominantlyblackandwhiteimage(achievedeitherin-cameraorinpost-processing)canpresentstrikingcompositions.

AsIcomposedthisphotoofapoppygonetoseed,Ithoughtitwouldbeinterestingtoplaywiththecolorsintheseeds.Theversionontheleftbelowshowsthenaturalcolorsoftheflower.Intheversionontheright,IaddedcolorinPhotoshop.

AlthoughIlikedthecoloreffect,Idecidedtotrytheimageasblackandwhite.Intheblackandwhiteversion(right),thecoreofthepoppyhasaverysolideffect,appearingalmostlikeacandy.Iprefertheblackandwhitecompositiontoeitherofthecolorversionsbecauseitemphasizestheessentialshapesandstructureoftheflowerwithoutdistraction.

100mmmacro,1/320ofasecondatf/5.6andISO200,handheld

Inthisimage,thebackgroundappearstobeblackandwhite,instarkcontrasttoacolorfulflowerintheforeground.Iachievedtheeffectin-camerawithminimalpost-processingbyusingamonochromebackground,spotlightingtheflower,andunderexposingtheoverallimage.

Spirals

Spiralsareanimportant,recurringshapeinnature.Inaphotograph,aspiralshapecancreateinterestandcompositionalflow.Thespiralprovidesanunderlyingstructurethatunifiesthecompositionandmakesthevisualdirectionandmovementinaphotoveryapparent.

Spiralsareusedinarchitectureforaestheticemphasisandalsoasacompactandelegantmechanismforcreatingastaircase.Youcanfindsomephotosofspiralsusedinarchitectureonpages128–131and150–151.

Inearlycultures,spiralswereoftenusedasmysticalsymbols.

Innature,spiralsarefrequentlyfoundinplantsandshells.

Often,the“spokes”inthesenaturalspirals,inproportiontoeachother,roughlycorrespondtotheFibonaccisequence.

TheFibonaccisequencehasinfluencedartistssincetheRenaissance.Init,eachnumberinthesequenceisthesumofthetwopreviousnumbers,startingwith1,1.SoherearethefirstfewFibonaccinumbers:1,1,2,3,5,8,13,21...

Spiralsareaparticularcompositionaldelightofmine.I’lltakeanyexcuseIcangettoincorporatespiralsintomyphotos!

Thispageandcover:Iphotographedthischamberednautilusonablack

backgroundtobringoutthefullextentofthespiralsintheshell.ThespokesinachamberednautilusshellapproximatetheratiosinaFibonaccisequence.

LookingdownthisnarrowspiralstaircaseinSanFranciscoCityHall,Iwaitedforaweddingpartytocomealong.

Iintentionallyusedamoderatelylongexposure,whichletmeuseasmallaperturetoachieveenoughdepth-of-fieldfortheentirestairtobeinfocus.Atthesametime,thelongexposurecreatedablureffectaroundtheweddingcoupleinmotion.

Thisphotoofabisectedchamberednautilusshellhasbeenflippedandcombinedwithitselfinasinglecomposition.Theimageremindsmeofthenumber69.

Thepetalsofthisflowerhavearrangedthemselvesinaninformalspiralcomposition.Ipositionedthecamerasothecoreoftheflowerwaspartiallyvisiblehead-on,andIframedthephotoinclosetoemphasizethisnaturalspiraleffect.

Thestairsinthisspiralseemtogodownforever.Whenyoulicensephotography,youneverknowwhereyourimageswillendup.Iwassomewhatamusedtolicensethisimagetoaprominentdivorceattorney.Thislawyerseemedtofeelthatthecompositionwasagoodmetaphorfortheemotionaldownwardspiralthatawaitsmanydivorcingcouples.

Perspective

Amongotherthings,perspectivecancreateanillusionofparallellinesconverging;yetwhenwelookatascene(oraphoto),weknowtheyactuallycontinueasseparatelines.Anapparentpointofconvergenceinperspectiverenderingiscalledthevanishingpoint.

Inperspectiverendering,thingsatadistancearesmallerthancloserthings.Butagain,weinstinctivelyknowthatintherealworld,distantthingsarenotnecessarilysmallerjustbecausetheyarerenderedthatway.

Mostperspectiverenderingcreatesdiagonallines,whichtendtopartiallydivideaframe.Ourinherentdesiretowanderdownapath—combinedwiththestrongdiagonalcompositionthat’susuallycreatedbyperspective—ispowerful.Donotignorethepowerofperspectiveinyourcompositions.

Asaphotographer,besuretoalwaysnoticetheimpliedperspectiveinyourphotos.Sometimesyou’llwanttheviewertobestronglyattractedtothisclassicvanishing-pointperspectiveandpulleddownthevirtualpath.Inotherimages,itmaybemoreinterestingtocreateahiddenvisualparadoxbyforegoingthenormalexpectationsofperspective.

Theslightlyoff-kilterperspectiveinthissemi-abstractimage(takenfromZabriskiePointinDeathValley)ispartofitsappeal.Inmostcases,theeyewillfollowthewhitemarkingstowardtheupperrightoftheimage,whereavanishingpointisexpected.Butinstead,visualpathsleadoffinseveraldirections.

Inthiscompositionofasinglepassingcaronadesertedcountryroadatdusk,theeyenaturallyfollowstheroadandcarlightstowardthevanishingpoint.

OrderandDisorder

Acompositionthatisamixed-upjumbleisnotveryinterestingtomostviewers.Inajumble,there’snoplacefortheeyetorestandnosignificantareastoholdviewerinterest.

Theviewerofaconfused,disorderedcompositionwilltypicallylosefaithinthephotographer.Thus,theopportunityforthephotographertocreateacollaborativebondwithaviewerislost,becausetheviewerdoesn’tsenseanintelligentintentonthepartoftheimagecreator.

Ontheotherhand,acompositionthatistooorderlywillbeequallyineffective.Lifeitselfismessy—fullofdetailsthatareunresolvedandirregular.Soacompositionthatisextremelyneatandtidyappearsphony.Toomuchregularityseemsfussyandisunlikelytoaligntheviewerwiththephotographer.

Ideally,acompositionshouldincludeorderanddisorder.Whenaphotographerachievesthisbalance,theviewercangetexcitedbyjumbledandmessyareas,relaxintheorderedportions,andtrustthephotographertohavepresentedaviewwithauthenticityaswellasstructure.

ThejumbledirregularitiesofCalifornia’sAlabamaHillsintheforegroundcontrastwiththeregularshapesoftheSierraNevadaMountainsandcloudsinthebackground.

IspentthelateafternoonexploringtheAlabamaHillswhenIknewconditionswerelikelytoberightforphotography.Asthesunstartedtosetbehindthemountains,itsenthorizontalshaftsoflightthroughtheclouds.Isawthatthepatternoflightsanddarkswouldpossiblycreatehorizontallinesacrosstheimage.Thiswouldhelpmakeorderoutofthegeneraldisorderofthescene.Iwaitedwithmycameraontripoduntilthejumbledrockswerelitbythesun.

Fromacompositionalviewpoint,thejumbledfloweringdogwoodintheforegroundcontrastswiththemoreregularshapesofYosemite’scliffsandthesky.Withthiskindofimage,issuesofformalcompositioncanbecomelostifonelookstoohardatthesubjectmatter.Fromacompositionalperspective,it’sbesttoforgetaboutflowersandcliffs,andjustconsidertheshapesinvolved.

Thedefinedshapesofthestarfishandthebridgecontrastwiththerelativelychaoticandjumbledshapesofthebeachandincomingwave.

EmphasizingWhatMatters

Sayyouareatthesceneofthegreatestphotographicopportunityofyourlifetime.Withouttheabilitytocreateacompositionalstructure,youwilllosetheopportunityandwalkawaywithoutastrikingphoto.Similarly,eleganceincompositionalone—withoutsignificanceormeaning—isbanal.

Learnthebasicsofformalcompositionandhowtoapplythemtoscenesthatinspireyou.Asyoubecomemoreexperienced,experimentwithwaystomakethestructuralfoundationofyourphotosuniquelyyours.

Thegoalistointernalizeformaldesignconsiderations,sothatyourphotosachievedesignclaritywithoutrequiringexcessthought.Inotherwords,beknowledgeableaboutcomposition,butavoidobsessingaboutitattheexpenseofphotographingfluidly.

Emphasizewhatmatterstoyou.Ifyoudon’tcareaboutthesceneorsubjectyouarephotographing,thenyourcompositionswillshowitandyourviewerswon’tcareaboutthemeither.

Listentoyourinnervoice;itisyourcreativeunconsciousspeaking.Don’tstiflethisvoice.Allowittobecomeafrequentcontributortoyourphotographicwork.Alsopayattentiontochance,serendipityandhappycoincidences.Wearewiserthanweknow,andphotographyhasalwaysbeenaprocessthatisimprovedbytheunexpected.

Halfmeasuresdon’twork.Strongcompositionsaretheresultofconcentratedeffort.Don’thesitatetoputyourheartandsoulintoyourwork,anddon’tbesatisfiedwith“goodenough.”

Strivetoconveysimplicity.Effectivesimplicityinacompositionishardertoachievethancomplexity,butgreatcompositionsarealmostalwaysdeceptivelysimpleinappearance.

AfavoriteplaceofminetophotographisYosemiteValley.Onawinterafternoon,Iwasstruckbythecontrastbetweenthecolorsofthesunhittingthecliffs,thewhitesnow,andtheverticallinesofthebaretrees.IwasluckytogetabreakintheweathersoIcouldmakethiswinterlandscapecomposition.

18mm,1/400ofasecondatf/11,handheld

Whatcompositioncouldbesimplerthanadelicatewhiteanemoneonawhitebackground?Whencreatingthisimage,Irealizedthatthecompositionwouldhavetostandupontherelationshipofvariousshadesofwhite.

ThesimplicityofthiscompositionshowingaBougainvilleabractappealstomebecausethepetalsachieveelegancewithoutunnecessarylines,shapesandcolors.

200mmmacro,13/5secondsatf/36andISO100,tripodmounted

Iusedthecargrillshownonpages176–177asthebasisforthispsychedelicphotocompositethatI’vecalledGrillsGoneWild.

FurtherReadingPartI:Camerasdon’ttakephotos,peopledo

HaroldDavis,CreativeClose-Ups:DigitalPhotographyTips&Techniques(Wiley,2010)HaroldDavis,CreativeNight:DigitalPhotographyTips&Techniques(Wiley,2010)HaroldDavis,PracticalArtistry:Light&ExposureforDigitalPhotographers(O’Reilly,2008)PartII:Unleashyourimagination

AnselAdams,Examples:TheMakingof40Photographs(Bulfinch,1989)

SusanSontag,OnPhotography(Picador,2001)

JohnSzarkowski,LookingatPhotographs:100PicturesfromtheCollectionofTheMuseumofModernArt(MuseumofModernArt,1976)YoucanreadaboutArnoldNewman’sphotographicsessionwiththeNaziindustrialistKruppinRobertFarber’sinterviewathttps://photoworkshop.com/static/workshop/arnold_newman/interview_newman.htmlPartIII:Photographyandparadox

HaroldDavis,ThePhotoshopDarkroom:CreativeDigitalPost-Processing(FocalPress,2010)KatrinEismann,PhotoshopMasking&Compositing(NewRiders,2005)PartIV:Photographyisdesign

JohnBowers,IntroductiontoTwo-DimensionalDesign:UnderstandingFormandFunction(Wiley,2ndedition,2008)MichaelFreeman,ThePhotographer’sEye:CompositionandDesignforBetterDigitalPhotos(FocalPress,2007)

Imadetheimageonpage234inanattempttorecreateanetchingbyM.C.Escher.Onecanimaginetheflowerinthepupilasthemarkofanalienlifeform.Somesaythatifyoulookcloselyatthosearoundyouandtheireyesshowtheflower,thentheyarereallyaliens.

Photocomposite:Eye(background)100mmmacrowith18mmextensiontube,1/2ofasecondatf/8andISO500,tripodmounted;flowerimagecreatedusinganEpson1660flatbedscanner

GlossaryAperture:Thesizeoftheopeninginalens.Thelargertheaperture,themorelightthathitsthesensor.

Bokeh:Out-of-focusblurring.

Composite:Combiningimagestocreateasinglecomposition.

Creativeexposure:Anexposurebasedonunusualaestheticconsiderations.

Depth-of-field:Thefieldinfrontofandbehindasubjectthatisinfocus.

De-saturate:Toremovecolor.

Dynamicrange:Thedifferencebetweenthelightesttonalvaluesandthedarkesttonalvaluesyoucanseeinaphoto.

Enso:JapanesecalligraphicsymbolassociatedwithZenthatevokesbeautyandstrength.

Exposure:Theamountoflighthittingthecamerasensor.Alsothecamerasettingsusedtocapturethisincominglight.

Exposurehistogram:Abargraphdisplayedonacameraorcomputerthatshowsthedistributionoflightsanddarksinaphoto.

f-number,f-stop:Thesizeoftheaperture,writtenf/n,wherenisthef-number.Thelargerthef-number,thesmallertheopeninginthelens.

Focallength:Thefocallengthofalensisthedistancefromtheendofthelenstothesensor.

Focusstacking:Extendingthefieldoffocusbycombiningmultiplephotosbeyondthatpossibleinanysinglephoto.

Frame:Inacomposition,thephotographicframeistheouteredgeofaphoto.

HandHDR:TheprocessofcreatingaHDR(HighDynamicRange)imagefrommultiplephotosatdifferentexposureswithoutusingautomaticsoftwaretocombinethephotos.

Hyperfocaldistance:Theclosestdistanceatwhichalensatagivenaperturecanbefocusedwhilekeepingobjectsatinfinityinfocus.

Infinity:Thefarthestdistancealenscanfocus.

Iteration:Repetition,usuallyofapattern.

ISO:Thelinearscaleusedtosetsensitivity.

Multi-RAWprocessing:CombiningtwoormoredifferentversionsofthesameRAWfile.

Noise:Staticinadigitalimagethatappearsasunexpected,andusuallyunwanted,pixels.

Openup:Toopenupalensmeanstosettheaperturetoalargeopening,denotedwithasmallf-number.

Photocomposite:Seecomposite.

RAW:AdigitalRAWfileisacompleterecordofthedatacapturedbythesensor.ThedetailsofRAWfileformatsvaryamongcameramanufacturers.

Sensitivity:SetusinganISOnumber;determinesthesensitivityofthesensortolight.

Shutterspeed:Theintervaloftimethattheshutterisopen.

Stopdown:Tostopdownalensmeanstosettheaperturetoasmallopening;denotedwithalargef-number.

Surrealism:A20thcenturyartmovement;surrealphotographsintentionallycreateanalternativeoroutrageousreality.

Tone:Specificcolororcolorintensity;alsogradationsincolorsandtheir

intensity.

Vanishingpoint:Thepointofconvergenceinperspectiverendering.

Iphotographedthiswaterdroponaflowertocreateasimplecompositionusingthepetalsasaframedividerthatcontrastswiththestaronthewaterdrop.

IwaseagertophotographthistinyNigelladamascena(commonlycalledLove-in-a-mist)because,whenlookedatclose-up,theflowershowsanamazinglevelofcomplexityofcompositionalstructure.

200mmmacro,36mmextensiontube,fivecombinedcapturesatshuttersspeedsbetween4and20seconds,eachcaptureatf/32andISO100,tripodmounted

Frontpiece:Onmybellyinwetgrass,Ipointedatelephotomacrolensdirectlyattherisingsun,capturedthroughthebladesofgrassandwaterdrops.Iintentionallyusedshallowfocustoemphasizetherefractionscreatedbythesunlight.

Togetthelightingright,Icombinedanexposureoftherisingfullmoonwithalongerexposure(toletmorelightin)oftheSanFranciscoskyline.

400mm,2combinedexposuresat1/30ofasecondand1/2ofasecond,eachexposureatf/5.6andISO400,tripodmounted

CreativeLighting

HaroldDavis

Thelightingwasperfectonthesewaterdropscaughtinaspider’swebinthesunshinefollowingabriefshower.

200mmmacrolens,24mmextensiontube,close-upfilter,1/2ofasecondatf/32andISO200,tripodmounted

CreativeLighting:DigitalPhotographyTips&TechniquesbyHaroldDavis

Allphotographs©HaroldDavis

PublishedsimultaneouslyinCanada

ISBN:978-0-470-87823-1

ManufacturedintheUnitedStatesofAmerica

10987654321

LimitofLiability/DisclaimerofWarranty:Thepublisherandtheauthormakenorepresentationsorwarrantieswithrespecttotheaccuracyorcompletenessofthecontentsofthisworkandspecificallydisclaimallwarranties,includingwithoutlimitationwarrantiesoffitnessforaparticularpurpose.Nowarrantymaybecreatedorextendedbysalesorpromotionalmaterials.Theadviceandstrategiescontainedhereinmaynotbesuitableforeverysituation.Thisworkissoldwiththeunderstandingthatthepublisherisnotengagedinrenderinglegal,accounting,orotherprofessionalservices.Ifprofessionalassistanceisrequired,theservicesofacompetentprofessionalpersonshouldbesought.Neitherthepublishernortheauthorshallbeliablefordamagesarisingherefrom.ThefactthatanorganizationorWebsiteisreferredtointhisworkasacitationand/orapotentialsourceoffurtherinformationdoesnotmeanthattheauthororthepublisherendorsestheinformationtheorganizationorWebsitemayprovideorrecommendationsitmaymake.Further,readersshouldbeawarethatInternetWebsiteslistedinthisworkmayhavechangedordisappearedbetweenwhenthisworkwaswrittenandwhenitisread.

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Acknowledgements

SpecialthankstoCourtneyAllen,GrahamBird,MarkBrokering,StevenChristenson,GaryCornell,BarryPruett,SandySmith,andMattWagner.

Credits

ProjectEditor:MatthewBuchanan

TechnicalEditor:ChrisBucher

CopyEditor:MatthewBuchanan

Tobringoutthedramainherentinthismodel’seyesandhair,Iposedhersothatherfacewasinthelightingbutthebackgrounddisappearedinto

darkshadows.

IntroductionWithoutlightthereisnophotography.Byusingthegerund—“lighting”ratherthanlight—anactiveroleisimplied:tosomeextentthephotographerisinvolvedincreating,manipulatingorengineeringthelightusedtocreatethephoto.

Infact,activeinterventionbyaphotographerwhomanipulatesorcreateslightvariesonaspectrumfromnonetocomplete.Forexample,aphotographerwhocreatesalandscapemayleavethelightinguptoweatherandchancecircumstance.Inthispassivescenario,thephotographerchoosesmoment,position,lensandcamerasetting—buttherestislefttonature.

Attheotherextreme,inthecontextofstudiophotography,thephotographercompletelycreatesanenvironmentandset,aswellasthelightingthatwillbeusedtoilluminateit.

Inbetweentheseextremesisthephotographerwhotakesadvantageofambientlightingbutaddssomelightoftheirown—orwhoimprovisesacombinationofnaturalsunlightandartificiallighttocreateamasterfulstilllifeorportrait.

It’sastrangething,butnomatterhowactivethephotographerisincreatinglightusedinanimage,themostcrucialskillforthephotographeristheabilitytoaccuratelyandcreativelyobservelight.Withoutencouragingandtrainingthistalent,alltypesofphotographers—whethertheyshootinthenaturallandscapeusingambientlightorinthestudiowithartificialillumination—willnotbeabletomasterlighting.Ifyoucannotdeeplyfeelandseetheimpactoflighting,youcan’teffectivelyuseormodifylightinginyourwork—andyouwillnotbethebestphotographeryoucanbe.

Withthisinmind,CreativeLighting:DigitalPhotographyTips&Techniquesstartswithsomeideasabouthowtonurtureyourtalentforobservinglight.Notethatthisconcernispragmatic:Icareabouttheimpactoflightonaphoto,notlightasawaveorlightfromtheviewpointofaphysicist.

Lightinginaphotoinvolvesnotonlytheilluminationcastuponascenebutalsotheexposuresettingsusedtocapturethatscene.I’llexplainthevariablesinthisexposureequationsothatyou’llunderstandhowtouseyourcameratobestrespondtothelightyouobserve.

respondtothelightyouobserve.

Next,I’llshowyouhowtobestuselightinginthenaturalworld.Howcanyoutakeadvantageof—andpossiblymodifyandimprove—ambientanddirectionallighting?And,howcanyoumodifyormanipulateexistinglightingtogetgreatcreativeimages?

Inthestudio,thelightsusedforstilllifecompositionsgenerallygiveoutcontinuouslight.I’llshowyouhowtomastercreativestilllifeeffectsthatinvolvetransparency,reflectivity,shadowplay,andmore.

Incontrasttothecontinuouslightsusedinstilllifework,thestrobesusedtocapturepeopleandmotionproduceshortburstsofextremelyintenselight.I’llexplainthebasicsofstudiostrobelighting—andshowyouhowtocreatesomegreatfigurestudyandportraitlightingeffects.

Youcancompletelychangethelightingofaphotoinpost-processingusingsoftwaresuchasAdobePhotoshop.Theextentofflexibilityregardinglightinginthedigitaldarkroomwouldhavebeenunimaginableonlyafewshortyearsago.ThefinalsectionofthebookshowsyouhowtousePhotoshoptoenhancethelightinginyourphotos.

MyhopeinCreativeLightingistobeyourcompanionandguidebyprovidinginspiration,ideas,andtechniquesasweworktogethertocreatephotosthataremasterfullylit—enjoy!

Bestwishesinphotography,

Iusedapolarizingfiltertohelpemphasizetherefractionscreatedbylightingthroughaglassofwater,withanappleandapearpositionedbehindtheglass.

200mm,circularpolarizer,10secondsatf/32andISO100,tripodmounted

SeeingtheLight

Tocreatethisstudioshotofmarbles,Iputthemarblesonasheetofwhitepaperandusedastrongtungstenlighttocreateintenseandcolorfulshadows.Thiscontinuouslightwaspositionedbehindthemarblesandbeamedthroughthemwiththeideaofmakingcolorfulshadowsusingbacklighting.

QualityofLight

Withoutlightthereisnophotograph.Butlightbearsamoreimportantandsubtlerelationshiptophotographythanthisstatementofabsolutessuggests.Infact,thequalityoflightmakesorbreaksaphotoacrossawiderangeofpotentialsubjects.Nomatterwhatthesubjectmatter,whenthephotographercreativelyandperceptivelyseesandcaptureslight,thengreatphotosarepossible.Buthumdrumandordinaryuseoflightleadstoboringandordinaryimagery.

humdrumandordinaryuseoflightleadstoboringandordinaryimagery.

Sinceyouarereadingthisbook,youprobablyagreethatthequalityoflightisveryimportanttogoodphotography.Actually,Ithinkitwouldbehardnottoagree.Butthisassessmentleadstomorequestions:Whatisthismysteriousconceptof“quality”associatedwithlight?Forthatmatter,whatisthismysterioussubstance“light?”

UnderstandingLight

Anythingyoucanseeisasourceoflight,unlessitiscompletelyblack.Otherwise,theworldarounduswouldbeinvisible.Thingsyoucanseeareeithertransmittinglightsources—forexample,thesun,alightbulb,orastrobe—orarereflectivelightsources.Areflectivelightsourceisessentiallyanythingthatdoesn’titselfgeneratethelight;ifyoushinealightonamodel,andusethislightingforaphoto,themodelisareflectivelightsource.

Infact,wedon’tactuallyseethings.Ifyoustoptothinkaboutitforamoment,you’llrealizethatforanobjecttobevisibleitmustbeilluminated.Whatyouareactuallyseeingislightcreatingapparentcontours,shapes,colors,andsoon.Lightcaressesobjectstomakethemvisible,sowethinkweseethem—butweareactuallyinterpretingtheactionoflightinourminds(orcameras)ratherthanlookingatobjectsthemselves,andnoneofthiswouldbepossiblewithoutlight.

Withoutusbeingconsciouslyawareofit,ourbrainsarecontinuouslydecodingtheelectromagneticradiationthatreachesourretinasandusingthisinformationtoprovideuswithour“pictures”oftheworld—oftenwithpowerfulemotionalimpactsolelybasedontheperceivedlighting.

Lightitselfisnotasubstanceinthenormalwaywethinkofthings.Instead,itconsistsofwavesofelectromagneticradiation.Asthesewaves“wash”overandaroundobjectsovertime,we(andourcameras)areabletocreateavisualimpressionoftheobjectsthatareilluminated.

Usually,thisimpressioniscreatedalmostinstantaneously—becauselightmovesveryquickly,andbecausethevisualprocessinghandledbyourbrainstakesplacemostlyataspeedfasterthanconsciousthought.Butwhencamerasareinvolved,thingsslowdowntothecamera’sshutterspeedrange,ortothepulseofastrobeifstudiolightingisused.

ofastrobeifstudiolightingisused.

It’simportanttonotethatinthecontextofphotographytimeisalwaysinvolvedinlighting—whetheritisthebrieffractionofasecondneededtolightalandscapeorstudiosceneorthehoursneededtocaptureadarklandscapeatnight.Anobjectisilluminatedbywavesoflightenergyovertime—althoughtheamountoftimemaybeveryshortindeed.

Thestatementthat“anythingyoucanseeisasourceoflight”isanoversimplification—particularlyinthedigitalera—becausethereareenergywavescloseinfrequencytovisiblelightthatourcamerasensorscancapturebutwecannotsee.Innormalusage,lightmeanselectromagneticwavesonaspectrum—awavelength—thatisvisibletothehumaneye,buttoscientistslightcanalsomeanelectromagneticwavesonpartsofthisspectrumthatarenotvisibletous.

Ifyoucanseesomething,itiscertainlyasourceofreflectiveortransmittedvisiblelight—butthereareothersourcesof“nearlight”thatourcamerascanpickupanduseinphotographicimaging.Takingadvantageofilluminationfromenergysourcesbeyondthevisiblespectrumtendstoonlybeimportanttoafewspecializedareasofphotography,suchasinfraredandnightphotography(seepages150–157).Butit’simportanttorealizethattherearesomesourcesof“light”thatyoumaynotbeabletosee—butyourcameracan.

CharacteristicsofLight

Withtheunderstandingthatlightitselfisanelectromagneticwave,thatpeopleandobjectsonlyappearrealiftheyareilluminatedbylight,andthattimeisalwaysinvolvedinphotographiclighting,it’sappropriatetogivesomethoughttounderstandingwhatmakestheelusivequalityoflightthatissoessentialtophotography.

First,lightqualityisnoonething,nosingleeffectorsetting.Photographsinwhichthequalityoflightdiffergreatlyinmanyimportantcharacteristicscaneachbesaidtohaveexcellentqualityoflight.Forexample,animagewithstrongandharshlightmightbeaspectacularcharacterstudy,whileadelicateclose-upmightrequiresubdued,subtle,anddiffuselight.Sothere’snoone-size-fits-allanswertowhatmakeshigh-qualitylighting,anditalwaysdependsuponthecontext.Thisimpliesthatinthinkingaboutlightandlightingoneshouldtrytounderstandthepaletteofavailableoptions.

Sincethelightinginaphotolargelycontrolsthemoodandemotionsthattheimagecommunicates,yourunderstandingofthequalityoflightneedstotakeplaceatleastpartiallyatagutoremotionallevel.Youcanspendyourlifeparsingoutthetechnicalfactorsthatgointolighting—andknowingtheseareagoodthing—butknowingthemcoldwon’tleadtosomethingmoreimportant.Theabilitytouselightingtomanipulatetheemotionsofpeoplelookingatyourimagesisaninvaluableskill.

Fromtheviewpointofphysics,alightwavehasanumberofproperties.Themostimportantoftheseareintensity,meaningthestrengthofthelight(seepages22–27),andthewavelength,whichcorrespondstothecolortemperature,orperceivedcolorofthelightsource(seepages34–39and102–107).

AsI’venoted,alightsourceiseithertransmittinglightorreflectinglight.It’sverydifferentphotographingintothesunascomparedwithphotographingsomethinglitbythesun.Thisisthedistinctionbetweenlighttransmissionandreflectivity.Reflectivityisexplainedfurtheronpages52–55and186–189.

WhenIevaluatelightandlighting,besidesintensityandreflectivity,Itrytounderstandanumberoffactors:

Thedirectionoflight(pages28–33)Thecolorofthelight(pages34–39)andwhetheritisdiffuseorharsh(pages40–43)Whethermyintentionsaretocreateadarkorlightimage(pages46–49)Whethertransparencyplaysaroleintheimage(pages56–59and178–181)TheimportanceofstrongshadowstothephotoIhaveinmind(pages60–63and182–185)

IfI’vepre-visualizedablackandwhitephoto,thenIneedtoconsidertheimpactoflightingonmymonochromaticrendition(seepages64–67).

It’sworthnotingthatpre-visualizationisanimportantpartofunderstandingthequalityoflighting.(Formoreonpre-visualizingtheimpactoflighting,seepages108–111).Ultimately,IrelyonmysenseofwhatshiftingachoiceinlightingwilldotoinformtheactualchangesImake—soitisimportanttodevelopyourskillsrelatingtopre-visualization.

JusticePotterStewartoftheUnitedStatesSupremeCourtfamouslynotedthathecouldn’teasilydefineobscenity,butheknewitwhenhesawit.Thesamethingistrueaboutgreatphotographiclighting.Youwon’tnecessarilybeableto

thingistrueaboutgreatphotographiclighting.Youwon’tnecessarilybeabletoputyourfingeronwhythelightingisgreatforaparticularphoto,butifyouworktobetterunderstandlightingandhoneyourpre-visualizationskills,youwillcometoknowitwhenyouseeit—andbecomeabletodelivergreatqualityoflightinginyourimages.

Increatingthisphoto,IpurposelyunderexposedtheimagebecauseIrealizedthatthepointoftheimagewastoshowthelightonthemodel’sback—andthatanyotherelementswereextraneous.Iusedsubduedsidelighting,andworkedhardtopositionthemodelandlightstocreateasculpturaleffect.

Thelightastwilightturnstonightoftenhasveryspecialcharacteristics,asyoucanseeinthisimageoftheBigSur,California.Colorsarerosy,andshapesaresoft,butthereisstillenoughlightsothattheshapesinthelandscapearedistinct.

Thefairlylongexposure(30seconds)involvesenoughtimesothatthelightsfromobjectsinmotion—suchasthecarheadlights—arerenderedinapathratherthaninthecrispsnapshotviewthatwearemoreusedto.

Itrainedovernightandthenstopped.Therewerecloudsoverhead,butthedaywasgettingbright.IhurriedoutwithmycamerabecauseIknewthatdiffuselightingfromabrightbutovercastskycanleadtostunninglysoftandsensuousflowerimagery,asinthisearlymorningimageofaniris.

TheGoldenHour

Itishardtodefinegreatlighting—andgoodqualityoflightdiffersfromphotographicsituationtosituation.However,there’sonekindoflightingthatalmostalwaysproducesgoodresults:photographstakenoutdoorsduringtheso-called“goldenhour.”

Dependinguponwhoyoutalkto,atmosphericconditions,timeofyear,andyourgeographiclocation,goldenhourlightingextendsbeforeandaftersunriseandsunset,perhapsaboutanhourineitherdirection.Thistimeofgreatlightinglastslongeratsunsetthanitdoesatsunrise.I’veheardaquipfromprofessionallocationphotographersthattheycouldphotographatsunrise,gotosleepforthebulkoftheday,andwaketophotographatsunset—there’snotmuchpointworkingoutdoorsatanyothertimes.

Whatmakesgoldenhourlightingsogreat?Toanswerthisquestionitmakessensetocarefullyobservewhathappenstothelightingatsunset.Colorsgetyellowerandredderasthecolortemperaturebecomeswarmer.Thingsseemmoreheavilysaturated.Asthesunhitsthehorizonline,thequalityofthelightbecomesmorediffuseduetohazeandatmosphericdistortion.Atthesametime,thelightstaysintenseandstronguntilthesunhasliterallyset.

Thesearequalitiestoemulateifyouarecreatinglightwhollyorpartiallybyartificialmeans—warm,diffuse,andstronglydirectionallightingseemstoinherentlyproduceasignificantlypositiveemotionalresponseinthosewhoseeit.

ThePuenteBacunayaguaisthelongestandhighestbridgeontheislandofCuba,builtbeforetheSovietsabandonedthecountry.IwasluckyenoughtoreachtheobservationpointabovethebridgejustatthegoldenhourbecauseIcouldcaptureboththeskyandthebridgeintheglowing,colorfultonesofthe“goldenhour.”

15mm,sixcapturesatshutterspeedsrangingfrom1/6ofasecond(lightest)to1/160ofasecond(darkest),eachcaptureat15mm,f/8andISO100,tripodmounted,capturescombinedinPhotomatixandPhotoshop

Thishigh-countrylakeintheSierraNevadamountainsofCaliforniaisjustofftheTiogaPasshighway.Inthelateafternoonandearlyeveningitstartstoglow,andcomesaliveasaninterestingsubjectforphotography.

Unfortunately,photographersaren’ttheonlycreaturesawareofthegoldenhour.Mosquitoesseemtoemergejustasthelightgetsgood.InthecoupleofhoursIspentphotographingthislake,Ifendedoffhordesofthelittlebuzzingwingedcarnivores.

Ilikeusingapolarizerfiltertoampthecolorsofgoldenhourlandscapesevenfurther.Thisisparticularlytruewhenwaterandreflectionsareinvolved.Usingapolarizercanhelpbringoutreflections,anditalsoservestomakegoldenhourlightingseemevenmoregrandandspectacularthanitalreadyis.

18mm,circularpolarizer,1/60ofasecondandf/11,tripodmounted

IntensityofLight

Lightintensityreferstothestrengthofthelight—andthisissomethingthatcan,ofcourse,bemeasuredbyyourcameraoranexternallightmeter.Thiskindofmeasurementcanbeahelpfulstartingplace.ButasI’lldiscusslaterinthisbookintheExposuresection(pages68–111),thepointofanexposure—andofknowingthestrengthofyourlighting—isnottousethisdatainapresetformula;rather,itisusefulasabasisformakingcreativedecisions.

It’sworthnotingthateffectivelightintensitydependsuponthedistanceofyoursubjectfromthelightsource,aswellastheintensityofthelightitself.Forsomelightingsources,thisfactisirrelevant—forexample,youcan’tmovethesun.However,youcanpositionartificiallights—andit’shelpfultorealizethatintensityhasaninverseratiotothedistanceoflighttosubject.Actually,lightintensityfallsoffroughlyaccordingtoaninverse-squaredratio.Formoreonlightingplacement,seepages162–209.

Inaphotographicrendering,theabsoluteintensityoflightingisnotusuallythemostimportantthingabouttheintensity.Whatmattersisthecontrast,orperceivedrelativeintensityoflighting,comparedtothedarkerareasofaphoto.Aphotoinadimlylitroomwithasingleshaftofstrongsunlightcanseemtobemoreintenselylitthanaphototakenonabrightsunnydayoutdoors.Objectively,thereisfarstrongerlightingintheoutdoorscene—butthemixedlightingseemsmoreintense.

Agreatdealoftheemotionalpowerinaphotocomesfromthephotographer’sabilitytocontrolthedynamicrange—tonalrangefromlightstodarks—inaphoto.Usingdigitaldarkroomcontrolsandspecializedtechniquesdesignedtoincreasedynamicrange(seepages210–247),alongwiththeabilitytoextendandmodulatetherangeoftonesinaphotogivesmodernphotographersmorepowerovertheirimagecreationthaneverbefore.

Whenworkingwithlightintensityinyourphotos,youshouldfirstunderstandwhethertheemotionalappealoflightinginyourphotocomesfromoverallflatlightingwithouthighcontrast,orwhetherthedifferencebetweendarkandlightareasmakestheimage.

Ineithercase,yournextgoalshouldbetoemphasizetheeffectyoudesire.Iftheimageworksbecausethelightingisoverallflat,diffuse,andatthesametimeglowing—makesureyourlighting,exposure,andpost-processingdeliverstheimpactyouhavepre-visualized.

Iftheemotionalappealoftheimagecomesfromthecontrastbetweenafewbright,overlitareasanddarkbackgroundshadows,makesurethatyourtechniquefollowsyourintentions.Inthiskindofimage,apparentintensitycombinedwithdeepshadowscanenhancecompositionsbycloakingunwantedareas—andaddinganoverallsenseoftensionandmystery.

Ilitthismodel’sfacewithintenselightusingasnoot,acirculartubeplacedoverastudiostrobe.Myideawastocreateaninterestinghigh-contrastportraitthatemphasizedtheunusualplanesofherface,allowingthefacetobelitwhiletherestofherbodyfadedintothebackground.

Thisportraitworksbecauseoftheoverallevennessofthelow-contrastlighting.Themodelwasliterallyinthewaterinanoutdoorswimmingpool.Iachievedthelightingeffectbyfilteringtherelativelyharshsunlightbouncingoffthewaterthroughabeachumbrella(youcanseetheumbrellaasredinthebackground),andbyusingafillcardtobouncesunlightintotheshadowedareasofthemodel’sface.

Intensebutdappledearlymorningsunlighthelpedcreateaninterestingandunusualimageofarose,photographedasthesunmadeitswayoverthehorizon.Normally,directsunlightistoointensetocreateeffectiveflowerimageswithoutdiffusion,butinthiscasethecontrastbetweenlightsanddarksworked—inpartbecausetheangleofthesunwasnotoverheadandhighintheskyyet.Inaddition,thehotspotreflectionsofsunlightinthewaterdropsthemselvesaddinterestingtextureandcontrasttotheimage.

200mmmacro,1/180ofasecondandf/40atISO200,tripodmounted

Tocreatethis“soft”stilllifecomposition,ItapedtracingpaperoverthecontinuouslightsIused.ThenIenhancedthediffuseeffectusingaLensbaby,whichthrowspartsoftheimageotherthanthe“sweetspot”outoffocus.Thecombinationofgentle,softlightandselectivefocuscreatesadream-likeeffect.

LensbabyComposer,1/160ofasecondusingf/5.6apertureringandISO500,handheld

Thedirectsunlightilluminatingthisphotoappearsquiteintensebecauseofthestrongshadowcastbytheglassvaseandthestrongcontrastbetweenthelightanddarkareasinthecomposition.Withoutthestrong,andalmostharsh,lightingthepatternsintheshadowofthevasewouldn’tbeclearenoughtobeinteresting.

DirectionofLight

WhenIcomposeaphotoinmycamera’sviewfinder—whetherIamworkinginthefieldorinthestudio—thedirectionofthelightingisalwaysforemostonmymind.AsI’venoted,withoutlightingthereisnoperception,orphotographicrendition,ofanything.Flowers,people,landscapes,andthenightskydonotshowintheabsenceoflight,andoneofthemostcrucialpropertiesoflightisitsdirectioninrelationshiptothephotographicsubject.

It’simportanttohaveacommonvocabularywhendiscussinglightdirection,sodobearinmindthatwhenItalkaboutthedirectionoflightIamdescribinghowthelightstrikesthesubject,notthedirectionofthelightinrelationtothecamera.Ifyouknowthedirectionoflightrelativetothesubject,andyouunderstandreflectivity(explainedonpages52–55and186–189),thenyou’llbeabletohaveaprettygoodideaaboutthedirectionoflightrelatedtothecameraaswell.Ofcourse,thisisassumingthatyoursubjectisnotalightsourceandisreflectinglightthatisretransmittedtothecamera.

Lightthatstrikesanobjectonitsfrontiscalledfrontlighting(Figure1).Lightthatcomesinfromthesidesiscalledsidelighting(Figure2).

Logically,there’snoclearangleatwhichsidelightingbecomesfrontlighting,orfrontlightingbecomessidelighting—andmanysituationsinvolvecombinationsofsideandfrontlighting.Nevertheless,it’simportanttogetasensefortheprevailingdirectionoflightbecausethatcanhelpyoutweakboththelightingandthepositionofthesubjecttocreateamoreeffectivephoto.

Insomesituations,lightingbecomesgeneralizedenoughthatthereisn’treallyaclearsenseofthedirectionofthelight.Inthiskindoflightingsituationtheoveralllightissaidtobeambient.Withambientlightingitisoftentruethatclarityaboutitsdirectionisn’tobvious;however,ifyoutakethetimetoreallylookyoucanprobablydeterminethevariousdirectionsandsourcesofillumination.

It’snotuncommontoaddspecificdirectionallightingtoanambientlightingsituation.

Tofullyroundoutthepictureofallpossiblelightdirections,considerbacklighting,(Figure3)whichisfurtherdiscussedonpages44–45.Theproblemwithbacklightingisthattherearofthesubjectisilluminatedandunlessthesubjectistranslucent,there’snoilluminationonthefrontofthesubject—youonlyseelightpeekingaroundtheedgesoftheobject.

Notethatweliveinathree-dimensionalworld,soinonesenseafour-points-of-the-compassdirectionalanalysisdoesn’ttellthewholestory.Lightcanalsocomefromaboveorbeneathasubject.Youshouldbeonthelookoutfortoplightingandbottomlighting,aswellasthelighting’sdirectionalcharacteristics.

IplacedthisDahliafrommygardenonablackbackground,andlititfromthefrontusingasmallLEDflashlight.Usingalow-intensityfrontlightcombinedwithalongexposureallowedmetocreateanalmost“spot-like”effectonthecenteroftheflower.

50mmmacro,3exposurescombinedusingPhotoshoplayersat1second,2seconds,and4seconds;eachexposureatf/32andISO100,tripodmounted

Thismodelhadbeenelaboratelypaintedinsilver,butIthoughthermoststrikingfeaturewashereyes.Ifyoulookcarefullyatthecatchlightsinhereyes,youcandeterminethepredominantdirectionofthelighting—sidelightingfromthemodel’sleft.

Inwinter,whentreesarebare,thestarkshapesoftrunksandbranchesmakeforseeingthedirectionoflightclearly.

IwasinthemountainsaboveSantaFe,NewMexicowhenIcameacrossthisgroveofAspens.Thewinterlightwaslow,harshandintense,comingfromtheleft-handside.

Thestrongdirectionallightingcreatedasituationthatwasgraphicallyinteresting.Withmycameraonatripod,Iusedanaverageexposureintendedtocreateanimagethatwasessentiallyaboutthesidelighting—andabouthowthecontrastbetweenlightsanddarkscreatedapattern.

ColorofLight

Intuitively,almostallhumanbeingshaveanemotionalresponsetothecoloroflight.Lightthatisperceivedaswarmershowsscenesthataremorelikelytobeviewedasattractive,friendly,andevenintimate—providedthelightdoesn’tgettoowarm.Forexample,scenicphotostakenduringthegoldenhour(seepages18–21)arealmostalwaysperceivedasattractive,duetothewarmthofthelighting.

Conversely,lightthatisperceivedascoolisnotconsideredattractive,andaddsanemotionaldistancetoaphoto.However,insomecircumstancesthisemotionalcoolnessmaybejustwhataparticularimageneeds.

Clearly,theissueoftheperceivedcoloroflight—wherethelightfallsonawarmtocoolscale—isveryimportanttoaphotographer’sabilitytoconceptualizetheimpactoflightingonaphoto,becausethisissueplayssuchanimportantpsychologicalandemotionalrole.

However,theterms“warm”and“cool”seemalittlevague.Whatisactuallymeant?

ThecolortemperatureoflightismeasuredasemittedfromatheoreticalblackbodyindegreesKelvin(abbreviatedK),anincrementoftemperaturerelatedtotheCelsiusscale.Thelowerthecolortemperatureoflight,thewarmerthelightwillseemandthehigherthecolortemperature,thebluerthelightwillappear.

Verywarmlightisperceivedasquitereddishatabout1500K,somewhatwarmlightisperceivedasyellowinthe3000Kto4000Krange,andanythingover7500Kwillseemblue.Daylightvariesconsiderably,butopensunshineinthemiddleofthedaywillprobablyregisteratthe5200Kto5500Krange.

TheKelvinscale,alongwithsomecommonlightsourcesandwheretheyarelikelytofallontheKelvinscale,isshowninFigure4.

WhenIfirstlearnedaboutcolortemperaturesandtheKelvinscale,itdidn’treallymakesensetomethatthehigherthenumber—meaningwarmerfromtheviewpointofphysics—themorebluethecolor.Butifyouthinkaboutthisforamomentitactuallydoesmakesense.Ifyou’veevertoastedmarshmallowsonacampfire,you’llknowthehottestpartofthefirehasblueflames,andthatyellowflamesarehotterthanredones.ColortemperaturesmeasuredusingtheKelvinscaleareshowinghowmuchheatthelightsourceemits.Thishappenstobebackwardsfromourpsychologicalperceptionofcolor,butthenthere’snoreasonthatourpsychesshouldknowtheactualcolortemperatureoflight.

WhiteBalanceisthesettingyourcamerausestorecordthecolortemperatureofagivenscene.Yourcamera’sAutoWhiteBalancefeatureactuallydoesaprettygoodjobofreadingthecolortemperatureofmostscenes,butitisalsopossibletouseawhitebalancethatyou’vechosen.

Forinformationabouthowyoucanusecolortemperatureandwhitebalancetocreativelyenhanceyourphotographictechniqueseepage102foradiscussionofthein-cameraWhiteBalancesetting,andpages104–107forinformationaboutworkingwithcolortemperatureintheRAWconversionprocess.

IwantedtocreateaphotothatshowedthesumptuousandwellmaintainedpublicarchitectureoftheCubanNationalCapitolinHavana,Cuba.Thewarmglowofwindowlightreflectedonthemarblewalls,floor,andceilinghelptoconveythevisualeffectIwastryingtoconvey.

IshotthisimageaftersunsetnearChinaBeachinSanFranciscoBay.There’saverybluecasttothelightinginthisphotooftidalmudflatsduetolingeringlightcaughtinthelow-hangingclouds.

18mm,3exposurescombinedusingPhotoshoplayersat¼ofasecond,1second,and4seconds;eachexposureatf/5.6andISO100,tripodmounted

Diffusion

Todiffusealightsourcemeanstocutdownandspreadtheglarefromatransmittinglightsource.Inthestudio,youcandiffusealightsourcebyshiningthelightthroughatranslucentdevicesuchasanumbrellaorsoftbox.It’seasytorecognizediffusioninthestudiowhenyousendlightthroughtranslucency.

Outdoorshootersusuallyneedtolookfordiffusionthatoccursnaturally.Cloudsoftendiffusesunlight,andfogmakesoneoftheworld’sbestdiffusers.

Lighttransmitteddirectlyfromasourcecanbeharshandundiffusedunlessithasbeenmodifiedbysendingitthroughsomethingtranslucent,asIjustdescribed.Ontheotherhand,themorethelightisreflectedbeforeitilluminatesyoursubject,themorediffuseitbecomes(seepages52–55formoreonreflectivityanddiffusion).

Diffusedlightisperceivedas“soft”incontrasttoharshundiffusedlight.Learningtosensewhereonthespectrumbetweensoft(diffused)andharsh(undiffused)lightfallsisanimportantpartoflearningtoseelight.Softlightbringsoutdetailsandmakesscenesappearromanticandserene.Harshlighthelpsdelineatecontoursandshapesstronglyandcanbeusedtomakeemotionalstatementsimplyinglikesanddislikes.

Todiffuseornottodiffuse?Thisisanimportantchoiceinlighting—soyoushouldmakeapointoflearningtoseethedifferenceasyouobservelight.

IwaslookingdownfromthesecondstoryofthehistoricCoastGuardBoathouseinPointReyesNationalSeashore,Californiastraightouttoseaatthetracksthatwereusedtolaunchrescueboats.Thewindowpanewascoveredwithrainandsaltspray.Shootingthroughthedirtywindowproducedthishighlydiffusedandalmostabstractimage.

LeadinganightphotographyworkshoptothelighthouseatthetipofPointReyesNationalSeashoreinCalifornia,Iwasdisappointedbythedensefog.Ihadforgottenthatfogworksasagreatnaturaldiffuser.ThesoftlightingofthisshotintheclingingfogturnedouttomakeaphotoasinterestingasanyoftheimagesIhavemadeofthePointReyesLighthouseinclearerweather.Mybiggestproblem:keepingcameraandlensesdryintheintensewetness.

Thesunshiningthroughpocketsoffoginthiswoodlandvalleycreatedaperfectlydiffusedlightingsource.Iusedalongexposureandasmallapertureforhighdepth-of-fieldsoIcouldfullycapturetheeffectofgoingfromthedarkerdetailsofthepathonthevalleyfloortothediffusedsunlighthigherupincontrasttothetreetrunks.

Backlighting

Backlightingislightthatcomesfrombehindthesubjectasexplainedonpage31(alsoseeFigure3).Ifthesubjectisopaque,thismaymeannolightatallonitsfront—theplanethatyouwillbephotographing.Asolidblackobjectonlylitfrombehindwillnotbeilluminatedontheunlitfrontside—unlesslightisreflectedintotheunlit,blackareas.

Sotheuseofbacklightingneedstoberegardedassomethingtobeusedinspecialsituations,forexample:

Thesubjectistranslucent,andyouarephotographingtogiveanimpressionoftransparency(seepages56–59and178–181formoreabouttransparency).There’sinterestinginteractionbetweentheedgesoftheobjectandthebacklighting.Yourintentionistocreateanimageprimarilyshowingasilhouette.

Becauseofthevisualpoweroftheseusesofbacklighting—andbecauseeffectiveuseofbacklightingisrareevenamongotherwiseaccomplishedphotographers—backlightinghasbecomeanimportanttoolofmine.However,youshouldbearinmindthatbacklightingisalmostneverpure.It’sanextremelyrarephotothateffectivelyusesbacklightingwithoutsomekindoffilllightingeffect—eitherinthephotographyorinthedigitaldarkroom.

Backlightingthiseggcreatesagentlegloweffectaroundtheedgesoftheegg.Iusedawhitefillcardtoreflectsomelightintothefrontoftheegg,sothatthefrontwasn’tindeepshadow.

Iphotographedthispoppycutfrommygardenusingstrong,lateafternoonsunlightstrategicallybeamedthroughasheetoftranslucentpaperinfrontofawindowtobacklighttheflower.

200mmmacroplus36mmextensiontube,3/10ofasecondatf/36andISO100,tripodmounted

High-KeyandLow-KeyLighting

High-keyphotosarewhite,orbright,andtendtoinvolvesometranslucencyortransparency.Low-keyimagesaremostlyverydark,orevenblack.Ahigh-keyphotographisoftenintentionallyoverexposedforartisticreasonsandalow-keyphotoisoftenintentionallyunderexposed.

Theabsoluteamountoflightonthesubjectisnottheissue.Youcanhavesceneswithlowlevelsoflightingthatarecapturedashigh-keyphotos,andscenesthatarewelllitbutdramaticallyunderexposedtoresultinlow-keyimages.

Theimportantthingistorecognizethepatternofanoverallhigh-key(orlow-key)imageandtounderstandthatyouwon’tgettherewithouthuman,creativeintervention.Lefttoitsowndevices,yourcamerawillneverexposeinawaythatsuccessfullyuseslightinginawaythatmakesforinterestinghigh-keyorlow-keyphotography.Seepages206–209forinformationaboutexposingforhigh-keyandlow-keyimagery.

Tocreateasuccessfulhigh-keyimage,lookforsubjectsthatarebrightandwelllit.Often,whitepredominatesinthesephotos.Atthesametime,mostsuccessfulhigh-keyimagesdon’thavehighlightsthatareblown-out—sothetypicallysuccessfulhigh-keyimageisrange-boundonthebrightsideofthings.

Low-keyimagesthatworkarepredominantlydark,withsomeareasofrelativelightnessthatworkincontrasttothemysteryaroundthem.

Whentheyworkwell,high-keyandlow-keyimagesareveryspecial.Aspartofmydiscoveryofthelightaroundme,andmypre-visualizationoflightingeffectsthatmightworkwellwithspecificsubjectmatter,Ialwayslooktoseeifthereisahigh-keyorlow-keysolutionthatmightfitthebill.

High-keylightinggivesthisoreganopetaltheflavorofanold-fashionedbotanicaldrawing.

Iphotographedthisconefloweronawhitebackgroundandintentionallyoverexposedtocreateahigh-keyeffect.

Low-keylightingmakesthismustardleaflooklikeamysteriousseacreature.Bycontrollingtheexposuretokeeptheimagelow-key,Iaddedanelementofsaturationtothecolor—andtookthisimageastepbeyonda“straight”shotofsaladmaterial.

Photographingawhiteflowerisachallengeinacolorphotobecausethefinalimagecanseemtolackinterestingcolors.IunderexposedthisDahliatocreatealow-keyimagewithsubtlecolorvariationsonablackbackground.

Chiaroscuro

Chiaroscuroisatermderivedfromlightinginsomeclassicalpaintings—lightingthatshowsgreatcontrastbetweenlightsanddarks,withbothlightanddarkimportanttothecomposition.Onthewhole,manyphotographiccompositionsthatusechiaroscurolightingtendalsotobelow-key—sothereissomeconceptualoverlapbetweentheselightingcategories.

Cantherebelightwithoutdarkness?Probablynot.Inphotographicterms,chiaroscuroismoreaboutthecontrastbetweenthedarkandlightareasthanitisabouttheoveralltoneoftheimage—eventhough,asI’venoted,imagesthattakeadvantageofchiaroscurolightingtendtoalsobelow-key.

Chiaroscuroisalmostalwaysinterestinglighting.It’shardtoimagineboringchiaroscuro.SowhenIencountersituationsthatseemalittletooblandformytaste,IseeifIcan“jazzthemup”bythrowinganelementofchiaroscurointomylighting.

IfI’mworkinginanaturallightenvironment,ItrytoseeifthereisahighcontrastoflightingImighttakeadvantageof.Forexample,canIpositionmymodelinadarkexteriorinsuchawaythatasingleshaftoflightwillfallonher?Or,canIuseadappledlightsourcetoexaggeratethedarksandlightsinthesceneinfrontofme?

Indoors,inacontrolledenvironment,thequestionbecomesoneofaccentuatingthecontrastbetweenlightsanddarks.I’llimproviseanduseextremelylowlevelsofilluminationifthismeansthatIcangetthelighttofalloffinaninterestingway.

Thecontrastbetweenthedarkbackgroundandthe25-wattlamplightonmydaughterKatieRose’sfacecreatesachiaroscuroeffect.

Theshaftoflightstrikingthisbridepositionedinanotherwisedarkunderpasscreatesachiaroscuroeffect.Thecontrastbetweenthewhiteweddingdressinthelightandthealmosttotallydarkbackgroundaddswarmthandvisualinteresttoaphotothatwouldotherwisebeacliché.

UnderstandingReflectivity

I’venotedthatwithoutlightnothingcanbeseen—orphotographed.Furthermore,unlessanobjectisalightsource,suchasthesunoralightbulb,itcanonlybeilluminatedbyreflectivity.Therefore,it’scrucialtounderstandreflectivityifyouwanttounderstandlighting.

Firstofall,theFundamentalLawofReflectionstatesthattheangleofincidenceequalstheangleofreflection(Figure5).Inotherwords,theangleoflightshiningonanobjectdeterminestheanglethatthelightwillleavetheobject.

However,thekindofreflectiondependsuponthecharacteristicsofthelightingandthesurfacedoingthereflecting.Diffusereflectionsdon’tchangeinbrightnesswhenyoushiftyourangleofview.Directreflectionsareamirrorimageofthelightsourcethatmadethemandvaryfrombrighttononexistentdependinguponyourangleofview.

Acompletelywhitecardproducesdiffusereflections,andthelightisreflectedequallyinalldirectionsfromthewhitecard(Figure6).

Incontrast,amirrorproducesdirectreflections.AsyoucanseeinFigure7onpage54,acameralocatedattheangleofincidencewillseeaverybrightversionofthereflectedlightsource,whileacameralocatedanywhereelsewillnot.

Notethatmostofthesurfacesyouwillwanttophotographareneitherwhitecardsnormirrors,butrathersomewhereinbetweeninregardtoreflectivity.

Eachrayoflightwithinthefamilyofangles(Figure8)complieswiththeFundamentalLawofReflectionandheadsoutofthereflectingsurfaceattheangleofincidence.Thisisimportantbecauseifyourcameraispositionedwithintheincidentanglerangeformedbythefamilyofanglesyou’llcapturedirectreflections.Acamerathatislocatedoutsidethisrangecapturesdiffusereflections.

Thekindofreflectionyouwantdependsuponyourintendedphoto.Forexample,ifyouarephotographingflatartworkyou’llneverwanttoseedirectreflectionsbecausethesewillappearasglareandspotswithhigh-contrastreflections.Thesolutionistoarrangeyourlightingandcamerasothecameraisoutsidethereflectionsfromthefamilyofangles.

Ontheotherhand,ifyouaretryingtocreateaninterestingimageofcolorinahighlyreflectiveobject,suchasamirroredormetallicsurface,you’llwanttocarefullypositionyourcamerawithintheincidentfamilyofanglestoachievetheeffectyouwant.

You’llfindinformationaboutcreativelightingeffectsusingreflectivityonpages186–189.

Metalobjects,likethisslinky,areamongthehardestthingstophotograph.Aminortechnicalissueisthatreflectivesurfaceswillfoilmostautofocusmechanisms—soyoushouldplantofocusyourcameramanually.

Theoverallpictureisthataveryreflectivesurfaceislikeablankslate.Howitlooksdependsonthecolorthatyoureflectintoit.Also,ifyouarenotcareful,thereflectionswillshowthesetupyouusedtophotographthemetalobject—andeventhephotographer.

Tomakeshinymetallookitsbest,reflectwarmcolorintoit.Inthiscase,Iplacedacoloredboardjustoutofthecameraview,butwherethereflectionsappearascolorsintheslinky.

InthisphotoofmysonMathewattheSanFranciscoZoo,thelightingiscomingfromaboveandtotheleftofthephoto’sedge—thisissidelighting.YoucanseethatthisissobylookingatthedirectionoftheshadowsonMathew’sface.WhatmaytakeacloserlooktonoticeisthatthelightisreflectedoffMathew’slight-coloredhairbackatthewhitewallbehindhim.Andthen,thelightisreflectedbacktowardsthecamera,creatingakindofhaloeffect.Iusuallytrytonoticethiskindofsecondaryreflectionbecauseitoftenaddsinteresttothelightinginaphoto.

TransparencyversusOpacity

Objectsyouphotographhaveanimpact,ontheirownlighting—andnotjustintermsofsurfacereflectivity.Oneveryimportantissueiswhetheranobjectistransparentoropaque.

Ifsomethingisfullyopaque,thenlightcannotpassthroughit.Theobjectappearssolidandthree-dimensional,andhasasculpturalpresence.Itisusuallylitfromthefrontorsides,althoughoccasionallyopaqueobjectscanbebacklitassilhouettesforaspecialeffect.

Ontheotherhand,partiallytransparentobjectscanbebacklit(seepages44–45)andcreateatranslucenteffectratherlikethatofstainedglass.Infact,stainedglassisaclassicsubjectforbacklightingandtransparency—itonlycomesintoitsownwhenithasbeenappropriatelybacklit.Youcanthinkoftranslucencyinflowersorothernaturalobjectsasthenaturalanalogtoastainedglasswindow.

Photographsthatintendtopresentacoherentnarrativearerarelybacklit.Ifyouwanttoshowsomethingstraightforward,thenitisbesttousestraightforwardlighting.Afterall,forthemostpartweareusedtoseeingobjectsthatarelitfromthefrontorsides.Incontrast,backlightingisarelativelyunusuallightingstyle(andtechnique).

Whenatransparentsubjectisbacklit,itglowslikedstainedglass.Viewersofimagesbasedonthiskindoflightingtakeawaytheimpressionthatthey’vepenetratedinnersecretsoftheobjectsthemselves.

Thisimageofapoppyshowspartialtransparency.Wherethepetaloftheflowerhasbeenbacklitbythesun,theimageappearstranslucent.Elsewhere—forexamplethestems—theflowerseemsfullyopaque.

Mythoughtincreatingthisphotowastotellastoryinasingleframe.Thenarrationshowsthebirthandfullbloomofapoppy(Papaverrhoeas).Ifyoulookatthediscardedskinfromtheflowerbud,you’lllearnwhythisfloweriscalleda“poppy”inthefirstplace.Toachievethisnarrative,thepoppyislitfromthefrontandsides,andappearsfullyopaque.

Tocreateimagesshowingtransparency,Ilittheseflowersfrombehindbyplacingthemonalightbox.Thisisoneofmyfavoritetechniqueswithcutflowers.Whenthephotographyisaccomplishedwithprecision,thiskindoflightingcancreatewonderfulandmagicalimagerythatishardtoachieveinanyotherway.

Anemone:200mmmacro,8secondsatf/40andISO100,tripodmounted

Poppies:50mmmacro,sixcapturesatshutterspeedsrangingfrom10seconds(lightest)to3/10ofasecond(darkest),eachcaptureatf/32andISO100,tripodmounted,capturescombinedinPhotoshop

LureofShadows

Animportantpropertyoflightingisitsabilitytocreateandmanipulateshadows.It’swellknownthatshadowshavemagicalassociations.Insomecultures,ifyouloseyourshadowyou’velostyoursoul—exactlysimilartothesupposedresultofbeingphotographed.Inourownculture,we’vegrownupwithPeterPan’sanguishatlosinghisshadow,andhisfrenziedsearchtofinditagain.

Photographycanuselightingtotakeadvantageoftheemotionalassociationsweallhavewithshadows.

Insomephotos,youreallydon’twanttoseeshadows.Ifyoudon’twantshadows,you’llhavetoworkwiththelightingandcameraandsubjectpositiontoeliminatethiselement.Forexample,portraitphotographerscanhavetoworkhardtomakesurethatlightingdoesn’tcastanawkwardshadowofanoseonsomeone’sface.

Theshoeisontheotherfootwhenashadowplaysanimportantroleinacomposition,orwhenaphotoispartiallyabouttheshadowthatisbeingcast.You’llfindsometechniquesforeffectivelygeneratinginterestingshadowsonpages182–185.

Withintentionalshadows,lightingplaysamoreactiverolethanyoumaybeusedto.True,lightisusedtoreflectthecontoursofanobject.However,thelightingalsocreatesentirelynewsubjectmatter—theshadow.Theinterplaybetweenthiscreativeelementandthemoretraditionalprimesubjectiswhatcreatestheinterestincompositionsthatrelyheavilyuponshadows.

Iwasfascinatedbythewaystrongmorninglightfilteredthroughthebushesneartheeasternwallofourhouse,andspentsometimeconsideringhowIcouldbesttakeadvantageoftheshadowsthislightingcreated.

Tosetthisshotup,Imovedapottedplantwitharecentlyopenedflowerintoposition,sprayeditwithwater,andlititfromthefrontwithasmallLEDlighttofillintheshadowsonthefrontoftheflower.

ThisphotoofanIcelandicpoppy(Papavernudicaule)isinterestingbecauseitshowsastrongshadow(fromsidelighting)incombinationwithdirectfrontlightingthatshowsthedetailsofwaterdropsontheflowers.

50mmmacro,1/40ofasecondandf/32andISO100,tripodmounted

Iplacedaveryattractiveautumngourdonabackgroundofwhiteseamlesspaper.MyassistantheldasinglelightasIgaveprecisedirectionsabouthowtobestpositionthelightsothattheshadowofthegourdlookedlikeadinosaur(white“eye”addedinPhotoshop).

Myideawastophotographaneverydayobject—asawblade—lightingtheobjecttocreateashadowthatseemedalive.Accomplishingthisvision

requiredpreciseplacementofboththeobjectanditslighting.IwasabletoholdthesawbladeinplacesimplybystickingthesharppointsofthebladefirmlyintoaStyrofoamblock(youcanseethebladeholesifyoulookclosely).

Thelighthadtobecarefullypositionedtotheleftandbelowthephotoframesothatasmuchaspossibletheresemblancetoasmilingfacewasclearontheshadow.Toachievethislightinggoal,thelightneededtocomethroughtheholesinthebladewithadirectionalcomponentthatemphasizedthedesiredfeatures.

LightandtheMonochromaticVision

Blackandwhite—monochromatic—photographyshowslightingstrippedtoitsbones.Colorisnolongerpartofthelightingequation—thereisnowarmlightorcoollight,andyoucanforgetabouttheKelvinscale.What’sleftislightinginitspurestform:aZenmarkerofgreaterorlesserintensitythatisusedwithpuritytodenotepatternsoflightsanddarksinmonochromaticimagery.

Ittakesacertainamountofdisciplinetoevaluatelightingwithoutregardtothecolorofthelight,butthisdisciplineiswhatIaspiretowhenIapproachcreatingmonochromaticphotos.Inblackandwhite,itdoesn’tmatterwhatcolorafloweris,orhowthecolorchangeswhenalightwithspecificcharacteristicsshinesuponit.Whatmattersisthepatternsyoucanmakeusingtheintensityofthelightthatilluminatesthesubject.

Fromavisualperspective,monochromaticphotographyisaboutthecontrastbetweenlightsanddarks.So,inaway,lightingismoreimportanttothemonochromaticimagethantothecolorimage.There’snowayyoucancamouflagethecompositionalimpactofthelighting—andcompositionisessentiallyallthereis.

Apartfromtheveryspecificvisualdelightsofthemonochromaticphoto—andthesearenotinconsiderable,eveninthedigitalerainwhichmonochromemeansintentionalsimulationofanolderaesthetic—there’sgoodreasonforcreatingmonochromaticimagestoimproveyourskillswithseeinglighting.

IunderexposedthisdetailedviewofaPassifloravinetocreatealow-key,mysteriouseffectwhenconvertedtomonochrome.

200mmmacro,1/30ofasecondatf/16andISO100,handheld

Fordramaticimpact,Ilitthefluteofthiscallalilybutnotthebackground,andexposedfortheilluminatedareasoftheflower,allowingtherestoftheimagetogoblack.Myideaherewastopresentavisuallyambiguousimage:foramomentyoudon’treallyunderstandthescaleofwhatyouarelookingat.Itcouldbeashaftoflightonacliff,oritcouldbe(asitis)aspeciallylitflower.

ThefogrushedinoverthehillsofSanFranciscoBay.StandingonthetopofaridgeintheMarinHeadlands,Inoticedhowtheextremewhiteoflitbanksoffogcontrastedwiththedarkfeaturesofthelandscape.

Icomposedthisphototoemphasizethecontrastbetweenthelinesoffog,illuminatedbythesun,andthedarkcoastalhillsinthebackground.

ExposureandLighting

AlongtheruggednorthernCaliforniacoastnearPointArena,Istoppedtophotographabedofseapalms—akindofkelp—astheplantswerestruckbysurfintheintertidalzone.Togetasenseofthescale,oneoftheseapalmsintheforegroundoftheimagewasaboutonefoothigh.

MysonNickyandIwerealoneonarockyclifffacingthepoundingocean.Eventhoughwewerenotindanger,hewasworriedthatwewouldbesweptawayandkeptrunninguptohigherground.

Mygoalinmakingtheimagewastoshoweachindividualseapalminmotioncausedbythepoundingsurf.Buttheproblemwasthattheindividualplantsdidn’tmovesynchronously.IknewthatifIheldmyshutteropenlongenoughtocapturealltheplantsinmotion,myimagewouldbewayoverexposed(andmaybeevenwhite).SoItook45individualexposures,spacedoutoveraboutanhour,atsettingsthatwouldcorrectlyrendertheindividualplants.WhenIpost-processedtheplants,I

combinedthemusingatechniquecalledstacking(seepages150–157)—essentiallycreatingastillversionoftimelapsephotography.

48mm,45exposuresatshutterspeedsfrom1/6ofasecondto1/20ofasecond,exposurescombinedinPhotoshop,eachtakenatf/29andISO100,tripodmounted

UnderstandingExposure

Tomakeaphoto,lightentersthroughacamera’slensandproceedstohitthesensor.Fromtheviewpointofthecamera—andthephotographer—theexposuresettingsusedbythecameratranslatethisincomingrushoflightviahardwareandsoftwareintoafilethatcanbeviewedorprinted.

Iftheexposuresettingsarewrong,theresultingphotomaynotbeusable.Extremeoverexposure—wherethecamera’scontrolsaresettoallowintoomuchlight—willproduceanall-whitephotowithoutanydetails.Attheotherextreme,veryunderexposedphotoshaven’tletenoughlightintothesensor—andthere’snodetailtobeseenbecausetheimageisallblack.

Whenthereisdetailtobeseeninaphoto,theexposuresettingscontrolhowtheincominglightisrendered.Inotherwords,unlessyouareusingacameraobscura—apinholedevicewithoutopticsorexposurecontrols—howanimageisrenderedisatwo-stepdance.Thisdanceinvolvesboththelighttransmittedorreflectedbythescenethecameraiscapturing,aswellaswhatthecameradoeswiththatlight.

Thisrelationship,orbalancingact,betweenincominglightandthecamera’sexposurecontrolshasoftenbeenreferredtoasanequation(sometimescalledtheexposureequation).Inotherwords,whenincominglightisexactlybalancedbythecamerasettings,thenyougetatheoretically“correct”(or“proper”)exposure.

Don’tstartworryingthatyouaregoingtohavetouseequationsandalgebratobeagoodphotographer!Foronething,theoreticalcorrectnessinexposureistrulyunimportanttohowaphotocomesout.Foranother,thereareonlyafewvariablesyoucanusetosetacamera,andtheirrelationshipisprettysimple.It’samazing—buttrue—thatmuchofthetechnicalcraftoftakingphotoscanbeunderstoodandmasteredaslongasyouunderstandwhatgoesintoanexposure.

Thethreeexposurecontrolsyoucanuseonyourcameratoadjustforincominglightareaperture,shutterspeed,andISO.

Apertureiseasilyunderstoodasthesizeoftheopeninginsideyourlensthatletslightthrough.Thelargertheopening,themorelightreachesthesensor—andthesmallertheopeningthelesslightgetsin.Apertureisexplainedinmoredetailonpages82–85.

Shutterspeedisnotreallyaspeedatall;rather,itisadurationoftime—howlongtheshutterisleftopentoallowlighttopassinthroughthelenstothesensor.Formoreaboutshutterspeed,seepages86–91.

ISO,alsocalledsensitivity,isusedtosethowlightsensitivethesensoris.Inthedaysoffilm,ISOwasmostlysetdependingonthefilmyouused(althoughsomefilmscouldbeprocessedtoraiseorlowereffectiveISO).Inthedigitalera,onecandial-inISOonaper-exposurebasis—withtrade-offsexplainedindetailonpages92–97.

Aperture,shutterspeed,ISO—thisisthetriangleusedtocontrolthewayincominglightisrenderedbycreatinganexposure.Thepointisthatifthesethreearesettomatchtheincominglight,theyareinakindofbalance.Ifyoudecideyouneedtochangeoneofthem,you’llhavetocompensatebychanginganothertokeepthebalance!

You’llfindthatifyoustartthinkingintermsofthethreeexposurevariablesasyoumakephotosthatprettysoonyou’llunconsciouslyknowhowtosetyourcamera—andyourimageswillgreatlybenefit.

GetyourcameraoffAutomatic

ThereareseveralgoodreasonsfortakingyourcameraoffAutomaticexposurecontrol,andneverturningAutomaticbackon.IliketothinkIamsmarterthanmycamera,andusuallyIam!

Yourcameraisonlyabunchofelectroniccircuitsconnectedtoalens.Yourcameracanreadlight—butnotthinkcreatively.SobecomethebossofyourcamerabynotlettingtheAutomaticexposuresettingtakeover.

Ifyoudon’tsetyourownexposures—usingManualexposure—youwon’t

learnaboutthesubtle,andnot-so-subtle,impactthatchangingyourexposuresettingscanhave.

Sure,there’saplaceforShutter-preferredorAperture-preferredexposuremodes.And,sometimesIevenusefullyAutomaticexposure—forexample,whenthesubjectismovingfasterthanIcanthinkorreact.

ButinmostsituationsyouwilldoyourselfabigfavorbyusingManualexposure.It’salsotheonlyrealwaytogetasenseofyourexposurecontrolsthatwillbecomeintuitive,unconscious,andsecondnature.

ThisisabedroominasimplecountryinnthatrestsontheslopesofMountTamalpaisaboveSanFrancisco,California.Itcanonlybereachedbyhikingalongatrailonthesidesofthemountain.WhenIreachedtheinninthelateafternoon,lightwasstreaminginthroughthewindowofthisbackbedroom.Isetmyexposuretocapturesomedetailintheroom,while

showingthatpartsoftheroomwereindeepshadowincontrasttothebrilliantsunshinecominginthroughthewindow.

IknewthatiflefttoitsowndevicemycamerawouldcreateanaverageexposureofthesceneofSanFrancisco,Californiashroudedinafternoonfog.Inmakingthisaverageexposure,thecamerawouldbefooledbytheprevailingbrightlightcomingoffthefog,andeverythingwouldseemwaytoolightandbright.SoImadesuretoconsiderably“underexpose,”lettingthecloudsgograyandthehillsandtreesbecomeverydark—whichledtoamorepleasingoverallimage.

OverexposureandUnderexposure

ImagineGoldilocks,theaspiringphotographer,enteringthecabinofthethreebears.EachbearhasleftadigitalcameraforGoldilocks.Shetriesthefirstcamera(bytheway,itbelongstoPapaBearandisabig,honkingDSLR).It’sapparentwhenshelooksattheLCDthathershotwasway,wayoverexposed.

Next,Goldilockstriesthemedium-sizeFourThirdscameraleftoutbyMamaBear,but—asyoumaybeexpectingbynow—thiscameraissettounderexpose,andtheimageintheLCDscreenisalldark.

Finally,Goldilockstriesthetinypoint-and-shootleftbehindbyBabyBear.Becausemyfableisaboutexposureandnothardware,theshottakenbythislittlecameraisjustrightintermsofexposure.

AsGoldilocksthoughtfullytaste-teststheporridge,andpreparestotakeanap,shemuses,“Sojustwhatissogoshdarnimportantaboutbeingjustrightwithexposure?Andwhatdoesitmean,anyway,tousetherightexposure?”

Thesearebothgoodquestions.Generally,whenpeoplesayanexposureis“right,”“correct,”or“proper”theymeanthattheexposuresettingsarebalancedfortheincominglight,accordingtoanaveragereadingofthelight.Therearemanytechnologicalnuancestohowcamerasattempttoaccomplishdetermininganaverageexposure.However,themethodusedtodetermineaverageexposureisnotreallyasimportantascameramanufacturerswouldhaveyoubelieve,andacomplicationthatIwon’tgetinto.

WhatIwilltellyouisthattheso-calledrightexposureisalmostalwayswrong!

Usually,thesubjectofaphotohasaspectrumofexposurerangeswithinit.Therearelightareas,darkareas,andmidtones.Therightexposurewillbewrongformostoftheseareas,andthephotowillworkwiththeso-called“rightexposure”onlyifwhatyouaremostinterestedinhappenstobeinthemiddleoftheexposurerange.

Inotherwords,thepartofthesubjectthatismostimportantisusuallywhatshouldbeexposedproperly.Forexample,ifyouarephotographingaportraitonadarkbackgroundyouprobablywanttoexposeforthesubject’sface,notthe

adarkbackgroundyouprobablywanttoexposeforthesubject’sface,nottheaveragebetweenadarkbackgroundandtheface(whichwouldendupoverexposingthefacetogetthedarkbackgroundright).

Furthermore,sometimesaphotoneedstobeunderexposed.Forexample,anightscenereallydoesn’tlooklikenightifitisaslightasday.Otherphotosneedtobeoverexposed.Forexample,ifyouwanttoconveytransparencyonawhitebackgrounditiseffectivetosomewhatoverexposeyourimage.

Sotherereallyisnosuchthingasa“right,”“correct,”or“proper”exposure—or,atleast,thinkingabouttheseconceptsdoesn’tleadtogoodphotography.Instead,realizethattheexposureyouwanttousedependsonanumberofcreativefactors—suchaswhichelementinyourphotoismostimportant,andwhetheryouwantthephototolookdarkorlightoverall.

Youneedtodecidehowyouwanttoexposeaphotobasedonyourreadofhowthesubjectislit,andyourindividualtaste.Thisbringsupaninterestingquestion:sinceexposurecanbesubstantiallycorrectedinprocessingdigitalRAWfiles,doesitgenerallymakesensetobiasyourexposurestotheunder-or-overdirection—thatis,comparedtotheexposureyou’vederivedasaestheticallycorrect,notsomenotional“right”exposure?

Thisturnsouttobeasurprisinglycomplexandcontroversialissue.Thefactthatyoucanadjustexposuresinpost-processingmeansthatthereareanumberofvariables.

TheorthodoxpositionisthatRAWexposuresthatareslightlybiasedtotheoverexposuresidehaveagreaterrangeoftonality—andmakebetterprints.However,whileyoucanrecoverfrommanyexposureproblemsintheRAWconversionprocess,highlightblowoutcanoftennotbefixed—andthisarguesagainstoverexposure.Inaddition,Ifindthatexposurestendtoappearmorecolorfulandsaturatedwhentheyareslightlybiasedtowardstheunderexposureside.

Personally,Itendtoshootbiasedslightlytowardsunderexposure—unlessIamtryingintentionallyforanoverexposed,high-keylook.Ifthisissueconcernsyou,you’llhavetorunsometestsandseewhatworksbestforyou.

Inthislightandairyimageofablossomingcherrybranchonawhitebackground,Iintentionallyoverexposedbyseveralf-stopsforcreativeimpact.

Hemingwayhungoutinacaféinthissmallfishingvillage,Cojimar,inCubanearHavana.InmakingthisimageonabackstreetinCojimarasduskturnedtonight,IwantedtomakesureIunderexposedtoleavetheimagedarkandsaturatedwiththecolorsofthenight.

Clearly,withthisimageofawaterdropunderneathanaloeblossom,thekeyareaforexposureisthewaterdrop.Iwasokaywiththebackground

goingdark,andthestarburstofsunshinetotheleftofthebudblowingoutwithoverexposure.

UsingaHistogram

Knowingthedifferencebetweenoverandunderexposureisimportanttophotographers.ForafableconcerningGoldilocksandthethreephotographingbearsthatpartlyexplainswhythismatters,seepages74–77.

Ifyouareconcernedthatitwillbedifficulttotellunderexposurefromoverexposure,neverfear—avisualaidishere!

Ahistogramissimplyabargraphofvalues.Anexposurehistogramisagraphoftonalvaluesinaphoto,usuallyfromdarktolight(seeexamplesonpages78–81).

Thetonalvaluesfromblacktowhiteareshownalongthebottomofthehistogram.Anytimeatonalvalueappearsinaphoto,alineisshowngoingup.Thehighertheline,themoreofthetonalvalue.

Inaggregate,thelinesrepresentingtonalvaluesformakindofcurve.Asyougettoknowhistograms,youcantellagreatdealaboutyourexposurebylookingatthecurveshownbythehistogram.

Acurvethatisprimarilytotheleft(thiskindofexposurehistogramissometimescalled“left-biased”)usuallyrepresentsunderexposure,whileacurvethatisprimarilyleaningtotherightmeansoverexposure(thiskindofcurveiscalled“right-biased”).

Inthisrealworld,lifeisneverassimpleasonewouldlike,andtheissueofreadingahistogramiscomplicatedbythefactthatitgraphsrealworldvaluesoflightanddark.Forexample,thephotoyouarecreatingmaycontainagreatdealofdarksubjectmatter.Ifyouwanttokeepthesedarkthingslookingdark,thentheappropriatehistogramwouldbebiasedtotheleft.

Conversely,ifyouwanttokeepbrightsubjectmatterlight,thenyouwanttohavearight-biasedhistogram.

Inotherwords,thevalidityandutilityofanexposurehistogramdependuponyoursubjectmatter,lighting,andthegoalsofyourimage.Thereisneveran

absolutelycorrecthistogramindependentofthesefactors.

PoppyhistograminPhotoshopfollowingRAWconversion

Youcantakeadvantageoftheinformationinherentfromanexposurehistograminallpartsofthedigitalphotographyworkflow:beforeyoumakeanexposure,aftertheexposureinthecamera,whileprocessingaRAWphotointhedigitaldarkroom,andwhenyoumakeadjustmentsusingpost-processingsoftwaresuchasPhotoshop.

Thisleadstoanextremelyimportantpoint.It’samistaketotrytoreadahistograminavacuum.Thevaluesyouseeinanexposurehistogramdependuponthevaluesinthephoto.Yourabilitytosizeasceneupforlighting,combinedwiththewayitlooksinyourLCDfollowingexposure(orusingLiveView),combinedwiththeexposurehistogramcreateafarbetter“picture”ofanexposurethananyofthesethreetoolsbyitself.

Forbestresults,checkoutthesituationbyeye.Reviewitvisuallyonyourcamera’sLCD.NotethattheLCDcanbewildlyinaccurate—particularlyinsituationswheretheexposurechoicesaren’tverygoodandhavestretchedthecapabilitiesofthedigitalfile,butthecamerahascompensatedfortheLCDdisplay.SoitisimportanttocomparethevisualinputyougetfromtheLCDwiththedataintheexposurehistogram.Extremespikingontheleftorrightofthehistogrammayrevealproblemsthatdon’tshowupwhenreviewingimagesontheLCD;ifyouareinthefield,andfindthiskindofproblem,hopefullyyoucanfixitbychangingyourexposuresettingswhilethereisstilltime.

Withitswhitebackgroundandoverexposuretocreateatransparentlook,thisimageofpoppiesshowsasubstantialpresencealongtherightsideofthehistogram(below),andrelativelyfewtonalvalueselsewhere.Despitetheunusualgraphofvalues,theimageisexposedthewayIwanted.

Withitsblackbackgroundandpredominantlysaturatedcolors,thehistogramforthisfinishedimage(right)showsasubstantialpresencealongtheleftside,withminimaltonalvalueselsewhere.ThisdistributionofvaluesiswhatIwouldnormallyexpect—anddesire—whenI’mshootingasubjectonablackbackground.

LensbabyComposerwithfisheyeattachment,lensatmaximumaperture(aboutf/2),sixexposuresatshutterspeedsfrom1/5ofasecondto1/50ofasecond(exposurescombinedinPhotoshop),eachexposureatISO100,tripodmounted

PassiflorahistograminPhotoshop

Thishistogramshowsanexposurethatisbunchedtotheleft,meaningthatitislikelytobeunderexposed.However,sinceahistogramgraphsthelight–to–darkvaluesinacapture,ifwhatyouarephotographingispredominantlyblack(forexample,avasecontainingflowersonablackvelvetbackground),thenthisgraphmay,infact,representtheexposureyouwant.

Thishistogramshowsaroughlynormaldistributionofexposures,providedthatthesubjectbeingcapturedincludesafullrangeoflightsanddarks.Ofcourse,theactualhistogramwilldependuponthelightsanddarksinthesubject,aswellasyourexposuresettings.Youcanseeinthisfairlymiddle-of-the-roadhistogramthattherearesomeblackvaluesandsomewhitevalues,withthebulkoftheexposurevaluesinthemidtone(thecenterofthegraph).

Thishistogramshowsanexposurethatislikelytobeoverexposed—youcantellbecausetheexposurevaluesarebunchedtotheright.However,ifyoursubjectincludesagreatdealofverybrightorwhitetonality(forexample,atransparentfloweronawhitelightbox),thismaybethehistogramyouget—anditmaybeperfectforthecaptureyouwanttomake.

Aperture

Apertureisoneofthethreefactorsyoucanusewhensettinganexposure(asIexplainedonpages70–73,shutterspeedandISOaretheothertwo).Theapertureis,er,well,anapertureorholeontheinsideofthelens.Youcanmakethisholebigger,toletmorelightintothesensor,orsmallertoletlesslightintothesensor.

Ifthissoundsprettysimple,itis.However,asI’llexplaininamoment,youraperturesettinghasamajorcreativeimpactonaspectsofyourphotobesidesjusttheexposure.

Notethatifyouwanttochangeyouraperturewithoutchangingyouroverallexposure—becausetheexposureisbalancedwhereyouwantit—youneedtomakeanappropriatecountervailingadjustmenttoeithershutterspeed,orISO,orboth.

Themechanismusedforsettingyouraperturedependsuponyourcamera,andperhapsuponthelensyouareusing.Ifyoudon’tknowhowtosetyourapertureinmanualmode,you’llneedtocheckyourmanual—butit’smostcommonwithdigitalSLRstosetapertureusingacommanddial.Apertureissetonsomeolder,ormanuallenses,usingadialonthelensitself.

Believeitornot,there’satleastonecontemporarylens—theLensbaby—inwhichapertureiscontrolledbydroppingaphysicaldiskwithaholeintothebarrelofthelens.

Beyondhowyousetit,youmayfindaperturesomewhatconfusingbecauseofthenotationusedtodescribeit.Apertureisreferredtousingf-stopnotation,forexample,f/5.6.Inthisexample,5.6iscalledthef-numberandf/5.6isthef-stop.

Nowfortheconfusingpart:thelargerthef-number,thesmallertheopening.f/36meansamuch,muchsmalleropeningthanf/2.8.

Whenalensapertureissetassmallaspossible,thelensissaidtobestopped

down.Alenssettothemaximumapertureiswideopen.

Here’satechnicalexplanationofhowf-numberswork.Don’tworry,ifthismakesyoureyesglazeover,youcanskipthenextparagraph,aslongasyourememberthatbiggerf-numbersmeanlettinglesslightin.

Thefocallengthofalensis(roughlyspeaking)thedistancelighttravelsfromtheendofthelenstothesensor.Anf-numberistheratiooffocallengthtotheaperturediameter.Anf-stopisoneoverthef-number,notatedf/nwherenisthef-number.Eachfullf-stopletsinhalfthelightoftheprecedingfullf-stop(seethediagrambelowandthetableonpage84);alogarithmicrelationshipisinvolvedbecausef-stopsaredefinedusingthediameterofacircle.

Aperture,Depth-of-Field,andFocus

Foragivensensorsizeandlens,thecreativecontrolthatapertureprovidesisrelatedtohowmuchofanimageappearstobeinfocus.Insomecases,it’snicetohaveanimagethatisonlypartlyinfocus—forexample,anout-of-focusbackgroundcanhelpemphasizesomethingimportantintheforegroundofaphoto.

Inotherphotos,thedesiredcreativeeffectistohavetheentireimagebetacksharp.

Therangeoffocusprovidedinaphotobyanaperturesettingiscalleddepth-of-field.Thegreaterdepth-of-fieldyouhavebecausethelensisstoppeddown,thegreatertherangethatisinfocus;whenalensiswideopenyouhavetheleastdepth-of-field(seethetableforahypotheticalexampleshowingtherelationshipbetweenaperture,thelightitletsin,anddepth-of-field).

Togetthemostpossiblesubjectmatterinfocus,youshouldfocussomewhereinthemiddleofthedepth-of-fieldrange.Ifthisisanabsolutelycriticalcreativeissue,tryanumberoffocuspointstoseewhichworksbest.

Infinity(markedwith∞onthefocusingringofmostlensbarrels)is—despiteitsname—afinitedistance:beyondtheinfinitypointforalenseverythingisin

focuswhenthelensissettofocustoinfinity,evenatthemaximumlensaperture.Inotherwords,infinityisthefarthestdistancealenscanfocus,andonceyoursubjectmatterisatinfinityorbeyondyouraperturedoesn’tmatterfromtheviewpointoffocus.

Thehyperfocaldistancetakesthedepth-of-fieldgeneratedbytheapertureintoaccount—andisthepointatagivenaperturepastwhicheverythingisinfocus.Thesedays,therearemobileapplicationsforiPadsandotherdevicesthatcanhelpyoucalculatethehyperfocaldistanceforspecificlensesandapertures.

Depth-of-fieldcontrolswhichelementsofyourphotoappeartobeinfocus,nottheoverallsharpnessoftheimage.

Thereareanumberofothercausesofunsharpnessbesidesfocus—forexample,whenthecameraorsubjectmoves.Also,youcanhaveplentyofdepth-of-field,andstillbeoutoffocus.Furthermore,youshouldalsobeawarethatmostlensesareopticallysharpestatmoderateaperturesinthef/5.6tof/11range—neitherfullywideopennorfullystoppeddown.

Likemostaspectsofthetechnicalcraftofphotography,apertureandfocuscaninvolvetrade-offs.

Intermsoffocusitself,don’tneglecttheimportanceoftakingcarewithcamera-subjectpositioning.Particularlyinlowdepth-of-fieldimages,itisimportanttokeepthecameraasparallelaspossiblewiththesubject.Insomesituationsthiscanbemeasuredbutinothersdeterminingparallelismisaseat-of-the-pantskindofthing.

FullF-Stops Lightallowedin,comparedtothemaximumaperture Depth-of-field

f/1.4(maxaperture) N/A Lowestf/2 1/2 Shallowf/2.8 1/4 Shallowf/4 1/8 Shallowf/5.6 1/16 Mediumf/8 1/32 Mediumf/11 1/64 Mediumf/16 1/128 High

f/16 1/128 Highf/22 1/256 Highf/32(minaperture) 1/512 Highest

IknewIwantedthisrosetobeentirelyinfocus,soIusedassmallanapertureaspossible(f/32)tohaveincreaseddepth-of-fieldtoworkwith.

50mmmacro,twoexposuresat2secondsand4seconds(exposurescombinedinPhotoshop),eachexposureatf/32andISO100,tripodmounted

IknewthisshotwouldbemostinterestingifIcouldgettheforegroundandbackgroundoutoffocus,withonlythesingleorangeflowersharp.SoIusedawide-open,largeaperture(f/5.6)tocreatetheeffectthatIhadpre-visualized.

WorkingwithShutterSpeed

Whenyousettheshutterspeedonyourcamera,asI’vementioned,youareactuallysettingadurationoftime.Aslowshutterspeedletsmorelightintothesensor,andafastshutterspeedletsinlesslight.Forexample,ashutterspeedof1/2000ofasecondallowsverylittlelightintoberecorded,whileashutterspeedoftenminutesallowsagreatdealoflightin.

It’simportanttounderstandthatshutterspeedisbadlymisnamed.Thissettingdoesn’tcontrolaspeedatall;rather,itcontrolsanintervaloftime.Onceyourealizethatthetruenatureofthesettingisdurationratherthanspeed,youwon’thaveanytroubleunderstandinghowtosetyourshutter.

Thegoodsnewsisthatitiseasytoworkwithshutterspeedswhenyoucalculateexposuresbecausethesettinghasanentirelylineareffect.Ashutterspeedof1/2000ofasecondletsinhalfthelightasashutterspeedof1/1000ofsecond,and2secondsletsintwiceasmuchlightasashutterspeedof1second.Thesimplicityofthisarithmeticmakesexposurechangesinvolvingshutterspeedveryeasytocalculate.

Justlikewithaperture,ifyouwanttochangetheshutterspeedsettingforcreativeortechnicalreasonswhilekeepingtheexposureinbalance,youneedtoeffectanequal-but-oppositechangeusingoneorbothofthetwootherexposurecontrols,apertureandISO.

Themainvisualimpactinaphotoofchangingshutterspeedishowmotionisrendered.Bymotion,I’mreferringtotwodifferentkindsofmotion:cameramotionandsubjectmotion.

Cameramotionisasimplephenomenontounderstand.Dependingonanumberofvariablesincludinglensfocallengthandwhetherimagestabilizationtechnologyisinuse,shutterspeedsthataretooslowproducephotosthatareblurryandnottacksharp.

Ofcourse,sometimesmovingthecameracanproduce—eitheronpurpose,ortakingadvantageofserendipity—interestingeffects(forexample,seetheimage

ofsurfonpage90).

Whenitisthesubjectthatisinmotion,thechoiceofshutterspeeddetermineshowobjectsthattransmitorreflectlight,andareinmotion,arerendered.Fastshutterspeedsstopmovementcrisply,whileslowshutterspeedscancreateanappealingmotionblur.

Ifyou’veeverphotographedmovingwater,you’veprobablynoticedthiseffect.Shutterspeedsofabout1/250ofasecondorfastercreatecrisptrailsofwater,apparentlystoppinginitstracks.Shutterspeedsofabout1/10ofasecondorslowerturnflowingwaterintolong,delicatewhitetendrils.

There’soneexceptiontotheprinciplethattheshutterspeedcontrolstherenditionofmotion.That’swhentheeffectivedurationoftheexposureisactuallycontrolledbyalightsource,andnotbytheshutterspeedsetting.Mostcommonly,thisoccurswhenaphotoislitusingflash,forexampleinthestudio.Inthiscase,theeffectivedurationoftheexposureisthelengthofthepulseofthestrobelighting.Studiolightingisdiscussedstartingonpage162.

Inalesscommonsituation,ifyouarephotographinglightning,yourshutterspeedisessentiallyirrelevantsolongastheshutterisopenwhenthelightningstrikes.

Imadethecreativedecisiontouseaslonganexposureaspossibletorendertheflowingwateraspoeticallyaspossible.Consideringthelightingconditions,withmylensstoppedallthewaydown(tof/25),thismeantanexposureof2.5seconds.Withashutterspeeddurationof2.5seconds,youcanseethatthefastestmovingwaterbecomescompletelyblurred.Ontheotherhand,waterthatismovingmoreslowly—forexample,slowdripsbeneaththerocks—isrenderedmorecrisply,almostthewaywe“see”itwithoutacamera.

Inthisstudioshotofmodels,theeffectivedurationoftheexposurewasdeterminedbythestrobes,notthecamera’sshutterspeed,whichwassettothemaximumshutterspeedforsynchingwithflash(1/160ofasecondformycameramodel).

Iwasstandingataspotwhereasmall,seasonalcreekcomesdowntothebeach.Mycamerawasonthetripod,andIwasmakinganexposure.Inthemiddleoftheexposure,awavecameinandIhadtograbmytripodandcameratomoveitoutofharm’sway.

Inthephotoyoucanseetheviewstraightdownonthesurf(myoriginalphoto),aswellasthecurveofthebluffssurroundingthebeach(thesecondportionoftheexposureafterIplacedthetripoddownonsaferground).

WhileIdidn’tintentionallymovemycameratocreatethiseffect—Ionlymovedittosaveitfromthesurf—Ifindtheresultsabiteerie,mysterious,andsurreal.I’vetriedtoduplicatetheideabyintentionallymovingthecameraduringanexposureofthesurf,butsofarnoneofmyintentionaleffortswithcameramotionhavecomeoutaswellasthisaccident.

Thiscomplexexposureinvolvedputtingtogetheranumberofdifferentcapturessothateachareainthephotoappearedtobewelllit.Ichosetheseparatecapturesthatwerepiecedtogethertomakethefinalimagebasedonhowtheyrenderedthewaterinmotion.TheresultisasIpre-visualized,withthewaterintheforegroundmoreblurredthanthewaterfurtheraway.

18mm,circularpolarizer,sixexposuresfrom1/2ofasecondto8seconds(exposurescombinedinPhotoshop),eachexposureatf/22andISO100,tripodmounted

Ifyourphotoisgoingtolookdarkandunderexposed—andyoudon’twantitto—theeasiestapproachtofixingtheproblemistoboosttheISO,orsensitivity.Thisisparticularlytrueiftheothertwoexposurecontrolsareupagainsttheirlimits:youcan’tuseaslowershutterspeedwithoutriskinglossofsharpnessfromcameramotionorchangingthewaysubjectmotionisrendered;andyoucan’tchangetheaperturetoonethatismorewideopenwithoutalteringthedepth-of-fieldsothatyourareathatisinfocusislost.

ISOisanumberonascalethattheInternationalOrganizationforStandardizationcameupwith.Withfilm,theISOwasdeterminedbythechemicalsensitivitytolightofthemedium.

Indigitalphotography,youcandialupordowntheISO—meaninglightsensitivity—ofadigitalframeinjustthewayyoucouldhavedecidedtousea“faster”(morelightsensitive)or“slower”(lesslightsensitive)film.ThegreatnewsherefordigitalphotographersisthatyoucansettheISOonaper-framebasis:youdon’thavetowaittochangeyourrolloffilmtochangeyoursensitivity.Youcandecidetodialitupforoneshot,thendialitrightbackdownforthenext!

Nogreattechnicalfacilitycomeswithoutaprice,andindeed—asI’vementioned—mostofthecraftofphotographyconcernsthecost-benefittrade-offsofmakingvariousdecisionsbearinginmindwhatispossible.BoostingtheISOforphotographyinlow-lightconditionsisnotanexceptiontothisprinciple,withthedownsidetrade-offbeingincreasednoise—ordigitalstatic—asyoupushtheISOhigher.

Note,however,thateachgenerationofdigitalcamerasgetsbetteratshootingathigherandhigherISOs—thecapabilitiesoftoday’scamerasmakepossibleshootinginsomesituationsthatwouldnothavebeenfeasibleinthepast.

Infact,increasednoiseisnotalwaysbad.There’sa“toothiness”innoisethatcanmakeimagesappearsharper,andinthesecasesifyouremovethenoiseaspartofpost-processingyourphotocanseemunsharpandloseasenseofdefinition.

Inaddition,noisecanhaveanappealingaestheticofitsown.Justas

Inaddition,noisecanhaveanappealingaestheticofitsown.Justasphotographerscametoprizehighgrainfilmimagesforthelookofthegrain,therearesomephotographersthatgoafternoiseforthesakeofthewaythenoiselooks.These“noisepioneers”actuallytrytoincreasenoiseratherthanreduceit.

IwantedthisimageofthefullmoonrisingoverSanFranciscoBaytobeimpressionistic—andalmostgrainy—soIusedanextremelyhighISO(3200)andwasabletohandholdtheshot.Themoonwasfarbrighterthanthesurroundingsky,soIunderexposedwiththeideaofrenderingthemoon,clouds,andreflectiononthewater,andlettingtherestofthephotogoblack.Thisunderexposurewasanadditionalsourceofthenoise,whichIregardaspartofthevisualeffectIwantedinthisshot.

CausesofNoise*

Noiseisgood;noiseisbad.Forthemoment,I’massumingnoiseisbad,andyouwanttoremoveitwhenpossible.(Ifyouactuallywanttheperniciousstuff,thendotheoppositeofwhatIsuggest.)Thetablebelowshowsthemostcommoncausesofnoise,andwhat(ifanything)youcandoaboutthem.

Notethatnoiseas“staticontheline”isafactofphysicsanddigitallife,andwillalwaysbewithus—althoughofteninsuchminimalquantitiesthatyouhavetomagnifytothepixelleveltoevenbegintoseeit.Notonlyaredigitalcamerasgettingbetteratprocessingnoise,soissoftwarethatprocessesshots,suchasthemostrecentversionofAdobeCameraRAW(ACR).Thismeansthatyoucanshootwithoutflashinlow-lightconditionsthatwouldhavebeenimpossibleinthepast.

IfyoushootintheRAWformat,youactuallygettwocracksatremovingnoise—firstwhenyouconvertyourRAWimagetobringitintoaprogramsuchasAperture,Lightroom,orPhotoshop;andthensecondaspartofyourpost-processingworkflowusingapluginsuchasNoiseNinja.

CauseofNoise Comments

HighISO

ThehighertheISO,themorenoise;thelowertheISOthelessnoise—thisisanincontrovertiblefactofbasicphysics.However,ISOsthatarenomorethantwicethenativeISOofaDSLR(typically,nativeISOsare100to200,sofromISO200to400)willprobablynotbeasignificantcauseofnoise.

IfyourcamerahasahighISOnoisereductionsetting,makingsurethisisonwillhelpwiththenoise.

Itissmarttogettoknowthenoisecharacteristicsofyourparticularcamera,astherearemanydifferencesbetweencameramodels.Makingtestshotscanhelpyoulearnaboutyourcamera’snoisecharacteristics,allowingyoutofigureouthowfaritis“safe”toboosttheISO.

LongExposures

Exposureslongerthanabout8secondstendtoaddsignificantnoise;ifyourcamerahasalongexposurenoisereductionsetting,turningthisonwillhelp.However,thisnoisereductionsettingisinconvenientbecauseitaddsadelayafterthe

Exposures settingisinconvenientbecauseitaddsadelayaftertheexposureduringwhichthecameracannotbeused,anditcannotbeusedinastackedcomposite.

Underexposure Underexposurecanaddsignificantnoise,subjecttothetrade-offsdiscussedonpages74–77.Noise“signature”ofcamerasensorandprocessingsoftware

Notmuchyoucandoaboutthisoneexceptgettinganewermodelcameraiftheageofyourcurrentoneisanissue.

Sensorsize Foragivensizedigitalfile,thesmallerthesensor,themorenoisetherewillbe.

Temperature

Unlessyoushootreallylongexposures,sensortemperatureisunlikelytobeaproblemforyou.However,whenasensorstartstooverheat,noisetendstoincrease.Ifyouareshootinginwarmtemperatures,youmightconsidercoolingyoursensorwithacoldpacktocompensate.Ambienttemperaturesareanoverlookedcauseofnoise—youarefarlesslikelytogetanoisyimagewhenshootinginacoldclimate.Also,asyoursensorheatsupbecausethecameraisinuse,youstarttogetmorenoise—youcanhelpwiththisbygivingyourcameraarest,ifpossible.

*andwhatyoucandoaboutthem!

IwantedtophotographmydaughterKatieRoseintheNewbornIntensiveCareUnit(NICU)shortlyaftershewasbornveryprematurely.However,theconditionsposedaconsiderablechallengebecauseofhowlittlelighttherewas.Makingmattersworse,tripodsandflashwerenotallowedinthehospitalward.SoIboostedmyISOextremelyhigh(to3200)andmadeaseriesofphotosthatwouldnothavebeenpossiblewitholdertechnology.Althoughyoucanseeabitofnoiseinthefinalimage,foraphotothattellsastory,thislevelofnoiseisperfectlyacceptable.

Top:HighintheWhiteMountainsofEasternCalifornia,Ishotthisviewof

starsoverBishop,California.Thecompositeof15exposures(foratotalexposuretimeofaboutanhour)rendersthestars,butlefttheforegroundblack.

10.5mmdigitalfisheye,15stackedexposures,eachexposure4minutesatf/2.8andISO320,tripodmounted

Bottom:Theforegroundwaspitchblack,andIcouldn’tseetheproverbialnoseinfrontofmyface.Tocreateforegrounddetailfortheimageofstarswiththeblackforeground,withthetripodandcameraexactlyinplace,IshotahighISO(2,500)versionoftheforeground,exposedtoshowdetails.

10.5mmdigitalfisheye,30secondsatf/2.8andISO2500,tripodmounted

Icombinedthestarcircles(topleft)andthehigh-ISOforeground(bottomleft)inPhotoshopusingalayermaskandagradient.Thefinal,combinedimageshowsthestartrailsaswellastheforegrounddetail.Withoutthedetailintheforeground,thisimagewouldhavebeentoodarktobeinterestingdespitethespectacularstartrails.

SinceIwasonlyabletogetintopositionafterdark,boostingtheISOwasthebestwaytoachieveanexposurethatrendereddetailintheforeground.Withmoderndigitalequipment,itwaspossibletoboosttheISOhighenoughtoshootinalmostpitchblacknessandmaintainanacceptablelevelofnoise.

Althoughtheambientlightlevelswereextremelylow,interestinglythecitylightsofBishop,Californiawerebrightenoughtoproducehighlightblowout—eventhoughBishopwasquitedistantfromwhereIwasstanding.

Background:10.5mmdigitalfisheye,15stackedexposures,eachexposure4minutesatf/2.8andISO320,tripodmounted.Foreground:10.5mmdigitalfisheye,30secondsatf/2.8andISO2500,tripodmounted

UsingExposureControlswithLighting

Therubbermeetstheroadwhenyoucombineknowledgeofthecontrolsusedinyourcameratosettheexposurewithknowledgeableobservationsaboutlighting(whichisthesubjectofthefirstpartofthisbook,pages10–67).AsIexplainedearlier(pages70–77),thelightmeterinyourcamerawillindicatethatanexposureiscorrectwhenthecamerasettingsbalancethelightreflectedortransmittedbyyoursubject,mostoftenonanaveragebasis.

AsI’veexplained,thistheoreticallycorrectexposureisonlythestartingplace.Takingadvantageofyourcarefulexaminationofthewayyoursubjectislit,youneedtounderstandtheimplicationsofthelightingfortheimageyouhavepre-visualized(formoreonpre-visualization,seepages108–111).

What’simportantaboutthelighting?Isittheshadowareas,brightareas—orboth?Or,doesthecontrastbetweenlightsanddarksmakeyourimageinteresting?Howdoesthequalityoflightworkfor—oragainst—thekindofimageyouaretryingtocreate?

Trytopinpointtheinterplaybetweenlightingandexposure,soyoucanuseyourexposurecontrolstotheirbestadvantage.It’sinterestingthatfairlyminoradjustmentsinexposurecanmakeahugedifferencetoyourfinalimage—andinmanycasesarethemarginbetweenabanalanduninterestingphoto,andonethatsingswithmajestyandclarity.

Also,don’tforgettothinkaboutthedirectionoflighting(seepages28–33).Frontlightingproducesthemostuniformlywell-litsubjects—without,however,asmuchopportunityforcreativeexposureeffects.Sidelightingcancreatestrongshadowswiththeopportunityforcreativeunderexposure—toemphasizetheshadows—oroverexposure,tobringoutdarkareas.Backlightingoftentendstocallforoverexposure,eithertocreatetheillusionoftransparencyortobringoutareasinthefrontofthesubjectthatarenotwelllit.

There’snoone-size-fits-allformulathatyoucanusetoestablishanexposure—orthecorrectiontoanexposurebasedonthespecificsofyoursubject.Armedwithunderstandingabouthowtoobservelight,andknowledgeofwhattheexposurecontrolsinyourcamerado,youcanbegintomakeexposuresthat

exposurecontrolsinyourcamerado,youcanbegintomakeexposuresthatutilizeyourcreativity.

Experiment!Often,anexposurethatdivergesradicallyfromthecamera’sideaofthecorrectexposureproducesinterestingresults.Afterall,there’sreallynocosttotryingvariousideas:asweliketosay,“Filmissoexpensive!”—anironicalcomment,becauseexpenseofthecapturemediaisnolongerafactorinthedigitalera.

Bytryingmanydifferentresponsestovariousdifferentkindsoflightingyou’lllearnwhatworks—andwhatdoesn’twork—inrelationshiptoyourownsenseofthekindsofimagesyou’dliketomake.

Thisphotoofaroseisseenasacontrastbetweenbright,luminousareasandverydarkshadowareasbecauseIlittheroseatalowanglefromthe

sides(tomakethestrongshadows)andthenunderexposedtheimagetocreatethecompellingeffectthatyouseehere.

InthislandscapetakenfromtheedgeofthevolcanictablelandsinOwensValley,California,theprevailinglightdirectionwasfromthewest,wherethelateafternoonsunwasstartingtoset—inotherwords,fromtheupperrightoftheimage,essentiallybacklightingmysubject.

Long,darkshadowswerecast,particularlyonthelowerright.Asingle,largelydarkimagethatshowedthiscontrastmighthavebeeninteresting,butinsteadIchosetoshowseveralversionsthatIcouldlatercombine—becauseIwantedtomakesurethatviewerscouldclearlyseetheroadontherightvanishingintothedistance.Theideabehindthiscombinationwastouseasubstantiallyoverexposedversionoftheimageto“paintin”thedarkforegroundareas—andcreateanimagethatessentiallyhasnodirectionalitytothelighting.Forinformationaboutcombiningcapturestoenhancelighting,seepages210–247.

20mm,sixexposuresatshutterspeedsfrom1/13ofasecondto1.6seconds(exposurescombinedinPhotoshop),eachexposureatf/22andISO100,tripodmounted

InadarkalleyincentralHavana,Cuba,Ihappenedtolookup.Lyingflatonmyback,andcomposingwithawide-anglelens,Iusedthepatternoflightintheskyagainstthedecayingbuildingstocreateaninterestingcomposition.Ihadtoshiftthepositionofthecameratomakesurethatthedirectsunwasnotincluded—thecontrastbetweensuperbrightsunandrelativelydarkbuildingswouldhavebeenimpossibletorendereffectivelyinmyfinalimage.

WhiteBalanceandColor

Inotedearlierthatthecoloroflightisanimportantpartofourperceptionoflightquality.ThecoloroflightismeasuredontheKelvinscaleastemperature.Perceptuallywarmercolors(thosetowardtheredendofthespectrum)havealowercolortemperaturethanperceptuallycoolercolors(thosecolorsthatarebluer)whichhaveahighercolortemperature.Formoreonthecoloroflight,seepages34–39.

It’simportantforphotographerstobeabletodifferentiatebetweendifferentcolorsonthespectrum,becausetherenditionofcolorhasahugeimpactonthefinalappearanceofaphoto.Thecolorinyourphotowillprimarilyberenderedaccordingtothecolortemperatureofthelightingandthewhitebalancesettingsappliedtothatlighting.

Mostdigitalcamerashaveabuilt-incolorspectrometer,whichiswhatsetsthecolortemperaturewhenyouleaveWhiteBalanceonAuto.Ifyouthinkyouknowbetterthanyourcamera(whichcanoftenbethecase)youcansettheWhiteBalance,eithertoaPresetsuchasDaylightortoaspecificKelvintemperature.

Ofcourse,itispossibletoaccuratelycalibratecolortemperature,particularlyinsituationswherethelightingiscontrolled.However,accuratecolorcalibrationisnotoftenreallypossibleinthefield.Thelightmaybecomingfromvarioussourceswithdifferentcolors,andgoingbythe“seatofyourpants”isgoodenough.Putanotherway,forcreativeimpactIcareaboutthecolorrenditioninthefinalimageandtheemotionalresponseitelicits,notthedegreesKelvinatthetimeItookthephoto.

ShootinginRAWmeansneverhavingtosayyouaresorry.YourWhiteBalancesettingsarenotactuallyappliedtoaRAWfileuntilyouprocessit.(Actually,theyareneverapplieddirectlytotheoriginalRAWfile,whichyoushouldarchiveforsafety.)

Thismeansthattheconsequencesofyourin-cameraWhiteBalancesettingswithaRAWexposurearelimitedtohowthecapturelooksinyourLCD,andthedefaultsettingswhenyouopenthefiletoprocessitinaprogramsuchasAdobe

defaultsettingswhenyouopenthefiletoprocessitinaprogramsuchasAdobeCameraRAW(ACR)orLightroom.

SincetheWhiteBalancesettingcanmakeahugevisualdifference,theappearanceintheLCDisimportant.Iremembershootingaforestinradiantdiffuselighting,andseeingdullimagesonmyLCD.Itwasn’tuntilIadjustedtheWhiteBalancethatIsawthesceneontheLCDthewayitlookedtomyeyes.Asinthisscenario,tuningWhiteBalancecanbesignificanttothefeedbackyouaregettingaboutyourshooting—eventhoughitisnotirrevocablyappliedtotheimage.

ProcessingaRAWfileinaprogramsuchasACRorLightroomisthefirst—andbest—placetoadjustanyissueswithcolortemperature.YoucanusethecolorsettingswhenyouinterprettheRAWfiletoimprovetheimage,ortobringitmoreinlinewiththewaythesubjectseemedtoyouwhenyoushottheimage.Essentially,thisisaplaceforyoutoexerciseyourvisualtaste.

Forexample,IarrivedattheshoresofMonoLake,Californiainthemiddleofthenightinthefreezingrain.Wakingatdawn,Ifoundablueworldaroundme,andIshotanimageoftheMonoLaketufaswiththesnowoftheSierraNevadaMountainsinthebackground(photoonpage103).

WhenIopenedtheimageinACR,bydefaultitdisplayedtheAsShotWhiteBalancesettings(Figure1).

MyimpressionofthesceneatthetimeItookthephotowasthateverythingwasmuchmoreblue.Toadjusttheoverallcolorvaluesintheimagetowardstheblueside,IpulledtheTemperatureslidertotheleft(towardslowernumbers)asshowninFigure2.

Theblueadjustmenthelped,butthephotowasstillnotquitewhereIwantedittogo—furtheradjustmentswouldneedtowaitforPhotoshop!

IfIhadwantedtoremovebluefromtheimage—averyvalidaestheticchoice,bytheway—Iwouldhavemovedthesliderintheoppositedirection,totheright,asshowninFigure3.

Bytheway,thecontrolsintheWhiteBalanceblockoftheACRwindowallowyoutoshiftcoloralongtwoaxes:TheTemperaturesliderchangescolorbymakingthecolormoreyelloworblue,whereastheTintsliderchangescoloralongascalefromgreentomagenta.

Thisimage,takenatdawnofthetufasofMonoLake,California,withsnowymountainsinthebackground,hasbeencroppedandadjustedforcolorasitwasprocessed(seepages104–105).

Figure1:MonoLakeTufaswithAsShotWhiteBalancesettings.

Figure2:MonoLakeTufaswithcoloradjustedtowardstheblueside.

Figure3:Bluehasbeenremoved,andyellowaddedtotheimage.

Figure4:Peaches,usingtheAsShotWhiteBalancesettings.

Figure5:Peaches,withblueaddedbymovingtheTemperatureslidertotheleft.

Figure6:Peaches,adjustedtoaddyellowtothecolortemperature.

Inanotherexample,Ishotaplateofpeachesusingdaylighttobringoutthelusciouscoloroftheselocallygrownpeaches.Thelightingsetupwasverysimple,withonlyawhitefillcardtocutdownonshadows.

OpeningtheimageinACR(Figure4)IfoundtheAsShotWhiteBalancesettingshadlostsomeoftheappealofthepeaches.

MovingtheTemperatureslidertotheleftaddedsomeblueandmadethingsworse(Figure5).

However,slidingTemperaturetotherightboostedtheintensityofyellows(Figure6),andgavethepeachestheappearanceIwanted.NotethatIdidn’twantthebackgroundquiteasyellowasthepeaches,soIappliedtwoseparateadjustments:onefortheplateofpeaches,andoneforthebackground.

Iphotographedthesepeachesusingnaturaldaylight,shownherecroppedandwiththeWhiteBalanceadjusted(seepage106).Withsimpleimagesthatdon’thaveagreatmanyvisualelements,colorrenditionsetviaWhiteBalancecanmakeorbreakthevisualappealofyourfinalphoto.

Pre-VisualizingtheImpactofLighting

AnselAdamspopularizedtheconceptofpre-visualization,whichhedefinedasthe“processof‘seeing’thefinalprintwhileviewingthesubject.”Adamsexplainedthat“withpracticethephotographercananticipatethevariousinfluencesofeachstageofphotographicprocedure,andincorporatetheseintuitivelyinvisualizingafinalimage.”

Withtheadventofdigital,pre-visualizationskillsareevenmoreimportantthantheywereinAdams’sera.EveryRAWfilecanbeprocessedandadjustedinmyriadways—andthefinalimagedependsasmuchupontheseproceduresasitdoesupontheoriginalcapture.

Whilegreatervariationsareeasilypossiblebeforeoneevengetstotheprint-makingstage,theskillsneededforpre-visualizationareessentiallythesameastheywerebeforedigital.Somefundamentalruleswillalwaysapply.Themostimportantideaistounderstandtheemotionalresponseyouwanttoengenderinsomeonelookingatyourimage,andcarefullyconsiderhowthelightinginyourphotowillworktoachievethatresponse.

Whatismostimportantinyourimage?Whereistheemotional“punch”inanimagegoingtocomefrom?Areyougoingtoshowyourviewerssomethingtheywouldn’thaveseenbeforebecauseitappearsshroudedindarkness?Inthiscase,exposurecanbeusedinresponsetothelightingto“openup”darkareasofthephoto,makingtheviewersofyourimagefeelthattheyareprivytodeepanddarksecrets.

Iftheemotionalpointofyourphotoistoshowanintricateandinterestingobjectagainstadarkbackground,thenyouneedtolighttheobjectsothatitappearsradiant,andexposefortheobject,lettingthebackgroundpossiblygodark.

Imagesintendedtoconveyabrightandalmostetherealeffectneedtobeexposedsothattheyareverylight—butatthesametimenoimportantdetailsarelost.

Ifthepointofyourcompositionistoshowaninterestingandunexpectedpattern,thenyoumustbesureyourlightingandexposurerendersrepeating

pattern,thenyoumustbesureyourlightingandexposurerendersrepeatingelementssothatviewerswillregardthemasapattern.

Whatevertheimageyou’vepre-visualized,usinglightingtoyouradvantageisthefirst—andprobablymostimportant—stepinaprocessthatinvolvesallfacetsofdigitalimageprocessing.It’simportanttoconsideryourlightinginthecontextofdigitalprocedures—andmakeyourexposuresarmedwithexperienceaboutwhatispossibleinthecontextofhowyouplantoprocessyourimage.

TheviewfromtheslopesofMissionPeak—aboveFremont,California—wasalmostcompletelydarkintheforeground,withthelightsoftheSanFranciscoBayregiontwinklinginthedistance.Whileshroudedindarkness,Iknewtherewasarustic,woodencattlefencealongtheslopes.Ipre-visualizedaphotoshowingthecontrastbetweenthedilapidatedfenceandthemoderncitybeyond,andpickedanexposurelongenoughforthefenceandforegroundtobecomeclearlyrendered.

Myideawastoexposethisimagesothatonlythelightreflectedbytheredpepperwouldshowandtherestoftheimage—consistingofout-of-focusdarkgreenpeppers—wouldgoverydark.Inotherwords,thepepperwouldbeviewedasifitwasfloatinginspace.

85mmperspective-correctingmacro,8secondsatf/51andISO100,tripodmounted

Shootingthisimageofwaterdropsonaleaf’sedgeintheearlymorningsun,Ipre-visualized—andexposedfor—animagethatshowedthepatternintheleaf,andthebacklitwaterdrops,whileallowingthebackgroundtogoverydark.Besidesthebacklitwaterdrops,themostimportantelementinthiscompositionistheedgeoftheleaf.

WorkingwithAmbientLight

DrivingabackroadinthemountainsbehindBigSur,Icameacrossthegroveofoldredwoodtrees.Thebrightbutovercastoveralllightingcreatedascenethatisverytypicaloftheforest,andIdecidedtocreateanimagethatwasprimarilyaboutthewaythisdiffuseoveralllightcamethroughthetalltrees.

UnderstandingAmbientLight

Imagineyouareadriftinanunchartedseaonasmallliferaft.Youareinluck—itisnottoohotbecausethere’sanoverallhaze.Butit’shardtotellonedirectionfromanotherbecausethere’snocleardirectionoflightingandyoudon’tknowwherethesunis.

Inyourimagination,you’vejustpicturedclassicalambientlighting.Whensomeonesays“ambientlight”theyareessentiallyusingafancytermforthelightthatisthereanyway—often(butnotalways)withtheimplicationthattheambientlighthasnocleardirectionality.

Arelatedtermisavailablelight—whichsimplymeansthelightthatispresentfromanysourcenotsuppliedbythephotographer.Ifyoudidn’tbringaflashorcontinuouslight,thenyouareusingavailablelight.However,availablelightcanbehighlydirectional—forexample,thesunatthehorizonjustbeforeitsets.Soambientandavailablelightarebasicallythesamething—withtheexpectationthatambientlighttendstobemoreoverallandlessdirectional.

Whenyouhearaphotographertalkingaboutambientlight,itisusuallykindofdismissive.Forexample,“Oh,Ijustusedambientlight.”Thisisn’tbecausethephotographerisactuallycontemptuousofambientlight.Rather,itisbecauseexceptinthestudio—wherealmostalllightisintentionallycreated—weexpectambientlighttobewithus,inthebackground,surroundingus.Becauseitissomethingwetakeforgranted,itisnotsomethingwepaytoomuchattentionto.Bigmistake!

Thetrickistopaycloseattentiontoambientlightconditions.Evensubtlevariationsinambientlightcanmakeabigdifferenceinyourphotosifyoulearntomanipulateambientlightconditionsviathedesignandconceptionofyourphoto,exposure(pages68–111),cameraposition—and,often,byaddingtotheexistingambientlight.Ifyoupayattentiontothesubtletiesofambientlight,youreffortwillcertainlyberewarded.

Atsunset,thecontrastbetweenthebrightwesternskyandthePointBonitaLighthouse(shownacrossthebridge)wassointensethattheforegrounddetailbecameblackwhenIexposedfortheskysoIwaited.Asthesundippedbelowthehorizon,thestronglydirectionallightingilluminatingthesubjectbecamemoregeneralandambient,allowingmetosnapthisphoto.Noticethebeamsintheforeground(atthetopofthephoto)donotfacethesunsetandremainverydark.

AtHell’sGateinDeathValley,California,Iwaitedforsunrise.JustbeforethesuncameupIsnappedthisshot,litgenerallybyambientlightwithsomedirectionallightingfromtherisingsunbeyondtherangeofmountainsshown.Inthenextmoment,thesuncameoverthehorizonandthelightingchangedentirely.

185mm,1/80ofasecondandf/29atISO200,tripodmounted

ItookthisdistantshotofthePointBonita,CalifornialighthouseabouttenminutesafterIshottheimageshownonpage115.Aftertheshortamountoftimehadelapsedbetweenthetwoshots,theambientlighthadgrownmorediffuse—andlessintense—sotherewasnogreatcontrastbetweenthelightanddarkareasinthephoto.Generally,lookforgreatambientlightconditionsshortlyaftersunset.

AsthestormclearedinYosemiteValley,thevalleywaslitbyambientlightthatradiatedoffthesidesofcliffsandtheclouds.AsingleshaftofsunlighthitBridalveilFallsandcreatedsomecontrastinwhatwouldotherwisebeanoverallbright,butovercast,scene.

SunshineonaCloudyDay

Ifyoudon’tventureforthwhentheweatherisbad,thenyouwillneverbepresentwhenthestormstartstobreakandthesunpeaksthrough.Manyofthegreatestandbestknownphotosofthenaturalworldaretakeninexactlytheseconditions.Think,forexample,oftheAnselAdamsimage“ClearingWinterStorm,”takeninthewinterof1942inYosemiteValley,California.Waitingforthestormtohaveactuallyclearedbeforeventuringforthmeansonewouldmissthefewmomentswhenthestormisbreaking.

Imakeapointofheadingoutinnastyweather—butIdon’tdosonaivelyorwithoutpreparation.Itrytogetthetimingright—ifthereisgoingtobeasolidandsteadyrainalldaywithnogapsintheweather,thenIwon’tbeabletophotograph,andImayendangermyequipmentbytakingitout.SoIwaituntilIthinkthere’sagoodchanceofabreakintheweather.

Itdoesn’talwaysworkout.Sometimesarainydaystaysrainy—andIwouldhavebeenbetteroffstayinghomeandeditingphotos!Butwhenthingsworktogetherandyouhavesunshineonacloudyday,thereisnothingbetter.Theoverallcloudinessprovidesgreat,diffuseambientlightandthebreaksintheweatherprovideshaftsofdirectionallight.Thedramaoftheweatherisplayedoutinphotosofvastscenery,butthepleasuresofthesunshine-on-a-cloudy-daylightingcanalsobeseeninmacrosandclose-ups.

I’dfarrathershootonadaywithintermittentcloudsandrainthanonastraightandboringblueskyday!

Iventuredoutastherainseemedtoslowdown.Theskieswerethreateningcontinuedrain,butapatchofsunshineilluminatedthesewaterdropsonaspiderwebwithwonderful,almostiridescent,colors.

WestartedoutwearingsnowshoesatthebeginningoftheJohnMuirTrailinYosemiteValley,California,onourwaytoVernalandNevadaFalls.Thenthesnowstopped,andthesuncameout.Itookoffmysnowshoesandenjoyedafewminutesofgloriousphotographybeforethewintersundisappearedandthesnowbeganagain.

Landscapes

Theclassicformoftheexistinglightphotois,ofcourse,thelandscape.Bydefinition,alandscapeisshotusingambient,availablelight.Furthermore,thescaleoflandscapephotographydoesnotlenditselftosupplementallighting.Thus,aparadox:thegrandandmasterfullandscapeisoneofthemostsoughtafterphotographicsubjects,andoneinwhichthelightingistheleastunderthecontrolofthephotographer.

ToperfectlandscapephotographyIbelievethatyoumustobservecarefully,becomeextremelypatient,waitfortherightmoment,andcapturethescenewhenthegettingisgood.

Observationmeansparticularlypayingattentiontolighting.Supposeyou’vefoundyourvantagepoint,andunderstandthecameraangleandlensyouaregoingtouse.Whatremainsistowaitfortheperfectlighting.Thiswaitcantakehours,orevendays!

I’vepreviouslynotedthevirtuesof“GoldenHour”lightingwhenitcomestolandscapes(seepages18–21).Forthemostpart,itishardtobeattheGoldenHour—thetimesurroundingsunriseandsunset—whenitcomestolandscapephotography,buttherearesomeexceptions.Stormsforming,orbreakingup,canbewildlydramaticandleadtoveryinterestingphotos(seepages120–121).Personally,Iamparticularlypartialtolandscapephotographyatnightbecauseofthegreatcolorsyoucangetatnight(seepages150–157)—andalsoyoudon’thavetorushtobethereforsunset!

Landscapephotographyisadisciplinethatseemssimple—buttoachievegoodlandscapephotographsrequiressubtleunderstandingoflightingworthyofaZenmaster.

Formillennia,thesepetroglyphshavebeenopentothesky,positionedinanareaofvolcanictableland.Thepetroglyphswereindeepshadowfromoverhangingrocksinthemorning.IwaiteduntillateafternoonsoIcouldcombinethepetroglyphsintheforegroundwithadramaticviewofmountainsandsunsetinthebackground.

Photographyinthemiddleofthedaywasnotpossible—reflectedsunlightledtomanyunattractivebrightareas—soIwaiteduntillateafternoontotakethisphotoofTheWaveintheArizonaGrandCanyonuplandsneartheUtahborder.

OnasnowydayinYosemiteValley,California,therewasabreakintheweatherandIwasabletoshootthisimageofVernalFalls.Ambientlightreflectedofftheclouds,illuminatingwhatwouldotherwisebeafairlydarkviewofthechasmcreatedbytheMercedRiver.

CityLight

Fromadistance,andinthedaytime,photographingcitiescanbeviewedinmuchthesamewayasphotographinglandscapes:relativelydistantstructuralmassesarelitbyavailablelight.Aswithlandscapes,thekeyvariableisthequalityoftheambientlight,andthedirectionalityofthedaylight—andsuccessfulphotographyofcitiesaslandscapeisprimarilyanissueofpatience,observationoflighting,andtiming.

Asdayturnstotwilight,twilightturnstodusk,andduskturnstonight,lightingissueschangebecauseofthemanydifferentkindsoflightthatcancontributetotheambientlight—carlights,streetlights,andinteriorlights.Besideslightfromthesunandmoon,thesekindsoflightcanbecomeindividualizedlightsourcesinandofthemselves.

You’vegotlightfromtungstenincandescent,fluorescent,andmercuryvaporfixtures—allofwhichhavedifferentcolortemperatures.Besidestheissuesofwildlyvaryinglightsourceswithinasingleexposure,youhaveagreatdynamicrangeasthingsgetdark—fromthebrightlightsofthecitytothedarknessofahiddenalley.Formoreaboutnightphotography,seepages150–157.

Takingadvantageofcitylightingcanmeanmorethanphotographingurbanvistasasakindoflandscape.Sometimesthedetailsaremorethanthesumoftheparts.WhenIphotographinanurbanenvironment,Iamcarefultokeepmyeyesopenforinterestingimagesthatarenotvistas—andthattakeadvantageofthecolorandenergyoflifeinacity.

CaledoniaStreet,indowntownSanFrancisco,Californiaisfamousforitsgraffiti.Ifyouvisitinthedaytime,youarelikelytofindtouristsandotherphotographersbecausesomeoftheartistswhohave“tagged”CaledoniaStreethavegoneontobequitewellknown.ButwhenIvisitedintheearlyevening,Ihadittomyself.Thisrelativelylongexposure(15seconds)usesambientlightaswellasatleastsevendifferentlightsourcesfromdifferentkindsoflights,eachwithitsowncolortemperature.

Sometimestheangleofviewcanbeenoughtopartiallycounteractdifficultambientlightconditionswhenyoucomposeacityscapephoto.Somewhatharsh,middaylightdirectlyoverdowntownHavana,Cubaappearslessdistractinginthispanoramathanitwouldhaveinamoreconventionalphoto.

Tomakethisimage,Iplacedmycameraverticallyonthetripod,androtatedfromleft-to-rightusingthesameexposureforeachofthe18captures.IstitchedthecapturestogetherinPhotoshopandappliedsomeminimalretouchingtotheresults.

18exposuresstitchedtogetherusingPhotomergeinPhotoshop,eachcapturetakenat18mm,1/250ofasecondandf/8atISO100,tripodmounted

FromhighonahillintheMarinHeadlands,IphotographedtheGoldenGateBridgeandSanFranciscoatsunset.Thesunsetwasbehindmycameraposition,frontlightingtheSanFranciscocityscape.IwaitedforacontainershipsteamingthroughtheGoldenGatetocomepreciselyintopositiontohelpformaninterestingcomposition.

Ifyoustoptothinkaboutit,theGoldenGateBridgeinSanFranciscoisoneofthemostphotographedsubjectsintheworld.However,ifyoupay

ofthemostphotographedsubjectsintheworld.However,ifyoupayattentiontothedirectionofthelightingandhavethepatiencetowaitintherightplacefortherighttime,thenitisquitepossibletomakeimagesthatstandoutfromthecrowd.

Close-UpsandMacros

Close-upphotographyinthestudiowithcontrolledlighting,stylists,andwonderfulminiaturesetsleadstotheperfectimagesofwatchesandliquorbottlesthatwe’vecometoexpectinouradvertising.Close-upandmacroworkinthefieldusingprimarilyexistinglightisacompletelydifferentkettleoffish—withdifferentpleasures,rewards,andpitfalls.

It’simportanttorememberwithexistinglightclose-upphotographythat,unlikestudiowork,youcannotexpectperfection.Sure,goaheadandrearrangeyourtinysubjectmattertoimprovethecomposition—ifyoucan.Alltoooften,I’vehadtheexperienceofthinkingI’lljustmovealittletwigalittlebit,onlytohavemyentirescenecollapse.Thetruthisthatreallifehasimperfections,andnaturallightstilllifephotographyispartlyaboutcapturingtheseirregularities.

Inmyopinion,itisfinetoadjustyournaturalmacrosubjecttotakeadvantageofthelighting—butyouriskmakingthesceneworse,notbetter.

Lightingmakesorbreaksaclose-upormacro.Becausetheseimagesseemcontainedandliketheirownlittleworld,howtheyarelitaddsthetouchofdramathataminiatureworldneeds.Thesunreflectingasastarburstinawaterdropshowsasmuchlightingpower,relativelyspeaking,astherealsundoestoafull-scalelandscape.

Thedirectionality—orlackofdirection—ofthelightingalsohasabigimpactonthemacrolevel.Glowing,backlitelementsadddramatoanotherwiseordinarycapturenomatterwhatthescale.Overalldiffuseambientlightpowerscolordetailsonasmallscale,andgivesyoutheopportunitytocreateinterestingcompositions.

Ifindambientlightclose-upphotographyagreatdealoffun.Thechallengeistoseeonasmallscaletocreateaplausibleminiatureworldoruniverse—andthiscanonlybedonebyclearlyobservingthelightingyouhavetouse,andframingacompositionthatusesthatlightingtogoodeffect.

Youcanhoneyourskillsonnaturalmacrosandgoontotakethesamefacilitywiththeobservationoflightwhenyoupointyourlensatobjectsonalargerscale.

Onewaterdropcapturesthesunreflectedasastarburst,anotherthegardenreversedandupsidedown.Theminiaturedropsofwatercreateamagicaluniversewherelightingiseverythingandittakesamomenttogetone’sbearings—butisworthtakingthetimetovisuallyexplore.

Byconcentratingonthecenterofthepeony,whichwouldordinarilybequitedark,Iemphasizedtheglowingeffectoftheunusualnaturalbacklightingonthisflower,causedbytheearlymorningsun.

UsingFillLighting

Inanysituationwherethepredominantlightingisnotfrontal—inotherwords,whenthelightingmostlycomesfromthebackortheside,orevenisoverallandambient—thecamera-facingportionofyoursubjectislikelytobetoodark.Detailsmaynotshow,shadowsmaybeunattractive,andthefrontaldarknesswilllikelyworknowondersforyourcomposition.

Thislightingconundrumistruewithoutrespecttohowgorgeousthequalityofthelightis.Inotherwords,theneedforfilllighting—supplementallightingthatworksinacountervailingdirectiontotheprimarylighting—isprimarilyanissueoflightingdirection,andnotlightingquality.

Infact,photographersoftenfindthemselvesinthesituationofneedingtosalvagealightingsituationwherethelightingisattractivebutthemostimportantpartofthesubjectiseitherwaytoodarkorshowsnastyshadowscomingfromonedirectionoranotherthatarenotaplannedpartofthecomposition.

Studiolightingsetupsusuallyplantobalancethelighting,withfilllightsifnecessary,butthesamelightingproblemsoccurfrequentlyonlocation,inthefield,andwhenoneisshootingusingnaturallight.

Thereareanumberofpossiblesolutionstothislightingdilemma,including:

ReflectinglightintothesubjecttoamelioratethedarknessandshadowsUsingalightsourcetoaddfilllightingtothedarkfaceofthesubject;thiscanbeeitheracontinuouslightorflash(seepages162–209)Correctingthelightingprobleminpost-productionsoftwaresuchasPhotoshop

FixingalightingproblemwhenthefrontofyoursubjectistoodarkiscertainlyapossibilityinPhotoshop(seepages215–219),butwhenfeasibleitisalwaysbettertofixtheproblemasearlyaspossible—whentakingthephoto,ratherthaninpost-productionafterthephotohasbeentaken.

Creatingfilllightingusingareflectivesurfaceisofteneasytoachieveatthetimeyoutakeaphoto(seethediagrambelow)—evenifyouareinaremote

location.Iprefertouseareflectivesurface—oftencalledafillcard—forthispurposeratherthanalight(suchasanordinaryflashlight).Byreflectinglightintothesubjectasopposedtoshininglightonit,Iammostlikelygoingtoavoidproblemswithunnaturallookinglight.

Obviously,ifyouplantousefilllightingyoushouldmakesuretobringsomethingyoucanuseforthispurposewhereyouwillbephotographing.Thesimplestandmostneutralfilldeviceissimplyapieceofwhitecardboard,whichyouwillneedtohold,orplace,whereitisoutofthecamera’sfieldofview.Bytheway,youcanuseapieceofblackcardboardintheoppositeway—to“beam”darknessintoareflectivesurfacethatistoobright.

Commercialfillgizmosrangefromextremelyportable—thesefoldupandcanbeshovedinacamerabagorpocketandcarriedanywhere—tolargeaffairswithframesthatresemblenothingsomuchashanggliders.It’sworthwhileexperimentingwithmetallicreflectorsaswellaswhiteones.Agoldmetallicfilldevicereflectsglowing,warmlightintothedarkareasofthesubject,andcanbeparticularlyeffectiveinoutdoorportraiture.

Idrove27milesdownafour-wheeldriveroadintheremotenorthwesterncornerofDeathValleyNationalParktoreachtheRacetrack,thedriedlakebedshowninthisphoto.TheRacetrackplayahasbecomewellknownfortherocksthatarethoughttomovearoundonthesurfaceinthewinter,leavingstrangetracksinthemud.

Isetupmytripodshortlyaftersunsetinthediffuse,glowingambientlight.Myideawastocaptureboththisrockandthesurfaceofthelakebed.Whiletherewasnorealdirectionalitytothelight,thefrontoftherockfacingthecamerawasdeepinshadow,particularlywhenIpositionedthecamerawithanextremewide-anglelens(10.5mm)aslowasIneededtomakethiscompositionwork.

Tobrightentherock,IusedacollapsibleportablemetallicfilldiscIhadwithmetoreflectlightintotheshadowsintherock.

Thisphotoillustratestwodifferentkindsoffilllightinginthecourseofasingle,extremelylongexposure.

ManypeopleknowaboutthespectacularTunnelViewoverlookaboveYosemiteValley,California—butfewerknowthattheoriginalvistapoint,InspirationPoint,isseveralmilesaboveTunnelView,andonlyaccessiblebytrail.

FromtheoldInspirationPoint,moonlightlitYosemiteValleyfromtheeast(therightsideofthephoto)—thefirstfilllightingsource.Tolightenthedarksideofthetreetrunkfacingthecamera,I“painted”itwithasmallflashlightforashortburst,creatingthesecondkindoffilllighting.

12mm,about30minutesatf/8andISO100,tripodmounted

Photographingthisrosefromaboveandstraightdownbythelightofawindow,Inoticedthattheleftsideoftherosewasextremelydark—thelightwaspredominantlycomingfromtherightandabovetheflower.SoIpositionedapieceofwhitecardboardtoreflectlightintothelowerleftofthecomposition,andheldthewhitecardboardinpositionusingducttape.

50mmmacrolens,1secondatf/32andISO100,tripodmounted

Inthiscasual,outdoorportraitofLaurenyoucanseethepredominant—andverystrong—lightingisearlyafternoonsunlightcomingfrombehindandtoLauren’sright.TheimpactofthislightingwastoleaveLauren’sfaceindarkshadow.Ihadanassistantholdalarge,metallicgoldreflectortolightentheshadows,andtocreateapleasingqualityoflight.

UsingFlashasSupplementalLighting

Oneapproachtocorrectingdark,shadowareasinabackorsidelitsubjectistoaddsomesupplementalflashlightingfromthefront.It’seasytouseaflashasasupplementallightifyoutakecarethattheflashdoesn’toverwhelmthenaturallight.Asalwayswhenusingflash,itisalsobesttogetitoffyourcamera,soyoursupplementallightisnotcomingfromexactlythedirectionofthecamera.

Onautomaticsettings,yourcameraandflasharelikelytoassumetheyaretheonlylightsource,andcompletelyoverpowertheexistinglight.Mybiasinthesesituationsisthatthereissomethingattractiveabouttheavailablelight,sooverpoweringitsimplywillnotdo.Thegoalistoworkwiththeexistinglighttosupplementitasneeded,nottoreplaceit.

Touseaflashassupplementallightingwithoutoverwhelmingthenaturallightyoucantakeanumberofapproaches:

Manuallycontrolthelightoutputoftheflashunit(seethedocumentationfortheflashunitforinstructionsabouthowtodothis)WithyourcamerasetusingManualexposurecontrols,intentionallychooseashutterspeedthatisslowerthanthecamera’sflash-synchspeed,sothattheexposureendsupusingambientlightaswellaslightfromtheflashOnverylongexposures,youcanpoptheflashmanuallyforanextremelyshortburstoflighting;there’snoneedinthiskindofsituationtosynchtheflashwiththecameraatall

Alloftheseapproachescanbehighlyeffectivewaystocreatefillillumination—lightthat“fillsin”theshadowsanddarkareaswithoutoverwhelmingnaturallighting,whichcanbeattractive,interesting,andrealistic.Afterall,whenIwanttoentirelycreatemyownlightingIworkinthestudio—andthisisnotthepointoflocationphotography.However,bepreparedtoexperimentwithyourexposuresandflashoutputsbeforeyougetitright.TakesometestshotsandreviewthemcarefullyinyourLCDbeforeyouassumethatyourflash-as-supplemental-lightingsetupworksthewayyouwantitto.

IsetmycameraupnearCyclopsArchintheAlabamaHillsformationaboveLonePine,Californiatomakeaseriesofcapturesthatcouldbecombinedtoshowstartrails.Theproblemwiththelightingwasthattheinsideofthearch(facingmycamera)wasinblackness,soononeframeIwalkednearertothearchandpaintedinlightusingalowpowersettingfrommysmallstrobeunit.

18mm,30capturesstackedinPhotoshop,eachcapture4minutesatf/4.5andISO200,tripodmounted(totalexposuretime2hours)

Iusedtwowirelessmacroflashunitsmountedonaringattheendofmytelephotomacrolenstostopthemotionofthebeeonthisdahlia.Theexposurewascalculatedtoallowambientlightontheflowertoberenderedaspartofthephoto.

Thepredominantlightonthestairscamefromalarge,frostedwindowatthetopofthestairs,leavingTanya’sfrontindeepshadow.Iusedasmall,supplementaloff-cameraflashunittolightenTanya’sfaceandbodyinthisappealingportrait.

UsingWindowLight

Windowlight—whetheryouarephotographingthroughthewindow,orusingthelightcomingthroughawindowtoilluminateyoursubject—oftenhasveryspecialproperties.Dependinguponthelocationanddirectionofthewindow,thekindoflightsourcebehindthewindow,howcleanordirtythewindowis,andthewindowtreatment,windowlightcanbeoneofthemostqualitativelyromanticlightsourcesintheworld.Windowsareagreatsourceofdiffuselight(seepages40–43).

Ifyouareshootingaphotosuchasaromanticportraitusingwindowlightasthelightingsource,lookforchiaroscurolighting—situationsinwhichtherearepatternsoflightanddark,withstrongcontrasts.Sincethiskindoflightingsituationcanbefairlydim,considerboostingyourISOsothatyoucanuseafastershutterspeed—particularlyifyoursubjectispotentiallymoving,forexample,whenyouaremakingaportrait.

Whenphotographingthroughawindow,lookforsituationswherethewindowhasalteredthelightthrownoffbythesubjectoutsidethewindow.Ineffect,shootingthroughthewindowcreatesanewkindoflighting—oneinwhichstandardviewscanbecomeabstractionsthataremoreinterestingthanamore“straight”photo.

ConstructiondirtonthiswindowinFortPointobscuredtheviewoftheGoldenGateBridge,andaconstructionworkerhaddrawnasmileyfaceontheoutsideofthewindow.Isawanopportunitytocreateaninterestingcompositionbyusingasmallaperture(f/29)tocreatesubstantialdepth-of-field.Iusedthelightingcomingthroughthewindowtomakethewindowlookalmostlikeasolidpieceofreflectedart.Theviewofthebridgethroughthewindowlooksflatlikeaposterorprint,ratherthanaviewthroughatransparentwindow.

IpositionedthisbouquetofFourthofJulyrosessotheywereattractivelylitbysoftlightcominginthroughawindow.ThenIcomposedthephotosotheflowerswerecapturedthroughthedividedwindowpanesinaglassdoor.

Coiledrope,deepintheshadowsoftheboathouse,waslitbyashaftoflateafternoonsunlightcomingthroughawindow.Thefactthatthewindowwasdirtyonlyenhancedthequalityofthelight.

IpositionedmyNautilusshellinthecenteroftheshaftoflightfromthewindow,andquicklycomposedmyphotobeforethelightdisappeared.

The“sweet”qualityofmorninglightcominginthroughthewindowsmatchestheradiantexpressiononmydaughterKatieRose’sface.

NightPhotography

InalettertohisbrotherTheo,theartistVincentvanGoghwrote,“Itoftenseemstomethatthenightismuchmorealiveandrichlycoloredthantheday.”ThereisagreatdealoftruthtovanGogh’sobservation,andnightphotographyofferssomeincredibleopportunities.However,nightphotographyalsoposessomespecialproblemsrelatedtoexposureandlighting.

Typicalcityscenesatnightarequitebright—atleastcomparedtodeepnightlandscapesawayfromlights.Exposuretimestypicallyrangefrom10to30secondsforcityscenes,anditisagooddealeasiertoseewhatyouaregoingtogetundertheseconditionsthanwhenitisreallydark.

Innightcityphotography,thelightingcomesfromavarietyofsourcesincludingcars,buildinglights,streetlights,andambientlightfromcelestialsources.Thismixtureoflightingsourcescancreateajumbledsenseofmanylightswithdifferentcolors—butitcanalsoaddtotheenergyandexcitementofurbannightphotography.

Nightphotographyinthedeepnightofthecountrysideorwildernessisanactoffaith.Youdon’tknowwhatyouaregoingtogetuntilafteryouhavespenthoursmakingthephoto—andtheLCDonyourcameraisitselfunreliable.IfindthatIdonotknowwhatmydeepnightimagescontainuntilIhaveteasedthedataoutoftheRAWfilesusingapowerfulcomputerinmystudio.

Thekeyissuewithnighttimeexposuresisthatthereisnotmuchlight.Extremelylowlightconditionscompellongshutterspeedtimes,whichresultinconcernsandproblemsrelatedtonoise.

Onetechniquethatworkswelltocombatnoisefromlongexposuretimesistosegmenttheexposuresintomanyshorterexposures.Thesemultiple“shorter”exposures—eachoftheexposuresisoftenthreeorfourminutesonitsown—arecombinedusingatechniquecalledstacking.Stackingusesapre-definedalgorithmtoblendthepixelsofthemultipleimages—forexample,“pickthebrightestone.”Astackedimageorganicallycontainsfarlessnoisethanasingleexposurethatwasaslongasthesumoftheindividualexposuresthatmakeup

thestack.

Photoshopprovidesseveraldifferenttechniquesforstacking,andthereareanumberoflowcostorfreesoftwareprogramsavailablethatalsodothejobwell.

Besidesexposurelength,extremedarknessalsoleadstotheproblemswithlightingatnight,whichareprimarilyperceptual.Althoughdigitalcamerascanrecordmanyofthecolorsofthenight,forthemostpartwecannotseethem.Thismeansthatyouwillfindithardtounderstandtheambientlightingconditionsforanightphotountilyouhavemadeyourimage—andmakingasingleimagecantakemostofthenight.

Ifyouhaven’ttriednightphotography,giveitawhirl.Learningtophotographinthedarknessteachesyouaboutexposureinaverysignificantway—andalsohowtoreadthecluesthatlightingleaveswhenitcanbarelybeperceived.Experiencednightphotographersknowthatthereisagreatthrillinrenderingdarknessvisibleandcreatingimagesagainstallexpectations.Manyofthemarehookedonthiskindoflighting,andlivefortheirsessionsinthedark!

Formoreinformationaboutnightphotographytechniques,andaboutprocessingnightphotos,seethesuggestionsintheresourcessectiononpage250.

IscoutedinadvancearooftoplocationwithaclearviewoftheBayBridge,YerbaBuenaIsland,anddowntownSanFrancisco.Onaclear,autumnafternoonIclimbedaladdertotheroof,andwaiteduntilaftersunsettotakethisphotowithamoderatetelephotolens.

Ifyoulookatthetentinthisphoto,you’llseeashadowinside.Thatshadowisme,andthetentislitwithmyheadlampwhileIwasreading.

ThisisashotofmycampsiteinDeathValley.Isetmycamerauponitstripod,andusedaprogrammableintervaltimer.ThenIwenttobed,leavingmycameratocapturethestarlitscene.

Isetthecameratotakemultiple4minuteexposureswithagapof4minutesbetweeneachexposure—whichiswhythesestartrailsappeardashed.

10.5mmdigitalfisheye,60capturesstackedinPhotoshop,eachcapture4minutesatf/32.8andISO320,tripodmounted(totalexposuretimeaboutfourhours)

TheAlabamaHillsareajumbledareaofrocksandtexturesaboveLonePine,California,andbelowMountWhitney,thehighestmountaininthecontinentalUnitedStates.Theareahaslongbeenknownforitsscenicgrandeur,andinfactmanywell-knownmovieshavebeenfilmedhere.

Tomakethisimage,Igotinpositionontopofarockypromontorybeforedarknessfell.Withmycameraandtripodfirmlyinplace,IshotaversionwhiletherewasstillsomelightsoIcouldaddsomedetailintotheforegroundwhenIpost-processedtheimagelater.ThenIusedaprogrammabletimertoshootmultipleexposuresoverthecourseofalmosttwohourstocapturethescenebystarlight.

10.5mmdigitalfisheye,25capturesstackedinPhotoshop,eachcapture4minutesatf/3.2andISO250,tripodmounted(totalexposuretime1hourand40minutes)

InDeathValleyNationalPark,theDevil’sGolfCourseisaformationofseeminglyendlesscrystallizedsaltspiresarranged,well,likeadiabolicalgolfcourse.TheDevil’sGolfCourseislocatednearBadwater—thelowestpointinNorthAmerica,andseveralhundredfeetbelowsealevel.

Ipulleduptothisformationafterdark,openedthesidedoorofmyvanthatfacednorth,andpositionedthecameratophotographtheformationsandstartrailsinthesky.Whilemycameramadetheexposuresoverthecourseofthenight,Isnoozedinthevan.Beforedawn,asliverofthenewmoonrisingfrontlitthecrystallineformationsintheforeground—otherwisetheforegroundwouldbecompletelydark.

10.5mmdigitalfisheye,77capturesstackedinPhotoshop,eachcapture4minutesatf/2.8andISO400,tripodmounted(totalexposuretimeabouttenhours)

LightPainting

Paintingwithlightcanbeaccomplishedinadark,oralmostcompletelydark,room—or,morecommonly,outdoorsatnight.Inthiskindofphotography,thelightingisthesubjectofthephoto—eitheritself,orwhenthelightilluminatessubjectsthatwouldotherwisebeshroudedintheambientdarkness.

Almostanykindoflightsourcecanbeusedforlightpainting.Ifyouonlyhaveaflashlightwithyou,thatcanworkjustfine.Youcanalsocomepreparedforlightpaintingwithfancycoloredlights.Ifyouarewillingtoimprovise,youmightbeamazedatwhatwillworkasalightingsource—it’slikelythatevenyourfavoritemobiledevicecanbeprogrammedtogenerateinterestinglightcolorsandpatterns(seephotoonpage161).

Toeffectivelypaintwithlight,it’sagoodideatoweardark,orblackclothes,sothatyouwon’tshowinthefinalimage—unlesstheideaistoappearintheimage.Somelightpaintersgosofarastoapplydarkpaintontheirfacesbeforemakingtheirimages.

Youshouldsetyourcamerauponatripod,andplantohaveyourshutteropenforthedurationofthelightpainting“performance.”Itmaytakeabitoftrialanderrortofindouttherightlengthoftimetoholdtheshutteropen,andalsotheapertureandISOtousetogetagoodexposure,consideringtheshutterspeedyouareusing.

Trytokeepmovingasyoupaintwithlight.Ifyoustoptoolonginonespot,youarelikelytoappearintheimage—andyourlightsourcemaybecometoobrightcomparedtothesurroundinglight.

It’susuallynotagoodideatopointthelightyouarepaintingwithdirectlyatthecamera.Thestrongestlightpaintinglinesareusuallycreatedbymovingthelightperpendicularlytothecamera.

Lightpaintingisakintoperformanceart—itisneverthesametwiceanditoftenismorefunwhenmanypeopledothelightpainting.Whilesomepeopledocarefullyplantheirlightpaintingimages,improvisationisoftenthenameofthegame…inwhichcase,youneverknowwhatyouaregoingtogetuntilyoutry.

DuringanightphotoworkshopIwasgivingatMareIsland,alarge,abandonednavalshipyardinVallejo,California,westartedplayingwithcoloredlights,creatingtheexotic-lookingsceneyouseehere.

12mm,21/2minutesatf/9andISO200,tripodmounted

Allkindsofthingscanworkaslightingsourcesatnight.ThisshotshowsapersonwalkingdownaflightofstairswithaniPhonesettoblink.

Bywearingdarkclothingatnightpeopledisappearandallyouseeistheirlights.Tocreatethisshot,Isetmycameraonatripodand“danced”withsomeoneholdingthebluelight(Iwastheredone)—tocreateaghostly“pasdedeux.”

LightingintheStudio

Atfirstglance,theskintonesofthemodelsinthestudioshotlookratherdark.Actually,thesearefair-skinnedmodelsthathavebeenpaintedwithmetallicbodypaint.It’satrickofthelighting—combinedwithrelativeunderexposure—thattheskintonesinthisphotolookdarkish,ratherthanpaintedasitactuallywas.Amoralhere:controlledlightingcanchangealmosteverything,includingtheapparentskintoneofsubjects.

Lowel’sOmniisaflexibleandversatilecontinuouslightsourcethatusesatungsten-halogenbulb,shownherewithbarndoorsandagridlightingmodifier(imagecourtesyofLowel-LightMfg,Inc).

ContinuousLighting

Continuouslightingisanotherwayofreferringtocommon,everydaylightsthatyoucanseebecausetheyremainon.It’scalled“continuous”because—unlikestudiostrobelighting—whenyouturniton,itstaysonwithaconstantillumination.Sometimesthetermhotlightingisusedtodescribethiskindoflightingbecausecontinuouslightsusedforphotographycangetverywarmdependinguponthekindofbulbyouuse.

Ifyoubuycontinuouslightingintendedforphotography,yougenerallyhavethreechoicesofbulbtype:

Tungsten-halogenLEDFluorescent

Ofthese,mypreferencetendstobetungsten-halogen,forthequalityoflightthesebulbsputout—buttherearesomeapplications(forexample,whenexcessiveheatisaseriousissue)inwhichthesebulbsarenotthebestchoice.LEDlightingisrapidlybecomingabletooutputsufficientlightformanyphotographicapplications,andcanbeanexcellentchoice.

Youcanconsideralmostanycommonhouseholdlightacontinuouslightsourceforphotographicpurposesbecausetheabilitytocolor-correctforwhitebalanceinpost-processingmeansthatthecolortemperatureofthelightsourceisless

importantthanitusedtobe.Unlikeinthepast,improvisinglightingwithgoodresultsispossible—atleastwhenyoursubjectsaresmallinscale,andthereisnocriticalissueofcolormatching.

Largersizesubjects—suchaslivingpeople—requireagreatdealmoreoverallillumination.Tolightalargetableaucontainingmodelsandasetwithcontinuouslightingwouldtakeanumberofhighwattagelights,consumeagoodbitofpower,andputouttremendousheat.WhilethiskindofarrangementwasusedinHollywoodbeforetheSecondWorldWarforglamourportraiture(aswellasthemovies),itmakesmoresensethesedaystousestudiostrobes.Moregenerally,theadvantagesanddisadvantagesofcontinuouslightingcomparedtostudiostrobelightingareshowninTable1below.

AsyoucanseefromTable1,forstilllifesandsmalltableaus—assumingnothingisinmotion,andheatisn’tanimportantconcern—continuouslightingisusuallythebestchoice,becauseitisinexpensiveanditiseasytoseetheimpactofchangesyoumaketoyourlighting.

Withcontinuouslighting,whetheryouuseimprovisedlighting,orfixturesspecificallyintendedforphotography,youdoneedamechanismforcontrollingthequalityandintensityofthelight.Withcontinuouslightingyoucanusuallyreducetheintensityoflightsimplybymovingthelightfixturefurtherfromyoursubject,orincreasetheintensitybymovingthelightcloser.

Thekeypointsarethatyouneedtobeabletoilluminatewithhard,directlightordiffusesoftlight—dependinguponyouraestheticgoals.Ifthelightingishard,youwanttobeabletocontrolwhetheritisusedasapin-pointilluminationsource,orwhetheritlightsyoursubjectmoreglobally.Youcanestablishtheseoptionsusingcontinuouslightingequipmentmeantforphotographywithmodifierssuchassoftboxes(todiffusethelight)orbarndoors(tonarrowthescopeofwhatisilluminated).

AsI’venoted,itisrelativelyeasytoimprovisethiskindoflightingmodifier—tape,foil,cardboard,andanoldwhitesheetyoucancutupworkwonders—ifyoudon’twanttobuythem.Inaddition,someprofessionalcontinuouslightingsetupsallowyouto“focus”thelight,essentiallygivingyoumorecontroloverthequalityoflightandhowhardorsoftitseems.

Withtwoorthreelights—whetherimprovisedorpurchasedaspartofa

professionalcontinuouslightingkit—thatcanbecontrolledforthehardnessorsoftnessoflight,andtheangleofthesubjectthatislit,youprettymuchhavewhatyouneedtounleashyourimagination—atleastuponthestageofthesmall,stilllifephoto!

Table1:Acomparisonofcontinuousandstudiostrobelighting

Continuous StudioStrobe

Lightoutput Moderatelightatacontinuouslevelofillumination

Extremelyshortbursts;eachburstcanhaveagreatdealoflightingpower

Cost Inexpensivestartupcosts Rangesfrommoderatetoveryexpensive

Seewhatyouaredoing

WYSIWYG—whatyouseeiswhatyouget

Hardertovisualizeinadvanceofthestrobesfiring;modelinglightshelpwiththis

Complexitytosetup

None—youplugtheminandturnthemon

Strobestakeabitofalearningcurve,bothinusingtheequipmentandmanagingthelight

Canstopmotion? Inaword,no Yes

Temperature Canrunveryhot Usuallynotaproblem

BestuseSmallstilllifesetups;flatart;anythingthatdoesnotmoveandisnotlargeinsize

People;anythingthatmoves;largesetups

Iusedtwolightsourcestocreatethismacroofmarbles.Onelightwaspositionedtotherightofthemarbles;Iusedmostlyclosedbarndoorstocontrolthelightbeamandmakeanarrow,intense,andfocusedbeamoflight.Thesecondlightwasamoregeneralanddiffuselightingsource,placedbehindandtotheleftofthemarbles.Iusedthislighttocreateanillusionoftransparencybygentlybacklightingthemarbles.

Thesecolorful—andveryhot—smallpepperscomefromlocalCaliforniafarms.Tophotographthehotpeppers,Iarrangedthemonamirror.Myideawastocreateanarrangementthatresembledabouquetofflowerswhenlookedatfromabove.Iusedablackvelvetclothasthebackground,andlitthepeppersusingsunlightfromawindowandacontinuoustungstenlight.Youcanseethewindowlightinthereflectionsintheredpepperinthefrontandcenteroftheimagebecauseitappearstobemorebluethantheoveralllight.Iaimedthecontinuouslightupatthewarm-tintedwallsoftheroomIwasin,soithelpstogivethepeppersanice,warmtone(comparedtotherelativelybluedaylight).

85mmperspective-correctingmacro,13secondsatf/48andISO100,tripodmounted

Iplacedthisgazaniainasmallvase,andsilhouetteditagainstablackbackground,illuminatingtheflowerwithasingle,continuouslight.

100mmmacro,1.6secondsatf/11andISO500,tripodmounted

SettingtheStage

It’sallverywelltoorganizecontinuouslightingtophotographyourstilllifetableaus—butyoualsoneedabackgroundandsomethingtophotographyoursubjectson.Itisthecasethatyourchoiceofbackgroundcaninfluencelightingdecisions(andviceversa).

It’salsotruethatasinglebackgroundforastilllifecompositionandtherelatedlightingcanworkformorethanoneimage—essentially,withtherightchoiceofneutralbackground,youcanjustrotateyoursubjectsontothestageoneaftertheother.Thisisparticularlytrueofcut-and-dryproductphotography.IfyouareshootingsmallobjectsforacatalogorforaneBaylisting,dependinguponthecontextoftheproducts,youmayjustwanttoputthemonablackorawhitebackground.

Regardingawhitebackground,notethatanormalwhitepieceofpaper—suchasawhiteseamlessbackground—willlookdullandgrayinaphotoifitisexposednormally.Toobtaintheillusionofanextremelybright,whitebackgroundyouneedtoplacetheobjectonalightbox—madeoftranslucentwhitematerialandilluminatedfrombehind—aswellasoverexposethebackground.

Acommonstagesetupthatcanbeusedoverandoveragainisalighttent.Thiscanbepurchasedasakit,ormadefromtranslucentmaterialsuchasawhitesheet.Ineithercase,gentle,diffuselightiscreatedbyshiningcontinuouslightthroughthelighttent.Theresultingshotsdon’tshowshadowsandcanbeusedforrun-of-the-millproductphotography.However,thesamesetupcanalsobeusedtoeasilycreatemoreinterestingandartisticeffects.

Whenyouthinkaboutthestageforastilllifecomposition,asI’vementioned,there’sthephysicalissueofwhatyouarephotographingon.Iliketousesimpletrestletablesthatcanbemovedintopositionanywhere,andeasilytakendowntosavespacewhenIdon’tneedthem.

It’sprettyeasytoriglightstandsandclips(availableinanyhardwarestore)toholdbackgroundsuponasmalltable.Iliketokeepmybackgroundssimple:usuallywhiteorblack,withanoccasionalburlaporcottonduckclothtoaddtexture.It’salsosometimesfuntoexperimentwithunusualbackgroundslikeagnarledpieceofwood—thisismostlikelytobefeasiblewhenyouare

photographingsomethingsmall.Anotherinterestingpossibilityistouseamirroraspartorallofyourphotographicbackground—althoughthiscanmakeframingyourcompositionmoredifficultasthemirrorislikelytoshowthingsyoudon’twantaswellasthingsyoudo.

Thethreeelementsofthestilllifecompositionarethesubject,thelighting,andthesetting.Allthreeareinterrelated:forexample,usuallybychangingthestage,youalsochangetheimpactofthelighting.Soasyoulightyourcompositionspayattentiontothebackgrounds,stage,andsetting—andwatchcarefullyhowchangesinthestageimpactandalteryourlightingatthesametime.

Thislighttent—alsocalledalightbox—wasputtogetherfromakit.Itconsistsofalightweightframewithtranslucentwhitefabricthattiesontotheframe,withaslitatthebackforinsertingbackgrounds.Thelighttentisshownhereonamake-shifttrestle-toptable,withcontinuousquartztungsten-halogenlightspointedatthelightbox(theselightsarenotinthepicture).

Alighttentsuchasthiscanbeusedeffectivelyasthestageformanyphotographswithshadowlesslighting—withthedownsidethatthelightingeffectsyoucancreatearelimitedandtendtobeabitmonotonous.Somecompositionscryoutfortheexcitementofstrongshadows(seepages60–63and182–185).

Tophotographthecoreofthisrose,Iplaceditonawhitebackgroundinthelighttentshownabove.Totakeadvantageofthisshadowlesslighting,Ineededtobeabletoplacetherosecoreinanuprightposition.Iusedasmalldabofmuseumgeltokeepitinplace.

200mmmacro,36mmextensiontube,1secondatf/36andISO200,tripodmounted

Iplacedthesepears(andsolonectarine)onamirror,andusedapieceofcanvasasabackground.Theclothwastackedtoacrossbaronthetop,andtuckedbelowthemirror.Imadesuretopositionthefruitinthecenterofthemirror,andusedamoderateaperture(f/11)tomakesuretherewassufficientdepth-of-fieldtokeepthefruitinfocuswhilethrowingthebackgroundslightlyoutoffocus.

Tocreatethissimpletableauofstuffedanimals(whatmysonNickycallshis“stuffies”),Iplacedtheanimalsonwhiteseamlesspaperclampedtoarodatthetop.Thecurveinthisbackgroundcreateswhatissometimescalledacyclorama—althoughthetermisgenerallyappliedtolargersets—meaningtherearenovisiblehorizonlines.Iusedalightwithapieceofbluecolorcellophanetapedtoittocreatethecoloryoucanseeatthetopofthephoto.

UsingNaturalLight

Iaminwhatmaybearelativeminorityofprofessionalphotographerswhenitcomestonaturallightandstilllifesubjects:Ireallylovethequalityofsunlight,andIliketouseitinmystudiostilllifeworkwheneverIcan.Althoughitmaysoundlikeaneasyoption—becausewhenIamworkingthiswayIdon’thavetobotherwithsettinguplighting—infactstilllifephotographywithnaturallighttakescarefulobservationandgoodtiming.Goodnaturallightdoesn’tlastforeverbecauseitisveryephemeralandtransient.

Justaslocationphotographerschaseperfectlightingconditions,whenIamshootingastilllifebynaturallightIfindmyselfrushingaroundwithasubjectandastage.Isthelightbetterupstairs?Let’smovethereandsee.Oh—thesunhasgonebehindacloud!Whatgreatbrightbutdiffuselight.Andsoon.

Totakeadvantageofnaturalsunlightwithstilllifecompositions,Inormallystartwithasmallsubject.Thistechniquewon’tworksowellwithlargersubjects.Next,Ineedtoimproviseandconstructabackgroundstagethatisportable.Usually,thismeansplacingmycompositiononaboardorasmalltable,andusingasimpleblackorwhitebackground.Finally,there’stheissueofwaitingfortherightlight.

Aswithcontinuouslightingfixtures,youcanexpect—tosomedegree—tocontrolwhetherthelightishard(directsunlight)ordiffuse(thesunisbehindacloud),althoughyourmechanismforcontrolissimplywaitingtheweatherout.Youcanalsocontroltheangleoflightthatilluminatesyoursubjectbypositioningthestagecontainingthesubject.Forexample,Isometimesmovethestagenearawindowanduseblindsorshadestomodifythelighting.Ifnecessary,Ialsouseblackcardboardbarrierstorestrictthelightfromsomeareasofthesubject.

Bytheway,itmakesperfectsensetousewhitepiecesofcardboardtoprovidefilllightingasneeded.Youcanalsouseaboardcoveredwithfoiltoreflectin“accent”lights,andblackcardboardwhenyouwantto“takeaway”lightfrompartofthesubject.

Ifyouareinterestedinusingnaturallightinyourstilllifecompositions,I’d

Ifyouareinterestedinusingnaturallightinyourstilllifecompositions,I’dsuggesttakingaverycarefullookatallthelocationsthatmaybeavailabletoyou.Trytounderstandhowwelltheymightworkaslightinglocationsforyourstagedcompositionsatdifferenttimesofdayandindifferentweatherconditions.

Stilllifephotographyusingnaturallightcantakeasurprisingamountofpatience—andgoodobservation.ButIthinkyou’llagreewithmethatthequalityoflightingintheresultingimagescanmakeitworthit.

IntegratingNaturalLightwithyourStillLife

MuchasIlikeusingnaturalsunlightinmystilllifesetups,evenIhavetoadmitthatsometimesitisjustnotenough!Whensunlightisn’tenough,whatcanyoudo?Theobviousansweristoaddsomelight.

Generally,whenIaddlighttoastilllifesubjectthatisprimarilyilluminatedusingsunlight,Idon’tworrytoomuchaboutthecolortemperatureofthelightIamadding.Thetruthofthematteristhatsunlightitselfvariesgreatly,dependinguponthetimeofday,timeofyear,andatmosphericconditions.Manycompositionsarelargelylitbyreflectivelightratherthandirectilluminationfromthesunlight—thelightcomesinthroughawindow,bouncesoffwallsandceilingsandthenreflectsontoyoursubject.Thecolortemperatureofsunlightishugelyvariable,andmostlyIdon’ttrytomeasureit.

Iliketostartwiththesunlightilluminatingmysubject.Sometimesthislightingissufficient,butifnotI’lladdartificiallightwithoutworryingtoomuchaboutwhethermylightsourcesareverydifferentfromeachother.

AsI’venoted,naturaldaylightasalightingsourceisfleeting.Perhapsthesinglemostimportanttechniquewhenworkingwiththiskindoflightisto“seizetheday.”Therefore,Iregardaddingartificiallightintothemixasmoreartthanscience.Itisanactofimprovisationthatdependsuponwhatisavailable,andwhereeverysecondcancount.Theimplicationofmyapproachisthatitsometimesdoesn’twork—butwhenitdoes,theresultscanjustifytheimprovisationalprocess.

Iusedanumberofcardboardfills—whitecardboardthatreflectslightontothesubject—toreflectdaylightontothesedaylilyanthers.Whiletheilluminationsourceforthisphotoissunlight,gettingittoproperlylightthistinysubjectprobablytookmoreworkthanifIhadbeenusingcontinuous,artificiallighting.

200mmmacrolens,36mmextensiontube,2secondsatf/36andISO100,tripodmounted

Thisshellisverysmall,about1/4"across.Iplaceditonablackvelvetcloth,andusedwindowlighttoprovideillumination.Ihadtowaituntilthelightwasjustright—cominginthroughthewindowstrongly,butnotfallingontheshellinawaythatwouldcreatedistractingreflections.

50mmmacrolens,36mmextensiontube,30secondsatf/32andISO100,tripodmounted

Ambientdaylightlittheceramicbowlinthebackground;Iusedacontinuousphotolightwithatungsten-halogenbulbtolightthecamelliasinthecenterofthebowl,whicharelitwithslightlywarmerlightthanthebowlitself.

CreatingTransparentEffects

Forthemostpart,transparencyinphotographyisimpossible.Ifyoursubjectweretrulytransparent,thenitwouldbeinvisible—andyouwouldneitherbeabletoseenortophotographit.Outsideoftherealmsofinvisibilitycloaks,itisbettertounderstandthatbytransparentwereallymeantranslucent—andthatthebesttransparencyeffectsarereallyprovidinganillusionoftranslucency.

Bywhatevername,I’vegottremendousmileageinmystudioworkbycreatingatransparenteffect—andyoucantoo!

Apparenttransparencyinastilllifecompositiondependsuponthesefactors:

Thenaturaltranslucencyofthesubject.Forexample,stainedglassisquitetranslucent,asarethewingsofabutterfly.Abrickisnot,andprobablycannotbemadetolooktranslucentortransparent.Thelightthatisbeingtransmittedthroughthetranslucentsurface.Strongbacklightingworksbest.Contrastintheimage.Highcontrastbetweendarkareasthatseemtohavefullopacityandareasthataremuchlighterproducestheillusionoftransparency.Thisisaneffectthatcanoftenbecreatedusingselectiveoverexposure.Superwhitenessofthebackground.AsI’vepreviouslynoted,awhitebackgroundilluminatedwithreflectivelightislikelytoappeargrayinaphoto—andwillnothelpgiveyoursubjecttheillusionoftransparency.Usingarearilluminationsystemsuchasalightboxwillprovideabackgroundthattrulyappearsbrightandwhite—whichhelpssupportthesenseoftransparencyofasubjectplacedonthelightbox.

Creatingcompositionsofstillsubjectsthatappeartransparentisprimarilyatrickoflightingandexposure—althoughasI’veobservedithelpstostartwithasubjectthatisnaturallytranslucent.Andremembertherearesomeobjectsthatwillneverseemtransparentnomatterwhatyoudo.

I’venotedthatselectiveoverexposureisoneofthekeystosimulatingtransparency.Tostartwith,tocreateatransparentseemingimage,Ilookforanexposurehistogramthatisbiasedtotheright(seepages78–81formoreaboutexposurehistograms).

Theselectiveoverexposuretechniqueisaccomplishedbymakinganumberofexposures,eachonemoreoverexposedthanthelast.Iusuallybrackettotheoverexposedsidebyaboutasinglef-stop(orfactoroftwo),althoughitissmartertobracketusingshutterspeedsthanaperture.Itisimportantnottomovethesubjectorcameraandtripodbetweentheexposures.

Inthedigitaldarkroom,itisusuallynothardto“paint”theoverexposedversionsovertheinitialversion,usinglayermasks.

Inmyexperience,oneoftheneatthingsaboutthistrickoftransparencyisthatitcanbeviewedasastartingplace.Animagethatseemstodepicttransparencyisshowingsomethingunusualthatmaynotoftenbeseen.Thiscanbecomethestartingplaceforfurtheradventuresindigitalimagemakingthattakeadvantageofthetransparenteffectwithoutitbeingapparentintheendresultthattransparencywasinvolvedintheimage’screation(seetheimageoftheDragonflyshownbelowandtotheright).

TocreatethistranslucentimageofasinglespectacularPapaverrhoeaspoppy,Ibacklittheflowerusingthestrongdaylightofthelateafternoonsuncomingthroughawindowinmystudio.

200mmmacro,sixexposurescombinedinPhotoshopatshutterspeedsfrom1/13

ofasecondto3/5ofasecond,eachexposureatf/36andISO100,tripodmounted

Thisprize-winningshotofatrioofdawnchoruspoppieswascreatedusingbacklightingfromalightboxprojectedthroughtheflowers.

ThiscolorfuldragonflyisacombinationphotographanddigitalPhotoshopillustrationthathasbeenpublishedmanytimes.

Tomakethiscreation,Istartedwiththeverytransparentlookingphotoshowntotheleft.Thisoriginalphotowasmadebyshootingstraightdown

showntotheleft.Thisoriginalphotowasmadebyshootingstraightdownonalightbox.Thelightboxwasusedtocreatethebacklightingandenhancethetransparencyofthedragonfly’swings.

Beforepreparingthefinalversion,Iinvertedtheimagesothedragonflyappearstobeonablackbackground.

WorkingwithShadows

Shadowsareextremelyimportanttothesuccessorfailureofstilllifephotosbecausetheyinformusaboutthespatialrelationshipofanobjecttoitsbackground,andtootherobjectsinacomposition.Inaddition,ashadowtellsastorythatwerespondtosubconsciously.Atsomelevelofvisualperception,theshadowofanobjectmaytellatruerstoryabouttheobjectthantheobjectitself.

Shadowsarefairlyeasytomanipulatewithlighting,soitissurprisingthatmorephotographersdon’tpaycloseattentiontotheshadowscastbyobjectstheyarephotographing—orevenmaketheshadowitselfanimportantcompositionalelement,asIoftenliketodo.

Shadowsonlybecomeasignificantpartofacompositionwhenthedarknessoftheshadowcontrastswithalighterbackground.Atthesametime,inordertocontrolshadows,youneedasetupandstagethatdoesnotrelyuponoveralldiffuselighting.Inotherwords,strongshadowsarebydefinitiontheresultofdirectionallighting.Theharderandmorefocusedthelighting,themorehardedgedtheshadowwillbe.

Bewareofcross-shadowing.Thistakesplacewhenyousetuplightsourcesfromseveraldirections;ifthetwosourcesoflightareroughlybalanced,theresultwillnotproducestrongshadowsinanydirection.

Frontlightingcreatesashadowthatstretchesbehindtheobject,withtheprecisedirectiondependingupontheangleofthelighting(seeexampleonpage184)whilebacklightingasubjectproducesshadowsfacingtowardsthecamera(seeexampleonpage185).

Youshouldalsobearinmindthatalightthatispositionedlowerinrelationshiptoyoursubjectwillproducealongershadow,andthefurtherawayfromtheobjectyourlightis,thesharpertheedgesoftheshadowwillbe.

Providedyouareworkinginafairlydarkroom,it’seasytoseetheseeffectsbyplacinganobjectsuchasasmallstatuetteonawhiteseamlessbackground.Youcanthenmoveyourlightfrombacktofront,sidetoside,andupanddownwhileobservingtheimpactontheshadowsonthebackoftheseamless“stage.”

observingtheimpactontheshadowsonthebackoftheseamless“stage.”

Whileitiseasiesttocontrolshadowsinastudioenvironment,bearinmindthatsurprisinglystrongshadowscanappear—eveninlowlightconditions—createdbyambientlightsources(seepages182–183foranexample).Noticing,andtakingadvantageof,theseimpromptushadowscanmakethedifferencebetweenmundaneandspecialphotos.

ThisRodinsculptureinanoutdoorgardencastsinterestingshadowsatnight,withthelightsourcebasedontheambientandinstallationlighting.Ifyoustudyandunderstandshadowsinvariousdifferentlightingconditions,youaremorelikelytobeabletocreateplausibleandinterestingshadowsinyourstudiocompositions.

Whitepaperasthebackgroundandasinglelightsourcemadeforidealconditionsforexperimentingwiththeshadowscastbythisglassvase.

50mmmacro,0.3ofasecondatf/32andISO100,tripodmounted

TheshadowofthisLegocreationmadebyoneofmysonsseemedtobealotmoresinisterthanthetoyitself.

Reflections

Addingreflectivitytoanimageisoftenanexcellentwaytomakeyoursubjectmattermoreinteresting,particularlywhenyouareworkingonasmallscale.Firstofall,forgettingaboutissuesofcolorandlighting,addingareflectionoftheobjectislikelytomakeyourcompositionmoreformallyinteresting—becauseofthemirroredsymmetryofthereflection.

Iliketoshootstilllifecompositionsusingamirroraspartofthebackground,generallyplacingobjectsonthemirror.Besidesaddingsomecompositionalpizzazz,thisarrangementhelpstoaddsomeglowinglightunderneaththesubjectofthephoto—anareathatisoftendarkandunattractive.Thedownsidetousingamirrorinthiswayisthatyouhavetobeverycarefulabouthowyoupositionyourcamera.Smallshiftsincamerapositioncanhaveabigimpactforgoodorevil—ifthescaffoldingandducttapethatyou’veusedtoholdyourstilllifetogethershows,thenthecamerapositionislikelyamistake.

Notethataddingareflectiontoanimagemayalsoaddsomeconcernsaboutwhereyoufocus—andhowmuchoftheimageshouldbeinfocus.Thisisparticularlytrueinthecontextofmacrosandsmall-scalesubjectsbecauseevenatsmallapertures(suchasf/36)theremaynotbeenoughdepth-of-fieldtokeepbothanobjectanditsreflectionsharp.

Dependinguponthesituation,youmayintentionallydecidetochooseapointoffocusandanaperturethatkeepsonlypartoftheimageinfocus.Thiscanworkwellwithimagesthatincludereflectionswhentheprimarysubjectappearssharp,butitsreflectiondoesnot.Gettingfocusandaperturerightmaytakeagreatdealoftrialanderrorinthiskindofphotography.

Ipickedupthisexampleofdesertrose—acrystalrosetteformationcontainingthemineralsgypsumandbarite,alongwithsand—atagiftshopinDeathValley.Myideaincreatingthiscompositionwastochoosemyaperturecarefullytocontrolthedepth-of-field.Iwantedthedesertroseitselftobetightlyinfocus,whilethereflectionwassomewhatoutoffocus—todistinguishtherockfromthereflection.Ittooksomeexperimenting,butfinallyf/16workedsothattherockitselfwassharpandthereflectionisdefinitelynot.

Withamirrorplacedinsidealighttent(seepage170),Iwasabletopositionthisflowersothatitappearstobeadmiringitsownreflection—thefloweralsopresentsastrongcontrasttotheneutral“whiterthanwhite”background.

Atanantiquecarshow,thereflectionsinthepolishedchromepresentaworldthatissimilartoour“real”world,butsubtlydifferent.Thissubtledifference—causedbyreflectioncombinedwithmildrefraction—providesadream-likeeffectthatcanbeusedasthebasisforinterestingphotos.Lookingforreflectionsinthe“realworld”willhelpeducateyoureyewhenitcomestoworkingwithreflectionsinthestudio.

Theconcavereflectivesurfaceofametalspoonwillreflect—andappeartotakeonthecolorationof—whateverobjectsandcolorsyouplacenearit;forexamplethesmallumbrellashowninthisspoonwasplacedabovethespoonwhilethespoonitselfwasphotographedinalighttent.

Refractions

Refractioniscurvatureanddistortioncausedbyachangeinalightwaveinrelationtoitsspeed.Refractionsareoftenseeninconjunctionwithreflections—forexample,whenthereflectivesurfaceisslightlycurvedratherthanflat.Distortioncausedbyrefractionalsooccurswhenlightpassesthroughglassorwater—or,inoneofmyfavoritesetups,throughaglassthatalsocontainswater.

Ofcourse,youneedmorethanaglasspartlyfilledwithwatertomakeinterestingrefractions.First,ithelpsifyourglassiscurved,orfaceted.Areasnearthecurvesorfacetswillproducemorepronouncedrefractions.

Naturally,youshouldalsoexpecttoaddsomethinginterestingtothecomposition.Mostoften,thisisaccomplishedbyaddingsomethingcolorfultotheinsideoftheglass,suchastheflowersshownintheclose-upimagetotheright.

Anothercreativepossibilityistoplaceanobjectbehindtheglass,whichwillthenappearinitsrefractedstatewhenyoushootthroughtheglass,asdoestheeggthatIplacedtotherearofthefacetedglassintheshotontheleft.Inthiscase,theviewerisn’tquitesureatfirstwhethertheeggintheforegroundisbeingreflectedintheglass—butinspectionshows,ofcourse,thattherearetwoeggs.

Ifyouareaimingtocaptureinterestingrefractions,it’simportanttouselightingthatbringsouttherefractionswithoutcreatingdirectreflections.Thisisoftenanissueofcarefullypositioningthelightsandcheckingouttheresults.Aplacetostartistoassumethatyouwantthebulkofthelightingtobeoutsideofthefamilyofanglesofreflections(seepages52–54)sothatyouaregettingdiffusereflections,ratherthandirectreflections.

Ipositionedoneegginfrontoftheglassandoneeggbehindtheglass.Theobjectofthissleight-of-handwastocreatearelativelycomplexcomposition.Thiscompositionusestherefractionoftheeggthatisbehindtheglass.Inaddition,theglassandforegroundeggarefrontandsidelittocreateanexoticshadowpattern.

Theseflowersinwaterasshotthroughafacetedglasscreateanimpressionistic,watercoloreffectbasedontherefractionsfromboththewaterandtheglass.Youcanseethesetupinthelighttentonpage170.

Metal,particularlypolishedmetal,isachameleon-likesubstancetophotographers,sinceitscolorandoverallappearancewilldependalmostcompletelyonwhatyoureflectintoit.Inclassicproductphotography,theideaisgenerallytokeepthemetalbrightandneutralbyreflectingwhiteintothemetal(ifitissilver)andbykeepingthecameraandphotographeroutofthephoto.

Butthisbookisaboutcreativelighting,notboringoldproductphotography.SoIsay,usemetalasyourblankcanvas,thewilderthebetter!Takeadvantageofthereflectiveandrefractivepropertiesofmetaltoreflectintoyourobjectsanythingyou’dlike.Forexample,it’seasytoputacolorfulumbrellaintoaspoon(page189)—oryourownhandifyouprefer(seepage195).

There’salsonothingwrongwithlettingyourownreflection,orthereflectionofyourcamera,appearinthephoto.Thisshouldbeamatterofaestheticchoice—ifitaddstothephoto,doit.Toremoveyourcamerafromanimage,tryusingalongerlensfromfartherbackandshiftingyourpositionuntilyoucannolongerseeyourcamerainthereflection.

Insteadofexpectingmetaltobeneutralincolor,experimentwithreflectingbrightcolorsintothemetalobjectsinyourcomposition.Peoplewillstillrecognizeyourshotsformetal,andtheywon’tnecessarilyrealizethecolorswithinthemetalcomefromreflectedlighting.

SomeofthemostfunIhaveinthestudiocomeswhenIworkwiththereflectivityofmetalsurfaces—butItrytoneverlightthemetalobjectthewayyouseeconventionalproductslit.Whoneedsanothertoasteroven,oraperfectforkorspoon?Inmybagoftricks,ItapecellophaneoverthelightsIusewhenIphotographmetal,andIusecoloredpiecesofcardboardtosendspecificcolorsintopartsofametalobject.Ifallthisfails,whynotuseacolorfulumbrellaorpatternedclothing,thatisoutoffocussoitisunrecognizable.

Whenitcomestolightingareflectivesurfacesuchasametalobject,itisimportanttobeclearthatthedirectilluminationfromyourlightingsourceisonlypartofthegame.Managingreflectivelight—comingfromyourlighting

onlypartofthegame.Managingreflectivelight—comingfromyourlightingsourceandbouncingoffobjectssuchascoloredcardboardandumbrellas—isequallyimportant.Ifyoutakethisperspective,andexperimentwithbeamingcolors,shapes,andlightsintometalyouareworkingwith,youarealmostcertaintocomeupwithsomeverycreativeandenticingresults!

Withhighlyreflectiveandcurvedmetalsurfacessuchasthechromeofthisantiquecar,itishardtocontrolwhatthereflectionsinthemetalwillshow(theshotshowsmyreflection,alongwithmytripod).Outsideofthestudio,thebestapproachistorealizethattheunexpectedwilllikelybepartofyourcomposition—andtomakethebestofitusingcarefulobservationandplacement.

Thisshotshowskitchenpotsandpansreflectedinthestainlesssteelsurfaceofalargecasserole.Ifyoulookclosely,youcanseemytripodcarefullycamouflagedinthefoldsatthecenteroftheimage.Notethatasopposedtoconventionalproductphotographyof“perfect”highpolishedkitchenutensils,Iintentionallyshotapotthatshowsthescratchesanddefectsonitssurfacefromlongtermusage.Myideawastocreateaneffectofarichsurfacepatina,suchasyoumightseeonanantiquestatue.

Iworkedhardtopositionmylefthandcorrectlytocreatethereflectioninthisspoon—notaseasyanendeavorasitmightseem.Thespoonwasplacedinalighttent,withoverallilluminationfromwarm-ishtungstenlights.Iusedaremotereleasetofirethecamerawithmyrighthandwhenmyleftarmwasreflectedinthespoon.Theproblemwasthatthereflectionofmyhandwasonlypositionedcorrectlywithverypreciseplacement—andIcouldn’tlookthroughthecameratoseeitifwasright.Gettingtheshottookquiteafewtries.

StrobeLightingEquipmentStrobelightinginthestudiodiffersfromcontinuouslightingintwokeyrespects:

Insteadofputtingoutsteady,continuouslight,astrobegeneratesanextremelyshort—butpowerful—pulseoflightThere’snorealwaytoseetheactualimpactoffiringastrobebeforeyoumakeyourexposure(becauseoftheshortdurationoftheflash)

Okay,sotherearealsosomeotherdifferencesbetweenstrobesandcontinuouslighting;chiefly,strobescostmore,andtheydon’tgethugelyhot.Butfromalightingperspective,thekeyissueistheshortdurationofthelightputout.

Inpractice,theshortdurationofthepulseoflightgeneratedbyoneormorestudiostrobes(usually1/1000ofasecond,andsometimesagreatdealshorter)meansthatintermsofthelightinghittingyoursensorthestrobeiscontrollingthelengthoftheexposure—notyourcamera’sshutterspeedsetting.Mostofthetime—unlessyouwanttocombineambientlightwiththestrobeexposure—yousetyourcameratothemaximumflashsynchronizationspeed(often1/160to1/250ofasecond).Inotherwords,thissettingispre-determinedandfixedformoststudiophotographywithstrobes.

Withshutterspeedoutofthepictureasavariableinthestudio-strobeshutterequation,onlyyourapertureandISOareleft—alongwiththepossibilityofmanipulatingthelightsupordownbycontrollingtheintensityofthestrobeunits,movingthem,oraddingadditionallightingunits.

Onthetopicofexposure,sinceyoucan’tseethelightthestrobeunitswillgenerate,howdoyoufindtherightexposure?Forthatmatter,howdoyoujudgethevisualandaestheticimpactoflightingthatyoucan’tactuallysee?

Youcanuseaflashlightmetertohelpyoufindthef-stop(aperture)youshoulduseatagivenISO,ortoadjusttheISO.Trialanderroralsoworks,alongwiththefeedbackthatdigitalphotographyprovidesontheLCD.Ofcourse,experiencealsohelpsgiveyouasenseofhowaparticularlightingsetupwillwork—asdothemodelinglightsprovidedonmanystrobeunits.Theseare

continuouslightsthatyoucanusetoatleastgetasenseofthedirectionofthelightthatwillbegenerated—eveniftheydon’thelpthatmuchinjudgingqualityorintensity.

Besidesexposuresettings,youmayalsowonderaboutwhitebalancewhenworkinginthestudio.Nominally,moststudiostrobesarebalancedtodaylight,althoughthereissomevariation.Insituationswherecoloriscritical,youcancreateacustomwhitebalanceforaspecificsetup(refertoyourcameramanualforinstructionsabouthowtodothis).Otherwise,setyourcameratoeitherAuto,Strobe,orDaylightwhitebalance—theyshouldworkfine.

StudiostrobeequipmentistriggeredopticallyorbyremoteradiocontrolunitssuchasthePocketWizard.(Youcanalsofirestrobesusingsynchcords,butthisisprettymuchanuisance.)Opticalfiringmeansthatthestrobegoesoffwhenitsensesaburstoflight,soitistypicalinamulti-lightsetuptofireoneviaradiocontrol,andhavetheother“slave”unitssettogooffopticallywhenthefirstonefires.

Generally,studiostrobesareusedwithmodifiersthatintensify,diffuse,orotherwisedirectthelighting.Forexample,umbrellasareusedtoreflectlight(ortodiffuseitwhenlightisshonethroughawhiteumbrella).Softboxesareusedtodiffuselight,andbarndoorscanbeusedtoconcentratelightwithinacertainpath.

Thestudiostrobeshownonthestandisreflectinglightoffanumbrella.Apowerpackisshownidlystandingby,notdoinganything.(Imagecourtesy:Profoto.)

Inthisshotusingfairlystandardstudiolightingforportraits,Gabriellaislitbyasingle,largesoftboxaboveherandtoherleft(youcanseethereflectionofthislightsourceinthe“catchlights”inhereyes).Iusedawhiteboardmountedonherrightsidetoreflectlightandfillinsomeofthedeepshadowsthatwouldotherwisehavebeendistracting.Toseeadiagramofthislightingsetup,turntopage198.

Thisisadiagramofthelightingsetupthatwasusedforthemodelheadshotonpage197.

ThisisastudiolightingkitfromProfoto.Thetwostrobesaremountedonstandsandthelightsreflectofftheumbrellas.

Iusedasinglestrobewithareflectortocreatethishighcontrastimageshowingamodel’slegs.

LightingPeopleintheStudio

Youcangenerallyachieveprettygoodportraitlightinginthestudiousingasingle,well-positionedkeylight(forexample,seethephotoonpage197).Generally,overallresultsareenhancedusingsomefilllighting,whichcreatesmoreinterestinglightthatcomesfrommorethanonedirection.

Butevenifyourlightingsetupwillultimatelybecomemorecomplexthanasinglelightsetup,itisagoodideatostartwithawellpositionedprimarylight.Instudiolightingjargon,thisprimarylightiscalledthe“key”light.

Onceyouhavethekeylightinplace,addinganadditionallight(ortwo)canampuptheimpactofyourlightingbyaddingpizzazz,contours,intensity,anddirectionality.Butyoudon’tneedmultiplelightstogetgreatstudiolighting.

Therearetwotake-awaysregardingyourkeylighthere.First,it’sworthtakingthetimetopracticeandfindoutwhatyoucandowithasinglelight.Second,evenwhenyouhavetheresourcesofafullyequippedstudiotodrawfrom,themostefficientapproachistostartwithasinglelight.Getthatright—andifyou’vefollowedmyadviceandpracticedwithonelightyoushouldhavenoproblem—andyou’rethebulkofthewaytowardsacreativelightingsetupthatworks.

InthephotoofmysonNickywithhisstuffedpenguintotheleft,Iusedtwolights,onefromeitherside—withthekeylightcomingfromtheleftprovidinganoveralldiffuseandbrighteffect,andthemoreintenselightontherightaddingdetailintheeyesandhair,aswellasanoverallbrightnesstoNicky’sleftside.Theportraitwouldn’thavebeenbadwiththesinglesoftboxasillumination,butIwantedtoopenupthelightingonNicky’sfaceabitmore,andtomakesurehewasreallytonallyseparatedfromtheblackbackground.AdiagramofthislightingsetupisshowninFigure2onpage201.

Thisisfairlytypicalportraitlightingwithtwolights(seeFigure2onpage201).Theappealofaportraitofthissortcomesfromcharactermorethanlighting—inthisshotNickyistryingtomimictheexpressionofhisstuffedpenguin.

Bytheway,oneofthebestwaystoanalyzeandlearnaboutlightinginastudioportraitshotistolookcloselyatthesubject’seyes(seethesidebaronpage201).Thecatchlightsreflectedintheeyeswillusuallytellyoueverythingyouneedtoknowabouthowtheportraitwaslit.

Forexample,lookingatNicky’seyesatthetopofpage201,itiseasytoseethereflectionofthelightwiththesoftboxdiffusercomingfromtheleft—itistherectangularshape.Thepinpointroundreflectioncomingfromtherightwasmadeusingasmallmetalreflectoronastrobepositionedquitelowandroughlyatthesubject’seyelevel.

Withtwolightsinplace,ifyouwanttogetmoreelaborate,thenextstepisusuallytoaddathirdlight—eithertoprovidedefinitionforthesubject’shairortocreateaninterestingeffectforthebackground,asinthephotoonpage203—

ormaybebothatthesametime.Figure3onpage202showsthelightingusedtocreatethephotoonpage203.

Finally,intermsofcreativelighting,whybenormal?Remember,youdon’thavetoilluminateanentiresubject.Sometimeslessismore.Ifyouonlyrevealpartofaface,aprofile,orportionsofabody,thepartthatismysteriousandnotrevealedmayseemmoreinterestingthanwhatyouhaverevealed.Considerintentionallyonlylightingportionsofyoursubjects,orplayingwithhigh-keyandlow-keylighting.Thephotoonpage205showshowadarkenedroomandabigsoftboxcancreateadramaticportrait.

Bylookingatthecatchlightsintheeyesofasubjectinastudioshot,youcanusuallytellagreatdealaboutthelightingthatwasused.

ThisisacloseupofNicky’seyesfromthephotoonpage200.Lookingcloserathislefteye(aboveright),youcanseereflectionsoftheshapesofthelightingsourcesthatwereused.

ThisisthelightingsetupthatwasusedintheportraitofNickyonpage200.TheshapesofthelightsourcesappearascatchlightsinNicky’seyes.

ReadingtheCatchLights

Forme,oneofthebestwaystolearnaboutphotographyistolookatphotos.WhenIseeaphotoIlike,Itrytounderstandhowthephotowasmade.

Inthesameway,Iliketolearnaboutstudiolightingbydeconstructinghowimageswerelit.

Ifyouweren’ttherewhenthelightswerearranged,thebestwaytofigureoutalightingsetupistolookcloselyatthecatchlights—thereflectionsofthelightingsourcesthatyoucanusuallyfindintheeyesofaphoto’ssubject.

Ifyoulookclosely,you’llseecrossshadowsinthisshotofamodel,indicatingthatatleasttwolightswereusedcomingfromopposingdirections.Inaddition,Iusedathirdlighttocreatethebackgroundeffect.

Thisisthelightingsetupthatwasusedforthemodelphotographshownonpage203.

Iaskedthismodeltomovetheplaneofherfaceawayfromthelargesoftboxpositionedtothemodel’sleft.Withoutfill,therightsideofthemodel’sfacedisappearsintheshadows—whichhelpscreateadramaticcontrasttoherbeautifuleyesandhair,becauseviewersautomaticallyseethisstrikingfaceincontrasttothedarknessthatsurroundsit.

ThisisthelightingsetupIusedtocreatethephotototheright.Noticehowsimpleitis—onlyonegiantsoftboxandadarkenedroom.Youdon’thavetohavealotoffancyequipmenttomakeadramaticphoto.

StudioHigh-KeyandLow-KeyLighting

High-keyimages—meaningthosethatarebright,white,andsupposedlyoverexposed—andlow-keyimages—photosthataredark,black,andsupposedlyunderexposed—haveaplaceincreativestudiophotographywhetheryouareusingcontinuouslightsorstrobes.

Ahigh-keysubjectisolatesfeaturesagainstabackgroundofwhite.Topulloffahigh-keyportraitorstilllife,youneedasubjectthatiscompositionallyinteresting,placedonabrightbackground.Thenextstepisusuallytooverexposewiththehigh-keyeffectinmind.

Inthisway,anapparentdisadvantage(overexposureandexcessivebrightness)canbeturnedintoanadvantagethatemphasizestheformofthesubject.Forexample,high-keyportraitureflatterselegantcheekbonesinaface,andalsohelpsmakevariousskinblemisheslessofanobstacle.

Somehigh-keyimagesareessentiallymono-tonal,meaningbesidesabrightbackgroundthesubjectdoesn’tvarymuchintonalrange.Butinstudioportraiture,themostcreativehigh-keyeffectsinvolveislandsofcolor:eyesandlipsstandoutagainstastarkwhitebackground.

Insomerespects,low-keyphotographyistheoppositeofhigh-key:subjectsshouldbephotographedonablack(orverydark)background,typicallywithselectiveilluminationofthesubject,andusuallyunderexposed.Thepointhereistocreateasenseofmystery—andtohighlighttheportionsofthesubjectthatarelitincontrasttothedarkoverallcastoftheimage.

Icarefullyplacedthisfragilesnakeskinonatranslucentsurfaceandlititfromunderneathwithastrobe.Thesnakeskinismuchmoredramaticthanitwouldbeonavariegatedbackgroundbecauseitispresentedasahigh-keyimageonsuper-white.

50mmmacro,1/160ofasecondatf/5.6andISO200,tripodmounted

Thisisessentiallyasinglelightportrait,positionedtothemodel’sleft.Overexposingthephoto,toemphasizethehigh-keyaspectsoftheratherharshlightingcreatedaninterestingandcreativeportraitthatisalmostmask-likeratherthanhuman.

Inthisstudioshotofabouquetofroses,Iplacedtheflowersonablackbackgroundandintentionallyunderexposed,creatingalow-keyeffectwheretherosesstandoutbutthebackground—andeventhevaseandgreenery—fadesotheyarenotnoticeable.Alltheviewerreallyseesaretheroseblossoms.

Ipositionedthismodelonablackseamlessbackgroundsurroundedbydarkness,onlyrelievedbyasinglelightpositionedaboveherheadtoherleft.Aswiththeroses,alltheviewerreallylooksatisthemodel,apparentlystandingunderaspotlight.

LightingintheDigitalDarkroom

Iusedsomeofthetechniquesshowninthissectiontoenhancethecolorsandcontrastinthisdoublerainbowimage.

42mm1/160ofasecondatf/6.3andISO200,handheld

Multi-RAWProcessing

Haveyoueverhadtheexperienceofsnappingaphotoandthinkingitwasanepiphanyofperfectcompositionandlighting,butuponreturninghomeandopeningtheimageonyourcomputeritdidn’tmeasureuptoyourexpectations?Thishasoftenbeenmyexperience!Thegoodnewsisthatwhatyouseeonyourcomputer—oronyourcameraLCD—isthewayacomputerrendersyourimage,notthewayitis.ThisrenditionisonlyoneofthemyriadpotentialimagesthatcanbemadefromyourRAWfile,butonlyifyoushootRAW.

Youaresmarterthanyourcomputer—oreventhanyourcamera!Ifyourcameraisrenderinganimageoneway,butyouseeitinyourmind’seyeadifferent(read:better)way,there’saprettygoodchanceyourimagecanbefixed.

Multi-RAWprocessingisthefirstlineofattackinthiskindofsituation.Letmeexplain.

Youmightthinkyouaredonewithlightingwhenyouclicktheshutteronyourcameraandmakeyourexposure.Butwithdigitalphotography,you’dbeverymuchmistaken!Almosteveryaspectoflighting—includingintensity,quality,colortemperature,andeventhedirectionofthelight—canbeadjustedinthedigitaldarkroom.

Inmanycases,youcanalsoaddspecialeffects—forexample,makeanimageseemtobehigh-keyorlow-key—evenwhenanimagewasn’tshotthatway.

It’sbetter,ofcourse,tolightaphotoaswellasyoucanintherealworld,andcarefullychoosethebestexposuresettings.Butthisisn’talwayspossible.Andevenwhenitmightbepossible,sometimesitislessworktofixalightingprobleminpost-processing.

Myadviceistogetitrightinthecamerawheneverpossible.Buttheoreticalperfectionistheenemyofthegood.Photographyasacraftisaboutwhatispossible,andthetrade-offsyouneedtomakeinordertomake“thepossible”happen.Sometimesasapracticalmatteritissimplylessworktoadjustthingsonyourcomputerafterthephotohasalreadybeentakenthantogeteverydetailexactlyrightduringtheshoot—andsomethingsarepossibleinthedigitaldarkroomthatcouldnotbeachievedduringtheshootitself.

AnselAdamsfamouslycomparedhisworktoamusicalcomposition,withhisnegativeasthescoreandaprintmadefromthatnegativetheperformance.Thismetaphorcarriesovertodigitalphotography,withtheRAWcapturethecomposition,andwhatyoudowithittheperformance.Bytheway,fineprintmakingfromdigitalfilesisitselfachallenge,craft,andanart—soIsupposeindigitalphotographyaprintisaperformanceofaperformanceofascore!

Thephrase“RAWcapture”isimportant.RAWfileformatsdifferdependinguponthecameramanufacturer,buttheyallpreservetheentirerangeofdataintheoriginalcapture.Mostbetterdigitalcameras—includingalmostallDSLRs—allowyoutomakeRAWcaptures.CheckyourcameramanualforinformationabouthowtosetyourcamerasoitsavesexposurefilesintheRAWformat.

abouthowtosetyourcamerasoitsavesexposurefilesintheRAWformat.

YourcamerawillprobablybeabletocaptureinJPEG—acompressedfileformat—orinRAW.Bytheway,it’slikelythatyoucansetyourcameratomakebothJPEGsandRAWfiles,withtheadvantagesofboth—immediacyontheonehand,andtheabilitytoaccessalltheexposuredataontheother—atasmallcostinextraspacebeingrequiredonyourmemorycards.

IalmostalwayssavemycapturesasRAWfilesbecausetogetthemostoutofyourdigitalexposure,youneedtomakesureyou’vecapturedtheimagedatainRAWformat.

It’sprettywellknownthatwithinasingleRAWcaptureyouhaveagreatdealofexposurelatitude.UsingtoolsthatincludeAdobeCameraRAW(ACR),AdobeLightroom,andsoftwareprovidedbycameramanufacturers,youcanopenimageswithlighteranddarkerexposurevalues.Thischangeinexposureoftentranslatesvisuallyintoanapparentchangeinlighting.

BypullingdifferentversionsprocessedfromasingleRAWfileintoPhotoshopandcombiningthemyoucancontroldistinctareasofaphoto—forexample,lighteningpartofaphotowithoutlighteningtheoverallimage.Forsomeexamples,andamoredetailedexplanationoftheprocess,seepages216–223.

It’slesswellknownthatbesidesexposure,youcanalsochangemanycreativeaspectsofthelightingincludingitsappearance,quality,andcolor.AnythingthatcanbemodifiedorenhancedinaRAWfile—andthatspeakstoalmosteveryaspectofaphoto—canbeusedselectivelyinthefinalimage,thankstothepoweroflayersandmaskinginPhotoshop!

I’llshowyousomeexamplesofusingthepowerinherentinRAWtochangetheemotionalimpactofthelightingonpages222–223.

Bytheway:Imagemodificationsviamulti-RAWprocessingdon’thavetobehuge.SometimesI’llusethistechniquejusttomakeminormodificationsinanimage.Forinstance,Imightwanttopresentthesubjectagainstadarkerbackground(seepage221foranexample).

ControllingExposurewithMulti-RAW

UsingtheExposuresliderontheBasictabofACR,youcanmovetheexposure

settingsappliedtoanimageupordownineitherdirectionbyfourf-stops.Bytheway,theunderlyingACRRAWconversionengineworksinexactlythesamewayastheAdobeLightroomRAWconversionprocess—it’sjusttheuserinterfacewrappersthataredifferent.

Fourf-stopsineitherdirectiontranslatestoaneightf-stoprange.Sinceeachf-stopletsinhalfthelightoftheonethatprecedesit(seepages82–83formoreaboutf-stops),thisanenormousrange,somethinglikeatheoretical64timesfromdarkesttolightest.Ofcourse,intherealworldthisextendedrangeisnevercompletelyusable—butyoudohaveagreatdealofcontroloverhowyourenderaphotofromitsRAWfile.

WhenyoufirstopenmanyimagesinACR(orLightroom)youmaynotlikethewaytheylookthatmuch.Forexample,theproblemmaybethattheimageistoodarkintheforeground—buttheskyisbasicallyokay.Adjustingtheimageoveralltomakeitlighterwouldmakeallpartstoolight.Thisiswheremultipleprocessingcomesin.

ACRversusLightroom—andPhotoshop

WhileLightroomandACR(AdobeCameraRAW)lookprettydifferentintermsofuserinterface,theunderlyingRAWprocessingenginethatconvertsRAWfilesintosomethingusableinthesetwopopularprogramsisthesameengine.Furthermore,inbothprogramstocombinemultiply-processedRAWfilesintoasingleimageyouneedadditionalsoftware—usuallyPhotoshop.

Duetospacelimitations,CreativeLightingcannotbeabookaboutbasicPhotoshopprocessing.Idon’twanttobeoneofthoseauthorswhosays,“Tolearntherealdealyouneedmyotherbook!”ButthefactisthatIcannotteachyouPhotoshopinthecontextofthisbook.

Ifyouneedmorehelpwithlayers,masking,andhowtointegratePhotoshopinyourworkflowwitheitherACRorLightroom,pleasetakealookatmysuggestionsonpage250.

IntheclearlightofaNovemberday,IstrodeupthecanyoncreatedbytheVirginRiverinZionNationalPark,Utah.Followingthecourseoftheriverwaswetwork,andIstruggledupthelabyrinthoftheVirginNarrowsmakingsuretokeepmycameraequipmentdry—whichwasmorethancouldbesaidforme.

Acoupleofmilesuptheriver,aroundabend,thesunfromtheshortenedautumndayfiltereddownandbacklitthistreeonacliffwall.Ipausedto

grabashot,thenthelightwasgoneandtheNarrowsplungedintoshadows.

56mm1/60ofasecondatf/5.6andISO320,handheld

AtdefaultsettingsinCameraRAWtheimagelooksprettydark,particularlyintheforeground.Ifyouprocessedthephotousingthedefaultsettings,itwouldbetoodarkandnothingtoreallywritehomeabout.

Step1:InAdobeCameraRAW(ACR),slidetheExposureslidertotherighttoopenuptheforegroundrocks.Forthisversionoftheimage,concentrateonhowtherocksintheforegroundlook.Thetreemaybecometoolight,butdon’tworryaboutit.

Step2:HolddowntheAltkeytochangetheOpenObjectbuttontoOpenCopy.ClicktheOpenCopybutton.TheimagewillopeninPhotoshopinanimagewindow.

Step3:InPhotoshop,chooseLayer►New►LayerFromBackgroundandnamethelayer“ForegroundRocks.”IfyoulookintheLayerspalette,you’llseethelayer.

Step4:OpentheRAWimageinACRagain.UsetheExposureslidertogetthetreejustthewayyouwantit.Theforegroundrocksmaybecometoodark,butthat’sokay.

Step5:HolddowntheAltkeytochangetheOpenObjectbuttontoOpenCopy.ClicktheOpenCopybutton.TheimagewillopeninPhotoshopinanimagewindow.

Step6:Withthetreeimagewindowthatyoucreatedinstep5stillselected,chooseLayer►New►LayerFromBackgroundandnamethelayer“Tree.”

Younowhavetwoversionsofthecapture—oneprocessedfortheforegroundrocksandoneprocessedforthetree—openintwodifferentimagewindowsinPhotoshop.

Step7:Makesurethetreeimagewindowisselected.HolddowntheShiftkeyanddragthe“Tree”layerfromitsimagewindowontothe“ForegroundRocks”layerinitsimagewindow.

Therearenowtwolayers,“Tree”and“ForegroundRocks,”intheLayerspalette.

Youwillonlybeabletoseethe“Tree”layerintheimagewindow.The

Youwillonlybeabletoseethe“Tree”layerintheimagewindow.The“ForegroundRocks”layerwillbehidden.

Step8:Withthe“Tree”layerselectedintheLayerspalette,chooseLayer►LayerMask►HideAlltoaddalayermasktothatlayer.

TheHideAlllayermaskhidesthelayeritisassociatedwith(inthiscasethe“Tree”layer)andappearsasablackthumbnailintheLayerspaletteonthe“Tree”layer.

Step9:SelecttheGradientToolfromtheToolbox.

Step10:IntheLayerspalettemakesurethelayermaskisselectedonthe“Tree”layer.

ClicktheDefaultColorsbuttonintheToolboxorpressDonthekeyboardtosetwhiteastheForegroundcolorandblackastheBackgroundcolor.

Step11:UsetheGradientTooltodragablack-to-whitegradientstartingatthebottomoftheimagewindow,andextendinguptojustunderthetree.Thiswillleavetheforegroundrockslighterandblendinthe“Tree”layerinanatural-lookingway.

IfyoulookatthelayermaskthumbnailintheLayerspalette,you’llseethegradientyoujustcreated.

Thefinalmulti-RAWimageisshownonpage213.

CreativeEffectsusingMulti-RAW

Ioftenusemulti-RAWprocessingtocreativelychangethelightinginanimage.Forexample,withtheraindropsonaflowershownhereonthesetwopages,Iwantedtopresentthecompositionagainstarich,blackbackground.Thiswaseasytodowithsimplemulti-RAWprocessing.

First,IprocessedadarkerversionusingAdobeCameraRAW(left).ThenIprocessedaseparate,lighterversionwithACR(bottomleft).IcombinedthetwoversionsaslayersinPhotoshop,andthenaddedaHideAlllayermasktothelighterversion.Finally,Ipaintedintheflowerinthelighterversionatpartialopacity,usingthelayermask.

Theideahere—andinagreatdealofmultipleRAWprocessing—istoharnesstheexposurerangewithineachandeveryRAWfile.There’snoreasonthatyouhavetoprocesstheentireimagebasedononlyasingleoneofthesepotentialities.Youcanpickandchoosewhichpartsofyourimageshouldbeprocessedatwhichexposure—uptotherangeoftheexposuresthatareinherentwithintheRAWfile.

Furthermore,itisnotonlytheexposuresettingsthatcanbechangedduringtheRAWconversionprocess.ControlssuchasFilllighting,Brightness,Black,andContrastgiveyouagreatdealofpowertoimpacttheapparentqualityofthelightinanimage—orinselectiveportionsofthephoto.Additionally,controlsrelatedtoColorTemperature,Tint,andSaturationallowyoutoplaywithoverall(orselective)lightcolorandquality.

Thelightingwasovercastbutbrightfollowingarainstorm.WhenIsawthesewaterdropsonajadeplant,myideawastoisolatetheplantonablackbackground,almostasifitwereastudioshot.Toaccomplishmyvision,firstIunderexposedtheimageandthenIprocessedtheRAWfiletwice:oncefortheflower,andoncetomakethedarkbackgroundgoblack.Thefinalstepwastoretouchoutacoupleofdistractingelementsatthetopandbottomleftoftheimagethatdidn’tbelongtothemainportionoftheflower.

200mmmacro,36mmextensiontube,1secondatf/40andISO100,tripodmounted

WiththissunsetimageofthePointReyesLighthouseatthePointReyesNationalSeashore,thedefaultsettingsweren’tbadandproducedaperfectlyacceptablebackground.ButIwantedtocreativelyenhancethetonalityoftheimagetocutthehaze,makethesunsetcolorsseemmorevivid,andmaketheskyamoredramaticblueabovetheareawherethesunwassetting.

ToaccomplishtheeffectIwaslookingfor,IprocessedtwoversionsinACR:alighterandbluerversion(left)andadarkermoresaturatedversion(bottom).IcombinedthetwoversionsinPhotoshopandusedalayermasktoblendthemtogether(seepages216–219formoreaboutthistechnique).Thedarkerversionwasusedtoaccentuatethesunsetcolors,andthelighterversionwasusedtoadddramaticbluetotheskyandocean.

OnawarmspringafternoonIvisitedthelighthouseatPointReyes,California.Thisextremelyexposedwesternpromontoryisoftencoveredwithfogandsubjecttoextremelyhighwinds.Soitwasapleasuretophotographthelighthouseinbalmyweatheratsunset.

Iusedmulti-RAWprocessingtocreativelyenhancethedramaofthephotobyamplifyingthelightingeffectalreadycreatedbythesunset.

HDRandLighting

Youmayhavenoticedthatsomeoftheimagesinthisbookarecreatedfrommorethanoneexposure.Thissectionexplainswhyandhow.

Ifsomethingisgood,thanmorethanoneofthethingmustbebetter,right?That’sthelogicbehindtakingtheexpansionoftonalrangepossibleinasingleRAWfile—andextendingthetonalrangefurtherbythrowinginmorethanoneRAWfile,witheachversionshotusingdifferentexposuresettings.

Thelogicisbasicallyflawless:ifyouhavethreecapturesofthesamesubjectmatter,and—withalltheothersettingsunvaried—youmakeexposuresat1second,2seconds,and3secondsthenyouhaveclearlyincreasedtherangeofpossibleexposurevaluesoverasingleexposurewhenyouselectivelycombinethethreeexposures.Theadditionaldynamicrangegarneredfromtheadditionalexposuresmayeasilybeperceivedascreativelightingenhancements.YouhaveaddedtothealreadyvastexposurerangeinherentinanyRAWcapture.

Sowhat’sthecatch?Photographyisanartofwhatispossible,andthecraftofmakingimagesalwaysinvolvestrade-offs.Youcanmakeinformeddecisionsabouttechniquesonlyifyouknowtheplusesandminusesofthepossibilities.

WithHDR,thereareacoupleofimportant“gotchas”:

Therequirementthatthecapturesbe“ofthesamesubjectmatter”implies(usually)thatyoursubjectisn’tmoving.Thecamerashouldn’tmoveeither.ThismeansthatHDRworksbestwithstaticphotographyofmotionlesssubjectssuchaslandscapes—althoughIhaveseeneffectiveHDRimagescapturedusingaflashfiredinquicksuccession.Anotherproblemisthatcombiningtheexposureswhenthesubjectmatteriscomplexcanbeadauntingtask.AutomatedHDRsoftwaresuchasHDRsoftfromPhotomatixorMergetoHDRProinAdobePhotoshopattemptstohelpwiththis,butthesoftwaredoesn’treally“know”howyouwanttochangethelighting.TheoveralleffectfromHDRsoftwarecanbequiteinteresting,dependingupontheimage—andIamsometimesveryhappyusingthissoftware.Butessentially,youarenotgoingtobeableto

specifywhichareasyouwanttoadjustthewayyoucanwhenyouputmultipleexposurestogetherviahandlayering.

Hand-HDR—theprocessofcombiningdifferentexposuresusinglayersandlayermasks—istheonlywaytoeffectivelyusethelightingindifferentexposuresfordifferentareasofthefinalimage,preciselyasyou’dlike.Thistechniqueworkswell,butitdoestaketimeandindividualattentiontoeachimage.

Youalsoshouldusuallyplantobracket—whichissimplyfancyphotographerjargonfor“varying”—theshutterspeedratherthantheaperture.Ifyoubrackettheaperture,youriskchangingthedepth-of-fieldintheimagesthatwillcompriseyourfinishedphoto—notanissuewhentheshutterspeedisvaried.Iftheentireimageisinfocusatinfinity,thenthisisn’tanissueandyoucanfeelfreetobracketusingapertureorshutterspeed,orboth.

Bytheway,IusuallybracketmyHDRimageryusingmanualexposuremode,insteadofusingthebracketingprogramsbuiltintomycamera.IfindthatwhenIvarytheshutterspeedIambetterabletodecidehowmuchlighterandhowmuchdarkerIneedtogotogetthelightsanddarksthatIneedtocompositetogethermyfinalimage.

Forexample,asthesunclearedthePanamintRangetotheeast,itlittherocksandtexturesoftheAlabamaHillsandthesnowyelevationoftheHighSierracrestallthewayuptoWhitney.Cameraontripod,Ishotthreeexposuresat1/10ofasecond,1/30ofasecond,and1/80ofasecond.Eachcapturewastakenat48mm,f/8andISO100.

The1/30ofasecondexposurebecamethebackgroundlayerinPhotoshopbecauseitwasthebestoverallexposure,althoughtheskywastoolightandtheforegroundrocksweretoodark.Itwaseasytousethe1/80ofasecondexposuretodarkenthesky,andthe1/10ofasecondexposuretolightentheforeground.

Abriskautumnmorningfoundme,mycamera,andmytripodpoisedbeforedawntocapturethelightingasthesunrosetostrikethetopofMt.Whitney,thetallestmountaininthecontinentalUnitedStates.Whilethescenethatunfoldedinfrontofmewasverybeautiful,IknewthatnosingleexposurecouldcapturetheentiretonalrangethatIsaw—sowithmycamerafirmlyinplaceonmytripod,Ibracketedtheshutterspeedtocreateexposurevariations.Usingthesevariations,myplanwastopickandchoosebasedonthelighting,andusethebestportionsofeachcaptureinacombinedimage.

48mm,3exposurescombinedinPhotoshopwithshutterspeedsof1/10ofasecond,1/30ofasecond,and1/80ofasecond;eachexposureatf/8andISO100,tripodmounted

Myfirstshotbecamethebackgroundfortheimageshownonpage225.Ilikedthemoderatetones—itwasagoodsolidbasefortheimage.

Mysecondshotbecamethesky,becauseitwasdarkerandpreservedtherichtonesoftheskyandMountWhitney.

Iusedthethird,lightershottobringouttheforegrounddetailsthatwereobscuredinboththebackgroundanddarkerversions.

“Lighter”layer

“Darker”layer

“Background”layer

Allthreeexposures(right)wereputtogetherinPhotoshopusinglayersandlayermasks.IfyoulookatthelayermaskthumbnailsintheLayerspalette(below),youcanseethatthemaskswereprimarilycreatedusingtheGradientTool,justlikethemulti-RAWprocessingexampleshownonpages216–219.Thedifferencebetweenmulti-RAWandhand-HDRisthatwithhand-HDRyoucombineseveraldifferentcapturestogetawiderdynamicrange.Withmulti-RAWyouprocessthesamecaptureseveraltimestogettheexposurerangeyouneed.

“Highlights”layer

Standinginastairwell,andlookingup,Iknewthecontrastsbetweenlightanddarkweretoogreatforasingleshot.Withmyfisheyelenspointedstraightup,ImadethethreeexposuresshowntotheleftandcombinedtheminPhotoshopusinglayermasksandtheBrushTool.

“Midtones”layer

Ifyoulookatthelayermasksaboveandbelow,you’llseesoftstrokescreatedusingtheBrushToolwiththeForegroundcolorsettowhite,andtheBrushTool’sHardnesssetto0%.IvariedtheMasterDiameteroftheBrushToolasneeded.

TheLayerspalettetellsthestory:Istartedwithacapturethathadaniceoverallexposure,thenIaddedasecondcapturethatenhancedmidtones,andfinallyaddedathird,lightercaptureforhighlights.

Scotty’sCastleisatouristattractioninaremotecornerofDeathValleyNationalParkinCalifornianeartheNevadaborder.Thisfantasticmansionwasbuiltinthedesertinthe1930s.

10.5mmdigitalfisheye,4exposurescombinedinPhotoshopwithshutterspeedsof1.6seconds,4/5ofasecond,2/5ofasecondand1/5ofasecond;eachexposureatf/22andISO200,tripodmounted

ThesixexposuresofthedahliaIusedtocreatetheHand-HDRversionareshowninAdobeCameraRAW.

ThelayersthatcomprisethedahliaareshownintheLayerspalettegoingfromlighter(the“Background”layeratthebottomofthestack)todarker(“Layer5”atthetopofthelayerstack).ThethumbnailsofthelayermasksshowhowIusedtheBrushTooltocreatemasksthataddeddetailtotheflower.

Ifoundanearlyperfectdahliagrowinginoneoftheprotectedside-yardraised

Ifoundanearlyperfectdahliagrowinginoneoftheprotectedside-yardraisedbedsthatIuseforgrowingflowers.Tomakethisimage,Ipositionedtheflowerinavaseinfrontofawest-facingwindow.

Myplanwastousethestronglateafternoonsunasmysolelightsource.Ihungapieceoftranslucentwhitetracingpapertoactasadiffuserbetweenthewindowandtheflower.

Sincethisdahliaisrelativelyopaque,thefrontoftheflowerwasindeepshadowbecausethebacklightingfromthesundidn’treachit.Iusedasmallpieceofwhitecardboardasareflectortoaddatouchoffilllighttothefrontoftheflower.

Tomakethebackgroundappeartrulywhite(asshowninthefinalimageonpage231),Ishotaseriesofimagesatbracketedexposures,allbiasedtothehigh-key(oroverexposed).

InPhotoshop,Istartedwiththelightestexposure(3seconds,bottomlayerintheLayerspalette).Inthisversion,thebackgroundwascompletelywhiteandtheflowerwashardlyvisible.Usingdarkerversions,layers,masks,andtheBrushTool,Isuccessivelylayeredinthedetailsintheflower.

Myideawiththisdahliaisthatitwouldlookperfectbacklitonawhitebackground,butittookalittleworkinPhotoshoptogetthere.

200mmtelephotomacro,6exposurescombinedinPhotoshopwithshutterspeedsof3seconds,2seconds,1second,1/2ofasecond,1/4ofasecond,and1/6ofasecond;eachexposureatf/32andISO100,tripodmounted

Onpages230–231IshowedyouhowIusehandHDRprocessingtopresentaflower(oranyothersubject)onanapparentlycompletelywhitebackground.Thesametechniqueinreversecanbeusedtopresentyoursubjectonablackbackground.

First,ofcourse,youneedtophotographyoursubjectonadark—preferably

First,ofcourse,youneedtophotographyoursubjectonadark—preferablyalmostblack—background.Intheexampleshownhere,Isnippedaranunculusflowerfromaplantinmygarden.Next,Iplacedthebudinasmallvase.Icoveredthevasewithasmallblackvelvetcloth.

Blackvelvetturnsouttobeparticularlyeffectiveforthispurposebecauseitabsorbslightwithlessofthehighlightsthatyou’llfindwhenshootingafabricbackgroundwithamoretypical“sheen.”You’dbesurprisedathowmuchreflectivitythereisfromfabricsthatatfirstglanceappeartobeblack!

HerearethethreeexposuresoftheflowerthatIusedtocreatetheHand-HDRversionshowntotheright.

TheLayerspaletteshowshowthelayerswerestackedfromdarkest(the“Background”layer)tolightest(“Layer2”atthetopofthestack).

Thelayermaskstellthestory.Thelayermaskassociatedwith“Layer1”letstheentireflowershowthroughasagoodbasefortheimage.Themaskassociatedwith“Layer2”addshighlightedareas.

Icreatedthisimageofthisintricateandstrikingfloweronablackbackground(aRanunculusasiaticus)usingthreeexposures,eachexposureusingadifferentshutterspeed.IthenlayeredthethreeversionstogetherinPhotoshopandusedlayermasksto“paint”inaluminousfloweronafullyblackbackground.

85mmmacro,3combinedexposures(1/10ofasecond,1/5ofasecond,and2/5ofasecond),eachexposureatf/21andISO100,tripodmounted

EnhancingLightingwithAdjustmentLayers

Whenitcomestoenhancinglightinginpost-processinginthedigitaldarkroomonceaphotohasbeenconvertedfromtheRAWfile,Ihavegoodnewsandbadnews.Boththegoodandthebadcomedowntothis:therearemanywaystogoaboutalmostanything.IfyouareanexperienceduserofPhotoshoporothersoftware,youundoubtedlyhaveenhancementtechniquesyoualreadyliketouse.Otherwise,youmaybebaffledbythemyriadpossiblechoices,andwaystochangetheappearanceofthelightinginaphoto.

IntheremainingpagesofCreativeLighting,I’llshowyousomeofthetechniquesIusetoenhancelightingonceaphotohasbeenconvertedfromRAWandbroughtintoPhotoshop.Photoshopisn’ttheonlysoftwareyoucanusetocreatemanyoftheseeffects,andthewayIshowyoutogoaboutthingsisnottheonlyway—butthesetechniqueswillshowyousomeviableapproachesandprovideyouwithaplacetostartthinkingaboutlightinginpost-processing.

Adjustmentlayersareagreattoolforenhancingimagesbecausetheyaregenerallyeasytoapply,youcanseetheimpactofwhatyouaredoingasyoudoit,andtheyarenotionallynon-destructive.ThetoolsavailablethroughadjustmentlayerscanbeaccessedinalternativewaysinPhotoshop—butadjustmentlayersprovideakindofone-stop,easyshopping.Adjustmentlayersalsodon’taddmuchtoimagefilesize—whichmaybeimportanttoyou.

IfyouopentheAdjustmentspalette(Window►Adjustments),asyoucanseeinthefigurebelowleft,youhaveaccessto15adjustments(eachadjustmentisrepresentedbyaniconatthetopofthepalette).

IfindthattheadjustmentsIusemostfrequentlywithmyphotosare:

Brightness/ContrastCurvesExposureColorBalanceChannelMixer

TheseAdjustmentlayersareprettypowerful,nottomentionagreatdealoffun.Irecommendplayingwiththem.Forexample,Ioftenneedtoadjustthebrightnessandcontrastinmyphotos.

brightnessandcontrastinmyphotos.

Brightness/ContrastAdjustment

Checkoutthephotooftwoacrobatsonawhitebackgroundonpage235.Thewomanappearstobefloatinginmidair.Ofcourse,there’snorealmagic—onlyagiftedperformerwithamazingbodystrength.

TheimageitselfwhenoriginallyconvertedfromtheRAWcaptureseemeddullandthebackgrounddidn’tappearwhite(belowleft).

Onewaytoresolvetheseissues,andtomakethelightingintheoverallimageseemmoreattractive,wastoapplyasimpleBrightness/Contrastadjustment.BytakingdowntheContrastandincreasingtheBrightness,theoverallappearanceoftheimagewasgreatlyenhanced.

TheAdjustmentspalettegivesquick,one-stopshoppingforenhancingimages.Ifyouhoveroverthebuttonsonthepalette,atooltipwillappeartellingyouwhateachonedoes.

Iphotographedtheseprofessionalacrobatsastheymodeledonawhitebackgroundusingtwosoftboxesforlighting.UsingaBrightness/ContrastadjustmentlayerinPhotoshopgreatlyimprovedtheoveralllookofthelightingintheimage.

WhenoriginallyconvertedfromtheRAWcapture,thephotooftheacrobatsappearsdullandthebackgroundisn’twhite.

Step1:Toenhancethephoto,opentheAdjustmentspalette(Window►Adjustments),andclicktheBrightness/Contrastbutton.

ABrightness/ContrastadjustmentlayerisaddedtotheLayerspaletteandtheAdjustmentspalettechangestoshowsettingsandsliders.

NoticethatawhiteRevealAlllayermaskisalsoaddedontheadjustmentlayerintheLayerspalette.Ifyouwantedtolimittheadjustmenttoaspecificareaoftheimage,youcouldpaintonthelayermaskwiththeBrushToolandsettheForegroundcolortoblacktohidetheadjustmentfromthatarea.Thiswillworkforalltypesofadjustmentlayers.

Step2:MovetheBrightnessandContrastsliderstoenhancetheimageasyouwish.Forthisimage,IsettheBrightnessto48andtheContrastto–19.

ItookthisphotofromarockformationinthehillsoverlookingSanFranciscoBayusingafisheyelens.Tomakethisimagemoredramatic,theskyandcloudscouldusesomelightingenhancement—blendingmodestotherescue!

LightQualityandBlendingModes

AsthecloudsrolledinfromtheGoldenGate,theycrossedSanFranciscoBayanddissolvedintotranslucentwatervaporwhentheyhitthehillsoftheCaliforniaCoastalRange.Totheleftismyfisheyelensshotfromapromontoryshowingthiscloudactionatsunset.

Foratrulydramaticimage,therecouldbesomeenhancementofthelightingeffects,particularlyontheclouds.Infact,thisisthecasewithmanyphotoswhenyoulookattheminPhotoshop—achallengethatcanbehandledusingblendingmodes.

Youdon’tneedtogetreallyfancy(althoughyoucanifyouwantto)whenusingblendingmodes.Ablendingmodespecifieshowthepixelsinalayerarecombinedwiththepixelsinthelayerbeneathit.WithNormalblendingmodespecifiedat100%Opacity,onlythatlayershows,butwhenyouchooseanotherblendingmodebesidesNormal,pixelsarecombinedindifferent—andsometimesinterestingandexciting—ways.Formoreinformationaboutthewaydifferentblendingmodesworkvisually,checkouttheresourcesonpage250.

ThelightinginmostbackgroundlayerscanbeselectivelyenhancedifyouduplicatethelayerandchooseablendingmodeotherthanNormaltocombinetheduplicatewithitself.Youcanseethedrop-downlistofblendingmodesthatareavailablefromtheLayerspaletteshowntotheleft.

Notethatyoudon’tneedtoapplytheblendedlayeratfullopacity—ifyoudo,it

Notethatyoudon’tneedtoapplytheblendedlayeratfullopacity—ifyoudo,itwilloftenleadtoeffectsthatareheavy-handedandlacksubtlety.

YoucanaccessblendingmodesusingtheLayerspalette.Thereare27blendingmodes,dividedintodifferenttypesonthedrop-downlist.

Tryapplyingblendingmodestoyourimagestoseehowtheycanenhancelighting.Here’show:

Step1:OpenanimageinPhotoshopthathasonelayer.IntheSanFranciscoBayimageusedhere,thereisa“Background”layer.

Step2:SelectLayer►Duplicateandnametheduplicatelayer“Test.”The“Test”layerwillappearselectedabovethe“Background”layerintheLayerspalette.

Step3:Withthe“Test”layerselectedintheLayerspalette,clickthebluearrowstotherightoftheBlendingModedrop-downlisttoselectablendingmodeandapplyittothe“Test”layer.

ThisishowtheimagelookswhentheLinearLightblendingmodeisappliedtothe“Test”LayeratanOpacityof60%.

Here’stheimagewiththeColorBurnblendingmodeappliedtothe“Test”LayerwithanOpacitysettingof40%.

“VividLightBlendingMode”layer

“SoftLightBlendingMode”layer

“MultiplyBlendingMode”layer

“ScreenBlendingMode”layer

FouroftheblendingmodesIusemostoftentoadjustlightinginphotosareScreen,Multiply,SoftLight,andVividLight.Theimpactofusingthesefourblendingmodesisshowntotheright.

Icopiedthe“Background”layer(bottomright)fourtimesandappliedoneblendingmodetoeachlayer.

WhenIcombinethelayers,Irarelydosoas“onesizefitsall”—Iuselayermaskseitherwithagradientorselectivelypaintedontoconstrainthe

maskseitherwithagradientorselectivelypaintedontoconstrainthelightingeffectcreatedbytheblendingmodetospecificareas.YoucanseethisinthelayermaskthumbnailsintheLayerspalettebelow.

Also,noticeintheLayerspalettethattheOpacityoftheselected“VividLightBlendingMode”layerissetat15%.Besidesselectivelypaintingintheeffectsthatyouwantusingthelayermask,youcanreducetheeffectusingtheOpacityofthelayer.

Inthefinalversionoftheimage,shownonpage241,thereisagreatdealofvariegationandcontrastinthelighting—muchofthiseffectisduetoselectiveandcreativeuseofblendingmodes.

ThisfisheyeviewoftheopenskyoftheSanFranciscoBayareafromnearwhereIliveintriguedmewiththewaytheentireskylookslikeagiantroundmarble.Inthisphoto,blendingmodescametotherescue,andenhancedthealreadydramaticlightingeffects.

UsingtheLightingEffectsFilter

Sofar,I’veshownyouwaystochangethequalityandintensityoflightandlightinginyourphotosinthedigitaldarkroom.Itturnsoutthatyoucanalsochangethedirectionalityoflighting.Dependingupontheimage,thisisnotthatdifficulttoachieve,andcanbeverydesirable—althoughyoudoneedtobearinmindthecontextofyourphotoandnottrytocreatelightingcomingfromacompletelyimplausibledirection.

Considerthisphotographofawasptotheleft(theinsect,notthestiff-upper-lippedperson).Clearlythelightingisprettygeneralandambient,althoughaslightshadowshowssomedirectionalitytothelighting(thelightiscomingfromleftandbelowtheinsect).

It’sprettyeasytochangethedirectionoftheprevailinglightinginthephoto,andtomakethedirectionwhatyou’dlikeusingtheLightingEffectsFilter.

IfyouapplytheLightingEffecttoaduplicatelayer,there’snothingtostopyoufromloweringtheOpacitysettingofthelayertocreateamoresubtleeffect.Youcanalsoexperimentwiththeimpactofusingdifferentblendingmodes,andusemorethanonelightingeffectontopofthebackground,asIdidtoaddalittlelightingdramatothephotoofthewasp.

WhiletheLightingEffectsfilterisreallyquitecomprehensive,flexible,andpowerful,youmaynoticethatitdoesn’tredrawshadows.Intheimageofthewaspthisdoesn’treallymattermuch,astheshadowswerenotthatpronouncedtobeginwith.Butinmanycases,yourfinalimagemaylookabitoffifyoudon’talsoworktocorrectshadows—andthismayrequiresomemanualretouching.

Isawawasprestingmotionlessonmylivingroomceiling.Carefullyclimbingontopofaboxonacoffeetable,Iphotographedtheinsectusingatelephotomacrolens.

Step1:WithanimageopeninPhotoshop,duplicatethelayeryouwanttoaddlightingeffectstobyselectingthelayerintheLayerspalette,andthenchoosingLayer►DuplicateLayer.Forthisexample,I’venamedtheduplicatelayer“Test.”

Step2:Withtheduplicatelayerselected,opentheLightingEffectsfilterbychoosingFilter►Render►LightingEffects.

Thisfilteronlyworkswith8-bitRGBimages.Soifyouareworkingatahigherbit-depth,youwillneedtoconverttheimageto8-bitsbychoosingImage►Mode►8Bits/Channel.

TheLightingEffectsdialogboxopenswiththeDefaultstyleselectedintheStyledrop-downlist.

Step3:IntheLightingEffectsdialogbox,thePreviewwindowshowsyouwhattheeffectwilllooklikeonceyouclickOK.

Youcandragthecenterpointtochangethelight’sfocalpoint,anddragthesquarehandlesaroundtheedgesoftheovaltoadjustthedirectionandshapeofthelightedarea.UsethesliderstoadjusttheIntensity,Focus,andotherlightproperties.Ifyoucreateacustomlightingsetupthatyoulike,youcansaveitbyclickingtheSavebuttonatthetopofthedialogbox.

YoucanquicklyaddalightingeffectusingtheStyledrop-downlist.Inthiscase,Iselected2O’clockSpotlightandleftthelightingsettingsattheirdefaultvalues.ThenIclickedOKtoapplythelightingeffect.

HeretheLightingEffectsdialogshowsthedefaultFlashlightStylesettings.Noticethatthefocusofthelightisonthewasp’sback.Toshiftthefocalpointtothewasp’shead,dragthecenterpointinthePreviewwindow.

WhenyouclickOK,thisiswhattheFlashlighteffectlookslikeat100%Opacity.Itisratherdramatic,butdependinguponyourusage,youmaywantamoresubtleeffect.

LoweringtheOpacitysettingofthe“Test”layerto40%createsamoresubduedlightingeffect.Thinkcreativelyaboutthiseffect.Itworksprettywellwithhumanheadshotsaswellaswithwasps!

ThisdialogshowsthedefaultTripleSpotlightStylesettingsappliedtothewaspinthePreviewwindow.

WhileeachpresetStyleisagreatplacetostart,experimentandcreateyourownlightingeffects.Forinstance,thethreelightsinthisStyleuselightyellowasthecolorforthelights.YoucouldchangethatcolorbyclickingthelightyellowcolorsquaretotherightoftheIntensitysliderandselectinganewcolorfromtheColorPicker.Thewindowbelowshowstheeffectofthreedifferentcolorlights.

Anotherwaytodramaticallychangeanimageistouseastrongcoloredlight.Inthiscase,IselectedtheBlueOmniStyle.IthenincreasedtheIntensityandExposuresettings,anddecreasedtheAmbiencesetting.Playaroundwiththeslidersandseewhatyoucomeupwith.There’sno“right”or“wrong”here,justdowhatyoulikeanduseyour,ahem,artisticjudgement.

Third-PartyPluginsthatEnhanceLighting

Whilethereareanumberofthird-partypluginsthatcanbeusedwithPhotoshoptoenhancelightinginthedigitaldarkroom,Photoshopitselfhassomanyfeatures—andisexpensive.SoIdon’twantanyonetothinktheyhavetobuythird-partyPhotoshopenhancements—youcanspendalifetimeandstillnotexploreallPhotoshophastooffer.

Thatsaid,manyprofessionalphotographersandimagecreatorsdousethird-partytoolsaspartoftheirpost-processingworkflowtoenhancethetonalityandoverallappearanceoftheirimages.Forexample,IregularlyusesomeofthefiltersthatareincludedintheNikColorEfexPro,TopazAdjust,andTopazSimplifyplugins.

Whileyoucansometimesusethesefilterstoenhancetheperceptionoflightingwithinanimage,MysticalLighting,fromAutoFXSoftware,isaspecialcasebecauseitisspecificallydesignedtocreatelightingeffectsthatinvolvethedirectionandqualityoflight—andtoenhancelighting.

LikethePhotoshopLightingEffectsfilter,MysticalLightingonlyworksin8-bitmode;ifyouareworkingatahigherbit-depthyouwillneedtoconvertto8-bit(Image►Mode►8Bits/Channel).Also,MysticalLightingincludeseffectsthatcaneasilybeoverdone.It’swisetobejudiciousabouthowyouusethisplugin—andalsotoapplyitseffectstoaduplicatelayersoyoucantakedowntheopacityifyoufindtheimpactisoverdone.

FrombehindawaterfallinZionNationalPark,Idecidedtouseafastshutterspeed(1/1250ofasecond)tostopthemotionofthewater.Thelightonthefallingwaterisdramatic,andpresentsanopportunitytoletMysticalLightingstrutitsstuffbecausethepresenceofstronglightingissoapparentintheunderlyingimage.

LightintheDarkcastsabeamoflightinadirectionandwidthyouspecify.

ThemainMysticalLightingmenugivesyouachoiceofquiteafewspeciallightingeffectsthatyoucanapplytoyourphotos.

RadialLightCastercreatesbeamsoflightsthatradiatefromacentralareayoupick.

Rainbowallowsyoutodrawarainbowinposition.

Ibacklitthesealstroemerias(alsocalledPeruvianlilies)toenhancethenaturaltransparencyoftheflowers.Iarrangedthemonawhitebackgroundsothattheseparateblossomsalmostseemedtobeconnected,andthewhitespacebetweentheflowerswaspleasingtotheeye.TofindoutmoreaboutthetechniquesIusedtocreatethisimage,seepages56–59and230–231.

NotesandResourcesFurtherReading

Ifyou’veenjoyedCreativeLighting:DigitalPhotographyTips&Techniques,Ithinkyoumightalsolikesomeofmyotherbooksthatcoverotheraspectsofphotography:

CreativeLandscapes:DigitalTips&Techniques(Wiley,2011)

CreativePortraits:DigitalTips&Techniques(Wiley,2010)

CreativeBlack&White:DigitalTips&Techniques(Wiley,2010)

CreativeNight:DigitalTips&Techniques(Wiley,2010)

CreativeClose-Ups:DigitalTips&Techniques(Wiley,2010)

CreativeComposition:DigitalTips&Techniques(Wiley,2010)

PracticalArtistry:Light&ExposureforDigitalPhotographers(O’Reilly,2008)

Pleasecomevisitmyblogatwww.digitalfieldguide.com/blog.You’llfindthousandsofphotosandstoriesaboutphotography—manyofthemconcerninglighting.

LearningPhotoshop

CreativeLighting:DigitalTips&TechniquesisnotabookaboutPhotoshop—it’sabookaboutlearninghowtoseelight,andhowtouselightinginyourphotos.Thatsaid,thefinalpartofthebookisconcernedwithoptimizingthelightingofyourimagesinthedigitaldarkroomusingPhotoshop.TheemphasisisusingRAWconversionsandPhotoshopadjustmentstoenhancelightingeffectsthatarealreadypresentinphotos,takingintoaccountthewayviewersarelikelytoperceiveyourphotosandtheirlighting.

I’vetriedtoincludeenoughPhotoshopinformationsothatyoucanusethetechniqueswithyourownphotos.

Atthesametime,Ihaven’tincludedinformationonmanybasicPhotoshoptechniques—becausetheresimplywasn’troominthisbook,andanyhowitisabookaboutlighting,notPhotoshop.

IfyouneedtobrushuponPhotoshopconceptsandtechniques,IthinkyoumightfindoneofmybooksthatisspecificallyaboutPhotoshophelpful.PleasecheckoutThePhotoshopDarkroom:CreativeDigitalPost-Processing(FocalPress,2010)andThePhotoshopDarkroom2:CreativeDigitalTransformations(FocalPress,2011).

SensorSizeandFocalLength

Notallsensorsarethesamesize.Thesmallerthesensor,thecloseragivenfocallengthlensbringsyoutoyoursubject.Forexample,ifasensorhashalftheareaofanothersensor,thenaspecificfocallengthlenswillbringyoutwiceascloseonacamerawiththesmallersensor.

Sincedifferentcamerashavedifferentsizedsensors,itisnotpossibletohaveauniformvocabularyoflensfocallengths.Sopeoplecomparefocallengthstotheir35mmfilmequivalentbyadjustingforthesensorsize.

Tomakethecomparisonwith35mmfilmfocallengths,youneedtoknowtheratioofyoursensortoaframeof35mmfilm,whichiscalledthefocal-lengthequivalency.ThephotosinthisbookwerecreatedusingNikonDSLRswitha1.5times35mmfocal-lengthequivalency.TofindouthowthefocallengthsIusedcomparewith35mmfocallengths,multiplymyfocallengthsby1.5.

Tocomputethecomparablefocallengthsonyourowncameraifyoursensorhasadifferentsizethanmine,youneedtoknowthefocal-lengthequivalencyfactorofyoursensor.Checkyourcameramanualforthisinformation.

Forexample,Itookthephotoofthealstroemeriasonpages248–249usinga200mmfocallengthlenswithmy1.5XsensorsizeNikonDSLR.The35mmequivalenceistherefore200x1.5=300mm.

Software

Inthe“LightingintheDigitalDarkroom”sectionofthisbook,IdiscussanumberofsoftwareprogramsthatIuseinthedigitaldarkroomforpost-processingphotos.Here’sthesoftwarethatImention,alongwitheachpublisher’swebsiteformoreinformation,ortodownloadtrialversions:

publisher’swebsiteformoreinformation,ortodownloadtrialversions:

AdobeCameraRAW(ACR),AdobeLightroom,andAdobePhotoshop:www.adobe.com

AutoFXSoftware,MysticalLighting2:www.autofx.com

NikSoftware,ColorEfexPro3.0:www.niksoftware.com

PictureCode,NoiseNinja:www.picturecode.com

TopazLabs,Adjust4,Simplify3:www.topazlabs.com

Highcontrastinlightingisextremelyimportanttomonochromaticimagery—sowhenIsawsunlightcomingthroughthisoldoaktreeinSonomaCounty,California,Iimmediatelythoughtofblackandwhite.

10.5mm,threecombinedexposures(at1/250,1/125,and1/60ofasecond),eachexposureatf/5.6andISO200,tripodmounted

GlossaryAmbientlight:Theavailable,orexisting,lightthatnaturallysurroundsascene.

Aperture:Thesizeoftheopeningintheirisofalens.Aperturesaredesignatedbyf-numbers.Thesmallerthef-number,thelargertheapertureandthemorelightthathitsthesensor.

BarnDoors:Blackmetalfoldingdoorsthatattachtoalightandareusedtocontrolthewidthofthebeamoflight.

BeautyDish:Circularlightmodifierwithanopaquecenterthatsoftenslight,particularlyusefulincreatingattractiveportraits.

Bracket:Toshootmorethanoneexposureatdifferentexposuresettings.

Chiaroscuro:Moodylightingthatshowscontrastsbetweenshadowsandbrightness.

CMYK:Cyan,Magenta,Yellow,andBlack;thefour-colorcolormodelusedformostoffsetprinting.

Colorspace:Acolorspace—sometimescalledacolormodel—isthemechanismusedtodisplaythecolorsweseeintheworldinprintoronamonitor.CMYK,LAB,andRGBareexamplesofcolorspaces.

Composite:Multipleimagesthatarecombinedtocreateanewcomposition.

Cucoloris:Awood,plastic,orcardboardsheetwithcut-outsthatcanbeplacedoveralightsourcetocreateapatternedeffect.

Diffraction:Bendingoflightrays;unwanteddiffractioncancauselossofopticalsharpnessatsmallapertures.

DSLR:DigitalSingleLensReflex,acamerainwhichphotosarecomposedthroughthelensthatwillbeusedtotaketheactualimage.

Dynamicrange:Thedifferencebetweenthelightesttonalvaluesandthedarkesttonalvaluesinaphoto.

EllipsoidalSpot:Aspotlightthatcanvaryboththesizeandfocusofthespot,withthefocuscontrollingwhetherthespotoflighthassharporsoftedges.

Extensiontube:AhollowringthatfitsbetweenalensandtheDSLR,usedtoachievecloserfocusing.

f-number,f-stop:Thesizeoftheaperture,writtenf/n,wherenisthef-number.Thesmallerthef-number,thelargertheopeninginthelens;thelargerthef-number,thesmallertheopeninginthelens.

Fillcard:awhiteorfoil-coveredcardorboardusedtoreflectlightbackintotheshadowareasofasubject.

Focallength:Roughly,thedistancefromtheendofthelenstothesensor.(Therelationshipoffocallengthtosensorsizeisexplainedonpages250–251.)Framing:Inaphotographiccomposition,positioningtheimageinrelationshiptoitsedges.

Grayscale:Usedtorenderimagesinasinglecolorfromwhitetoblack;inPhotoshopagrayscaleimagehasonlyonechannel.

Grid:Averyusefullightmodifierthatusesapatterntocreateaconcentratedspotoflightcomparable—butmorediffuse—tothelightcreatedusingasnoot.

HighDynamicRange(HDR)image:Extendinganimage’sdynamicrangebycombiningmorethanonecapture,eitherusingautomatedsoftwareorbyhand.

Highkey:Brightlylitphotosthatarepredominantlywhite,oftenwithanintentionally“overexposed”effect.

Imagestabilization:Alsocalledvibrationreduction,thisisahigh-techsysteminalensorcamerathatattemptstocompensatefor,andreduce,cameramotion.

Infinity:Thedistancefromthecamerathatisfarenoughawaysothatanyobjectatthatdistanceorbeyondwillbeinfocuswhenthelensissettoinfinity.

Infrared(IR)photography:Capturesmadeusinginfraredratherthannormal,visiblelight.

ISO:Thelinearscaleusedtosetsensitivityofadigitalsensor.

JPEG:AcompressedfileformatforphotosthathavebeenprocessedfromanoriginalRAWimage.

Keylight:Primarylightusedwithaportraitsubject.

LAB:Colormodelthatseparatesluminancefromcolorinformation.

Lensbaby:Aspecialpurposelenswithaflexiblebarrelthatallowsyoutoadjustthe“sweetspot”(areainfocus).

Lowkey:Dimlylitphotosthatarepredominantlyblack,oftenwithanintentionally“underexposed”effect.

Macrolens:Alensthatisspeciallydesignedforclosefocusing;oftenamacrolensfocusescloseenoughtoenablea1:1magnificationratio.

Monochrome,monochromatic:Amonochromaticimageispresentedasnominallyconsistingoftonesfromwhitetoblack;however,“blackandwhite”imagescanbetintedortoned,andsomayvaryfromstraightgrayscale.

Multi-RAWprocessing:CombiningtwoormoredifferentversionsofthesameRAWfiletoextendthedynamicrangeandcreateamorepleasingfinalimage.

Openup,openwide:Toopenupalens,ortosetthelenswideopen,meanstosettheaperturetoalargeopening,denotedwithasmallf-number.

Photocomposite:SeeComposite.

Pre-visualization:Beforemakinganexposure,envisioninghowanimagewillcomeoutaftercaptureandprocessing.

RAW:AdigitalRAWfileisacompleterecordofthedatacapturedbythesensor.ThedetailsofRAWfileformatsvaryamongcameramakers.

RGB:Red,Green,andBlue;thethree-colorcolormodelusedfordisplayingphotosonthewebandoncomputermonitors.

Snoot:Atubeusedasalightmodifiertodirectabeamoflight.

Softbox:Alightmodifierthatdiffuseslight;instudiolighting,generallyafairlylargerectangularunit.

Sweetspot:TheareathatisinfocuswhenusingaLensbaby.

Toning:Inthechemicaldarkroom,tonersuchassepiaorseleniumwasaddedforvisualeffect;inthedigitaldarkroom,toningsimulatestheimpactofchemicaltoning.

Umbrella:Alightmodifierthatcanbeusedtoreflectlightontothesubject,orlightcanbedirectedthroughanumbrellatocreateadiffuselightingsource.

Iwasintriguedbythesegodetiaseeds.Iusedharsh,directlightingbehindtheseedstomaketheshadowstheycastdarkerandmorepronounced.

85mmmacrolens,1secondatf/51andISO100,tripodmounted

Inblusteryweather,graycloudsgatheredovertheAlabamaHillsofEasternCaliforniaasthesunbattledtoemerge.Inmybonesitfeltlike“rainbowweather”—soIwasreadywithapolarizingfilteronmylenswhenastrongrainbowdidemerge.

HighintheWhiteMountainsalongtheCalifornia-Nevadabordertheeyecantravellongdistances.Inthiscomposition,Itriedtoemphasizethissenseofendlesshorizonbypositioningtheroadontherighttoleadtheviewerupandtotheleftinthecomposition.

CreativeLandscapes

HaroldDavis

Asthesuncameup,itlitthecrestoftheSierraNevadaMountains,wheretheremainsofanovernightstormlingered,soontobechasedawaybythewarmthofthenewday.

CreativeLandscapes:DigitalPhotographyTips&TechniquesbyHaroldDavis

ManufacturedintheUnitedStatesofAmerica10987654321

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Acknowledgements

SpecialthankstoCourtneyAllen,MarkBrokering,StevenChristenson,GaryCornell,AnaïsGarcia,BarryPruett,SandySmith,MattWagner,MikeWatson—andJulian,Nicky,Mathew,andKatieRose,too!

Credits

ProjectEditor:MatthewBuchanan

TechnicalEditor:ChrisBucher

CopyEditor:MatthewBuchanan

Often,ElCapitanseemstoguardtheapproachestoYosemiteValleylikeastonegiant—soIwaspleasedtostumbleonavantagepointthatprovidesa

somewhatunusualviewofa“kinder,gentler”ElCapitaninacompositionwiththeMercedRiverintheforeground.

IntroductionIfyou’veeverstoodontherimofacanyonandwatchedtheafternooncolorsturntosunset,listenedtothesplash,gurgle,androarofariverflowingswiftlypast,orlookedupataspectacularskytoseethecloudssailingby,you’llunderstandtheurgetousephotographytocapturethescenerythatsurroundsus.ButasAnselAdams,thegreatmasteroflandscapephotography,observed,“Landscapephotographyisthesupremetestofthephotographer,andoftenthesupremedisappointment.”

Thereseemstobesomesortofparadoxorconundruminoperationhere.Itisrelativelyeasytofindinteresting—or,indeed,spectacular—landscapes.Unlikesomeotherkindsofphotography,nospecializedgearisneededtocapturetheselandscapes.Inreallife,mostpeoplearemovedbysublimelandscapes,andit’snotuncommontofindromanticandreligioussentimentsbroughtoutthroughalandscapeview.It’seasyformostpeopletointuitivelyunderstandtheemotionalappealofnature’slandscape.

Inaddition,landscapephotographyisnotthemostspecializedortechnicallydifficultkindofphotography.Often,thekeyissueissimplybeingthere.AsAnselAdamsputit,“SometimesIdogettoplacesjustwhenGod’sreadytohavesomeoneclicktheshutter.”

Butdespitetheapparenttechnicallystraightforwardaspectoflandscapephotography,anditseasyappealtoawideaudience,creatinglandscapephotosthatarenottrite,thathelpviewersunderstandunderlyingtruthsaboutthings,andthatconveythesenseofawemostofusfeelwhenconfrontingtheactuallandscapeisdevilishlydifficult.

ConsideringtheimpactthatAnselAdams’sphotographyhashadonmylife,it’shardtophotographhisbelovedYosemiteValleywithoutconsideringsomeoftheimageshe’smadefamous—suchasthephotooftheclearingstormtakennotfarfromwherethisphotowasshot.

Inframingthisphoto,ItriedtokeeptheclassicYosemiteimageryinmindwhilechangingthecomposition—bymovingsoIcouldincludethetreesontheright—toaddmyownstamptothephoto.

AccordingtoIgnatiusofLoyola,“Givemethechild,andIwillmoldtheman.”Myloveforlandscapephotographystartedearlyandhelpedtoformmylife.ThefirstphotoIrememberlosingmyselftofeelingsofaweandwonderatthesublimewasalandscape:alargeprintoftheAnselAdams“MoonriseHernandez,NewMexico”whichwashangingattheMuseumofModernArtinNewYorkCity.Duringthesamevisit,Ilostmyselfinaverydifferentkindoflandscapebecausetheoversized,impressionisticWaterLiliesbythepainterClaudeMonetwasalsoonexhibitattheModern.Iwasonlytenyearsold,butmypathwaschangedirrevocably.

Intheyearsthathavefollowedasaphotographer,landscapephotographyhasbeenoneofmygreatestpassions,joys,and—sometimes—frustrations.I’vepursuedmyloveofthelandscapebycrossingtheBrooksRange—thenorthernmostmountainsinAlaska—solo,onfoot,andforpartofthejourneywithoutfood.I’vedangledfromsmallplanesandhelicopterstophotographurbanandwildlandscapesfromabove.AndI’vesoughtthespacesofthenight,tophotographlandscapesandshowtheminwaystheyhaven’toftenbeenseenbefore.

InCreativeLandscapes:DigitalPhotographyTips&Techniques,IwillsharewhatIhavelearnedinmyjourneystophotographlandscapesoverthecourseofmanyyears:theadventure,theawe,andthemystery,aswellasthetechnicalsideoflandscapephotography.Myhopeisthatthisbookwillconveymyloveforlandscapephotography,andhelpyoubecomeabetterphotographerofthelandscapesthatinterestandexciteyou.

TheTaoofLandscape

It’shardtobelievethatthislushlandscapeshowingthefoothillsoftheCaliforniaCoastalRangewithMountDiablobehindwastakenjustashortwayfromdowntownOakland,California.Inpart,themagicofthesceneiscreatedbythemorningmistsandclouds—whichweregoneafewminutesafterIsnappedthisphoto.AlsocontributingtotheeffectistheephemeralgreenlushnessoftheCaliforniahillsinspringtime.Bothfactorsgotoshowhowimportanttimingisinlandscapephotography—afewminutesearlierorlater,oratadifferenttimeofyear,andthisimagewouldnothavebeenpossible.

WhyLandscapePhotography

Tao(道,sometimestransliterated“Dao”),isaphilosophywithancientrootsthat

referstotheprimordialessenceofthings,thenaturalorderofexistence,andthefundamentalaspectsoftheuniverse.Traditionally,itisdifficulttodefineTaoortoexpressitinwords,butitispossibletoknowTao,andtofeelit—and,whentheforceiswithone,toexpressTaoinart.

OnekindofartthathastraditionallyconcerneditselfwithTaoisChineselandscapepainting,whichwasoftenpracticedasaspiritualexercise.Mountainsandwildscenerywereveryimportantintheselandscapepaintings,andsymbolizedclosenesstorawnature,aswellasembodyingasourceofspiritualenergyandlife.

Thismysticalsenseofbeingin-synchwithnatureisavitalpartofwhatlandscapephotographymeanstome,andwhythiskindofphotographyissoimportanttome.

Inasimilarandrelatedway,mytripstothewildernesshavethesamebenefit.WhenIbeginmyjourneyintothewilderness,oftentrekkingintoanunfamiliarenvironmentandencounteringdangersthatareverydifferentfromthosefoundinacity,Iamwearyofthehypocrisyandexcessesofso-calledcivilization.BythetimeIamleavingthewilderness,Iamrefreshedandrenewed,withasenseofpurposeandonenesswithnature,andtheperspectivetoundertakethechallengesthatfacemeinlife.

Ofcourse,notalllandscapephotographytakesthewildernessasitssubjectmatter.Forthatmatter,notalllandscapephotographsareintendedtobe“beautiful”orlargeinscale.Photographsonamicroscopicscale,imagesofthepollutedenvironment,andtheNewTopographicsRobertAdams-styleshotsofbanalsubdivisionsandhousingprojectscapturedneutrallyarejustasmuchlandscapephotosasarethegrandAnselAdamssetpiecesofpristinemonochromaticnature.

Withoutdarknessthereisnolight,andwhenthingsaredarkest,distantlightseemsbrighter.Metaphorandsolace,perhaps,fortroubledtimes—oratleastmymeditationonthis“grabshot”fromthebluffsaboveDrakesBayinPointReyesCalifornia.

Onedoesn’toftenthinkoflandscapephotographyasrequiringgoodreflexesandsplit-secondtiming,butsometimesitdoes,andthisimageisacaseinpoint.Sunlight,filteredthroughagapintheclouds,illuminatedthecleftonlyverybriefly.Blinkanditwasgone.

Iunderexposedbyabouttwof-stopscomparedtoanaveragelightreadingtoincreasethecontrastbetweenthedarkcliffsandthesunlight,andshotwitha200mmlens—thelongestlensIhadwithme.

Personally,IknowwhichofthesemodesI’dpreferasmygoal,althoughslavishimitationofsomethingthathasalreadybeendoneisnottobedesired.

Techniqueandcraftarethestrategiesusedtoarriveatagoal.Beforeexploringthecraftoflandscapephotographyinthedigitalera,itisnecessarytounderstandtheTaooflandscapephotographyanditsunderlyinggoal—aswellasunderstandingone’spersonalpredilectionsintermsofgenreandstyle.

ThisisanimageshotaboutanhouraftersunsetofthefamousWaverockformationintheCoyoteButtesareaofthePariaCanyon/VermilionCliffsWildernessalongtheArizona-NewMexicoborder.Accessisbypermitonly,isseverelylimited,andinvolvesahikeoverroughterrain.

Sunsetcomesearlyinthelateautumn(whenIshotthisimage),andthejumbledcountryaroundtheWavewasverydarkatnight.Still,IfiguredI’dhavenoproblemgettingoutthewayIhadcomebythelightofmyheadlamp.ButinthedarknessIlostmyway.Iendedupspendingthenight

pacingincirclestokeepwarm,teethchattering.

Asthepalelightofdawnbegantoilluminatethings,IwasgladIhadstopped.Betweenimpassablecrags,agorgeandnetworkofcrevassesopenedatmyfeet.Iturnedaround,andbegantomakemywaybackdown,comingshortlytothecairn-markedtrail,whichIhadcrossedwithoutrecognizingitinthenight.

Tophotographatsunsetoraftersunsetinaremotelocationmeansgettingbackafterdark—orspendingthenight.ThisisoneplaceI’dgladlytaketheriskofacoldnightifIgettophotographitagain.

Thatsaid,Idobelievethatthegoalofalllandscapephotographyisessentiallythesame—toreconnectwiththeTaoandmagicoftheworldaroundus.

Atitsbest,landscapephotographyshouldbeconductedasaspiritualexerciserelatedtofindingourselvesandourplaceintheuniverse.Animportantpartofthisexerciseisexperiential—andgreatlandscapephotosresultfromtheauthenticfeelingofbeingfullypresent,alongwithamasteryofthetoolsandcraftofphotography.

Longbeforethesunwasup,IheadedwestonanemptyNevadahighwaytowardsDeathValleyNationalPark.Theairwascoolbeforedawn,andIdrovewithmywindowsdownenjoyingthebreeze.Iknewthingswouldgethotsoonenough.

AttheHellsGateentrancetoDeathValleyNationalPark,ItookacutoffpasttheWonderMine.AlittleabovetheWonderMine,IpulledoffbythesideoftheroadtophotographbecauseIcouldseethefirstlightofmorningbeginningtocreateapurple,layeredeffectinthefoothillsoftheFuneralMountains.

Iwaited,andasthesuncameup,Isnappedthisphoto.Thenthesunrosealittlehigher,andthefullheatofdaytimeinDeathValleywasuponme.

Ifyoudon’tspendmuchtimeoutinnature,youmightthinkthatthesunfollowsasimpleroutine,risingintheeastandsettinginthewest.Tosomeextentthisis,ofcourse,true—butifyounotewhereonthewesternhorizonthesunsets,you’llobservethatthepointswherethesunsetstrackagreatjourneyfromnorth(inthesummertime)tosouth(inthewinter),andbackagain.(Thisstatementistrueinthenorthernhemisphere,andreversedinthesouthernhemisphere.)Thefurthernorthyouare,thegreaterthenorth-southjourneyonthehorizonthatthesunundertakes.

Don’tworryifthissoundscomplicated—ifyouobservethesettingsunoverafewmonths,you’llgettheidea.Modernplanningtoolscanalsohelppinpointyourunderstandingofwhereyouhavetobeinrelationshiptoastronomicalbodiestomakespecificimages(seepage144).

Mythoughtincapturingthisimagewas—asyoucanseeintheresult—topositionthesettingsunbetweenthetwotrunksinthissplittreenearwhereIliveintheSanFranciscoBayarea.Thetrick,ofcourse,wasamatteroftiming:thesunwillsetbetweenthetrunksonlytwiceayearandthere’sonlyasplitsecondinanygivensunsetinwhichthesunwillbeintherightpositionforastraight-onshot—andalso,ofcourse,thesunsetshouldbe

positionforastraight-onshot—andalso,ofcourse,thesunsetshouldbespectacularasinthisshot.

Pages22–23:SlightlytothenorthofBadwater—thelowestpointinNorthAmericaat282feetbelowsealevel—liestheso-calledDevil’sGolfCourse.Thisisaformationofseeminglyendlesscrystallizedsaltspiresarranged,well,likeadiabolicalgolfcourse.

AsIconsideredhowtomakeaninterestingcompositionfromthebarrenlandscapethatstretchedseeminglywithoutend,Irealizedthatafisheyelensmadethehorizonseemtobecurved—inessenceturningtheflatplaneoftheDevil’sGolfCourseintowhatmightbeanalienworld.

Toaddfurthertotheapparentstrangeness,Iaddedthestarbursteffecttothesunbystoppingmyfisheyelensdowntoitsminimumaperture,f/22.

LandscapeintheModernWorld

Inaworldthatisburgeoningwithpeople,whereglobalwarmingandglobal“weirding”haveledtounpredictableclimatecycles,wherefindingnatureoftenimpliesalongandtargetedjourneyratherthanmerelysteppingoutofone’sfrontdoor,whatdoesitmeantobealandscapephotographer?

ThereasonIphotographthelandscapeinthefirstplaceisthatthisactivityhastodowithconnectingtotheTao,theessentialspirit,oftheworldaroundone(seepages14–23).However,amoredown-to-earthviewoftheroleofthelandscapephotographer(sotospeak)iscertainlypossible.

Atitscore,landscapephotographyisagenrethatisusedtoshowspaceswithintheworld,rangingfromthetinytothevast.There’scertainlyasenseamongsomephotographersthatlandscapesshouldbeaboutcapturingnatureandshowingvistasthatarefreeofreferencestohumanity.Inaddition,thebestlandscapephotographsareoftenelegiacandappreciativeofthescenerythatisshown.

Thisromanticpointofviewessentiallyequateslandscapephotographyandnaturephotography.Howmuchsensedoesitmaketobedoctrinaireaboutthisviewpoint?Inthemodernworld,severaloftheassumptionsaboutlandscapephotographythatthisviewpointembodiesarenotuniversallyvalid.Forstarters,it’squiteclearthatitmakessenseforsomelandscapestoincludebothstructuresandpeople(formoreonlandscapeswithpeopleseepages176–181).

Infact,amodernviewoflandscapephotographyprettymuchhastoincludesomesenseofpeopleandtheirartifacts—evenwhentheevidenceofhumanityisscantbecausevisitorshavetrulyfollowedthepreceptof“leavingnothingbutfootprintsandtakingnothingbutphotos.”

InafamouspoembyPercyByssheShelley,thegreatemperorOzymandiushasleftahugemonumenthethoughtwouldlastforever,yetithasvanishedunderthevastandtracklesssands.Inthesameway,muchofwhatourgenerationofhumanitybuildsupontheearthwilleventuallypass—inonewayoranother.Butforthetimebeing,thestructures,marks,defilements,andattemptsatbeautificationareveryevident—andapropersubjectforlandscapephotographers.

Initstime,MareIslandwasthelargestnavalshipyardonthewestcoastoftheUnitedStateswithliterallythousandsofworkersduringtheSecondWorldWar.ThenMareIslandwasabandoned,andtheartifactsofactivitybecameakindofurbanlandscapeindecay.

Tomakethisshotofagantryusedtoworkonnavalvessels,Ipickedadramaticviewpointsothatthevanishingpointseemstogoonforever,withthemechanismechoedinthereflectionsintherainpuddles—muchasone

mightseektodramatizeaviewinthemountainswithreflectionsandperspective.

Thebestattitudeonecanhavetowardstheseextantstructuresistoembracetheirtransience.ThismeansmovingfromTao,wherethelandscapephotographerspirituallybegins,toWabi-sabi(侘寂),aJapaneseaestheticandworldviewthatacceptsthateverythingpasses,andistransientandincomplete.ArtbasedonWabi-sabi(asforexample,thegenreofurbanexplorationphotography)acceptsthisdecayanddeclineasbeauty—andutilizesitastheprimevehicleforconveyingemotioninimagery.Allthingspass,andintheirpassageliesbeauty.

Adigitalinfraredcapturebroughtoutthetextureandcolorsinthisabandoneddrydock.Asyoucansee,thedrydockisseveralstoriesdeep,andrecentrainshaveemphasizedthedecayedlookofthestonewalls—almostlikeanaturallandscape.

70mm,1/100ofasecondatf/5andISO200,handheld(digitalinfraredcapture)

Inthisshot,apuddleframesthedistantlandscape-likeviewofthegantryshowninthephotoonpage25.Thereflectionisitselfframedbyatrapdoorthatpresumablyleadstoanundergroundpassage,orworld.

Thepointofthisshotistheframingofthereflection—therebyfittinginwithoneofthetraditionsoflandscapephotographyinwhichaframeinternaltothephotoisusedtoaddcompositionalinteresttodistantelements.

36mm,1secondatf/29andISO100,tripodmounted

ComingintoLasVegas,Nevadaafteraweekorsoofphotographyanddustycamping,mytwosonsandIdecidedtooptforaluxuryhigh-risehotel.Fromourthirtieth-floorroom,thecloudsreflectedinthemirroredwindowsofafacingbuildingandmadeanifty,almostabstractlandscape—withthecloudsandskyseemingtomoveacrossthefaceofthebuildingagainstthestronghorizontallinesofthearchitecturelikemusicalnotesonastaff.Iusedapolarizingfilterandawideopenaperture(f/5)withlowdepth-of-fieldtohelpcutdownthereflectionsinthewindowIwasshootingthrough(itwouldn’topen).Thepolarizeralsohelpedtoboostthesaturationinthereflectionsthatarethesubjectofthephoto.

Pages30–31:ThelandscapeofSanFranciscoBayisagreatandwonderfulpanoramalaidoutforthoseofusluckyenoughtoliveorvisitthere—yetsomanypeoplelivetheirday-to-dayliveswithouttakingamomenttolookattheelegantandwondrousvistasaroundthem.Unlikemanyhumanstructures,theGoldenGateBridgeaddstothevisualbeautyofthelandscape.

Thisimageshowsthesunsetatatimeofyearwhenthesunwassettingatthemidpointofthebridge.Itimedtheexposureforalmostthelastpossiblemomentwhentheballofthesunwasstillvisible—withtheideaofcreatinganimagethatshowstheGoldenGateBridgealmostcompressing,orpressingdownon,thesun.

GrandLandscapes

WhendiscussinghisphotographyinYosemiteValleyandtheSierraNevadaMountains,AnselAdamsnotedthathehad“greatopportunitytofollowthelightandthestorms,hopingalwaystoencounterexcitingsituations.”AdamswrotethathelikedtokeepmovingashemadeclearwhenquotinganEdwardWestonquip:“IfIwaitforsomethinghere,Imaylosesomethingbetteroverthere.”

Thegrand,graphic,andlyricallandscape—evenintheabsenceofpeopleandtheirartifacts—isnot,infact,reallyaboutland.Weatherandlightingaretwocrucialaspectsofthelandscape.Evenmundaneterrainbecomesexcitingiftheweatherorlight—orboth—areinterestingenough.Themostexcitinglandscapeintheworldisboringwhentheweatherisplacidandthelightflat.Essentiallyandexistentially,theweatherandthelightingaremoreimportantthanterrain.

Fromtheviewpointofthephotographer,thethreesecretsoflandscapephotographyarelocation,location,location—whereyouplantyourtripodandcamera.Oncetheyfoundtherightspotfortheimagethattheyhadpre-visualized,neitherAnselAdamsnorEdwardWestonhurriedfromlocationtolocation,eventhoughtheideathatthephotographmaybegreeneroverthenexthillisalwaysaconstantanxietyinthefield.Thetwoothercrucialelements—weatherandlight—comeintoplayovertime,orthroughrepeattripstoaspecificlocation.

TheAlabamaHills,belowMt.WhitneyandthehighcrestoftheSierraNevadaMountainsinCalifornia,areawonderfullyjumbledareaofrockformationsandarches—averitablemazeofpassagewaysandvistasthatisoftenseenasavisualshorthandforthewildernessofthewesternUnitedStates.ThisistheareathatwasusedasthebackgroundinsomanyofHollywood’searlywesternsandfilmssuchasGungaDin—aroundeverycornerthereisaniconicformationofrocksthatyoumightrecognizefromthoselatenightreruns.

IfthisisthefabledwildernessofearlyHollywood,JohnWayne,andJohnFord,thenwhyallthetrafficontherightsideoftheimage?Actually,thelightsaremadebyonlyafewcars—butthisisdefinitelyadifferentviewofthefamouslandscapelocation,andonethattooksomeplanningtomake.Tocreatethisimage,Iwasinpositiononahigh,rockycragwellbeforesunset.Anestablishingshotcapturedtheimmensevistawiththedetailsoftherocks,andthenalongseriesofcapturesthroughthenightrecordedthemovementsofstars—andthefewcarsontheroads.

10.5mmdigitalfisheye,25capturesstackedinPhotoshop,eachcapture4

minutesatf/3.2andISO250,tripodmounted(totalexposuretime1hourand40minutes)

Theprimordialexperienceofthelandscapephotographeriswaiting—waitingfortheweather,waitingforthelighttoberight,andmaybewaitingforthesun,moon,andstarstobeorientedinaspecificlocationordirection.Allgoodlandscapephotographersaregoodatwaiting.

Onethingthatmakeslandscapephotographysointerestingisthedichotomybetweenitsapparentsimplicity,andhowdifficultitactuallyistodowell.You’dthinkthereisnothingsimplerthanfindingaspectacularview,pointingsomecamera,anycameraatit,usingnominalordefaultautomaticsettings,andwalkingawaywithagrandlandscape.Sometimes,althoughveryrarely,thisisindeedthecase.

Foryears,IhadbeenkeepinganeyeonthisoldtreeinameadowinYosemiteValley,California.EachtripImadetoYosemiteI’dmakeapointofcheckingoutthetreetoseethatitwasstillthere,andtoseewhetherthe

lightingwasright.Finally,onthisbrightbutsnowydayinFebruary,Imadethisimage,contrastingthegauntandnearlydeadtreewiththecloudybutluminousandsumptuouslightsurroundingYosemiteFalls.Iprocessedthephotokeepingthegauzytransparencyofthedayinmind—sothefinaleffectintentionallylooksalmostasmuchlikeawatercolorpaintingasitdoeslikeaphoto.

Butthefactisthatthereisnowealthofgreatlandscapephotos.Thisisadisciplinethatrequiresplanningandlucktobeattherightplaceattherighttime.

Often,considerableeffortisrequiredtogetthephotographerandequipmenttothelocation.AsenseofTaoisrequiredtobespirituallyconnectedtothelandscape,andunderstandingWabi-sabiisneededtolovethelandscapedespiteof—orbecauseof—itsimperfections.

AddtothisthesenseofZenpatienceyou’llneedtoletthelightandweatherunfoldovertimeintheperfectway—andthechallengeofthistoughandfrustratinggenreismadeabundantlyclear.

Atthewestern-mostendofthePointReyespeninsulainCalifornia,thecliffsendabruptlyintheendlessswellsofthePacificOcean.Fromanaerieabovethisruggedlandscape,Iphotographedthelighthouse,ocean,andstars—usingacombinationofexposureslongenoughtosoftenthedramaticsurfthatalwayspoundsthiscoast,andtocreatetrailsfromthestarsthatwerevisibleonthisunusuallyclearnight.

10.5mmdigitalfisheye,compositeofforeground(10minutesatf/2.8andISO100)andsky(13stackedexposures,eachexposureat4minutes,f/4,andISO100),tripodmounted,totalexposuretime62minutes

TheredwoodtreesofCaliforniamaybethetallestlivingthingsonearth,buttheancientbristleconepineshavethedistinctionofbeingtheoldest.ThesegnarledspecimensliveathighaltitudeintheremoterangesofeasternCaliforniaandNevada,wherelifesustainingresources—waterandnutrients—areinshortsupply.Oneofthesecretstothelongevityofthespeciesisthelackofcompetitionintheirhighanddryeco-niche.

IphotographedthisbristleconepineinthePatriarchGroveoftheWhiteMountainsineasternCalifornia.Iusedanextremewideanglelens(10.5mmdigitalfisheye)tocapturethecomplexformofthetreeaswellasthedramaticcloudsinthebackground.

IclimbedhighontheEastMesaTrailinZionNationalPark.Ifyoulookcarefully,youcanseethetrailIcameupaswellasdistantlandmarkssuchasAngel’sLanding,betterknownfrombelowonthecanyonfloor.Asthesunset,Itookthisphoto,hopingtocapturethelandscapeinitsimmensityandgrandeur—andatthesametimecommunicatethecomplexityofthesystemofrocksandsidecanyonswhichIhadtraversedonmytrektothislocation.

IntimateLandscapes

Attheoppositeendofthescalefromthegrandlandscapeistheintimatelandscape.Intimatelandscapescanbetiny,butit’simportanttounderstandthattheydon’thavetobe.Likewithgrandlandscapes,there’sanalmostinfinitevarietyofsubjectmatterpossible.

Considerforaminutethephrase“Intimatelandscapeof,”andasanexercisethinkofhowmanywaysyoucouldcompletethesentence.Ithinkyou’llseethatthereareagreatmanypossibilities—andnotallofthemobviousuntilyouspendalittletime.

Sointimatelandscapeshaveasmuchvarietyofsubjectmatteraslargerlandscapes.Lightingandpositioningarestillcrucial—positionofthecamerainclose-upshotsisvery,verysensitive—andwaitingperhapsalittlelessso,dependinguponthecircumstances.Butonekeyissueisestablishingthevisualintenttocreatealandscape.

Thisimageshowsa“forest”ofseapalms—akindofkelpthatgrowsintheintertidalzones.Eachplantisabitlessthanafoothigh,sothescaleoftheentirecompositionisquitesmall—eventhoughtheviewerhasnowayofrealizingthisscaleatfirstglance.Myinterestintheimagewastocreateavistathatisessentiallysmallinsize,butthatsuckstheviewerinasthoughitwasagrandly-scaledlandscape.Thisdichotomybetweentheinitialimpressionandamorethoroughanalysiscreatesan“Aha!”moment—andprovidesmuchoftheinterestintheimage.

48mm,45exposuresatshutterspeedsfrom1/6ofasecondto1/20ofasecond,exposurescombinedinPhotoshop,eachexposuretakenatf/29andISO100,tripodmounted

Aportraitofaflowerisnotalandscapeunlesstherearesomeunusualcircumstances,likeapetalthatseemstogoontothehorizonline,oraburstoflightwithintheflowerthatseemstoechoasunrise.

Bearinmindthatscaleandsizearealwaysrelative.Toanant,asmallbowlisthesizeofoneofourhouses—andiftheantwerehuman,thathumancould

probablynotconceiveofastructureaslargeasoneofourhouses.

Thebestphotographsofintimatelandscapesplayonthisambiguityinherentinourappreciationofthesizeofthings:theviewerlooksatanimageandthinksitisvast,ordoesn’tfullyunderstandthescale.Furtherinspectionrevealsaclose-up.Halfthebattleiswonbecauseyou’veintrigued,excited,andinterestedyouraudiencebypresentingsomethingthatmaybeeverydayinanunusualway.

Thisthistleisshowncoveredwithfrost—ararephenomenoninthehillsofcoastalCalifornia.Iunderexposedthephotosothatthehoaryfrost-coveredplantemergesstarkincontrasttoanalmostblackbackground.

AloneathighaltitudeintheWhiteMountainsofeasternCaliforniaasthesunset,Ifocusedonthisintimateviewofancientbristleconepinesratherthanthegrandervistasthatsurroundedthescene(forexamples,seepages2–3and38–39).

Thegoldenlightwasbeautiful,andIwasinterestedinthewaythecompositionframedonegauntandapparentlylifelessspecimenofbristleconewithinanother.Sincethelightwascomingfrombehindmyposition,mybiggestchallengewastomakethephotowithoutincludingmyshadow,andthatofmycameraandtripod.

ImaginaryLandscapes

Doesalandscapehavetoactuallyexisttobethebasisofaninterestingimage?Myanswerisaresounding,“No.”Someofmyfavoritelandscapesinartareimaginary—whollyorinpart.

Ofcourse,theethicsofphotographydependonthesituationandcontext,andhowaphotoisusedanddescribed.Ajournalistshowingalandscapephotoinastorythatisaboutaforcedmigration,forexample,hasnorighttosubstantiallyalterthelandscapetomakethingslookbetter(orworse).

ButwhenIpresentadigitalimageasart,Iambydefinitionmakingnoclaimsabouttheauthenticityoftheimage—inthesensethatitmayormaynotcorrespondtoanyactualreality.Inpointoffact,thereisreallynowayanyoneelsecouldcaptureeventhe“straight”landscapesthatIcreateunlesstheywerethereatexactlythesametimeasme.TheseviewshaveceasedtoexistthemomentafterIhaveshotthem,aslightandweatherchanges.

Interestingly,evenwhentherearearowofphotographersshootingalandscapetogether—assometimeshappens—eachphotographerusuallycomesbackwithsomewhatdifferentresults.

Inanycase,ItakeitasperfectlyethicalandreasonabletoimprovethelandscapesI’veshotinthedigitaldarkroom.Dependinguponhowyoulookatthings,thisisaslidingscaleoraslipperyslope!

Noonewillobjectwhenalandscapephotographerincreasescontrastandtonalityafterthefact.Thiskindofminoradjustmentisuniversallyperformedbyseriousphotographers.

Fromthere,itisafairlyshortleaptoimprovecompositionbyembeddingportionsofthelandscapethatwasshottomakevistasseemtogoonforever.Onceyouarecompositinganimageintoitself,whynottakeitastepfurtherandcompositeotherimagesintocreateacomposition,orevenadddetailsbypaintingthemin?

Theskyisthelimitonceyouacceptthepropositionthatlandscapesdon’thavetobereal—and,infact,thatitmaynotbepossibletocreatesuchathingasa“real”landscape.Whenitcomestodigitalphotographsoflandscapesinthe

“real”landscape.Whenitcomestodigitalphotographsoflandscapesinthedigitaldarkroom,theonlyreallimitisyourimagination.

IlovetheviewfromYosemiteValley,Californiawhentheweathergetsfoggy.MysenseofaweandmysteryincreasesbecauseofwhatisnotrevealedasmuchaswhatIcansee.

Withthisimage,Ipost-processedthephototoincreaseasenseofpartialrevelation—andalsotomaketheimagelookmorelikeaChineseinklandscapepainting.Mostofwhatyouseeinthisimageis“real”—my

landscapepainting.Mostofwhatyouseeinthisimageis“real”—mydigitalpaintingsimplyincreasedthefoginplacesandrenderedtherockformationsmorefirmlyinothers.

Thiscompositeofthreeimagesshowsadistantlandscapeopeningthroughanornamentalbridge.Thebridgeis“actually”intheHagiwaraTeaGardeninSanFrancisco’sGoldenGatePark,andthelandscapeseenthroughthebridgewascapturedinthewesternSierrafoothills.Thelarge,decorativekoiswimmingintherightforegroundoftheimageisathirdphoto.

PuttingthesethreephotostogetherinPhotoshopletmemakeafantasticcompositionthatIthinkofasa“portal”—theimageinvitestheviewerto

enteradifferentandmagicalland.

Bridge(HagiwaraTeaGarden):14mm,1/200ofasecondatf/8andISO200,tripodmounted;Landscape(DonPedroReservoir):20mm,1/160ofasecondatf/8andISO200,handheld;Fish:70mm,circularpolarizer,1/100ofasecondatf/5andISO200,handheld

Thisfantasticlandscapeisbasedonanoriginalmacroshotofapinecone,takenonaneveningwalkonacoastaltrailneartheGoldenGateBridge.Lookingthroughmymacrolens,italmostseemedtomelikeIwaslookingdownonamesa—mysenseofscalegotutterlylost,andIcouldseecanyonsandrivers.IexaggeratedthiseffectbycopyingandpastinginseveralphotosfrommylibraryandusingdigitalpaintingtoachievethelookIwanted.

105mmmacro,1.6secondsatf/40andISO100,tripodmounted

Theroadbeneaththesewindsweptlinesoftreesseemedtogoonforever.Iexaggeratedtheeffectbycompositingsuccessivelysmallerversionsoftheimageintoitselfsotheimageseemstogoonlongerthanit“actually”does.

AbstractionsandPatterns

SomeofthemostinterestinglandscapephotosthatI’vemadeworkbecausetheyshowpatterns.Byapattern,Imeananoverallcompositionwithoneormorerecurringelements,althoughtheelementsthatrepeatcanvarysomewhat.

Inlandscapephotography,themostinterestingpatterncompositionsquicklytakeonanabstractlook—observingthephoto,theviewerisatfirstnotquitesurewhethertheyareseeingagrandlandscapeorsomethingcompletelydifferent,suchasatextile,repeatingtiles,oraninkpainting.

Animportantaspectofpatternedabstractionsinnatureisthattheyoftenconveyatactilesenseofthesubjectmatter.It’shardtolookataclose-upofsnowandicecrystalswithoutthinkingabouthowitwouldfeeltohandlethefrozenstructure.

Generally,anabstractlandscapeshouldbeginbymakingtheviewerguessaboutthescaleofwhattheyareseeing.Next,thefactthatthereisarepeatingpatternshouldbeconveyedinsomeway.Finally,averyrealsenseoftextureshouldbeconveyed.

Aninterestinglandscapethatlendsitselftoabstractioncanbephotographedtorevealmanydifferentpossiblepermutationsofthepatternsthatitconveys.It’softenamazinghowvarieddifferentviewsofthesamepatternedlandscapecanbe.Sometimesitisworthwhiletopresentseveralrelatedabstractionsofthesamelandscapetogether—toshowthedifferentviewsofthesamesubjectmatterplayingoffeachother(seeexampleonpages54–55).

Theviewershouldwanttoreachintothecompositionandhandlewhat’sthere—andhavestrongfeelingsaboutthesensationsthathandlingthesubjectmatterwouldcausebecauseofitstexturalnature,whetherthephotoshowsanicyriverbankoradistant,barrenlandscapethatcouldneveractuallybe“touched”in“reallife.”

Everythingcomestoanend,asdoallpatterns.Thebestabstractandtexturalphotosoflandscapesconveyasenseofpattern—buttheyalsoshowthelimitsofthatpattern.Inotherwords,yourphotoofapatterninlandscapeshouldconveythenatureofthepattern,includingrepetition(ifit’spresentinthecomposition).Butthephotowillbemostinterestingiftheviewercandiscoverthelimitstothe

Butthephotowillbemostinterestingiftheviewercandiscoverthelimitstothepattern.Theworldwithoutendisinteresting,butthehumaneyeisevenmorefascinatedbyboundaryconditions.

IwasexploringagroveofbristleconepineshighintheWhiteMountainsofEasternCalifornia.Mythoughtsweredirectedtowardsphotosthatshowedentiretrees,oreventowardsgrandlandscapesthatincludedtrees.ButIhadtostopandrecalibratemyvisionwhenIsawthepatternsinthistree.

Thepatternsinthebarkremindedmeofthebrushstrokesofinksumi-elandscapepainting—soIshotthepatternsonamacroscaleratherthanthetreeasawhole.

FromZabriskiePoint,inDeathValley,California,thevistasspreadoutinmagnificentvariety.Ifindmyselfdrawntothisspot,andhaveenjoyedphotographingtheviewsfromZabriskiePointovertheyears.Iammostinterestedinviewslikethisonethattakethesun-bakedhillsandabstractthem,sotheyarealmosttextural—andlookliketheycouldbeaquilt.

ThisviewfromZabriskiePointcapturestheridgelinesofthesurroundingformationsinprofile—sotheylooklikethefoldsinfabricifyoudidn’tknowitwasalandscape.

AbroaderviewfromZabriskiePointstillgivesatextural,abstractsense—asthoughoneislookingatfabric,oragiantfootprintratherthanalandscape.

Onafoggymorning,Ihikedashortdistancetothebeach.BythetimeIgottotheocean,thecloudswereliftingandthesunwasbreakingthrough.

Thiswasadayoffairlybigsurf,withinterestingwavesthatmovedirregularlyandcrashedwithvigor.Idecidedtoconcentrateonthemovementofthewaves.

SothatIdidn’thavetothinkaboutmycamerasettings,andsothatIknewIcould“stop”themotionofthewaves,IboostedtheISOto400,puttheshutterspeedto1/2000ofasecond,andusedtheexposurecompensationcontroltounderexposebyonef-stop(checkyourcameramanualtoseeitifhasthiscontrol,andhowtouseit).Puttingthefocusmodetomanual,andfocusingatinfinity,meantIdidn’tneedtoworryaboutfocuslag.

Whentherightwavecamealong,Iwasreadytocatchit,backlitbythesunasitcrashedonthesteepshoalsofthebeach.

Theresultisanabstraction,poetryinmotion:theviewerdoesn’tknowexactlywhattheyarelookingatuntiltheyexaminetheimagecarefully—andmaywonderwherethisphotographerwasstandingtomakethecapture.

AlongthebanksoftheMercedRiverinYosemiteValley,Californiaonanearlyspringmorning,Inoticedtheseinterestinglookingpatternsintheskimice,andstoppedtomakeaphotousingmymacrolens.Dependingonclimateconditions,thiskindofshotisusuallybestmadeearlyinthedaybeforeinterestingiceformationsmeltaway.

Thisisanearlymorningviewofaremoteplaya—ordriedlakebed—inDeathValley,California.Ishotthephotointentionallysothatataglanceitisambiguousaboutscale.

Thisisnotamacroview;ratheritstartsangledclosebutcontinuesthepatterncreatedbythedriedmudouttothehorizonline.Theharsh,directionallightingcreatedbytherisingsunaddstothesenseofpattern—theviewercantellthedirectionthelightiscomingfrombylookingattheshadowsontheleftsideofthephoto.

Closeexaminationoftheseshadowsalsoshowsdefinitivelythatthisisnotamacroshotperse,andthattheapparentlyrepetitivepatterns,almostlikenaturaltiles,extendagreatdistance,butprobablyendontheleft,whereyoucanseetheshadows,likelyfromastandofvegetation.

TheLandscapeinBlack&White

Manyofthephotographsofthepastthatweregardasgreatlandscapes—forexample,theworkofmyheroAnselAdams,orthephotosofthegreatEdwardWeston—aremonochromatic.It’sthereforenaturaltowonderwhetherweshouldbemakinglandscapeimageryinblackandwhite—andalsotoconsiderwhatkindsoflandscapeimagesworkbestwhentheyarerenderedmonochromatically.

MyrecommendationistoshootdigitalRAWfilesthatcanlaterbeconvertedinthedigitaldarkroomtoblackandwhite.TheadvantagesofRAW,andthemechanicsofthemanywaystogoaboutconvertingaRAWfiletomonochrome,areextensivelyexplainedinmybookCreativeBlack&White:DigitalPhotographyTips&Techniques(Wiley)—andifyouareseriouslyinterestedinblackandwhite,youshouldprobablyfindacopy.

SinceIamshootingRAW—whichpreservesalltheinformationassociatedwithanimagefile—IcandecidelaterwhetherIwanttopresentmyphotosasmonochromaticorcolorimages.Icanevenpreparetwoversionsoftheimage,oneincolorandoneblackandwhite—andseewhichIlikebest.

However,tocreategreatmonochromaticlandscapesithelpstothinkmonochromaticallyinthefirstplace.Somelandscapesubjectswillworkinblackandwhite—andothersneedcolor.Ifyouknowyouareplanningtocreateamonochromaticimage,youcanchooseyoursubjectaccordingly,frameitsoitworksbestinmonochrome,andexposeformonochromaticprocessing.

OntheeastsideoftheSierras,theAlabamaHillsextendformiles,amazeofjumbledrock,arches,andpinnaclesframedinfrontofthecrestofthehighSierraNevadaMountains.

Thisisanearlymorningcapturethatusesmonochrometoconveytheharshlightingcontrastsshowninthelandscapeasthesunwasrising(fromtheleftofthephoto).

Tocreateeffectivemonochromaticlandscapephotos,youshouldlookfor:

Compositionswithextensivetonalrange,whereimportantportionsoftheimagecanviablyberenderedaseitherblackorwhite.Dramaticdifferencesintherelationshipsbetweenlightsanddarksintheimage.Landscapeswherethecolorintheimagecamouflagestheunderlyingcomposition,andisnotessentialtotheimage.

Withoutcolor,compositionalissuesbecomefarmoreimportant.Inparticular,youshouldpayattentiontothewayextremelydarkareasrelatetoverybright

youshouldpayattentiontothewayextremelydarkareasrelatetoverybrightareastoformtheoverallimage.Itoftenmakessensetounderexposeoroverexposeamonochromaticimagetoemphasizethiscompositionaleffect.

Beforetheadventofcolorphotography,allphotosweremonochromatic.Astimegoesby,thateraisrecedingintothedimpastthatmemorycanhardlyrecall.Weseeincolor—solearningtoseemonochromaticallyrequiresaffirmative(butworthwhile)effort.Inthedigitalera,monochromaticimageryisnotananachronismbutratheranintentionallymanneredmodeofreducingourlandscapestotheirstarkandbarecompositionalessentials.

Atelephotoview(witha150mmfocallength)contraststheforegroundrockformationswiththemountainsshowninthebackground.Thiscontrasthelpsmakethemountainslookotherworldly,andnotquitereal.

TocapturethesuncomingthroughabreakinthecloudsduringthiswildandstormydayintheAlabamaHills,Iunderexposedbyseveralf-stops.Thisallowedmetorenderthecloudsasvery,verydarkwhilestillshowingdetailandclarityintheforegroundlandscape.

Onacoldwinter’sday,IwanderedYosemiteValleyonsnowshoes.WhenIreachedtheedgeoftheforestshown,andnoticedthemajesticclifffacetoweringabovethetrees,Iwasabsolutelycompelledtopullmytripodoffmypackandshootaseriesofimages,ofwhichthiswasthemostinteresting.Photographycomplete,Iheadedtothelodgeforsomehotchocolatebythefireplace.

Inthisphoto,thejaggededgesofthedarkshadowsontherightcontrastwiththelinesofthearidhillsonthelefttocreateaninterestinglandscapecomposition.

200mm,circularpolarizer,1/160ofasecondatf/11andISO100,tripod

mounted

HeadingupthenarrowsoftheVirginRiverinZionNationalPark,Utah,Iwasstruckbythecontrastofthenarrowbandoflightcomingthroughtheslottedopeningcomparedwiththerelativedarknessoftherockwallsaroundit.Renderingthiscontrastinmonochromeseemedthepurestwaytoconveymyinterestinthisharmoniouscontrastbetweenlightsanddarks.

OnafoggynightinthePresidioinSanFrancisco,California,thestreetlightscomingthroughthetreeshelpedmakeadelicateandmagicallandscapeoutofwhatotherwisemighthavebeenafairlymundaneandnormalviewoftreesinthecity.

TheLonelyRoad

Inhispoem“Ithaka,”C.P.CavafywritesofthejourneyofOdysseusandthattherealpointofhisvoyageisexperiential,andnotaboutthedestination;therefore,oneshould“praythattheroadislong,fullofadventure,fullofknowledge.”

Photographyisoftenaboutthejourney,notthedestination—andeveryjourneystartswitharoad.J.R.R.TolkeinwouldhaveitthatthereisreallyonlyoneRoad(withacapitalR):likeagreatriver,itreacheseverydoorstep,andallpathsaretributaries.InthewordsofhischaracterBilboBaggins,“YoustepintotheRoad,andifyoudon’tkeepyourfeetthere’snoknowingwhereyoumightbesweptoffto.”

WhenIheadoutonaphotographytrip—whetherit’sanassignmentoraself-assignment,whetherthere’sonlyaloosegoalinmindortheprojectistightlydefined—there’salwaysaroad.Evenifmydestinationrequirestravelbyfootorplane,itisprettyhardtogettoadecentlandscapewithoutusingaroad.Thenagain,onceyouareontheroad,asTolkeinreminds,youneverknowwhereitwilltakeyou.AndasCavafy’sOdysseuslearns,youarewisetotakeadvantageoftheunplannedstops.SomeofmybestphotoshavehappenedwhenIhaveletgoofmyideaaboutmydestination,loosenedup,andtakenthetimetolookaroundme.Itistruethatserendipityhappens,ifyouletit!

Soroadsfigurelargelyinmylandscapework—ifnotasthedestination,thenanimportantstopalongtheway.

Iliketocaptureroadsinalltheirendless,evocativevariety—usuallywhentheyarealmostemptyatthebeginningortheendoftheday.Ifyoulookatmyimagesandtheymakeyouthinkyoucanalmosthearthewindwhistlingintheemptyspacesofthelandscapeasasinglecarrushesby,thenthephotoshaveachievedtheimpactIamseeking.

Sinceroadswillfigureinanyjourneyyoumaketoalandscapedestination,whynotregardtheroadasanimportantpartofyourlandscapephotography?

Ihadspentthenightphotographingstartrailsusinganintervaltimertocreatecompositeexposuresofmanyhoursduration.Afterfinishingphotographingthestars,IfoundaremotespotshortlybeforedawnwhereIcouldrestforafewhours.Earlylightwokemetoosoon,beforesunrise.Idrovedowntheroad,stoppingwhenIsawsunriseglintingonafewcragsinadistantmountainrange.

Iparkedthevanbesidetheemptyroadandassembledmycameraonmytripod.Placingthetripodinthecenterofthehighway,Ishotthisphotoofthefirstcarofthedayheadingtowardsmeinthecoolofthemorningbeforethesuncameupharshandstrong.

Ifyouwanttotryashotlikethis,becarefulaboutplantingyourtripodinthemiddleoftheroad(asIdidhere).Youwanttobesurethatyouhaveadequatevisibilityinbothdirections,andthatnocarsarecoming.

adequatevisibilityinbothdirections,andthatnocarsarecoming.

200mm,0.3ofasecondatf/22andISO200,tripodmounted

ThisphotoshowsStateRoute178withthetownofInyokern,Californiainthebackgroundshortlyafterdawn.Inyokern,whichliesabout50milestothenortheastofMojave,California,isaprettyhot,dry,dusty,andrun-downplace,notableforthepresenceoftheMojavegreenrattlesnake,acreaturethatcombinesthenormalrattlerpitvenomwithanadvancedneurotoxinthatparalyzesitsvictims.Butintheobliquelightofanautumnmorningfromaboveandbesidetheroad,Inyokernlookspositivelyglamorous.

WhenIdrivethroughNevada,Iamalwaysstruckbythewideopenspacesandvastnessofthiscountryofbasinsandranges.However,withouteye-catchingfeaturesthelandscapecanseemrepetitive—anditcanbehardtoarrangeastrikingcomposition.Addinganemptyroadwithitsbold,stripedyellowlinestocontrastwiththebarrenhillsgivesinteresttothelandscapeasawhole.

ThisisashotshowingtheroadnearTiogaPass,thehighestcarcrossingoftheHighSierrainCalifornia.Tomakethisphoto,Istoppedatoneofthefirstoverlooks.Themoonwasbrightlylightingthefarsideofthecanyon,butwhereIstoodthedefilewasindeepshadow.Iwaitedforacartostarttoclimbthegradeuptothepass,thenexposedtheimagefortwominutes—longenoughforthecarheadlightstolighttheentirestretchoftheroad.

ToolsandTechniques

IwokebeforedawntotheblacknessandchillofawintermorninginYosemiteValley,California.Hopingthatthesunmightbreakthroughthecloudcover,Ipulledonmywarmclothingandheadedoutintothedarkness.

BythetimesunrisecameIwascold,buthappybecauseinadditiontothesunglintingonthemountaintops,Icouldseebreaksintheswirlingclouds.Withmycameraonmytripodsetinthesnow,Istoppedthelensallthewaydown(tof/22)soIcoulduseaslonganexposureaspossible(1/30ofasecond)toexaggeratethesofteffectcreatedbythegentlyswirlingcloudcover.

ChoosingaCamera

“Iliketocarryacamera,”quipsphotographerJayMaisel,“becauseit’shardtotakeaphotographwithoutone.”Inaworldinwhichmostmobilephonescomewithacamera-on-a-chip,thissentimentisn’tquiteastrueasitusedtobe.There’snothingwrongwithiPhonephotos—I’veseensomeverycooliPhonecreations—butinthisbookI’mgoingtoassumethatyou,likeme,areseriousenoughaboutyourlandscapephotographytouseadedicatedcameraratherthentheonebuiltintoyourphone.

Thatsaid,whenitcomestolandscapephotography,mylistofminimumrequirementsisprettybasic.Here’swhatIlookforinalandscapephotographycamera:

ManualexposurecontrolsTheabilitytosaveRAWcapturesAwaytoconnectthecameratoatripodAprovisionforusingareleaseforremoteexposures

MostcompactdigitalcamerasthathavethefeaturesthatImentionedalsoprovideazoomlenswithadecentrangeoffocallengthsfrommoderatewide-angletomoderatetelephoto.Thesefocallengthsaretheonesmostcommonlyusedinlandscapephotography.

Tohavethemaximumflexibilityinlenschoicehowever,nothingbeatsaDigitalSingleLensReflex(DSLR).Formoreonlensesandlandscapephotography,seepages82–93.

Besidestheabilitytochangelenses,thelargersensorsizeandprofessional-levelcontrolsofaDSLRmakethisthecameratypeofchoiceformostseriouslandscapephotographers.ThedownsideisthatcarryingaDSLRplusextralensesandatripodaroundcangetheavy.WhenI’mfeelingsorryformyselfbecauseI’mcarryingaheavybackpackoverroughterrain,IremindmyselfthatdigitalequipmentisnotnearlyasheavyasthelargeformatfilmcamerasschleppedaroundbyphotographerssuchasAnselAdams—orthatIsometimesusedtouse.

Thisshotshowsasomewhatout-of-focusreflectionofHalfDomeinMirrorLakeinYosemiteValley,California.Earlyspringisinthebackground,withintricategreenvegetationpartiallyinthewaterintheforeground.Tomakethephoto,Ididn’tworrytoomuchaboutphotographiccraft.Isimplyhandheldthecameraandframedthecompositioninawaythatpleasedme,lettingprogrammedautoexposuredotherest.

1/50ofasecondatf/4.5andISO200,handheld

Essentially,thechoiceofcameraisuptoyou.Iwon’tthinklessofyouifyoushootyourlandscapesonacamerainyourmobilephone.Ontheotherhand,don’texpecttobeabletoblowtheseshotsupforcriticaluses,ortomakeluscious,large-sizeprintsfromthem—onethingmostpeoplewouldliketodowiththeirlandscapephotos.

Gettingtherightequipmentforthejobisalwaysagoodidea.Inthecaseoflandscapephotography,you’llneedtodoalittlesoulsearchingaboutthejobyouwanttodo.Takingasnapshottorememberaplacesimplyrequiresdifferentequipmentfrommakinganimagethatcanbeusedforfineartprinting.

AwhilebackIhadanassignmentthatinvolvedtracingthestepsofSenecaRayStoddard,anineteenth-centuryphotographeroftheAdirondacksinupstateNewYork,andreplicatingsomeofhiswork.Iusedavarietyofequipmenttofulfilltheassignment,includingtheheavylargeformatfieldviewcamerathatIshotthisimagewith.

ThewoodboatshownistypicalofastyleusedintheAdirondacksforhundredsofyears,andtheswoopofthelakeinthebackgroundgivesasenseofthevastnessofthisimmensewildernesslandscape.

Shotwithafieldviewcamera,135mmSchneiderlens,and4x5sheetfilm,scannedfromaprint

Lenses

Personally,Iprefertodomostofmylandscapeworkaloneorwithagoodfriendwhoisalsointerestedinphotography.Thatway,Icanconcentratebestonthelandscaperatherthantheotherpeople.ButsometimesIdophotographlandscapeswithagroup;forexample,whenIamteachingaworkshop.Whatreallyamazesmeisthatnomatterhowclosetogetherthegroupiswhentheytaketheirphotos,everyone’sphotoscomeoutverydifferently.

Oneofthemainreasonsforthisisthepracticallyinfinitewaysthatphotographerscanusetheirlenses.Alenscontrolsthewayaphotographercanrendertheworld.Itistheprimaryinterfacewiththesceneryaroundone,andthebasictoolofthecraftoftakingphotos,inmuchthesamewaythatapainter’sbrushiskeytofineartpainting.Alensisabasictoolforthephotographerjustasabrushisessentialtothepainter.

Dependingonthelensandfocallengthoneuses,youcanmagnifyadistantscenebyusingatelephotolens,portrayalandscapewithroughlytheangleofviewthatapersonwouldseeit(usingaso-called“normal”lens),oruseawide-anglelensandfocallengthtopresentthelandscapeasabroadvista,withtheforegroundespeciallyprominent(seechartonpage84).

DuringalateafternoonhikeinPointReyes,California,InoticedthelightofthelateafternoonsunreflectedintheestuarialwatersofDrakesBay.Iusedaslightlywideanglefocallength(35mm)toemphasizetheexpansivenessofthescene,atthesametimeusingapolarizingfiltertobringouttheclarityandcolorsinthereflectionsoftheclouds.

Most—butnotall—landscapephotosaretakenwithinthisrangefrommoderatewide-angletomoderatetelephoto.The35mmequivalentfocallengths(seepage235foranexplanationof35mmfocal-lengthequivalency)androughangleofviewresultingfromthisrangeareshowninthetablebelow.

Azoomlensisalensthatprovidesavariable—andcontinuous—rangeoffocallengths.Withmodernphotoequipmentmostofuschoosetousezoomlensesratherthanfixedfocallengthoptics,sowegettodecidepreciselywhatfocallengthwewanttouse.Thefactthatyoucanchooseanywherefromafocallengthrangeisagreataidincreativecomposition,andaddstothevarietyofpossibilitieswhenyouuseaphototoframeapieceofthelandscapethatistheworldaroundus.

worldaroundus.

Itisafactthatmodernopticaldesignhasproducedzoomlensesthatareessentiallyassharpasfixedfocal-lengthlenses,sotheargumentagainstusingtheselenseshasbeengreatlydiminished,particularlyconsideringhowconvenienttheycanbe.

Speakingofsharpness,itisimportanttounderstandthateachlensencapsulatespiecesofpolishedandshapedglasscrystal.Withthebestqualitycontrolsintheworld,therecanbedifferencesevenbetweenlensesofthesamemakeandmodel—andofcoursedifferentmodelsoflensescanbequitedifferentfromoneanothereveniftheyincludethesamefocallength.

Sinceyourlensesprovideanimportantpartofhowyourphotoswillberendered,itisimportantthatyougettoknowyourspecificlenses.Everylenswillperformdifferentlydependingupontheaperture—particularlyinregardstosharpness—andthesedifferencescanbeparticularlyimportantinlandscapephotography.

Whenportionsofaphotoareoutoffocus,lensperformanceisalsoimportant.Out-of-focusareasarecalledbokeh(ボケ),andpleasingbokehcanbeveryattractiveindeed.Thecharacteristicsofbokehdependupontheopticalglass,lensdesign,diaphragmconstruction,lightingconditions,andyourchoiceofaperture.Gettingtoknowwhatkindofbokehrenderingyoucanexpectcanmakeabigdifferenceinselectivefocuslandscapes.

FocalLength(35mmequivalent)

Approximateangleofview Considerusingto… Distortions

18mm100º,widerthannormalview

Provideasenseofavastlandscapeandenhancedepth-of-field

Curvatureattheedges

50mm 47º,roughlynormalview

Conveyroughlythesensethatapersonwouldhavelookingatalandscape

Typically,nodistortion

12º,moderateclose-uptelephotoview

Emphasizeadetailpickedoutofalargerlandscape

Compactslinesofperspective,oftenapleasingeffect

Mythoughtwiththisphotowastocreateanimageofabig,redballofthesunsettingbehindsomegrass.Thisisanunusualeffectinthesensethatthescenewouldn’tlookthiswaytothenakedeye.Byusingalongtelephotolens(400mm)andfocusingonthegrasswithawideopenaperture(f/7.1)forlowdepth-of-field,Iwasabletomakethecomparativesizeofthesettingout-of-focussunseemmuchlargerthanitwouldtoahumanobserverofthescene.

ThisisthetopofMountTamalpaisseenfromthesummitofMountDiablointheSanFranciscoregionofCalifornia.Iusedalongfocallengthlens(200mm)toisolatethemountainsummitwithitsdecorativecloud,andtocreateaneffectalmostlikethatseeninsomeChinesebrushpaintings.

Atmospherichaze,likeseeninthisphoto,cansometimesbeadetrimenttolandscapeimagesbecauseitobscuresdetails.However,youcanalsotakeadvantageofhazetocreatemysterious,painterlyeffects,asinthisimage.

Togeneralize,mostlensesareopticallysharpestinamid-rangeofapertureswhentheyareneitherfullywideopennorfullystoppeddown,typicallyatf/8orf/11.

Opticalsharpnessisnotthesamethingasdepth-of-field,whichistherangeofdistancesinfrontofandbehindthesubjectthatisinfocus.Depth-of-fieldplaysacrucialroleinlandscapephotography,andisdiscussedinitsrolewithaperture

acrucialroleinlandscapephotography,andisdiscussedinitsrolewithapertureonpages106–113.

Fornow,youshouldbearinmindthatdepth-of-fieldisoftenvisuallyconfusedwithsharpness,andthatthewidertheangleofthelens,thegreatertheinherentdepth-of-field.Conversely,themoreyourlensisatelephotowithalongerfocallength,thelessinherentdepth-of-field.Notethatifyouarefocusedatinfinity,everythingbeyondinfinityisautomaticallyinfocusnomatterwhatyourchoiceofaperture.

It’ssometimesreallyfuntohavespecialtylensesinyourkit.Forexample,Ienjoytheobviousdistortions—alongwiththehighdepth-of-field—ofextremelywideanglefisheyelenses.Bothmy10.5mmdigitalfisheyelensandthefisheyeopticfortheLensbabyprovideanangleofviewofabout160degrees.

Extremetelephotolensescanalsoproduceinterestinglandscapedistortions—magnifyingsomeelementsinacompositionwhilebringingothersinmuchcloser,atthesametimeapparentlycompactingthespacebetweentheelementsinthephoto.

It’simportanttogettoknowyourlensessoyoucanbetterunderstandyourchoiceswhenyouareinthefieldanddecidinghowbesttocapturethewonderfullandscapearoundyou!

ThisisashotfromnearthetopofAngel’sLandinginZionNationalPark,Utah.Ichoseawideanglelens(12mm)soIcouldcaptureboththemanzanitashrubintheleftforegroundandtheriveronthefloorofthecanyon.Myideainthisshotwastohavethetwistingshapesoftheriverandtheshrubechooneanother.

12mm,3blendedexposuresfrom0.5ofasecondto1.3ofasecond,eachexposureatf/22andISO100,tripodmounted

WhenIdescendedthetrailtoKirbyCoveintheMarinHeadlandsneartheGoldenGateBridge,Ifoundastarfishmaroonedintheintertidalzone.Icarefullyplantedmytripodinthewetsand,movingitwhenawavethreatened.Finally,Iwasabletomakeanexposurewithouthavingtointerruptitbecauseofawave.

IusedafisheyelenstocaptureboththestarfishandtheGoldenGateBridge—whichgivesthebridgeasomewhatcurvedeffectatthehorizon.

Nostarfishwereharmedinthemakingofthisphoto.Aftermyshot,Icarefullyplacedthestarfishbackindeeperwatersoitwouldn’tdryout.

ThisisashotofSanFranciscoCityHallwitharowofpollardedtreesinfront.Pollardingisaformofpruningthatcutstreeswaybacktohelppreservetheirlong-termhealth.Iwasparticularlystruckbytheinterestingshapesmadebytheseverelyprunedtrees.

Itookthisphotoattwilight,asyoucantellbythelightsjuststartingtocomeon.

IusedaLensbabyfisheyelensattachment,whichcreatesanintentionalvignettingeffect(thedarkandroundedcorners).Theplacementofthisvignettingiscompletelyunderthecontrolofthephotographer.

Thereshouldbenodoubtintheviewer’smindthattheyarelookingatthisphotothroughanunusuallenscombination.

LensbabyComposer,fisheyeattachment,1.6secondsandISO100,tripodmounted

UsingaTripod

Moreoftenthannot,IuseatripodwhenImakemylandscapephotos.Infact,seriousphotographersdotendtousetripodsprettyconsistentlyfortheirlandscapework—foranumberofreasons.

Technicalconcernsleadthislistofreasonstouseatripod.Ifyouarephotographingpeople,itisoftennotpracticaltouseatripodbecauseyoursubjectsmaybeshiftingtheirpositionssoquickly.Thiskindofmotionislesscommoninalandscape—althoughtreescanmoveinthewind,andwatermayflowswiftly(seepages118–123formoreaboutcapturingmotioninlandscapes).

Withoutaquicklymovingsubject,puttingyourcameraonatripodbecomesastraightforwardwaytominimizecameramovement—aleadingcauseofblurandapparentunsharpnessinphotos.Furthermore,there’softenaneedinlandscapecompositionstocaptureabroadrangeoftheviewinfocus.AsIexplainonpages106–113,thisimpliesusingasmalleraperture—whichleadstoslowershutterspeedsandanincreasedneedforatripod.

Certainly,concernaboutblurringanimageduetoslightmotionsofthecameraisamplifiedwhenitcomestomacroandclose-upwork—whichiswhyalmostallgoodmacrophotographyisaccomplishedusingatripod.

Inaddition,thelongerthefocallengthofthelens,theharderitbecomestoshootwithoutatripodatagivenshutterspeedwithoutintroducingoffensiveblurringfromcameramotion.

Somespecialeffectscanonlybeachievedusingacameraonatripod—forexample,showingthecourseofmovingwaterasawhitemotionblurwhiletherestofthelandscapeisstillandcrisp—becausetheseeffectsrequirelongshutterspeeds.

It’sagoodideatoshootbracketedexposuresforHDRlandscapes(seepages208–217)whilethecameraisonthetripodsotheframesthataregoingtobecombinedwillcontainthesamecontent.

Personally,Iliketouseatripodforcompositionalreasonsaswellasthesetechnicalconsiderations.Usingatripodforcesyoutostopandthinkaboutyourlandscapephoto,andmeansyouneedtoslowdownandtakeyourtime.Youare

landscapephoto,andmeansyouneedtoslowdownandtakeyourtime.Youaremorelikelytocomposeyourphotoasyou’vepre-visualizedit,andtakethetimetocorrectcompositionalflawssuchasacrookedhorizonline.

Ithadbeenrainingforseveraldaysintorrentialgusts,ashappensfromtimetotimeinthespringincoastalCalifornia.IhikedthroughthedrippingforestontheslopesofMountTamalpais,toCataractFalls.Thecreekwasrushingpastinamuddytorrent.Isetupmytripodandwasabletoexposelongenough(3/5ofasecond)tomaketheflowofthecascadingwaterattractiveandsoft.

It’sworthwhilebuyingagoodtripod—youwillprobablyhaveitlongerthanyourcamera.Thekeythingstolookforinatripodarethatitshouldbesturdy,

yourcamera.Thekeythingstolookforinatripodarethatitshouldbesturdy,lightweight,andmaneuverablesothatyoucanpositionyourcameratomakeyourimagework.Youmayhavetocompromiseonsomeoftheseissues.Forexample,atripodthatislightenoughtocarryintothewildernesswitheasemaynotopentothefullheightyou’dlikeinsomesituations.

Thebestarrangementistobuytripodlegsseparatefromthetripodhead.Carbonfiberisagoodmaterialfortripodlegsbecauseitisextremelystrong,lightweight,anddoesnotconductcoldtemperatures(surprisinglyimportantinwinterlandscapephotography).However,carbonfibertripodlegscanbequiteexpensive.

Thetripodheadscrewsontothetripodlegs.Formostlandscapework,IsuggestaballheadsuchastheonesavailablefromKirkEnterprises,www.kirkphoto.com,orReallyRightStuff,www.reallyrightstuff.com.Thesevendorsalsomakebracketstoattachyourcameratotheballhead.

Yourcameraattachestothisballheadusingaquick-releaseplate,orbracket,whichtheballheadholdsfirmlyinplace.IrecommendanL-shapedbracketdesignedforyourspecificcameramodelbecauseyoucantheneasilyswitchbackandforthbetweenverticalandhorizontalorientations.

Closetothiswaterdroponaspringplant,Icouldseetheflowersandfenceofthegardenreflectedandrefracted.Thecloseronegets,themoremotionfromcamerashakeisexaggerated—soIneededtouseatripodtocapturethisminiaturelandscapewithclarity.

ExposureandLandscapes

Imaginelookingatavastlandscape.Onecornerofthesceneislitbythelateafternoonsoon,buttherestofthelandscapeisindeepshadow.Alternatively,itisjustaftersunset,youarefacingthecomparativelybrightskyleftbehindbythesettingsun,andtheearthandskyareglowingwiththesubtlecolorsofthismagicaltimeofday.

Thesearetwoofthescenariosthatcanleadtogreatlandscapephotos.Butinneithercasewillusingautomaticexposuregetyoutheresultsyou’dlike.Tocuttothechase,formostlandscapephotographytogetthebestresultsyouneedtousemanualexposuremodes.Doingthiseffectivelyrequiresanunderstandingofexposuregenerally.

Thisistheexposurehistogramfortheimagetotheright.Thesmallspikeattherightofthehistogramrepresentsthebrightsunlightintheupperrightoftheimage,whilethespikeontheleftiscreatedbythefewalmostblackspotsintheupperportionsofthephoto.Thevastmajorityofthelandscapeisinsomewhatdark,left-biasedshadeasrepresentedbythelarge“mountain”shapeinthehistogram.

AsthedayturnedtolateafternoonattheWave,intheCoyoteButtesWildernessontheUtah-Arizonaborder,Inoticedaninterestingcomplementarypatterntothestriationsintherock.Thelinebetweenthesunlightandshadowontherockcreatedafascinatingandvariableline.

Toshowthispatternalongwiththepatternoftherockitself,Iexposedforthesunlight.Thismeantunderexposingtherockintheshade,whichIwasabletocorrectinpost-processing.

Asyouprobablyalreadyknow,yourexposuresettingsdeterminehowmuchofthelightthathitsthelensisletinthroughtheopeninginthelens.Theshutterspeedsettingcontrolsthedurationoftimeduringwhichlightisletin.Obviously,thelongertheduration,themorelightthatgetsin.Formoreaboutshutterspeed,seepages118–123.

Theaperturesettingcontrolsthediameteroftheopeninginthelensthatlightpassesthrough.Thesmallerthehole,thelesslightthatpassesthrough.Apertureisexplainedindetailonpages106–113.

isexplainedindetailonpages106–113.

Athirdcontrol,ISO,determineshowsensitivetolightyoursensoris.YoucantakephotosindarkerplaceswithahigherISO,buttherearesomepotentialdownsidestoraisingtheISO(seepage114–117formoreaboutISO).

Aperture,shutterspeed,ISO—thesevariablescontrolthewayincominglightisrenderedbycreatinganexposure.It’sproblematictoletthecamerachoosethevaluesforthesesettingsforyoubecausethecameradoesn’treallyknowwhatyouwanttocaptureinyourexposure.Forexample,whenthere’sasliceoflightinalandscapeotherwisefilledwithshadow,thecameraislikelytochooseanaverageexposure,whichwillrenderneitherareasatisfactorily.

Thisistheexposurehistogramfortheimagetotheright.Thehistogramshowsafairlynormaldistributionofvalueswiththedarkerareasofcloudandoceanrepresentedbythe“mountain”attheleftsideofthehistogram.

Thisisashotusingatelephotolens(200mm)ofoneoftheFarallonIslandsoffthecoastofSanFrancisco,California.Thesefog-boundislandsarehometobirdsandgreatwhitesharks.Untilmoderntimes,theislandshavebeenextremelyhazardousforpassingships,anditisraretoseethemsoclearly.

Thetrickherewastoexposefortheinterestingandsaturatingclouds,allowingtheislandandoceanintheforegroundtosilhouetteagainstthesky.

AsI’vealreadyexplained(seepages14–19),theterm“landscape”isabitofamisnomer.Mostlandscapephotographscontainmorethanjust“land”;forexample,water,ocean,sky,clouds,plants,buildings,androads.Withtheexceptionoflandscapeaspatternortexture(seepages52–59),itistheboundaryofthelandwithelementsbesideslandthatmakethelandscapeinteresting.Furthermore,mostofthebestlandscapesaretakenataboundarytimeofday:whennightturnstoday,towardssunset,orwhenthereisanunusualweathercondition.

Takentogether,thesecircumstancesmeanthatboundariesintimeandspaceplayabigroleinlandscapephotography—andintheartofexposinglandscapescreatively.Youhavetodecidewhatportionsofthelandscapeyouarecapturingyouwanttoexposefor,andalsodeterminewhetherthereisastrategythatwillletyoumakeaneffectiveexposureforalltheareasinthelandscapethatareimportanttoyou.

IrelyonmyexposurehistogramtohelpmeunderstandtheexposurevaluesinwhatIamseeing.Ahistogramisagraphshowingadistributionofvalues,andanexposurehistogramshowsthedistributionoflightsanddarksinaphotoyouaremaking.Iftheexposurehistogramisbiasedtowardstheleft,thentheimagetendstowardsdarknessandunderexposure,whileifthehistogramisright-leaningthentheimageisbrightandtendstowardoverexposure(seediagramsonpage104).

Asyoucanseeintheactualhistogramsthataccompanytheexamplesinthissection,yourexposurehistogramshoulddependupontherangeanddistributionofexposurevaluesinyourphoto.Forexample,ifthepointofmyphotoisthecontrastbetweenasmalllightareaandthedarkerlandscape,thenthehistogram

contrastbetweenasmalllightareaandthedarkerlandscape,thenthehistogramwillshowmostlydarkvalues—andthisisinlinewiththephotoIwanttomake.Soitisimportanttounderstandthatexposurehistogramsshouldbereadinthecontextoftheimageyou’vepre-visualized.

Whenitcomestophotographinglandscapes,Ioftenlookforaslightlyleft-biasedhistogram.Mythinkingisthatthishelpsmakecolorsricher,andIcanprocessmyRAWfilestorecoverareasthataretoodarkmoreeasily(seepages200–207)thanIcanrecoverbrightareas.Onceabrightarea“blowsout,”itbecomesessentiallyimpossibletorecoverinthedigitaldarkroom.

Thisistheexposurehistogramforthephotototheright.Thehistogramshowsaprettygoodoveralldistributionofvalueswithaslightleftbias,butnoreallyunderexposedareas—whichcorrespondsnicelytotheactualimage.

Sinkingbelowthehorizon,thesettingsunlittheedgeofthecloudyoucanseeinthisphotowithamagnificentcrimsonglow.Iwascarefultoexposesothecolorsremainedhighlysaturated,whichmeantunderexposingtheskyslightly.Fortunately,Iwasabletobringouttheforegroundinpost-processing(seepages200–207).

Underexposed

Thishistogramshowsanexposurethatisbunchedtotheleft,meaningthattheimageitrepresentsisprobablyunderexposed.However,sinceahistogramgraphsthelight–to–darkvaluesinacapture,ifwhatyouarephotographingispredominantlyblack(forexample,averydarklandscape),thenitispossiblethatthisgraphmay,infact,representtheexposureyouwant.

Midtoneexposure

Thishistogramshowsaroughlynormaldistributionofexposures,providedthatthesubjectbeingcapturedincludesafullrangeoflightsanddarks.Ofcourse,theactualhistogramwilldependuponthelightsanddarksinthesubject,aswellasyourexposuresettings.Youcanseeinthisfairlymiddle-of-the-roadhistogramthattherearesomeblackvaluesandsomewhitevalues,withthebulkoftheexposurevaluesinthemidtone(thecenterofthegraph).

Overexposed

Thishistogramshowsanexposurethatislikelytobeoverexposed—youcantellbecausetheexposurevaluesarebunchedtotheright.However,ifyoursubjectincludesagreatdealofverybrightorwhitetonality(forexample,cloudsinthesun),thismaybethehistogramyouget—anditmaybeperfectforthecaptureyouwanttomake.

Thisistheexposurehistogramforthephotototheright.Thehistogramshowstheprevailingdarknessofthecanyonwalls(ontheleft)aswellasthespikeontherightthatrepresentsbrightnessintheclouds.

FromanoldcastironbridgespanningtheRioGrandeGorgenearTaos,NewMexico,Ishotdownonthewatertomakeanimagethatshowedtheskyreflectedintheriverandthedarkwallsofthecanyon.

ApertureandDepth-of-Field

Settingyourapertureisoneofthemostimportantcreativecontrolsinlandscapephotography.Withagivenlensandfocallength,whereyousettheaperturedeterminestheresultingdepth-of-field.Inconjunctionwithwhereyou’vedecidedtofocus,thissettingultimatelymakesahugedifferenceinthefinalresultsyou’llget.

Ofcourse,ifyouchangeyourapertureyou’llalsoneedtomakeacorrespondingchangeineitheryourshutterspeedoryourISOifyouwanttokeepthesameoverallexposurevalues.Oneofthetrickyaspectsofthecraftofphotographyisthateachchoiceyoumakeimpactstheotherchoicesavailabletoyou.

Apertureisreferredtousingf-stopnotation,forexample,f/8.Inthisexample,8iscalledthef-number.Thelargerthef-number,thesmallertheopeninginthelens—youcanseethisinthediagramofaperturesshownonpage108.f/36meansamuch,muchsmalleropeningthanf/2.8.

Whenalensapertureissetassmallaspossible,thelensisstoppeddown.Alenssettothemaximumapertureiswideopen.

F-stopsandtherelativeamountofdepth-of-field

FullF-StopsLightallowedin,compared

tothemaximumapertureDepth-of-field

f/1.4(maxaperture) N/A Lowest

f/2 1/2 Shallow

f/2.8 1/4 Shallow

f/4 1/8 Shallow

f/5.6 1/16 Medium

f/8 1/32 Medium

f/11 1/64 Medium

f/16 1/128 High

f/22 1/256 High

f/32(minaperture) 1/512 Highest

AsI’vementioned,therangeoffocusprovidedinaphotobyanaperturesettingiscalleddepth-of-field.Whenyoustopyourlensdownyouhavemoredepth-of-field,andwhenyouopenthelensupyougetlessdepth-of-field.Thegeneralrelationshipbetweenf-stopsandtheamountofdepth-of-fieldisshowninthechartonpage106.

Whereyoufocusisalsoimportanttodepth-of-field.Youshouldtrytokeepyourcameraparalleltoyoursubject,andifdepth-of-fieldisimportanttoanimagetryavarietyofpossibleplacestofocus.Youcanvisuallychecktheimpactoftheapertureandfocuspointsyou’veselectedeitherusingyourDSLR’sdepth-of-fieldpreviewbutton,usingtheLiveViewfeatureifitisavailable,orintheLCDafteryou’vemadeyourphoto.

Everythingfurtherawayfromthecamerathantheinfinitypoint(markedonthelensusingthe∞symbol)isinfocuswhenthelensisfocusedatinfinity,evenatthemaximumlensaperture.Inaphotofocusedatinfinity,iftheentiresubjectisatinfinityorbeyond—asisoftenthecaseinlandscapephotos—theneverythingwillbeinfocusnomatterwhatapertureyouchoose,andyoucannolongeruse

aperturetocontroldepth-of-fieldcreatively.

F-stops(showninrelativescale).Thelargerthef-number,thesmallertheopeninginthelens.

TherearemanylandscapesituationswhereIdoneedtothinkabouthowapertureinteractsasacreativecontrolbecausethelandscapeisnotentirelyfocusedatinfinity.Forexample,supposeIwanttomakeaphotowhereanelement—suchasabird,orsignage—isinfocusbuttherestofthelandscapeisnot.Thisstrategygivesthein-focuselementmoreimportancethantherestofthelandscape,andalsoisolatesit.IcanachievethisresultbyfocusingontheelementIwantto“isolate,”makingsuretouseawideenoughaperturesothatotherelementsinthelandscapearenotinfocus.

Ontheotherhand,supposeIwanttomakeaphotoinwhichafloweringshrubintheforegroundisinfocus,butyoucanalsoclearlyseethedetailsofalandscapeinthebackground.Thiskindofimagerequiresasmuchdepth-of-fieldasIcanget,andmeansstoppingthelensallthewaydowntothesmallestaperture.

VisitingthemuseumatManzanar,theinternmentcampinOwensValleyusedforJapanese-AmericansduringtheSecondWorldWar,Iwasstruckbyoneman’sstory.“IfIevergetoutofhere,”hewrotepoignantly,“I’mgoingtohangmykettleonthesignatTeakettleJunction.”

Twodirtroads,designatedas4-wheeldrivetrails,meetatTeakettleJunction,halfwaybetweentheSierraNevadaMountainsandDeathValley.It’sbeenatraditionforyearstohangteacupsandkettlesonthesignmarkingthejunction.

Iusedamoderatelylongtelephotolens(105mm)withafairlywideopenaperture(f/7.1)andfocusedontheTeakettleJunctionsignitselftoisolatethesignfromthesurroundinglandscape,whichisslightlyoutoffocus.

IgotascloseasIcouldtothisredtailhawk,andthenusedthelongestlensIhadwithme(200mm)tobringthebirdevencloser.Amoderateaperture(f/8)helpedmakethebirdseemcrispagainsttheout-of-focusPacificOceaninthebackground.

TocaptureboththelupinealongthetrailandthelandscapeofPointReyes,Californiainthebackground,Istoppedmyfisheyelensdowntoitssmallestaperture(f/22)formaximumdepth-of-field.

Inthismacroshotofapoppy,Iwantedtocreateavisualreferencetolandscapephotographyinwhichthecoreoftheflowerseemstobelikethesun.Followingthisvisualmetaphor,thestamensshownintheforegroundare“basking”inthe“sunlight.”

Iusedatelephotomacrolens(105mm)andfocusedonthestamens,usingashallowaperture(f/5.6)toachievethefocuseffectthatIdesired.

105mmmacro,1/40ofasecondatf/5.6andISO200,tripodmounted

TheISOsettingonyourcameracontrolsthelightsensitivityofyoursensor.It’sagreatgifttodigitalphotographersthatwecandial-up(ordialdown)howsensitivetolightourcameraisonaper-capturebasis—it’salotmoreconvenientthanhavingtofinisharolloffilmtochangethesensitivityofthecapturematerial.

ButwhynotjustdialyourcamerauptoitsmaximumISOforthemostlightsensitivity,andleaveitthere?Youprobablyalreadyknowtheanswer.IncreasingtheISOtoofarcompromisesthequalityofthephotosyoucreatebyintroducingnoise(seethesidebarbelowformoreaboutnoise).

ThelowertheISOyouuse,thelessnoiseyou’llget.Usually,youdon’twanttoseenoiseinlandscapephotos.Therefore,mostofthetimeIshootwithaslowanISOasmycameraallows,orneartoit—thismeansshootingatISO100orISO200.OnesituationinwhichI’llcertainlyshootataslowanISOaspossibleiswhenIwanttheexposuretouseaslongashutterspeedaspossible—forexample,incertainkindsofwaterfallcapturesasexplainedonpages118–123.

GettingbacktousingahighISO,insomecircumstanceswhenIknowIcan’tuseatripod—forexample,becauseitisrainingtoohardtokeepmycameraout—I’llboosttheISOsoIcanhandholdwithoutworryingaboutcameramovement.InthesesituationsifI’veboostedtheISO(generallyintothe400–1,000range),I’llalsousethehigherISOtofreezemotionwithafastershutterspeed.

TherearesomespecialsituationswhereusinganextremelyhighISO(2,000andabove)makessenseinlandscapephotography.Oneoftheseiswhenyouaretryingtocreateanintentionallypixelatedimage.Imagesthatarecreatedthiswaycanhaveanalmostimpressionisticeffect—andbeveryattractive,despitethegenerallybadreputationthatnoisehas!

NoiseandLandscapePhotography

Youcanthinkofdigitalnoiseasstaticontheline—similarinnaturetothestaticonesometimeshearsinanaudiobroadcast.Somedigitalnoiseisinevitable,althoughcamerasensorsaregettingagreatdealbetterabouttheir

inevitable,althoughcamerasensorsaregettingagreatdealbetterabouttheirnoiselevels,andpost-processingsoftwareisimprovinginhowitcanhandlenoiseaswell.

Fromtheviewpointofthelandscapephotographer,thethreeleadingcausesofpreventablenoiseareusingahighISO(discussedinthissection),underexposing,andmakingexposuresthatarelongerthanabout8secondsinduration.Thecombinationoftwoorthreeofthesefactorsinthesamephotocanmaketheimageunusable.

AlthoughIrecommendslightlyunderexposinginlandscapephotos,particularlyinimagesthatcontainverybrightareas,suchastheskyatsunset,becarefulabouttoomuchunderexposurebecauseofthenoiseissue.Ifyoureallydoneedtosubstantiallyunderexposeanoverallimagetoavoidblowingoutthebrighterpartsofthelandscape,considershootingbracketedexposuresforHDR(explainedonpages208–217)togetaroundthisissue.

Regardinglongexposures,excessivenoisecanoftenbereducedbyturningonin-cameralongexposurenoisereduction.Thissettingcausesthecameratoshoota“darkframe”immediatelyfollowingyourlongexposure;itcanusethedarkframetocancelthenoisegeneratedbythesensorduringyourlongexposure.

Idecidednottocarrymygearbagandtripodontotherain-sweptbeach.Alittlelater,asthesunbegantocomeout,IbegantowishIhadmytripod—butmadeupforitsomissionbyincreasingmyISOsubstantially(toISO640).

IwatchedthedelicatecloudsovertheStraitsofFloridafromthewaterfrontinCojimar,Cuba,asmallfishingvillagethatHemingwaywroteaboutinTheOldManandtheSea.

AsIpre-visualizedthisphoto,Idecidedtotrytocreateanimagewithvisible“dots”—muchlikeanimpressionistorpointillistpainting.IboostedtheISOsubstantially(toISO2000),withtheplanofusingthenoisecausedbytheincreasedISOforthepointillisteffect.

CapturingMotion

Theearthmovesaroundthesun,andthestarsdescribeanapparentarcintheheavens.Alltheworldaroundusisinmotion,somemovementsoslowastobeimperceptible,somesofast—likefallingwater—thatitwhizzesrightbyus.Shutterspeedisthecreativecontrolthatphotographersusetocontrolhowallthismotionisrendered.

I’vealreadyexplainedthatsettingtheshutterspeedisactuallysettingadurationoftime.Aslongasyoubearinmindthatshutterspeedisnotaspeedbutratheraninterval,thissettingisprettystraightforwardandshouldnotconfuseyou.Ashutterspeedof1/1000ofasecondistwiceaslongasashutterspeedof1/2000ofasecond.Ashutterspeedofonesecondis1000timesaslongas1/1000ofasecond.Andsoon.

Shutterspeedisyourcreativecontrolovermotion,butaswiththeaperturesetting,ifyouchangetheshutterspeedsettingyou’llneedtochangeeitherapertureorISOtokeeptheexposurevaluethesame.Onceagain,anexposureisanissueofbalance—andyoucan’tchangeonesettingwithoutchangingtheothersunlessyouarepreparedtochangetheoverallexposure.

Ifyouhaveasubjectinmotion—fallingwateristheclassiclandscapeexample—thenthereisahugedifferenceinhowyourphotowilllookdependingupontheshutterspeedyouuse.Fastshutterspeedswillstopthemovementofthewatercrisply,whilelongshutterspeedswillcreateaninterestingmotionblur.Thelongertheshutterspeed,thesofterandmorepronouncedtheblur.Shutterspeedsofabout1/250ofasecondorfastercreatecrisptrailsofwater,apparentlystoppinginitstracks.Shutterspeedsofabout1/10ofasecondorlongerturnflowingwaterintolong,delicatewhitetendrils,andshutterspeedsofoneortwosecondsorlongerwilltotallyblurwater—oftenquitepoetically.

Ofcourse,fallingwaterisn’ttheonlythingthatmovesinlandscapephotography.Grassblowsinthewind,asdoessandandsurf.Ifyouhavecarsinyourlandscape,theywillbemovingaswell.Cloudsmove,birdsmove,everythingmoves.Soitisimportanttolearnhowyourchoiceofshutterspeedwillchangethewaythesemovingsubjectsarerendered.Armedwiththis

insight,youcanbetterpre-visualizeyourphotos—andchoosetheshutterspeedthatwillenableyoutoachievetheresultsyouhavepre-visualized!

Crouchingbesidethiswaterfall,IknewIwantedtousealongexposuretoturnthefallingwaterintoasilkenabstraction.Myideawasthatthisflowingeffectwouldcontrastnicelywiththehardedgeoftherockthatthewaterwasfallingagainst.Tocreatethiseffect,Istoppedthelensallthewaydown(tof/25),andusedaneutraldensityfiltertomaketheexposureaslongaspossible(2seconds).

90mm,neutraldensityfilter,2secondsatf/25andISO100,tripodmounted

TocapturethemotionofthewaterflowingoverVernalFallsinYosemiteValley,Californiaonawindyspringday,Iusedafastshutterspeed(1/320ofasecond).

Inthisphoto,thesegreathornedowlchickslookalmostasiftheyarestuffedandnotinmotion.Infact,Iobservedthisnestforhoursandthesebirdswereconstantlymoving—groomingeachother,snappingoverfoodbits,andcallingtotheirparents.

TheonlywaythatIwasabletogetashotshowingthemrelativelystillwastowaitpatientlyforamomentofcalmandthenuseareasonablyfastshutterspeed(1/250ofasecond).

Ashutterspeedof1/200ofasecondwassufficienttorenderthisseagull,thebird’sshadow,andthebeachcrisply—eventhoughthecomposition

involvesquiteabitofmotion.

Onthisviolentdayatthebeach,ascouringwindblewstraightoffshoreintothelineofapproachingwaves.Afastshutterspeed(1/400ofasecond)wassufficienttostopthemotionofthewaveswithcrispness,butthesandonthebeachwasblowingsofastthatitblurredevenwhentheoceanspraydidnot.

CompositionandLandscape

Whybenormal?Ifalandscapecompositionseemslikeitissomethingyou’veseenbefore,thenitprobablyistrite.Whynotputyourownnewtwistonit?Themainchallengeincomposinglandscapephotosistograbtheattentionofyourviewers.Ifpeoplethinkalandscapeimageisjust“thesameoldsameold,”thenyou’velostthebattlebeforeitiseventrulybegun.

Artistshavebeencomposinglandscapesaspaintingsorphotosforages,sobeingoriginalisnotaseasyasitmightseem.Intheprocessofcreatingallthislandscapework,compositionalprincipleshavearisen,suchasthewellknown“ruleofthirds.”Astheruleofthirdswouldhaveit,youshoulddivideyourcompositionusingagridintoverticalandhorizontalthirds.Keyelementsofthecompositionshouldthenbeplacedattheintersectionsoftheverticalandhorizontallines.Inotherwords,atthepositionsthatare1/3or2/3ofthewayuporacrossthecomposition.

Thiscompositionplacementmakessomevisualsenseinmanylandscapephotos,andyoushouldbeawareoftheruleofthirds,butnooneshouldtakeapreceptliketheruleofthirdsandfollowitblindly.

Theprimaryinsightyoushouldderiveisthatphotographiccompositionisthecraftoftakingthethree-dimensionalworldandprojectingitininterestingandintriguingwaysintoatwo-dimensionalspacethatis“framed”—meaningplacedwithintheborderofthephoto.Thisframeisinherentlyartificial,andsignalstotheviewerthatthereissomethingspecialwithintheframethatisworthpayingattentionto.Ofcourse,thiskindofframehasnothingtodowithapictureframe.

Asamatterofgeneralprinciples,goodphotographiccompositioninlandscapephotos:

Startswithanacknowledgementofthetwo-dimensionalityofthelandscapephotodespitethethree-dimensionalityoftheworld;thisimpliesrecognizingandworkingwiththeartificeinvolvedinartisticcomposition.Createssomekindofdramatic,visualmovementtodrawtheviewerin.Emphasizesthemostimportantelementsinthescene.Isawareofthehumandesireforbalanceandsymmetryandeitherplaystothesedesiresorintriguesbydenyingthem.

Considerstherelationshipoftheimagetoitsframing.

NeartheoldminingtownofTrona,California,Icameuponthesenearlyabandonedrailroadtracksinaharshdesertlandscape.ThecompositionImadeismeanttoemphasizetheparallellinesleadingtheviewerontowardsthehorizoninanotherwiseemptylandscape.

Herearesomeideasabouthowyoumightachievethesegoalsinthecontextoflandscapephotography:

Createanimagewithparallellinesthatseemstostretchwithnoendtowardsthehorizon.Thisdrawstheviewerinandmakesthemthinkabout

theedgesofthephoto(theframe).Cropanimageunusuallyshowingthekeycompositionalelement—forexample,abreakingwaveorthecrestofmountains—ratherthantheextraneousdetailsofthelandscapesurroundingthekeyelement.Thisheightensthesenseofdramaintheimage,andmakestheviewerfocusonwhatisreallyimportantinthecomposition.Balancealong,recedingperspectivewithadifferentkindofvisualelementontheothersideofthecomposition.Useapath,road,orotherelementtodrawtheviewerintotheheartofthecomposition.Bisectthecompositionwithahorizontalline,andthenoffsetthehorizontalitywithaverticalelementthatseemstocutacrossthefirstline.Inotherwords,thekeyelementsofthecompositionformakindofcross.Inthisscenario,theverticalandhorizontalelementscouldofcoursebereversed.Usereflectionstomirrorthekeyelementinthecompositionaroundacentralaxis,creatingasenseofbalanceandsymmetry.Placeanunusualorunexpectedelementintheforegroundofanotherwiseconventionallandscape.

Asyouworkwithlandscapecompositions,you’llfindmanyideasforaddinginteresttoyourphotos.Someofthesearetoincludeanelementthatrepeats,tolookforpatterns,toseetheworldthroughaninternalframe—suchasawindow.Therearemanywaystoarriveatintriguinglandscapecompositions,soneverfeelthatyouhavetofollowonlyasinglepath.

Idofindthattheworldisfullofnoise,color,anddistractions.Sometimes,however,simplicityisthekeytogoodcompositions.Tohelpmeseethingsinasimplerway,Itrytoeliminateextraneouselements.Anexcellenttechniqueforimprovingcompositionalskillsistoworkmonochromatically.Withoutcolortodistract,andtoattractivelycloakthecomposition,thebonesofyourphotosaremuchclearer—anditishardertogetawaywithboringcompositions.

IshottheroughwintersurfcomingintothegreatSouthBeachofPointReyes,Californiawithalonglens(200mm).

Lookingatthecomposition(right)Idecidedthattherealpointwasthecrashingwavewithitsmantleoffoam.

SoIcroppedthephotointoapanoramicformat(above).

Actually,theimageworksbothways.Butitisimportanttorealizethatyouarenotobligatedtopresentalandscapecompositionintheformatthatitcomesfromthecamerain.

Both:112mm,1/640ofasecondatf/6.3andISO200,tripodmounted

MatanzasissometimescalledtheVeniceofCubabecauseoftheriversandbridgesthatbisecttheplace.

WalkingacrossabridgeovertheMatanzasRiverinthelateafternoon,Imadesuretoframemycompositionsothatitincludedakayaker—tobalancethelongrecedinglinesofbuildingsontheright-handsideofthephoto.

Inmymind’seye,Ipre-visualizedthiscompositionasaCanalettopainting.CanalettowasagreatpainteroflandscapesofVenice,andthelightingandlinesofperspectivearesimilar,aswellasthethemeofacityofwaterandbridges.

ForanunusualviewofYosemiteValleyfromInspirationPoint,Iincludedasnow-coveredmanzanitabushintheforeground—animportantpartofthecomposition.

Thisphotofeaturesstrongdiagonallines(thefoldsinthehills)thatmeetahorizontalelement(themountainsinthedistance).Butneitheroftheseelementswouldbesufficienttocreateacompellingcompositionwithoutthewindingfootpaththatleadstheeyeacrossthegentlysculptedhillstowardsthefog-boundlandscapeinthedistance.

ThisrockanditsperfectreflectionintheMercedRiverformanabstractcomposition—almostasiftherockhadbeenplannedandinstalledassculpture.

Forthiskindofcompositiontowork,thereflectionshouldbeverystrong—whichcanoftenbeachievedifotherconditionsarerightbyusingapolarizingfilter.

50mm,circularpolarizer,6secondsatf/32andISO100,tripodmounted

LandscapesandLighting

Asopposedtosomeotherkindsofphotography—suchasstilllifeandstudioportraits—landscapephotosaremadealmostexclusivelyusinglightthatthephotographerdoesn’tsupply.Thiskindoflightingissometimescalledavailableorambient.

Whenworkingwithavailablelight,theroleofthephotographerismorepassivethanincaseswherethephotographeractivelysetsuplighting.Essentially,thisroleconsistsofbeingintherightplaceattherighttime,readytoshoot.Ifthissoundstrivialoreasy,anyonewhoshootslandscapesextensivelywillquicklytellyouthatitisnot.

Theverylackofcontroloverlightingmeansthatyourabilitytoplanyourshotsiscrucial(seepage144forsomeinformationaboutplanningtools).Youneedtohaveagoodsenseofhowweathermoves,anditsimpactonlighting(workingwithweatherisdiscussedonpage142).Inmanycases,youmustbeabletomoveveryquicklytoachievegreatlandscapeimagery.Pause,orblink,forasecondandtheshotmaybegone.

Mostofall,youneedaninstinctivesenseforlighting.Thismeansunderstandingthedirection,intensity,andqualityofthelightyouhavetoworkwith.Aslightchangeincameraposition,lens,orexposuresettingcanhugelyimpactthewaythelightingworksinyourphoto,andtransformamundaneshotintoamasterfullandscape.

ThisisashotofHorseTailFallsinYosemiteValley,California,litbythesunafterithasset,inaphenomenonsometimescalledalpenglow.FamouslandscapephotographerGalenRowellfirstcapturedtheevent,whichoccurstowardstheendofFebruarywhenweatherconditionsarerightandsnowmeltissufficientforwatertoplungeovertheupperslopesofElCapitan.

Thesedays,manyphotographersmakeapilgrimagetophotographthislightingphenomenon,andIhavebeenthereonanumberofdifferentyears.Thisshotisfrommyinitialvisit.Likemostoftheotherphotographers,Ihadalreadypackedmybagswhenthelightingstartedtoglow.Iturnedaroundandwasabletosnapthisimage—withthetake-awaythatphotographers(includingmyself)areoftentoohastyandnotpatientenoughtowaitforthebestlighting.

Allthistakespatience,andthepracticeofcloseobservationoflightingconditions.Thiskindofmindfulnesscanbelearned.Whilethereisnosubstituteforspendingagreatdealoftimeinthefieldobserving,practicing,and

forspendingagreatdealoftimeinthefieldobserving,practicing,andphotographing,hereareafewgeneralthoughtsthatusuallyholdtrueinlandscapephotography:

Manylandscapephotoscanonlybemadeduringtheso-called“goldenhours”—theperiodoftimethatextendsfromshortlybeforetoshortlyaftersunsetorsunrise.Goldenhourlightingisbeautifullighting.Youshouldaimtobeinpositionforlandscapephotographyduringgoldenhouratdawnandatsunset(sunriseisusuallyshorterthantheoneatsunset).It’sokaytosleepthemiddleofthedayaway!Bright,cloudlessskiesinthemiddleofthedayusuallyresultinlandscapeswithboringandharshlighting.Butbearinmindthatharshlightingworksforsomekindsoflandscapecompositions(seeexampleonpage66).Thebeginningorendofamassivestormoftengeneratesgreatlightingforlandscapes.Butbecareful:stormscanbedangerous,andbeingintherightplacetogettheshotcantakeluckandtiming.

Bepatient!It’seasytoleaveascenetoosoonandmissthebestlighting,whichcansometimestakelongertodevelopthanonemightthink.

Gettingalandscapephotowiththerightlightingcanseemeasy,andsometimesitisjustamatterofluck.Butconsistentlyproducinggoodlandscapephotostakesagreatdealmorethanluck.Itrequireshardwork,persistence,planning,andagreateyeforlighting.

Forabriefinstant,thesunsetlitthiscloudaboveMonoLakeineasternCalifornia.Iwasinpositionandready,andswiftlymademyexposure.

LookingdownattheMercedRiverfromStonemanBridgeinYosemiteValley,California,Isawthatthereflectionsoftheforestonthevalleyfloorhadtakenonbeautifulcolors.Therewasnowind,andthewaterwasstill,soImadealongexposure(1second)thatcapturedthegloriouslightingthatIwasobserving.

170mm,circularpolarizer,1secondatf/22andISO100,tripodmounted

Iwantedtocreateanimageshowingthebeautifullightinthecloudswhilealsoshowingsomedetailsintheforeground.IknewIcouldn’tdothisinasingleexposure,soIbracketedmyshutterspeedacrossanumberofexposures,andcombinedtheresultsinthedigitaldarkroom(seepages200–207).

18mm,circularpolarizer,tenexposuresranginginexposuretimefrom1/10ofasecondto1/200ofasecond,eachexposureatf/11andISO200,tripodmounted

InthissunsetviewoftheGoldenGateBridgeandSanFrancisco,California,thelargecontainershipaddstothecompositionbymovingtheeyeinacontrastingdirectiontotheother,prevailinglinesinthelandscape.

IwasinpositiononHawkHillintheMarinHeadlandslongbeforesunset.Foralongtime,Ithoughtthelightwouldbetoodulltocreateaninterestinglandscapeimage.Then,shortlyaftersunset,gloriouslightcaressedthetopsofthebuildingsindowntownSanFrancisco.Isnappedmyphoto,andtheninaninstantthelightwasgone.

WorkingwithWeather

Ifyouneverventureoutinbadweather,thenyou’llneverbetherewhenthebadweatherends—oftenoneofthebesttimesforlandscapephotography.Doesthismeanthatifitstartstorainyoushouldpickupyourcameraandtripodandheadforyourfavoritelandscape?Well,no.

Itpaystobethoughtfulabouttheweather.Ifitisrainingsolidlyforaweek,there’sprobablynopointinvisitingtheworld’smostmagnificentlandscapes.Today’stools—suchasweatherinformationontheInternet—helpgiveyouanideaofwhatyoucanexpectintermsofbothdurationandintensity.

Ialsobelievethatgood,old-fashionedintuitionandcommonsenseabouttheweatherplayarole.IfIamgoingtobeactivelyphotographinginanarea,Iliketotrytoformanunderstandingofhowtheweathersystemsintheareaoperate.Weathermapshelponetracktheprogressofstormfronts.Iparticularlyliketobeinalocationasthestormfrontisbreakingup.

Ifyouaregoingtobephotographingduringbadweather,itisvitaltokeepyourselfwarmanddry.Youcannotexpecttodogoodworkifyouaren’tcomfortable.Furthermore,itisanot-so-well-knownfactthatthemajorityofhypothermiadeathsoccuratcomparativelywarmtemperatures.Wetweatherwhenthemercuryisinthelow50sFahrenheitcanbeextremelydangerousbecausethecoldcansneakuponyou.Breathable,waterprooflayersaretheanswer.

Ofcourse,youalsoneedtokeepyourcameraequipmentdryinsnoworrainyconditions.Irecommendawaterproofcoveringforyourcamerabag.Somecamerabackpackscomewiththiskindofwaterproofcoveringinaspecialpocket,andyoucanpullitoutwhenyouneedit.Otherwise,investinaseparate,fullywaterproofcover.

Takingyourcameraoutintherainisthetrickypart.Itisbesttogolightongearinthesekindsofconditions.It’seasiertoprotectasinglecameraandlensthanitistodealwithmorecomplicatedequipment.Ifthingsarereallywet,I’llsometimesevenforgothetripod,andboostmyISOsoIcangettheshotsIwant(seepages114–115foranexample).

Ifyoudoneedtohaveyourcameraoutinwetweather,itshouldbeprotected.I

Ifyoudoneedtohaveyourcameraoutinwetweather,itshouldbeprotected.Ifindthatasimpleplasticbag,orashowercap,worksaswellasanycoveringthatisspeciallydesignedforthissituation.

IdrovethelongdirtroadtothePatriarchGroveofbristleconepinesintheWhiteMountainsofeasternCalifornia.Thesetreesaretheworld’soldestlivingthings.AsIprogressed,stormcloudsgathered.Rainbegantofall.BythetimeIreachedthesetrees,Ifearedthetripwouldbewashed-out.Thenthesunbrokethroughtheclouds,andIsetmycameraupjustintimetocapturethisrainbow.

58mm,circularpolarizer,1/40ofasecondatf/11andISO200,tripodmounted

PlanningTools

Fortunefavorsthepreparedmind!AsI’vementioned,youmayhaveonlyaveryshortamountoftimetogettheperfectshot.Itthereforepaystodoasmuchadvanceplanningaspossible,particularlyifyouhaveaspecificshotinmind.

I’vealreadyexplainedtheimportanceoflearningasmuchasyoucanaboutlikelyweatherconditions(seepage142).WhatyoumaynotknowisthatmobiledevicessuchasiPhonesandiPadsaregreatforplanninglandscapeshoots.Thefactthatthesedevicesarewirelessmeansthatyoucanusetheminthefield—nomoretryingtoplanalengthyandcomplexseriesoflandscapephotographysessionswithinsufficientreal-timedata.

TheappsIusetoplanmyshootsincludetideApp(tidetablesforanywhere),VisiMoon(advancedmoonphasecalculator),andparticularlyThePhotographer’sEphemeris(TPE).

WithTPE,youpickalocationanddateandyoucanlearnwhenthesunandmoonriseandset,whentherewillbedaylight,andwhentwilightends.Theapplicationwillalsotellyouwhattheprecisedirectionofthesunandmoonarewhentheyset(fromthisyoucanfigureoutthedirectionofthelighting).Anadvancedfeatureistheabilitytoaddinclinationtothedata,soyoucanfigureout(forexample)whenthemoonwillriseoveraparticularmountain.

TPEandothermobiletoolsaregreat,andmaketheprocessofplanninglandscapephotographyalittlelesshit-or-miss.Theonlydangerisgettingsocaughtupinreal-timeplanningthatoneforgetstophotograph!

ThePhotographer’sEphemerisisagreatplanningtoolforlandscapephotography.Usingit,youcandetermineinadvanceforanylocationthetimeanddirectionofphenomenaincludingmoonriseandset,andsunriseandset.

ThetrekuptheVirginRiverthroughtheVirginNarrowsinZionNationalPark,Utahisalwayswonderful—andvery,verywet.Forsafetyreasons,itisimportanttocheckweatherconditionstomakesurethereisnochanceofthunderstormsfallingupstreamtoproducedangerousflashfloodingconditions.

OneWorld,ManyLandscapes

IcreatedthisimagebyshootingnorthfromnearFurnaceCreekinDeathValleyNationalParkduringthedarkofthemooninlateFebruary.IsetmycamerauponabluffwhereIdidn’tthinkitwouldbedisturbed.IusedaportableACpowersupplyandanACadaptersoIhadenough“juice”tolastformanyhoursofcontinuousphotography,thensetthecameraonManualexposureandBulb.Iusedanintervalometer—aprogrammableremotetimer—toshoottheimagesthroughmostofthenight.WhilethecamerawasworkingIwasevenabletogetsomesleep!

10.5mmdigitalfisheye,75exposuresstackedtogetherinPhotoshop,eachexposure4minutesatf/4andISO400,foratotalexposuretimeofaboutfivehours,tripodmounted

SeasonsandaSenseofPlace

Inthesummertime,athighaltitude,wildflowersburstintocolor—likethislupineIfoundinmid-AugustnearTuolumneMeadowsintheHighSierras.

Inlandscapephotographyseasonsmatter—averygreatdeal!WhenIamplanningatrip,oronlocationshooting,oneofthefirstthingsIthinkaboutistheseason.Someofmyconsiderationsareprettyobvious:inwinterthereissnowontheground,inspringflowersareinbloom,andinautumntherearefallen,colorfulleaves.Buttheimportanceofseasonalitytolandscapephotographygoesbeyondtheobvious,andisacrucialaspectofthesenseofplacethatispalpableinsuperiorlandscapephotographs.

Landscapephotographydoesnotexistinavacuum.Infact,ourresponsetoalandscapeimageisinextricablyboundupwithhowwellthatphotospeakstooursenseofplace.Alandscapephotothatdoesn’thaveastrongsenseofplaceisbanal.Thiskindofwishy-washyimagemayworkinastockphotothatisintendedforgenericusage,butitwillnotbethekindofphotothathasemotionalresonance.

Therearemanydifferentkindsofplacesthatcanprovidespecificitytoalandscapephoto:intimateviews,grandlandscapes,mountainsandoceans,junglesanddeserts.Inallofthesekindsoflandscapes,theseasonplaysanimportantroleinconvincingtheviewerthatwhattheyareseeingdepictsanactualplaceataspecifictime.

Somewhatparadoxically,whilethebestlandscapephotosdohavespecificity,theyalsohaveanemotionalresonancethatgoesbeyondthespecific—andheadstowardsaPlatonicidealofthesubjectmatter.Greatimagesofmajesticmountainsremindusofthewaymountainsshouldbe,ifonlywecouldbeintherightplaceattherightseason!

SpringwildflowersmakethecoastofCaliforniabeautifulbeyondcompare;thesceneshownherewithitscarpetofyellowblossomsandaruggedcoastlineisatthewesterntipofthePointReyespeninsula.

Beyondtheflowers-in-spring,snow-in-winteraspectofseasonalityinlandscapes,therearemanymoresubtlewaysinwhichtheseasonisimportanttothelandscapephotographer.

Anoverlookedaspectofseasonalityisthewayitimpactslightinginlandscapephotos.Theangleofthesunisdifferentindifferentseasons.Forexample,inwinter,lightingcomesfromalowangle,andiftherearenoclouds,itisharsherthanatothertimesofyear.

Thetimeofyearaffectswherethesunandmoonriseandsetonthehorizon,andalsohowearlyorlatethishappens—withthechangesinthisgeometrybeingofgreatermagnitudethefurtheroneisfromtheequator.

Ifyouareshootingearlyinthemorningorlateintheafternoon—asissooftenthecasewithlandscapephotography—thetimeofyearimpactsnotonlysunandmoonandoverallqualityoflight,butalsotheotherastronomicalbodiesthatyoumaybeabletocaptureduringtwilight.

maybeabletocaptureduringtwilight.

Asapracticalmatter,ImakecarefulnoteoftheseasonwhenIamgoingonlocationwiththreepointsinmind:

AretherespecialfeaturesofthelandscapeIshouldbelookingfor,e.g.,springflowers,snow,orautumnleaves?Howdoestheseasonimpactthequalityoflight?Willmydaysbeshortorlong,andhowdoestheseasonchangethelengthoftheprocessofthesunsetting(orrising)?

Youmightnotexpectittobetrue,butitis:somekindsofphotographyareactuallyeasierwhenthedaysareshorter.Forexample,Idon’thavetowaitupsolatetobeginmynightphotography!Inaddition,itisoftenthecasethatcoldweatherinwinterandearlyspringcanproduceatmosphericconditionsofhugeclarity.

AthighaltitudenearWhitneyPortal,California,inmid-Octoberthesignsofautumnwereallaroundme.IcomposedthisimageofLonePineCreektoemphasizethefallenleavesintheforeground,sotheseasonalityofthephotoisveryclear.

18mm,circularpolarizer,sixexposuresfrom1/2ofasecondto8seconds(exposurescombinedinPhotoshop),eachexposureatf/22andISO100,tripodmounted

Itdoesn’toftensnowinthecoastalrangesofCalifornia.SowhenthisdramaticwintersnowstormdustedtheselowmountainsIknewIhadtotakeadvantageoftheweather.Noonecouldseethisscenewithoutrealizingthatitwastakeninwinter.

EarthandSky

Wecallthem“landscapes”—butmanyofthebestlandscapephotosdon’thavemuch“land”inthem.Waterandskyareasimportanttolandscapeastheground.

Afterall,we’velongsinceinternalizedtheconceptthatourworldismorethanaflatplane.Weknowthattheearthisaroundglobetravelingthroughspace.It’sintriguingtopicturethelandscapeinthecontextofthesky:clouds,andhowtheyrelatetoearth-boundformations,theheavens,andthemajestyofthestarsastheygyratethroughthenight.

Evenwhenalandscapephotoisrestrictedinsubjectmatterto“terrafirma,”theviewpointofexcitingphotostendstobeunusualoroffbeat.Afterall,there’snothingveryinterestingtomostpeopleinamundanelandscapethattheyseeeveryday.

Tofindunusualviewpoints—whichamountstoathresholdbarthatyouneedtocrosstocreateexcitinglandscapephotos—youcanincludeunusualatmosphericorweatherconditionsinyourphoto,orincludethecontextoftheearthasasphericalobject,orpointyourcamerastraightattheearth,butfromanovelangle.

Forexample,mostpeopledon’tusuallyseethelandscapestraightdowninanaerialviewfromabove.Aerialphotographyturnsnormallandscapesintovastpatternsthatcouldbemacroshotsuntilyouunderstandthescaleofwhatyouarelookingat.

Moreintherealmofeverydaylandscapephotography,bothwideangleandtelephotolensescantransformmundanerealitybychangingtheapparentrulesofperspective.Inthehandsofsomeonewhoknowstheiroptics,youcanlookatalandscapephotoandseeplacesinentirelynewways.

Iamalwayscognizantthatthemostinterestingaspectofmanylandscapephotosiswhattheysayabouttherelationshipoftheearthandsky—eitherinthedirectportrayalintheimageorwhenyoustopandthinkaboutwhatyouareseeing.Withthisinmind,whentakinglandscapephotosItryto:

Emphasizetheroleoftheskyasanequalpartnerwiththeearthinmy

composition.Choosemyangleofviewcarefullytorevealvisualaspectsofthelandscapecompositionthatarenotobviousatfirstglance.Selectmychoiceoflensandfocallengthwiththeimpactuponthelandscapeimageinmind(seepages82–93formoreaboutlenschoice).

HikingaroundthecircumferenceofMountTamalpais,California,theseaofcloudsmademefeelasifIwerethelastpersonleftaliveintheworld.In

thedistance,MountDiabloroseabovetheclouds,theonlylandmarkpokingthroughthevastcoverblanketingSanFranciscoBay.

Fromtheopenwindowofasmallairplane,IshotstraightdownattheearthcoveredwithsnowintheAlaskanwinter;therivershownherewascompletelyfrozen,withthebendintheriverandislandmakinganeatabstractpattern.Youdon’treallyknowitisalandscapeuntilyoulookatitforawhile.

35mm,1/640ofasecondatf/5.6,scannedfroma35mmKodachrome64slideandconverteddigitallytomonochromatic,tripodmounted

SurroundedbythemagnificentrockformationsofValleyofFireStateParkinNevada,Isetmycameraupforthenight,andpointeditnorth.Asthenightworeon,IbecameincreasinglyconcernedaboutthelightpollutionfromthecityofLasVegas,airplanetraveltoandfromMcCarranairport,andtheincreasingcloudcover.However,whenIprocessedtheimageIwaspleasedtofindthattheseworrisomeelementsactuallyseemedtoaddtothecomposition.

10.5mmdigitalfisheye,129stackedexposures,eachexposure4minutesatf/2.8andISO400,foratotalexposuretimeofeighthoursand36minutes,tripodmounted

Mountains

Mountainsarewheretheearthmeetsthesky,andarethusaspecialplaceintheheartsoflandscapephotographersandthosewholovethewilderness.There’snodoubtthatsomeofthemostdramaticlandscapesareinthemountains.

However,thewildernesslandscapeofthemountainsisoftennothospitableterrain.EventhoughthealpinemeadowsinTheSoundofMusicseemplacid,trulymountainousterrainisruggedandsnowboundandshowsthecataclysmicandtortuousgyrationsoftheearthwhenlookedatfromageologictimeperspective.

Complexlandscapesofupthrustigneousrockcombinedwithglaciatedareasandvastfieldsofsnowmaybeinterestingtogeologistswhostudythebonesoftheearth,buttheseelementswillmostlyseemajumbletoviewersofaphotographunlessthereisanorganizingprincipleinthecomposition.

Thehighmountains,particularlyinwildernessareas,areoneofmyfavoriteplacestobe—butIrecognizethattheseruggedandremoteareasarenoteveryone’scupoflandscapetea.

There’salsothequestionofhowyougettotheseplaceswhilecarryingcameragear.Sometimesyoucanflyovermountainstogetphotos,butmostoftenthisisanarduouslaborofloveperformedonfoot.

BannerPeak,intheheartoftheAnselAdamsWildernessareaintheSierrainCalifornia,glowswiththelastlightofthesettingsun.Astheseasonprogresses,thisvistawillchange,andalakedottedwithislands—aptlynamedThousandIslandLake—willberevealed.

TrekkingthroughthemountainstoalocationevenasrelativelybenignasMountBannerisoftenanarduousaffair.TogettothespotwhereIsnappedthisphotoIfordedrushingcreeks,climbedasnowbridgeoverawaterfallfarbelow,andcrossedovermilesofsnowfields.Laterintheseasonitwouldhavebeenmucheasier,astheareaiscrossedbytheJohnMuirTrail,sometimesderisivelyreferredtobythehardcoreas“TheJohnMuirSuperhighway.”

Itrytoconveymyloveofmountainsandthewildernessinmylandscapecompositionsusingthesestrategies:

Showinganinterestingskyalongwiththemountainousearth

UsingtheforegroundtocaptureanelementsuchasaflowerthathelpshumanizethescaleofthesceneryCapturingmountainsfromadistancetoallowtheviewertogetasenseofagreaterformationTryingtocreatea“symphonic”presentation,sothegrandeurofthemountainsprevailsovertheapparentchaos;forexample,fromadistance,aglaciercanseemtobeakindof“highway”

DawnstrikesMountWhitney,thetallestpeakinthecontinentalUnitedStates,fromtheeast,leavingthelowerelevationsstillindeepshadow.

ThisaerialphotoshowsaformationknownastheMoosesToothintheforeground,withDenalibehindit.(TheofficialdesignationomitstheapostrophefromMoosesTooth.)Iwasleaningoutthewindowofasmallplanetotakethisphoto.Thepilotdidn’tseemveryconfident—hekepttellingmeaboutthebadaircurrentsaroundDenaliandthathehadn’tdonetoomuchofthiskindofflyingbefore.ItriedtoignorehisrunningcommentarywhileIconcentratedonthesymphoniclandscapearoundme.

85mm,1/1000ofasecondatf/4,scannedfroma35mmKodachrome64slide,handheld

ThisisashotofRuthGlacier,oneofthemanyglaciersthatformaninterlockingsystemaroundDenaliinAlaska.

Leaningoutofasmallplane,withthewindwhistlingpastme,lookingdownatthismagnificenthighwayoficeandrock,Ifeltasifheroicmusicwasplayingallaroundme.Thepatternoftheglacialhighwayseemedtogoonforever—andindeedRuthGlacierdoesextendmanymilesinlength.

Ofcourse,whenIshotthisphoto(inthe1980s)wedidthinktheglacierswouldgoonforever,andhadnoconceptofglobalwarming.I’msureacontemporaryphotowouldrevealaglacierthathasshrunkconsiderably.

35mm,1/300ofasecondatf/5.6,scannedfroma35mmKodachrome64slide,handheld

Deserts

Notopographyismorebarren,andnolandscapemoreextreme,thanthedesert.Nonetheless,desertsareveryfertilegroundsforlandscapephotographers—becauseoftheirextremeandstarknature.

Perhapsmorethaninanyotherkindoflandscapephotography,youneedtobeproperlypreparedfordesertphotography.Inthesummer,thismeansprotectingyourselffromtheheat,bringingplentyofwater,andbeingextremelycarefulaboutnavigationandtopography.Andinthewinter,particularlyatelevationsabove5,000feet,desertterraincanbeastoundinglycold.

Somyfirstruleofdesertphotographyistoavoidsummerheatandmid-winterchill.Thebesttimesofyearfordesertphotographyarespringandfall.InNorthAmerica,I’dsaylateFebruarythroughmid-May,andmid-Septemberthroughmid-November,dependingonexactlywhereyouareplanningtophotograph.

NomatterwhenIgotothedesert,Itakecaretoprotectmyphotographicgearfromextremesofweather,andfromdustandsand.

Besidespickingatimeofyearinwhichtheweatherisrelativelytemperate,herearesomeofthethingsIlookforwhenIamgoingonlocationtophotographthedesert:

Thishighdesert,sagebrushenvironmentismadevisuallyinterestingbecauseofthepatterneddustingwithsnow.Indesertatelevatedaltitudes,itisnotunusualtoseesnowinthewintermonthsdespitetheoveralllackofprecipitationbecausedaysandnightsarebitterlycold—sowhatsnowthereislingersalongtimedependinguponpatternsofsunandwind.

Stormsinverydryenvironmentsprovideanopportunityforexcitingphotos—somyadviceistogetreadyforphotographywhenyouseeinclementweatherbrewingneararidterrain.ItwascleartometheminuteIsniffedtheozoneandsawthecloudcoverthatrainbowswerelikely,soIwasreadyforthemwithapolarizingfiltermountedonmylenstoenhancethesaturationofthecolorsintherainbow.

Weatherconditionsthatarevaried;thedesertlandscapeisoftenmostinterestingbefore,during,andafterstormsTexturesandpatterns,writbothlargeandsmall;forexample,thedetailsinthepatternsofshadowsonasanddune(small)orthecontrastbetweensnowandsagebrushesonadistantdesertmountainsideLocationsthatprovideforegroundinterestsothatmylandscapescanbringtheviewerintoalargerlandscape,butalsofindsomerelieffromthevast,emptyspacesofthedesert

IshotthisimageoflateafternoonshadowsinCoralPinkSandDunesStateParkinUtahneartheArizonaborder.Carryingphotoequipmentintosanddunescanbetricky,becausesandisdangeroustocameras.However,sanddunesoftenareplaceswhereonecanfindveryinterestingpatterns,particularlyintheearlymorningorlateafternoon.

VisitingGreatSandDunesNationalParkinColoradoinlatespring,Iwasstruckbyhowthewindhad“combed”thesandintoneatlinesofwaves.TrudgingoverasandduneIsawsomeflowersholdingtheirownagainstthesandandwind,andknewIhadtomakeanimage.

105mm,1/30ofasecondatf/22,scannedfroma35mmKodachrome64slide,tripodmounted

Seascapes

Aslongastherehavebeenartistscapturingthelandscapetheirimageshaveincludedtheocean.Intimesgonebytheworld’scommercetravelledbywater,naviesruledtheworld,andwhalesfurnishedthefuelpeoplereadby.Theexperienceofshipwreckwascommon—everyoneknewsomeonewhohadbeenwrecked.Sotheawesomeforceoftheoceanwasterrifying,andaproxyforallthosemajesticforcesofnaturethatwerebeyondone’scontrol.Nowondertheoceanwassuchanimportantsubjectforsomuchart!

Intoday’sworld,theoceannolongerplaysquiteascrucialaroleintheconnectivityofpeoplesandcommerce.However,itremainsagreatsubjectforphotographersandotherartists.

Alwayschanging,neverthesametwice,calmordramatic,aseascapeisthecanvasuponwhichthelandscapephotographercanpracticehisorhermasteryoffundamentalcomposition.

WhenIgoonlocationtophotographseascapes:

IchecktidetablesandweatherforecastssoIcanaccuratelyassesswhatconditionsarelikelytobeIneverturnmybacktotheocean,andalwaysputsafetyfirst;itisneverworthtakingchancesinordertogetaphoto,anditdoesn’tpaytounderestimatethepoweroftheoceanI’mawarethattheseasprayandsandybeachescanrepresentanextremehazardtophotographicgearIpackapolarizingfilternearthetopofmybagIlookforpatternsandshapesthatexemplifythefundamentalnatureofwavesasabuildingblockforlight,sound,andmanyotherforcesintheuniverse

Atlowtide,thereareinterestingpondsandshallowstophotographintheintertidalzone.Athightide,orwhenthetideiscomingin,thesurfisatitsmostferociousandelemental.Let’sfaceit:wavesarealwaysexcitingtophotograph,andincludingaruggedcoastlinecanonlyenhancealandscapeimage.

IshotthisimagefromabluffaboveDrakesBeach,inPointReyesNationalSeashore,California.DrakesBaycanproduceinterestingwavesbecausetheprevailingwinddirectionopposesthedirectionofthesurf—aneffectyoucanseehereinthemiddlelineofwaveswhichisactuallyheadedoutwardstowardsthetopmostwave.

Heavysurfwarningswereinthenews.Hardrainwasdrivingpoundedsurfintothestorm-boundshoreoftheNorthernCaliforniacoastline.Icarefully

pulledmytelephotolensout,tryingtosheltermyequipmentfromtheweather,andsnappedthisphotofromacoastobservationpoint,thenquicklygottheexpensivepieceofglassbackintoitsprotectivebag.

ThisimageoftheTomalesPointforkofPointReyes,Californiaisagoodillustrationofaseascapethatmanagestocapturethefeelingofthecurvatureoftheearth.Inotherwords,lookingatthislandscapeitisnothardtofeelthattheworldisindeedroundbecauseofthecurvedhorizonlinesonboththelandandwater.

PeopleandLandscapes

LeaningovertheedgeoftheparapetofthenewHooverDamBypassBridge,Iusedmyfisheyelenstoshootavertigo-inducingviewoftheHooverDam.Iwasparticularlyinterestedtoincludetheshadowofthebridgeitselfasanimportantelementofthecomposition.

Bytheway,alittleresearchshowsthatinadditiontohisgreatlandscapes,AnselAdamsenjoyedmakingheroicimagesofimportantfeatsofengineeringsuchasthisveryHooverDam.

Thetruthis,itisn’tsoeasyanymoretofindalandscapethatdoesn’thavepeople,oratleastsometracesofpeopleinit.I’vebeenthere,inAlaska,inthehighSierra,andinotherremoteplaces—butyoureallyhavetoworktofindplacesthatappearpristine,withoutanysignthatpeoplehavebeenthere.

Ifyoudon’tbelieveme,lookaroundcarefullynexttimeyouareinthewilderness.Thenwaitfornightfall—ifyoudidn’tfindevidenceofcivilizationduringtheday,youwillalmostcertainlyseeairplanesandsatellitesatnight.

Itisn’treallyclearthatlandscapeswithoutpeoplearesuchagoodthing.Thetruthisthathavingpeopleortheirworksinalandscapephotocangreatlyaddtotheinterestoftheimage.

Therearemanykindsoflandscapephotosthatinvolvebuildingsandpeople.Cityphotographyisoneobviousexample(seepages186–189).Butyoualsowouldn’tthinktophotographalandscapewithquaintcastlesandancienttowns

—suchasyoufindinpartsofEurope—withoutincludingthesestructuresinsomeofyourphotos.Anotherkindoflandscapewithpeoplecreatescompositionsthatcontrastthebeautyofthehumanformwiththebeautyofthenaturallandscape,tocreateimagesthatmaybemorebeautifulthaneitheralone.

FollowingarockslideinYosemiteValley,crepuscularraysfromthemorningcreatedfascinatinglightingeffectsamongtheredwoodtreesonthevalleyfloor.Ishotmanyvariationsonthisimage,buttheonewiththefellowphotographerinitseemedtogiveasenseofscaletothetrees—anditworksbetterformeasanimagethantheversionwithoutpeople.

Myrecommendationistobeopenmindedaboutthedefinitionof“landscape.”

Therearemanythingsyoumightnotthinktophotographifyoutakeapurist’sviewoflandscapephotographythatareactuallyquitevisuallyinteresting.Furthermore,inmanycontextstheadditionofafigure,town,orhumanartifactcanreallygiveasenseofscaletoyourlandscape.

Asalandscapephotographer,itisfunformetoplaywiththedifferencethatpeoplehavemade.Insomelandscapes,notsomuch—butifyouarephotographingtheHooverDam(page176),thedifferencepeoplehavemadeishuge!ItwouldtakemorethanPhotoshoptoshowthisportionoftheColoradoRiverwithoutpeople(seepages180–181foranexampleofrestoringalandscapetoitspristinestateusingPhotoshop).

InthisviewofshadowsandrockformationsinthePariahWildernessontheUtah-Arizonaborder,myshadowgivesthelandscapeasenseofscale.

Isometimesliketoaddasmallself-portraitcloakedasashadow,orhiddeninareflection,tomylandscapeimagery—asawayofsaying“Iwasthere!”

It’shardtophotographinaplacelikeYosemiteValleywithoutgettingvisitorsinyourshots,particularlyonasunnydaylateinspring.

TheoriginalversionofthisphotoshowstheobservationareanexttothetopofVernalFallsonafinespringday.Therearefolkswalkingaround,lookingatthesceneryandtakingpictures.Afencekeepsthemsafe,awayfromtheragingtorrent.

Idecidedthatitwouldreallybeinterestingtoseethislandscapevistawithoutpeople,thewayaNativeAmericanfivehundredyearsagomighthaveviewedit.Voilà,acoupleofmouseclickslater—andPhotoshophaschangedtheworld!Thepeopleandthefenceareallgone.Now,there’snothingtostopmefromstandingattheverybrinkofVernalFallstomakemyphoto,asI’veoftenwantedtodo.

Both:25mm,1/200ofasecondatf/10andISO200,handheld

Reflections

Reflectionsareoneofmyfavoritethingstophotograph.Includingareflectioninalandscapeautomaticallyincreasestheinterestoftheresultingphoto,solocatingsourcesofreflectivity—usuallywaterinlandscapes—thatcanbeorganicallyintegratedintoyourlandscapecompositionsshouldbeatoppriority.

Thebestreflectionsoccurwhenthepredominantlightsourceisnottooharsh,forexample,towardstheendoftheday.Ideally,forthebestreflections,lightshouldbecomingfromaboveandbehindthecamera,andtotheleftortheright.Inthisscenario,ifyoudrewalinefromthecameratothereflection,andalinefromthelightsourcetothereflection,thecameratolightsourceanglewouldbeabout35degrees(seethediagrambelow).

Onceyou’velocatedabodyofwaterthatisreflecting,there’sanissueastowhetherthewaterisinmotion.Ifthewaterismoving,thereflectionsmaynotbeashighqualityasifthewaterisstill.Inaddition,youmayneedtouseafastshutterspeedtostopthemotionofthewater(seepages118–123).Dependingonthespecificsituation,thismaymeanyoudon’thavesufficientdepth-of-fieldforagivencomposition(seepages106–113formoreaboutapertureanddepth-of-field).Theconclusiontobedrawnfromthisisthatstillwatersnotonlyrundeep,theyarealsobestforphotography!

ThecolorsinthisreflectioninLakeTenayaintheSierrasofCaliforniaseemmorevividthanthe“real-life”counterpartsonthelakeshore.

18mm,circularpolarizer,1/60ofasecondatf/8andISO200,tripodmounted

Ialmostinvariablyfindthatusingapolarizingfiltercanimprovethevividnessandsaturationofreflections—andthisisoneofthefewfiltersthatworksbetteronyourcamerathanwhenappliedafterthefactinthedigitaldarkroom.Infact,thereisalmostnopracticalwaytorecreatetheimpactofapolarizerinpost-processing,soplantouseoneinthefieldinsituationswhereitenhancestheimage.

WanderingindowntownOakland,California,withmycamera,Ihappenedtolookacrossthecanyonof“Broadway”andnoticedthesereflectionsinthewindowsoftheofficestoryontheotherside.

IcameacrossthisstillpondwhilewanderingonsnowshoesinYosemiteValley,Californiainthewinter,andimmediatelydecidedthatthereflectionsmadethescenelooklikeawinterypoem.Theintricatepatternsofasnow-coveredtreeareneatlycaughtandreflectedinapond,whilethewholecompositionis“framed”ontheleftandrightbyout-of-focustrees.

TheCityasLandscape

IshotthisviewofManhattanlookingdowntowntowardstheEmpireStateBuildingandtheWorldTradeTowersfromthedeckoftheRockefellerobservatoryinthe1980s.

20mm,2secondsatf/16,scannedfroma35mmKodachrome25slide,tripodmounted

Iknowthatyou’regoingtolookatmeasthoughI’mkindofweirdwhenIsaythatIenjoyshootingcitiesaslandscapes.(Well,youalreadyknowthatIloveshootingcitiesifyou’vegottenthisfarthroughmybook!)Inthiskindofphotography,basicallyyouignorepeople.Youpretendtheyaren’tthere.

Treatingcitiesaslandscapestakesabitofimagination.Maybesomekindofsuperapocalypticeventhasmadeallthepeoplevanish,leavingthebuildingsintact(Icertainlyhopethisneverhappens,ofcourse!).Thisleavesthehillsandmountains(theman-madebuildings)andthecanyonsandvalleysbetweenthebuildings(majorboulevardsarevalleys,anddeepnarrowstreetsarecanyons).

Whenphotographingacityasthiskindoflandscape,Ineedtounderstanditstopography,justasIwouldintherealmountains.Wherearethehighplacesthatonecanshootdownforabird’seyeview?Whatisthebestpositiontophotographthemassifsandtowersthatrisefromthe“plains”ofsmallerbuildings?

Takingthisonestepfurther,justaswithnaturalformations,planningtoolscanhelptounderstandthelightingatspecifictimesofday,aswellasanyspecialphenomenonthatmightmakeforagoodphoto.Forexample,it’sinterestingtoplanalocationsessionaroundmoonriseormoonsetbehindawell-known

planalocationsessionaroundmoonriseormoonsetbehindawell-knownlandmark.Seepage144formoreinformationaboutsomeoftheplanningtoolsIuse.

BoilingwhatI’vesaiddowntobasics,myfirststepwhenphotographinganewcityaslandscapeisplanning.IlearnaboutthehistoryoftheplacebeforeIvisit,andIspendagreatdealoftimestudyingthebestmapsIcanfind.Next,Itrytoidentifythefollowingkindsofplacesinthecity:

Thosethatwillworkforbird’seyevistasfromaboveSpotsthatgivepanoramicviewsoftheskylineInterestingstructuresthatwillworkwellatsunrise,sunset,moonrise,ormoonset

Ofcourse,thebestnewsforthephotographerwhotreatsacityaslandscapeisthatunlikearealwildernesslandscapeassignmentthere’sneveranyreasontogohungry,ortoskipyourlattes!

Hangingoutofthedoorofahelicopter,withonlyatetheredharnesstokeepmefromfallingstraightdown,italmostseemedlikeIcouldtouchtheantennaontopoftheWorldTradeTowers,butactuallyIwasabout500feetabovethetopsofthebuildings.

EverytimeIlookatmyphotosoftheWorldTradeTowers,Ifeelquitesadbecausethedaythesebuildingsweredestroyedbyterroristswasaterribledayforhumanity.

Butatthesametime,I’mgladtohavethesephotosasarecordofhowthingswere—andalsotoassertonceandforalltheemotionalimportanceoflandscapephotography.

50mm,1/640ofasecondatf/4,scannedfroma35mmKodachrome64slide,

tripodmounted

IselectedmylocationandplannedthisshotbasedoninformationgleanedfromThePhotographer’sEphemeris(seepage144formoreaboutTPE)aboutwhenthefullmoonwouldriseoverSanFrancisco’sTransamericatowers.

400mm,2combinedexposuresat1/30ofasecondand1/2ofasecond,eachexposureatf/5.6andISO400,tripodmounted

TheNightLandscape

Nightblanketstheearthhalfthetime,soitmakessensethatlandscapephotographersshouldconsiderexpandingtheirhorizonstoincludethedarkside.Thisparticularlymakessensewhenyouconsiderthedramainherentinlightsatnight—whetherthoselightscomefromstarsorcitystreets.Whentheworldisotherwiseindarkness,vividcolorscanseemallthemorespectacular.

Generally,whenIamphotographinglandscapesatnight,Ilookforvistaswherethereisinterestinbothforegroundandbackground.Backgroundinterestcancomefromstarcircles,buttomaximizethem(atleastinthenorthernhemisphere)youdoneedtopointyourcameranorth.

Landscapeexposuresawayfromcitiesatnightarelongaffairs—verylong.Innormalphotography,youthinkofashutterdurationofmorethan30secondsaslong.Innightlandscapephotography,itisnotuncommontohavetotalexposuretimebeinthehours.

Whiletheseimagesareoftencomposites—becausecombiningimagesinthedigitaldarkroomusingatechniquecalledstackingcutsdownonnoisecomparedtoasingleexposure—thetotalexposuretimeisofteninthehours.

Thismeansthatyoumaybeabletotakeonlyonelandscapephotopernight.Therefore,it’swisetoscoutnightphotographylandscapeswhenitisstilllight.Thisnotonlycutsdownontherisksinherentinnightphotography,italsomeansthatyouaremorelikelytobeabletoorientyourcompositionthewayyouwant,andtoframeitnicely.

DuringanightphotographyworkshopIled,theclassphotographedBixbyBridgealongtheBigSurcoastofCalifornia.Ithinkthisphotohumorouslymakescleartheveryrealhazardsinvolvedinnightphotography—althoughIhaven’tlostanyoneinaworkshopyet!

10.5mmdigitalfisheye,3minutesatf/4andISO200,tripodmounted

Pages192–193:ThisisacompositeshottakeninthemiddleofthenightintheAlabamaHillsregionofeasternCalifornia.Thecameraispointingduenorth,asonecantellbytherelativelystationarypositionofthenorthstarinthecenterofthestarcircles.

Incombinationwiththedramaticstarcirclesinthesky,theunusualrockformationsintheforegroundcreateanotherworldlyeffect,almostasifthislandscapehadbeenshotonanotherplanet.

10.5mmdigitalfisheye,27exposures,eachexposure4minutesatf/2.8andISO400,foratotalexposuretimeof108minutes,imagescombinedinPhotoshopusingstacking,tripodmounted

LandscapesandPost-Processing

InthisnightshotoftreessymmetricallyarrangednearSanFrancisco’sCityHall,streetlightscastshadowsinadirection—andwitharelativeintensity—thatyouwouldn’tseeduringtheday.Sincetheambientlightlevelswerelow,therelativelydimlightscastbigshadows,makingforaninterestingcompositionthatwouldn’tbepossibleduringtheday.

Tobringoutandemphasizethecompositionthattheshadowsmade,Iconvertedthephototomonochrome,startingfromtheRAWcapture(seepages218–221formoreaboutmonochromaticconversiontechniques).

UnderstandingDigitalWorkflow

Mostpeoplewhotakeuplandscapephotographydoso—atleastpartly—becausetheyenjoybeingoutdoorsinthelandscape.Forsome,itisthereforea

becausetheyenjoybeingoutdoorsinthelandscape.Forsome,itisthereforeasaddaywhenthefactslowlydawnsthattogetthemostoutoftheirdigitallandscapeworktheyneedtospendafairamountoftimeworkingatthecomputerusingthedigitaldarkroom—perhapsmoretimethantheyactuallyspendphotographinginthefield.

I’mallforgettingthebestresultsonepossiblycaninthecamera.Butalmostwithoutexceptioneveryphotothatyou’veadmiredinbooksandmagazineshasbeenimprovedinpost-processing.Digitalphotographyisahybriddiscipline:thephotographypartinvolvescameras,andthedigitalpartmeansusingcomputers.Whatyoucandoafteryou’vetakenthephotoshouldinformhowyouproceedwhenyoumakethecapture.

Whilethecombinationofcomputersandcamerasisveryexcitingtome,there’snodoubtthat—comparedtofilmcameras—digitalphotographyhasintroducedsomanyoptionsandwaystocreateimagesthatthewholeprocesscanbeoverwhelming.Havingagooddigitalworkflowcanhelpmanagethecomplexity.

IntheMercedCanyonbelowYosemiteValley,California,snowblewthicklyinalldirections.Myideawiththisshotwastocreateatexturalimageinwhichthesnowandtreesmergedtoformapattern.Thebiggestproblemwastoprotectmygearfromtheverywetsnowandhighwinds—soImadesuretoperiodicallyretreattomydrycar,whereIcouldbackupthecapturesIhadalreadymade.

Thefieldofworkflowinitsentiretyiswaybeyondthescopeofthisbook,butyoushouldknowthatitincludesthesetasks:

SettingthecameracorrectlyMakingyourcaptureTransferringyourphotofilesfromcameratocomputerProcessingthephotosonyourcomputerGeneratingversionsofyourimageforvarioususesArchivingyourimagessotheycanberetrievedInsuringthesafetyofyourimageryatallstepsofthisoperationAnythingelserelatingtomaking,processing,storing,andfindingyourphotos

Thepieceofworkflowthatinvolvesstoring,archiving,retrieving,andmakingsurefilesaresafeisgenerallycalledDigitalAssetManagement(DAM,forshort).AsI’venoted,theentiretopicofDAMwillnotfitinthescopeofabookaboutlandscapephotography.However,therearesomespecialconsiderationsregardingassetmanagementinthefieldthatyoushouldbearinmindbeforeyouheadoutinwoollyweathertothewildswithyourcamera.

ProtectingDigitalAssetsintheFieldGoodlandscapephotographyoftenimpliestraveltoremoteplacesandbeingoutsideinroughweather(seepage142foradiscussionofwhysomeofthebestlandscapephotosprecedeorimmediatelyfollowstormyweather).Bothremotenessandbadweathermeanthatyoushouldtakeprecautionstoprotectyourdelicateelectronicequipmentaswellasyourdigitalassets:

Knowwhatyouaregettinginto.Animportantpartofbeingpreparedisdoingyourhomeworkaboutwhatthepossibilitiesare—youcanthenplantokeepthingssafeunderallconditionsyouarelikelytomeet.Thislevelofpreparationseemsobvious,butitisamazinghowmanyphotographersfailtobediligentaboutstudyingpossibleweatherconditionsinaplannedshootinglocation.Seepage144formoreaboutplanningtools.Cameras,memorycards,andotherelectronicsarevulnerabletoweatherconditionssuchasheat,sand,moisture,andcold.It’swisetotakeprecautionstoprotectyourgear,perhapsbysealingequipmentinplasticbagsorotherwater-and-airtightcontainers.Ontheotherhand,upper-endDSLRstendtobewellsealed,andifyounevertakeyourcameraoutinbadweatheryouwillmissmanyopportunities.Carryacleancottonclothfordryingequipmentthatgetswet,aswellasalens-cleaningkit.Youshouldneverrelyonasinglecopyofanydigitalfile.Thisimpliesbackingyourmemorycardsupassoonaspossible.Ifyouhavealaptopinthefield,youcanburnDVDsasbackups.InsituationswhereIcannotbringalaptopcomputer,IuseadigitalwalletdevicesuchastheWolverine,www.wolverine.com,forbackingupmyvaluableimagefiles.Anemptymemorycardhaslittlevalue,butitispricelessonceithastheonlycopiesofyourimagesonit.Electronicdevicesrequirepowereveninthefield.Dependingonthesituation,youmayneedtobringpowersuppliesforrechargingbatteries—andforrunningyourcamerasandlaptoponACpower.

Onarelatedpoint,mywifeinsiststhatIcarryaninsurancepolicyonmyphotographygear.Herreasoning:“Ifyourcamerablowsoveracliffinastrongwind,Idon’twantyoueventhinkingaboutgoingdownafterit!”

Panoramicandotherkindsofcompositeimageryareeasytocreateinthedigitaldarkroom.TomakethisimageoftheSanFranciscoskyline,inPhotoshopIcombinedeightimageswiththecameracarefullyrotatedhorizontallyonthetripodbetweeneachcapture.Ofcourse,whenyourimageconsistsofmultiplecaptures,youneedtokeeptrackoftheexposuresthatwillmakeupyourfinalimage—andthisaddstothecomplexityofassetmanagementinthedigitalworld.

EightcapturesmergedinPhotoshop,eachexposureat42mm,1/6ofasecondatf/4.5andISO100,tripodmounted

TheRAWAdvantage

Asyouprobablyknow,dependinguponyourcamerayoucansaveyourcapturefilesinJPEGorRAWfileformats,orwithmanycamerasinbothfileformatsforeachcapture.(Inaddition,somecamerasallowyoutosavefilesintheTIFFformat.)Withoutgettingintotechnicalfileformatdetails,theRAWadvantageboilsdowntothefactthatitistheonlyformatthatretainsallthedataactuallycreatedwhenyoumakeaphoto.Soifyouareseriousaboutyourlandscapephotography,youshouldmakesuretosaveandarchiveyourphotosasRAWfiles.

There’snosuchthingasaRAWfileformatthateveryoneuses—eachcameramanufacturerhastheirown“flavor”ofRAWthatisproprietaryandtunedtotheirownsensorarraysandprocessingalgorithms.ThetablebelowshowssomeofthemostcommonRAWfileformats.

ThisisaJPEGthatmycamerasavedatthesametimeasImadeaRAWcapture.TheJPEGdoesn’tshownearlythelightnessofcolorthatIwasabletoteaseoutoftheRAWfile(ontheright).

FromFortBaker,IwatchedthefogblowinfromthePacificacrossthetowersoftheGoldenGateBridge.Ishotalongish(30second)exposuretoincreasetheapparentluminanceandsmoothnessofthefogclouds.

Both:24mm,30secondsatf/8andISO100,tripodmounted

Inpointoffact,thereareafewdownsidestoshootinginRAW.Foronething,RAWfilestakeupmorespaceonyourmemorycardsthanJPEGfiles(whicharesavedinhighlycompressedform).Moresignificantly,youcan’tdoanythingrightawaywithaRAWfile—youcan’tdisplayitonyourcomputerormakeaprintfromit.First,thefilewillneedtobeprocessed.

ButifyousaveyourfilesasJPEGs,youareacceptingthecamera’sinterpretationoftheimagedata.Believeme,asahumanbeingwitheyesandabrain,youcandoagreatdealbetterthantheteeny-weenycomputerinyourcamera!Asyou’llseeinthissectionofCreativeLandscapes(seeparticularlypages200–207)you’llgetalotofmileagebytakingadvantageofthepotentialities—thenumerouspossibilities—inherentinanyRAWfile.

Forexample,thereisahugerangeofpotentialexposureswithineachandeveryRAWfile—about4f-stopsineitherdirectionfromyourbaseexposure,althoughtheentirerangeisn’tusablebecauseofnoiseconsiderations—andtheexposureyouchoosetouseisn’t“bakedinto”yourphotountilyouprocesstheRAWfileandsavetheresults.

Bytheway,whenyouprocessandsaveaRAWfile,acopyofitissavedinaformatsuchasJPEG,PSD,orTIFF.TheoriginalRAWfileremainsuntouchedasaRAWfile.

Asyou’llseeshortly,thebestpartaboutthisisthatyouaren’tstuckwithonlyoneoverallexposurevalueforanimagebecauseyoucanmultiplyprocessaRAWfilewithdifferentvaluesfordifferentareasinyourphoto.

Multi-RAWProcessing

AsI’vealreadymentioned,oneofthemostpowerfulaspectsofprocessingyourownRAWfilesisthatyoucanprocessthefilesmorethanonce—andcombinewhatyoucomeupwithtotakeonlythebestpartsofeach!

LandscapephotographyinparticularisarichfieldformultipleRAWprocessingbecausethereareoftenverydifferentlevelsoflight—requiringverydifferentexposurevalues—inaphotothatincludesbotharelativelybrightskyandthemuchdarkerearth.Intheoldendays,beforedigitalpost-processing,thiscommonlandscapedilemmacouldbesolvedintheshootingprocessusingasplit,oragraduated,neutraldensityfilter—anopticalsetupthatallowedforthedifferinglightlevelsinthelandscapeandthesky.Nowadaysyoudon’tneedtouseasplitneutraldensityfilter;youcanjustmulti-RAWprocessafterthefact.

Tomulti-RAWprocessyourphotos,youwillneedsoftwarethatcanprocessRAWphotossuchasAdobeCameraRAW(ACR),AdobeLightroom,Aperture,NikonCaptureNX(forNikon),orthesoftwarethatshippedwithyourcamera.ACRisthemostcommonlyusedRAWprocessingengine(italsopowersLightroom’sRAWprocessing),sointheexamplesinthisbookI’lluseACR.

Besidesprocessingasingleimagemorethanonce(withdifferentsettings)youalsoneedawaytocombinethedifferentversions.CombiningtheimagescanbeaccomplishedusinglayersandmaskinginAdobePhotoshopElementsorAdobePhotoshop.

Photoshop.

Ithinkthatthiswillallseemclearerfollowingaconcreteexample.ConsidertheshotoflowerYosemiteFallsandarainbowshownfinishedonpages206–207.

WhenItooktheimage,Iknewthatthecombinationofdarknessandlightwouldbehardtorenderinafinalphotowithoutprocessingdifferentportionsofthephotodependingupontheircharacteristics.Inparticular,Ipurposelyunderexposedtheimagebyabout2½f-stops(comparedtoanaverageoveralllightmeterreading)becauseIdidn’twanttoblowoutthehighlights,andIknewIcouldrecoverthelightareasusingmultipleRAWprocessing.

SomeCommonRAWFileFormats

Manufacturer Fileextensions,comments

Adobe DNG

Canon CRW,CR2

Nikon NEF,NRW

Olympus ORF

Pentax PEF

Sigma X3F

Sony SRF,SR2,ARW

Adobe’sDigitalNegativeFormat

Adobe’sDigitalNegative(DNG)formatwascreatedtoprovideauniversalRAWfileformat.Thisisalaudablegoal,butnotentirelypracticalsinceeachmanufacturerclaimsaproprietaryadvantageinhowtheyprocessthedatafromtheirparticularsensor.TheupshotisthattheDNGspecificationincludesa“cloaked”proprietaryareaforeachcameravendor’s“secretsauce”—andyourtakeawayshouldbethatitisfinetoarchiveyourworkasDNGfiles;butifyoudo,alsoarchivetheoriginalRAWfiles.

Step1:WhenIlookedatthecaptureinAdobeBridge,itwasquitedarkoverall—asIhadexpectedsinceI“underexposed”theimage(seetext).Idouble-clickedontheimagetostartprocessingitinAdobeCameraRAW(ACR).

Step2:FormyfirstRAWconversion,IprocessedtheimageessentiallyusingthedefaultsettingsinAdobeCameraRAW(ACR),adjustingSaturationandVibranceslightly.

Step3:Afterconversion,theinitialRAWprocessingoftheimagewasverydark.Thechallengewastoselectivelylightentheimageintheareasthatneededit.Inamedthelayer“Defaultprocessing.”

SoIdecidedtousethisconversionasthebottomlayeranduseACRtoconverttheRAWcaptureagaintwomoretimestoaddsuccessivelylighterlayersontop.

Step4:IconvertedtheoriginalRAWcaptureforthesecondtimeinACR,settingtheExposure,Contrast,andVibrancesliderstocreatealighterversionwithgoodmidtones.

InPhotoshop,IhelddowntheShiftkeyandusedtheMoveTooltodragthenewversionontopofthe“Defaultprocessing”layer.(SeeStep5onpage213formoreaboutthisdraggingtechnique.)Inamedthisnewlayer“Lighter.”

Step5:IthencombinedthetwolayersbyaddingablackHideAlllayermasktothe“Lighter”layerandpaintinginthelighterareasIwantedusingtheBrushToolwithwhiteselectedastheForegroundColor.

Step6:UsingACR,IconvertedtheoriginalRAWcaptureonelasttime,usingtheExposureslidertocreateaversionforthehighlights.IaddedthisconversiontothelayerstackinPhotoshop,andthennamedthislayer“Lightest.”

AfteraddingablackHideAlllayermasktothe“Lightest”layer,IusedtheBrushTooltopaintinhighlights.Turntopages206–207toseetheresultsofthismulti-RAWprocessing.

AtYosemiteFallsearlyinthemorning,therewasdarknessandlight.Partsofthelandscapewereindeepshadows,andotherpartswereintermittentlylitbysunlight.Iwasreadywhentherainbowcameoutwithmypolarizeralreadyonmylens.Iusedafastshutterspeedtostopthemotionofthewater,andunderexposedbymorethan2f-stopstoemphasizethechiaroscuroeffect(seepage205fordetails).

Later,atmycomputer,IwasabletousemultipleRAWprocessingtorecreatetheeffectofthechiaroscurolightinthefinalimage.Processingthiscaptureonlyoncewouldhaveledtoanoverallflatandundramaticfinalimage.

UnderstandingHDR

Don’tgetcaughtupinworriesthatHDR—HighDynamicRange—imagingissomethingarcaneandcomplexthatyou’llneverunderstand.Thecoreideaissimplicityitself.

Thinkabouttheapparatuswehumanshaveforseeing.Ifyoulookataroomwithbrightsunlightcominginfromawindow,butdarkshadowsinonecorner,afteralittlesquintingandadjustingyou’llprobablybeabletomakeoutdetailsinboththelightanddarkareasoftheroom.

Thisisemphaticallynotthecaseforasinglefilmordigitalcapturewithdefaultrenderingofthesamescene.Detailwillbelostintheshadowareasorinthesunlitareas—or,mostlikely,inbothdarkandlightareas.

HDR,orextendingthedynamicrange—therangefromdarktolightthatisrenderedinanimage—simplymeansusingtechnologytogetmoreexposureinformationthanonecaninasinglecaptureprocessedatdefaultsettings.Arguably,multi-RAWprocessing(seepages200–207)shouldbeconsideredaformofHDR.ButtherubberreallymeetstheroadwhenyouusemorethanoneexposuretocreatecompositeHDRimagery—becausetherangeofpossibleexposuresisgreaterthanyoucanobtainfromanysingleexposure.

YoucanusesoftwaretoautomatetheblendingofasequenceofbracketedimagesshottocreateanHDRcomposite(seesidebar).ButIoftenprefertocreatemyHDRcompositesbyhandasshownonpages210–217.Thatway,IcancreateHDRimagerythatappearsnaturalistic,withoutthestartlinggrungeeffectthatyouseesoofteninaggressiveHDRimagery.MygoalwhenIcreateahand-HDRlandscapeisoftentobeunobtrusiveaboutwhatIamdoing,sothatsomeonelookingatmyimagedoesn’tevenconsciouslyrealizethattheimage’sdynamicrangehasbeenextended.

HDRSoftware

AutomatedHDRsoftwareinvolvesatwo-stepdance.First,thesoftwarecombinestheimages.Then,sincethishighbit-depthcombinationcannotbedisplayedaccuratelyonstandardmonitors,a“tonecurve”isappliedusingvarioussettingsyouchoose.ThefinalHDRimageisrenderedasa16-bitimage

varioussettingsyouchoose.ThefinalHDRimageisrenderedasa16-bitimagethatcanbeviewedonastandardmonitorandprinted.

DependingontheHDRsoftware,youcanaccessitasapluginforAperture,AdobeLightroom,orAdobePhotoshop,orrunitinstandalonemode.IfyoualreadyhaveAdobePhotoshop,itshipswithitsownHDRcapabilities.TousetheHDRbuiltintoPhotoshop,chooseFile►AutomateandthenselectMergetoHDR(CS4andearlier)orMergetoHDRPro(CS5andlater).

TheleadingautomatedHDRprogramsinadditiontoPhotoshopare:

HDREfexPro,fromNikSoftware,www.niksoftware.comPhotomatixfromHDRsoft,www.hdrsoft.com

TheforegroundwasdeepinshadowbutthecloudsinthebackgroundwereverybrightinthisimageofNativeAmericanpetroglyphsineasternCalifornia.IshotasequenceofbracketedimageswithHDRinmind,andbackatmycomputerblendedthebracketedsequenceusingPhotomatixforHDRprocessingandPhotoshoptoenhancetheresults.

10.5mmdigitalfisheye,eightexposuresatshutterspeedsbetween1secondand1/30ofasecond,exposurescombinedusingPhotomatix,eachexposureatf/22

andISO100,tripodmounted

It’sworthnotingthatshootingforHDR—whetherautomatedorhand-HDR—requiressomespecialconsiderations.HDRtechniquesworkbestwhenthesubjectisnotmovingandthecameraisonatripodsoitdoesn’tmove.Youshouldplantobracketexposurestoencompasstheentiredynamicrangefromlightestlighttodarkestdarkinyoursubject.Thisislikelytoinvolvegreaterexposurebracketingthanonemightexpect.

Itmayalsoworkbettertobracketusingtheshutterspeedsettingratherthanyouraperture—becausechangingaperturecanchangethedepth-of-field(seepages106–113formoreaboutapertureanddepth-of-field)inyourseparatecaptures.

HDRimagingfitsparticularlywellwithlandscapephotographybecauselandscapephotographyoftendoesnotinvolvecapturingmovement,andlandscapestendtohavealargedifferencebetweenbrightareas—suchasthesky—anddarkareasinshadow.

Hand-HDR

IfIseealandscapewhereIknowthedynamicrange—therangefromdarktobrightinthescene—willcausemeproblemsinasinglecapture,IalmostalwaysshootforHDR.Thismeansmakingsuremycameraissolidlyonmytripodsoitwon’tmoveatall,andbracketingextensivelyusingshutterspeedasthechangingvariableintheexposure.Bytheway,Iusuallydomybracketingwithmycamerasettoexposemanuallybychangingtheshutterspeedsettingmyself,ratherthanusethecamera’sbracketingfunction.Imakesuretocapturetheentireexposurerangefromdarknesstolightinthescenebeforeme—withsomerangetospareincaseIneedit.Usuallythismeansatleastanorderofmagnitudedifferencefromshortesttolongestexposureduration,forexamplefrom1/200ofasecondto1/20ofasecond,andsometimesafargreaterspread,forinstancefrom1/200ofasecondto1/2ofasecond.

Myprocessforcombininghand-HDRimageryisprettysimple.IlookthroughtheRAWcaptures,seewhichimageshavethebestareas,andthenchangetheexposureandcolorvaluestosettingsthatlookbestforthatarea,notworryingabouttheimageasawhole.

Next,IcombinetheseparatelyprocessedRAWimagesinPhotoshopaslayers,usingthetechniquesIexplainedforcombiningdifferentversionsofmulti-RAWprocessedimagesonpages200–207.

processedimagesonpages200–207.

Forexample,Icanusehand-HDRtechniquesto“rescue”landscapescapturedwithapparentlyflatanddulllight,suchasthissequenceIshotinYosemiteValley,California.

InAdobeBridge,thissequenceofimagesIshotinYosemiteValley,California,looksflatandgrey;thedarkcaptureswereexposedforthesky,andthelighterversionsfortheforestedvalley.

Step1:ProcessthisversionofYosemiteValleyinACRtocreateadarkskywithabluecast(don’tworrythatyoucan’tseetheforeground).Then,clickOpenObjecttoopentheimageinPhotoshop.

Step2:SelectLayer►New►LayerfromBackgroundandrenamethelayer“DarkSky.”

Iknowyoucan’tseeanyoftheforegroundintheimage(yet),butjustwait.Itwillappearinafewmoments.

Step3:Next,processthislighterviewinACRtoshowdetailsofthetreescoveringtheforestfloorandthemountainsbehind.Don’tworrythattheskyisblownout—onlyconcentrateongettingthetreesandmountainstowhereyoulikethem.Then,clickOpenObjecttoopenthisimageinPhotoshop.

Step4:SelectLayer►New►LayerfromBackgroundandrenamethelayer“BrightEarth.”

YounowhavetwoimagesopeninPhotoshop.

Step5:HolddowntheShiftkeyandusetheMoveTooltodragthe“BrightEarth”imagefromitswindowontopofthe“DarkSky”image.Don’tletgooftheShiftkeyuntilyoureleasethemousebutton.Otherwise,thetwoimageswon’tbeexactlyaligned.

Step6:Withthe“BrightEarth”layerselectedintheLayerspalette,selectLayer►LayerMask►HideAlltoaddablacklayermaskthathidesthe“BrightEarth”layer.

Step7:Makesurethelayermaskonthe“BrightEarth”layerisselected.Then,usetheBrushToolwithwhiteselectedastheForegroundColortopaintinthetreesonthevalleyfloorandthemountainsbehind.

StandingatTunnelViewinYosemiteValley,thescenelookedflatandgray.IshoteightexposureswithHDRinmind.Atmycomputer,Ihandprocessedeachimagetobringoutcolorsinspecificareas,andthencombinedtheversionsusinglayersandmasking.Theresultisapleasingandunusualcompositeofanoften-photographedview—createdfromsomeinitiallyunpromisingelements.

18mm,circularpolarizer,eightexposureswithshutterspeedsfrom1/500ofasecondto0.8ofasecond,exposurescombinedinPhotoshop,eachexposureatf/11andISO100,tripodmounted

BythesideoftheroadnearYosemite,California,Ishotthreedifferentcapturesofthiswaterfallatshutterspeedsrangingfrom0.1ofasecondto0.8ofasecond.

OnceIreturnedhome,IsavedtheRAWfilesonmycomputer,andthenprocessedtheimagesinACR,adjustingExposure,Contrast,Blacks,andVibrance.

Afterprocessingtheimages,IopenedeachoneinPhotoshop.SoIhadthreedifferentcapturesopeninthreedifferentwindowsatthesametime.

IcombinedthethreecapturesinPhotoshopusingthesamedraggingtechniquedescribedinStep5onpage213.

Next,IaddedblackHideAlllayermaskstothe“Lighter”and“Darker”layers.

Finally,IusedtheBrushandGradientToolswithwhitesetastheForegroundColortopaintinmidtones,highlights,anddetail.

ComingintoYosemiteValley,California,neartheintersectionsofRoutes120and140,Isawaroadsidepulloutwhereabulldozerwasparked.Downtheslopefromthebulldozerwasthiscreek,apparentlynamelessandforgotten.Iwasintriguedbythesculpturalaspectsofthissmallwaterfall,butrealizedthatasinglecapturecouldneverdojusticetotheentiredynamicrangeofthelightingfromtoptobottom,soIplannedmultiplecapturesthatIlatercombinedinpost-processing.

26mm,threeexposureswithshutterspeedsof0.1ofasecond,0.3ofasecond,and0.8ofasecond;exposurescombinedinPhotoshop,eachexposureatf/25andISO100,tripodmounted

MonochromaticConversions

Onpages60–63Italkedaboutwhatworksinmonochromaticlandscapephotography,andgavesomeadviceaboutwhattolookforwhenyouaretryingto“see”photographicallyinblackandwhite.Ialsoexplainedthatthebestpracticeindigitalphotographyistoshootincolor,thenconverttomonochromeinpost-processing.

Thefulldetailsofthebestwaystoconvertcolorphotostomonochromearebeyondthescopeofthisbook,althoughasInotedearlier,thesubjectiscoveredindetailinanotherbookofmine,CreativeBlack&White:DigitalTips&Techniques(Wiley).

Inthissection,I’llprovideanoverviewofhowyoumightgoaboutprocessingaphotofromcolortomonochromeinthecontextoftwoimages.Thesetwophotosareverydifferent—butwhattheyhaveincommonisthatbothstartedlifeasacolorimagethateveninitiallywasprettyclosetomonochrome.Therewasn’tmuchcolorinthesceneinfrontofme,whichalwaysmakesmeconsiderblackandwhite.

StartingwithanimagethatIthinkisalikelycandidateformonochromaticconversion,myusualworkflowistostartbydoingtheRAWconversionasthoughtheimagewereacolorphoto.Idon’twanttoloseasingleiotaoftheinformationcontainedintheRAWfile,evenifthecolorlooksmostlygrayscale.Itiscrucialtohavethefullcolorinformationavailablewhenyouconvertyourimagestomonochrome.

ItwascleartomewhenIshotthisimageoflowerYosemiteFallsthattherewasn’tmuchinthephotointermsofcolorsbesidesblacksandwhites.Whenthereisnotmuchcolorinanimageanyway,amonochromaticpresentationwilloftenworkwell.

OnewayIcouldhavegoneaboutconvertingtheRAWfiletomonochromewouldhavebeentochecktheConverttoGrayscaleboxontheHSL/GrayscaletabofAdobeCameraRAW.Icouldthenhaveusedthe

colorsliderstodeterminetheprecisemixtureofcolorsusedtocreatethegrayscale(monochromatic)image.

ThisdoestakeadvantageofthecolorinformationintheRAWfilewhenmakingthemonochromaticconversion,butit’susuallymypreferencetofullyprocessthefilefirstfromtheRAWtoacolorimage.TherearethenanumberofwaysIcangoaboutconvertingthefiletoblackandwhite.

AddingaBlack&WhiteadjustmentlayerinPhotoshopallowsme(aswiththeHSL/Grayscaletab)tousecolorvaluestodeterminehowthemonochromaticconversionwillappear.ThepresetfiltersthatarepartoftheBlack&Whiteadjustmentlayerfeaturesetareaveryhelpfulstartingplace.(TheHighContrastRedfilterpresetisselectedasyoucanseefromthedrop-downlistshownatthetopoftheAdjustmentswindow.)

NikSilverEfexPro2,www.niksoftware.com,isaLightroomandPhotoshoppluginthatprovidesanelegant,powerful,andflexiblewaytoapplyavarietyofpresetmonochromaticconversions.Justafewofthemanyconversionpossibilitiesareshownhere.

AsInotedwithRAWfileconversion(pages200–207),youdon’thaveto

processdifferentareasofanimageinanidenticalfashion.Thesameideaappliestomonochromaticconversions.Usinglayersandmasking,differentpartsofanimagecanbeconvertedusingdifferentcolorsettings,anddifferentpresets.Infact,asshownintheLayerspalettebelow,there’snoreasonnottocombineseveralmonochromaticprocessingprograms—forexample,oneareacanbeprocessedusingPhotoshop’sownBlack&Whiteadjustmentslayers,andanothercanbeprocessedusingtheNikSilverEfexPro2plugin.

Thisflexibilitymakesitpossibletohavewonderfulmonochromaticlandscapeswithagreattonalrange—farbeyondwhatispossibleusingasinglemonochromaticconversiontechnique.

ThismonochromaticshotoflowerYosemiteFallsstartedlifeasacolor

imagethatwasessentiallyblackandwhite—andIneverbotheredtoenhancewhatlittlecolorwastobefoundintheimage.However,inotherphotos,conversiontomonochromecanessentiallymeanablackandwhiteroundtrip:theimagestartsassomethingthatseemslikeitwouldbegoodinmonochromebecauseofhighcontrastandtherelativeabsenceofcolors.Next,Imanipulatetheimagesothatitishighlycolorful.Finally,usingthecolorsthathavebeenenhanced,Ireturntheimagetomonochrome.

UnderstandingLABColor

Acolorspace,orcolormodel,isastructureforreferencingandnotatingcolorvalues.Asyoulikelyknow,theRGBcolorspaceisacolorspacewiththreechannels—Red,Green,andBlue—commonlyusedinLCDsandmonitors.CMYKisafour-channelcolorspace—thecolorchannelsareCyan,Magenta,Yellow,andBlack—usedtodescribethecolorvaluesinimagesthatwillbeprintedinbooksandmagazines.

LABisathree-channelcolormodel—I’llexplainhowthechannelsworkinamoment.UnlikeRGBandCMYK,LABisatheoreticalmodelinthesensethatyoucan’tsaveaLABimageasaJPEGfordisplayontheweb,andtherearenoreproductionprocessesthatuseLABtoprintthings.ButLABhasacoupleoffeaturesthatmakeitexcellentformanipulatingcolors.Onceyougetthehangofit,itiseasytouseLABcolorstomakeyourlandscapesgofromdrabtofab!

AsthesunsettothewestofStinsonBeach,California,ImarveledatthegloryofthecolorsreflectedinthenearlystillwatersofthePacificOcean.ButwhenIlookedatthecaptureonmycomputer,itseemeddullandlifeless(checkouttheinitialversionofthephoto,above).TorecreatethevibrantcolorsastheyseemedtomeinthetimeandplaceIshotthephoto,Ifirstmulti-RAWprocessedtheimageandthenusedLABcoloradjustments.

InPhotoshop,toworkinLAByouhavetoconvertyourimageintotheLABcolorspace.OnceyouarefinishedworkinginLAB,ifyouwanttoactuallydoanythingwithyourphoto,youneedtoconvertitbacktoRGBorCMYK.

ThetwofeaturesthatmakeLABparticularlypowerfulforworkingwithcolorarethatitseparatesgrayscaleinformationcompletelyfromcolorinformation,andthateachofthecolorchannelsarecoloropponent,meaningtheyincludeinformationbothaboutacoloranditsoppositecolor.ThewaysthesefeaturesworkinPhotoshopareshowninthefigurebelow.

YouhavetoworkwithLABforawhiletounderstandjusthowmuchthese

YouhavetoworkwithLABforawhiletounderstandjusthowmuchthesefacetsofLABcanbeusedtoimproveyourlandscapephotos;agoodexampleisthenextcaseinwhichI’llshowyouhowtousetheseLABfeaturestomakethecolorsofarainbowbolderandbrighter.

LABColorandTonalAdjustmentsI’vetoldyouthatLABisfabulousforworkingoncolor,nowlet’stakealookathowyoucanuseitpractically.

ThediffusemistunderYosemiteFallslentitselftoarainbowwhenthesunpeekedthroughtheclouds.Butlookingattheimageonmycomputer,Iwassurprisedbyhowdullthecolorswere.Thiswouldnotdo!

ConvertingtoLABColorTherearetwowaystoconverttoLABcolorinPhotoshop.YoucanselectImage►Mode►LABColor.OryoucanchooseEdit►ConverttoProfile,selectLabColorfromtheDestinationSpacedrop-downlist,andthenclickOK.

ToconvertanimagebackfromLABcolor,useoneoftwomethods:selectImage►Mode►RGBorCMYK;orchooseEdit►ConverttoProfile,thenselectRGBorCMYKfromtheDestinationSpacedrop-downlist,andthenclickOK.

AtthebottomofYosemiteFalls,themistcreatesalovelyrainbow.Iwasabletocapturethislovelyprismaticeffect,butathomeonmycomputer,thecolorsdidnotshineasbrightlyastheyhadinthefield.So,insteadofacceptingthe“AsShot”defaults,youcangetalittlebounceincolorandsaturationbypushingtheSaturationandVibrancesliderstotherightinACR,andalsobyslightlyraisingthecolorTemperature(seethesettingsaboveintheACRdialog).

However,evenfollowingmulti-RAWprocessingthisimagedoesn’tbegintohavethekindofsparkleandcolorthatI’dliketosee.Theanswer:selectivepaintingwithLABcoloradjustmentstoenhancethecolorsoftherainbow.Bytheway,selectivepaintingwithLABhasonebigadvantageoversimplypaintingincolors:theLABadjustmentsalreadyhavetheunderlyingshapeoftheelementsofthephoto,soyoudon’thavetoworrymuchaboutprecisionwhenyouapplythecolor.

WithLABcolorIcanquicklycreate“colorpalettes”thatIcanusetopaintintheshadesoftherainbow.

Tomakethisgreenandmagentaversion,IconvertedtherainbowphototoLABcolor.ThenIduplicatedtheimagebyselectingImage►Duplicate.

AfterselectingtheAchannelintheChannelspalette,IappliedanEqualizationadjustmentbyselectingImage►Adjustments►Equalize.Thismaximizesthegreensandmagentasintheduplicateimage.

Tomakethisblueandyellowversion,IagainduplicatedtheoriginalimagebyselectingImage►Duplicate.

ImadesuretheBchannelintheChannelspalettewasselected,andthenIappliedanEqualizationadjustmenttothatchannelbyselectingImage►Adjustments►Equalize.Thismaximizesthebluesandyellowsinthesecondduplicateimage.

ThenIselectedallthechannelsintheChannelspaletteandappliedanEqualizationadjustmentbyselectingImage►Adjustments►Equalize.

IncreasingContrastwithLAB

Theequalizationtotheleftlooksprettyodd,butitcanbeusedtoattractivelyexpandthegrayscaletonalrangeoftheimage.Todoso,dragtheimageontotheoriginalimageasshowninStep5onpage213.ThenusingtheLayerspalette,setthelayer’sBlendingmodetoOverlayorSoftLight,andlowertheopacityofthenewlayerto10–20%.

Afterdraggingthetwoequalized“colorpalettes”(thetopandmiddleimagesonthepreviouspage)ontotheoriginalimageusingthetechniqueshowninStep5onpage213,IaddedablackHideAlllayermasktoeachlayer,andthenpaintedintherainbow’scolorsusingtheBrushToolwithwhiteselectedastheForegroundColor.

ThisfinalversionismuchclosertothevibrantcolorsthatIsawwhenIcapturedtherainbowatYosemiteFalls.

SelectiveSharpeninginLAB

We’renotthroughwithLABcoloryet!ButbeforeIshowyouhowtosharpenwithLAB,letmeexplainthegeneralconceptofselectivesharpeninginthecontextoflandscapephotography.

Whensomeonelooksataphoto,theireyenaturallygoestobrightareas,andareasoftheimagethataresharp.Ofcourse,thereareanumberoftechniquesyoucanusewhenyouaretakingaphototocreateimagesthatareselectivelysharp,butitalsoturnsouttobeveryeffectivetousethedigitaldarkroomtoaddsharpnesstospecificareasofaphoto.Ifthisisn’toverdone,theresultwillbethattheviewer’seyeisdrawntotheareasthatyou’veselectivelysharpened—perhapswithouttheviewerknowingwhythoseareasaresoappealing.Evenwithoutthiseffect,selectivesharpeningalmostalwaysaddsinteresttoacompositionbycreatingagreaterrangeofcontrasts,againwiththecaveatthatyouneedtobecarefulaboutoverdoingtheeffect.

Youdon’tneedLABcolortoselectivelysharpen.YoucansimplychooseyourfavoritesharpeningtoolsuchasPhotoshop’sSmartSharpenfilter,workonaduplicatelayer,maskoutthesharpenedlayer,andpaintintheareasyouwantselectivelysharpened.

ThisisexactlythetechniqueIusewithselectiveLABsharpening,butwithatwist.ThebenefitofusingLABtosharpenisthatyoucansharpenthegrayscaleinformationwithoutdoingathingtothecolorinformationinyourimage.Thistendstocreateaverypleasingeffect.

Thisintimatelandscapeshowsthestemsofajadeplantrefractedthroughawaterdrop;thesestemslookratherlikeaforestonecouldwalkthrougheventhoughtheyareminiature.SelectiveLABsharpeningdrawstheeyeintotheworldinthewaterdrop,subtlyhelpingtoemphasizeitsimportancetotheimage.

Step1:ConvertyourimagetoLABcolorbyselectingImage►Mode►LABColor.

Thenduplicatethe“Background”layerintheimagebychoosingLayer►DuplicateLayer.A“Backgroundcopy”layerwillappearintheLayerspalette.

Step2:Makesurethe“Backgroundcopy”layerisselectedintheLayerspalette.Next,makesuretheLightness(L)channelisselectedintheChannelspalette.EventhoughtheLightnesschannelisselected,allthreechannelsshouldstillbevisible.

Step3:TosharpentheLchannel,chooseFilters►Sharpen►UnsharpMask.ThisopenstheUnSharpMaskfilterdialog.

Iliketousethegood,old-fashionedUnsharpMaskfilteronthegrayscaleinmyimagesIamselectivelysharpening,becausetheUnsharpMaskisparticularlyeffectivewithedges.

You’llhavetoexperimentwiththeUnsharpMaskfiltertofindtherightsettingsforyourparticularimage.Thesettingsshown—Amountat50%,Radiusat4.2pixels,andThresholdat9levels—areagoodstartingplace.ThehighertheRadiussetting,themoresharpening;andthelowertheThresholdsetting,thesharpertheresults.Remembernottooverdotheeffect(Ipromise,thisisthelasttimeI’llmakethisreminder!).

Ifyoulookcloselyatthewaterdrop,youcanseethatsharpeningtheLchannelinLABhasapotentiallyhugeeffect—notonlyonsharpnessbutalsoonthecontrastlevelsinthedetailsoftheimage.

Don’tyouhateitinabookwhensomeonesays“Lookatthis”andyoucan’tseewhattheyaretalkingabout?Soforthatreason,thesharpeningshowntotherightisdefinitelyoverdone—Iexaggeratedtheeffectsoyoucanseeitclearly.

Step4:OnceyouaresatisfiedwiththesharpeningsettingsintheUnsharpMaskdialog,clickOKtoapplythesharpeningtotheLightnesschannel.

Toapplythesharpeningtoyourimage,addablackHideAlllayermaskto

thesharpenedduplicatelayerbychoosingLayer►LayerMask►HideAll.OntheblackHideAlllayermask,usetheBrushToolwiththeForegroundColorsettowhitetopaintintheareasyouwanttosharpen.MakesuretheBrushToolissetto100%Opacityand0%Hardness.

Step5:Whenyouarefinishedpaintinginthesharpenedareas,selectLayer►FlattenImagetocollapsethelayers.

Next,converttheimagefromLABcolortotheRGBorCMYKcolorspace.

Andthat’sit!YouaredonewithLABselectivesharpening.Asyoucanseeinthefinishedimageonpages228–229,theeffectdrawstheviewer’seyetothewaterdropandawayfromitssurroundings—aswellasincreasesthevisualdistinctionbetweenthewaterdropworldandtherestoftheimage.

NotesandResources

Pages232–233:ThisisashottakenrightatdawninasnowymeadowinYosemiteValley,California.

FurtherReadingIfyou’veenjoyedCreativeLandscapes:DigitalPhotographyTips&Techniques,Ithinkyoumightalsolikesomeofmyotherbooksthatcoverotheraspectsofphotography:CreativeLighting:DigitalTips&Techniques(Wiley,2011)CreativeBlack&White:DigitalTips&Techniques(Wiley,2010)CreativeNight:DigitalTips&Techniques(Wiley,2010)CreativeClose-Ups:DigitalTips&Techniques(Wiley,2010)CreativeComposition:DigitalTips&Techniques(Wiley,2010)Pleasecomevisitmyblogatwww.digitalfieldguide.com/blog.You’llfindthousandsofphotosandstoriesaboutphotography—manyofthemaboutlandscapephotography.

LearningPhotoshopCreativeLandscapes:DigitalTips&TechniquesisnotabookaboutPhotoshop—it’sabookaboutmodernlandscapephotography.Thatsaid,landscapephotographyinthedigitaleraisinextricablyboundupwiththedigitaldarkroom,andthefinalpartofthebookisconcernedwithprocessingyourlandscapeimagesusingAdobeCameraRAWandPhotoshop(ifyouprefertosubstituteAdobeLightroomforAdobeCameraRAW,itreallydoesn’tmakemuchdifferenceinmyview).

I’vetriedtoincludeenoughPhotoshopinformationsothatyoucanusethetechniqueswithyourownphotos.

Atthesametime,Ihaven’tincludedinformationonmanybasicPhotoshoptechniques—becausetheresimplywasn’troominthisbook,andanyhowitisabookaboutlandscapephotography,notPhotoshop.

IfyouneedtobrushuponPhotoshopconceptsandtechniques,IthinkyoumightfindmybooksthatarespecificallyaboutPhotoshophelpful.PleasecheckoutThePhotoshopDarkroom:CreativeDigitalPost-Processing(FocalPress,2010)andThePhotoshopDarkroom2:CreativeDigitalTransformations(FocalPress,2011).

SoftwareHere’sthesoftwarethatImentioninCreativeLandscapes:Planningsoftware:

tideApp:www.tideapp.comThePhotographer’sEphemeris(TPE):www.photoephemeris.comVisiMoon:www.lighttracapp.com

Landscapesandpost-processing:

Adobe,AdobeCameraRAW(ACR),AdobeLightroom,andAdobePhotoshop:www.adobe.comHDRsoft,Photomatix:www.hdrsoft.comNikSoftware,HDREfexProandSilverEfexPro2.0:www.niksoftware.com

DrivinginthefoothillsoftheSierraNevadamountainsinCalifornia,Icameacrossthishuge,oldoaktree.Thetreelookedbleakinthewinterweather,andseemedtomeaperfectcandidateformonochromaticconversion.

SensorSizeandFocalLengthNotallsensorsarethesamesize.Thesmallerthesensor,thecloseragivenfocallengthlensbringsyoutoyoursubject.Forexample,ifasensorhashalftheareaofanothersensor,thenaspecificfocallengthlenswillbringyoutwiceascloseonacamerawiththesmallersensor.

Sincedifferentcamerashavedifferentsizedsensors,itisnotpossibletohaveauniformvocabularyoflensfocallengths.Sopeoplecomparefocallengthstotheir35mmfilmequivalentbyadjustingforthesensorsize.

Tomakethecomparisonwith35mmfilmfocallengths,youneedtoknowtheratioofyoursensortoaframeof35mmfilm,whichiscalledthefocal-lengthequivalency.ThephotosinthisbookwerecreatedusingNikonDSLRswitha1.5times35mmfocal-lengthequivalency.TofindouthowthefocallengthsIusedcomparewith35mmfocallengths,multiplymyfocallengthsby1.5.

Tocomputethecomparablefocallengthsonyourowncameraifyoursensorhasadifferentsizethanmine,youneedtoknowthefocal-lengthequivalencyfactorofyoursensor.Checkyourcameramanualforthisinformation.

Forexample,ItookthephotoofawintermorninginYosemiteonpages232–233usingazoomlenssettothefocallengthof46mmwithmy1.5XsensorsizeNikonDSLR.The35mmequivalenceistherefore46x1.5=69mm,oralittlemorethananormalfieldofview.

GlossaryAlpenglow:Alightingphenomenonthatoccursshortlyafterthesunhassetbelowthehorizonwhenobjectsturnpinkorreddish.

Ambientlight:Theavailable,orexisting,lightthatnaturallysurroundsascene.

Aperture:Thesizeoftheopeningintheirisofalens.Aperturesaredesignatedbyf-numbers.Thesmallerthef-number,thelargertheapertureandthemorelightthathitsthesensor.

Blendingmode:DetermineshowtwolayersinPhotoshopwillcombine.

Bracket:Toshootmorethanoneexposureatdifferentexposuresettings.

Channel:InPhotoshop,achannelisagrayscalerepresentationofinformation,suchasonecolorcomponentofanimage.

Chiaroscuro:Moodylightingthatshowscontrastsbetweenshadowsandbrightness.

CMYK:Cyan,Magenta,Yellow,andBlack;thefour-colorcolormodelusedformostoffsetprinting.

Coloropponent:Acolorchannelthatincludesinformationbothaboutacoloranditsoppositecolor.

Colorspace:Acolorspace—sometimescalledacolormodel—isthemechanismusedtodisplaythecolorsweseeintheworldinprintoronamonitor.CMYK,LAB,andRGBareexamplesofcolorspaces.

Composite:Multipleimagesthatarecombinedtocreateanewcomposition.

Diffraction:Bendingoflightrays;unwanteddiffractioncancauselossofoptical

sharpnessatsmallapertures.

DigitalAssetManagement(DAM):Theprocessofstoring,archiving,retrieving,andmakingsuredigitalfilesaresafe.

DNG(DigitalNegative)format:Cross-vendorRAWfileformatspecificationsponsoredbyAdobe.

DSLR:DigitalSingleLensReflex,acamerainwhichphotosarecomposedthroughthelensthatwillbeusedtotaketheactualimage.

Dynamicrange:Thedifferencebetweenthelightesttonalvaluesandthedarkesttonalvaluesinaphoto.

f-number,f-stop:Thesizeoftheaperture,writtenf/n,wherenisthef-number.Thesmallerthef-number,thelargertheopeninginthelens;thelargerthef-number,thesmallertheopeninginthelens.

Fieldofview:Theangleofthescenethatiscaptured;anormalfieldofviewisroughlywhatahumanbeingsees,or50mmin35mmterms.

Fillcard:awhiteorfoil-coveredcardorboardusedtoreflectlightbackintotheshadowareasofasubject.

Fisheyelens:Anextremewideanglelenswithroughlya180degreefieldofview;typicallyafisheyelensdistortsthesceneitcapturesbyintroducingcurvature.

Focallength:Roughly,thedistancefromtheendofthelenstothesensor.(Therelationshipoffocallengthtosensorsizeisexplainedonpage235.)Thegreaterthefocallength,thecloserthelensbringsthesubject,sotelephotolenseshaveagreaterfocallengththanwideanglelenses.

Framing:Inaphotographiccomposition,positioningtheimageinrelationshipto

itsedges.

Grayscale:Usedtorenderimagesinasinglecolorfromwhitetoblack;inPhotoshopagrayscaleimagehasonlyonechannel.

HighDynamicRange(HDR)image:Extendinganimage’sdynamicrangebycombiningmorethanonecapture,eitherusingautomatedsoftwareorbyhand.

Highkey:Brightlylitphotosthatarepredominantlywhite,oftenwithanintentionally“overexposed”effect.

Imagestabilization:Alsocalledvibrationreduction,thisisahigh-techsysteminalensorcamerathatattemptstocompensatefor,andreduce,cameramotion.

Infinity:Thedistancefromthecamerathatisfarenoughawaysothatanyobjectatthatdistanceorbeyondwillbeinfocuswhenthelensissettoinfinity.

Infrared(IR)photography:Capturesmadeusinginfraredratherthannormal,visiblelight.

ISO:Thelinearscaleusedtosetsensitivityofadigitalsensor.

JPEG:AcompressedfileformatforphotosthathavebeenprocessedfromanoriginalRAWimage.

LAB:Colormodelthatseparatesluminance(grayscale)fromcolorinformation.

Layer:ImagesinPhotoshoparemadeoflayersstackedontopofeachother.

Layermask:MasksinPhotoshopareusedtoselectivelyhideorreveallayers.