Tuesday 11 May 2010

Evaluation

When starting this project i thought it would be relatively easy doing something i enjoy and like doing. I thought that getting my images i need would be easy, but how i was so wrong. I have come up with the conclusion that with landscapes you either have to be their at the right place at the right time and placed or you sit for hours waiting for the right shot.
 The travel was the worst part about this project. With me being unable to drive i was having to share rides with my friend and come home when she wanted. The only thing is i couldent explore and sit and wait which is what i normal do to get a good image. With that i felt this project was very rushed because you cant just make these images happen at when u want them, when they are  a chance thing.
 Therefore i am happy with some of my work i entered into this assignment, but some on the other hand is not up to my high quality, which annoys me beyond belief but with the time scales given it wasn't possible to create great images which i wanted. 
If i had a choice i would of gone and stayed with my brother in the lakes for a couple of weeks(iff there was no work commitments and uni commitments) and get the images perfect. But life doesn't give you the time and you have to do your best and reach the target which is what I've done. The deadlines for this project have had me really stressed(no surprise). If they had been widely spaced i would of been okay but one every one each week for 3 weeks tipped me over the edge. But i hope I've performed to a high standard.

Costing?

Travel: £160
Prints A3: £34.00
A4 printing costs:£10.00
Equipment IE dvd's, cases:£10.00
Total cost over project:£214.00

Bibliography

Photographers research?
http://www.jasontheaker.com/     -Jason Theaker- 10th May 2010

http://www.jimpattersonphotography.com/  - Jim Patterson- 10th may 2010

http://www.marcadamus.com/index.php  -Marc Adamus 11th may 2010

http://www.stuckinphotos.com/   - Helga Kvam 10th may 2010

Photography skills and equipment research?

http://www.cambridgeincolour.com/tutorials/depth-of-field.htm    -How to achieve depth of field?-9th May 2010

http://digital-photography-school.com/11-surefire-tips-for-improving-your-landscape-photography

-tips for landscape photography-10th may 2010

http://landscapephotographytoday.com/composition/   -How to compose a Landscape?-10th may 2010

http://www.locationworks.com/sunrise/instruct/index.html -Sunrise and set prediction research-11th may 2010 

http://www.luminous-landscape.com/tutorials/zone_system.shtml-zone system research-11th may 2010

http://www.talkphotography.co.uk/forums/showthread.php?t=141957-color cast research -7th may 2010

Images?

http://images.google.co.uk/imgres?imgurl=http://edfromct.files.wordpress.com/2009/04/vietnam-memorial.jpg&imgrefurl=http://edfromct.wordpress.com/2009/04/24/australias-day-of-remembrance-anzac-day-april-25th/&usg=__RvYA6ymdTurnYy-f4PJ5Rp994gM=&h=525&w=700&sz=74&hl=en&start=126&um=1&itbs=1&tbnid=RceHUwFE5ZYnRM:&tbnh=105&tbnw=140&prev=/images%3Fq%3Dwar%2Bremembrance%2Bwall%26start%3D105%26um%3D1%26hl%3Den%26sa%3DN%26ndsp%3D21%26tbs%3Disch:1

-Memorial wall image-18th march 2010

http://images.google.co.uk/imgres?imgurl=http://hypericum.files.wordpress.com/2008/07/anorexia-21.jpg&imgrefurl=http://hypericum.wordpress.com/2008/07/21/anorexia-%25E2%2580%2598bigorexia%25E2%2580%2599-may-have-same-genetic-roots/&usg=__lROGHGwFky3kohZHSQEd4hMqs5s=&h=335&w=237&sz=19&hl=en&start=39&um=1&itbs=1&tbnid=cBTOkdKIlMn5xM:&tbnh=119&tbnw=84&prev=/images%3Fq%3Danorexia%26start%3D21%26um%3D1%26hl%3Den%26sa%3DN%26ndsp%3D21%26tbs%3Disch:1

-Anorexia image-18th march 2010

http://www.google.co.uk/imgres?imgurl=http://www.photoanswers.co.uk/upload/2265/images/slow%2520shutter.jpg&imgrefurl=http://www.photoanswers.co.uk/Advice/Search-Results/Techniques/Choose-the-right-shutter-speed-to-shoot-waves/&usg=__busq8FPDdUtiPJDDpfK0rlrM2w0=&h=2048&w=3072&sz=6750&hl=en&start=2&um=1&itbs=1&tbnid=rNv--wS9VJoDBM:&tbnh=100&tbnw=150&prev=/images%3Fq%3Dslow%2Bshutter%2Btechniques%26um%3D1%26hl%3Den%26client%3Dsafari%26sa%3DN%26rls%3Den-us%26ndsp%3D18%26tbs%3Disch:1

-Shutter speed image-9th may 2010

Video's

-http://www.youtube.com/watch?v=DrtJ4d7rg3s   –you tube-7th April 2010

Definitions?

http://en.wikipedia.org/wiki/Abstract_art -wikapedia -11th may

Windermere lake at midnight














This image was taken at windermere lake, this image was taken at midnight, the light you can see was capture by the full moon that night. I love this composition, the sea seems so still and peaceful . I love the structure of this composition the jetty brings your eye into the composition and leads you to the still sky and lake. I could of Gladly live here and never came back but unfortunately responsibilities didn't let us.

Windermere hill top.














This image was taken on Windermere hill top whilst going to shoot a golden eagle for predator experience. Although they didn't appreciate me photographing my surroundings it was to tempting. The scenery was just gorgeous and couldn't let it pass. Now looking back I'm so glad i got this image because it works really well. This image for me shows nature and the earth to me you focus on the gorgeous scenery and then you notice a monument and people sat on it like a tiny blip in the image. It just shows how tiny we are compared to our surroundings. The clouds have been captured really well with my polarizing filter and the long grass leads you up into the composition.

sun set beside the sea














This image was taken in Staiths when this image was taken the sun was just setting but because it was such a cloudy day the sun set was a bit rubbish instead i focused my interest in the light that was falling on the pub instead. I love how the sun set has been caught on the window shutters as just a light strip through them. I also love how the walk way curves away to the right and disappears out of perspective. Although this is a simple landscape it really appeals to me for some reason.

Snow covered tree.














I quite like this image although i said i was going to have 5 color and 5 b+w, this is meant to be a different take on b+w. I think the almost blue tint adds a nice cold feel to it. This image was taken in Bedale when we went through the snow phase this day it snowed and melted the next day so it was quite lucky i caught it that day.

Saltburn Silhouette's














I really love this image i know some people may say the landline is "wonky" but thats one of the appeals i like about it. I think it adds to the character of this image alongside the silhouette's of the people on the beach. I love the contrast between the warm friendly feel within the family people then you have the industry placed in the background. I also like the clouds i think this adds to the effect i think this is quite a strong image. 

Robin hoods walk way














This image was taken in robin hoods bay, when i got to robin hoods bay i loved how close the cottages were beside each other i thought this view had a warm and friendly feel to it.I like the perspective of this image. I have to be honest  here i don't think its one of my most strong images out of the set but i think it has a character of its own.

Fisherman's boat beside the river














This image was taken in Staiths i really love the composition of this image. for me its divided into 3 layers, the first being the slate and the boat the second being the bridge and the third being the houses in the background. This image would of been brilliant had it not been for the weather. The weather forecast for that day was suppose to be sunny with the slight bit of clouds. Anyway when we got to Staiths the sky was dark gray no sun in sight, so all the images taken that day came out looking really cold which wasn't the feel i was wanting i wanted a warm friendly feel.I tried to warm this image up in photoshop which did work but then i thought i would try a bit of desaturation.I made the colors bleak but just enough to see the oranges, red and blue within the buildings and the houses and boat. I then went on to add a lens vignette. After comparing and contrasting and asking people opinions we decided that this image was the best image.I think i made the right choice. Although its bleak it gives a sense of history, which Staiths was a fishing village i think this is portrayed well within this image.

Desolate sheds



















This image was taken in Hartlepool near the RNLI, I named it desolate sheds because it looks like (to me) like its been deserted in a rush. This image had an almost holocaust feel for me. With this composition i liked how the chairs were strewn everywhere and how the sheds were placed beside each other gradually fading away into the distance. This image was originally taken in color and really didn't work well in this media, when turned into black and white it came to life. Im just glad i didn't rush past this image because it looked rubbish in color and instead took the time to try black and white and it worked well.

Canoes beside the lake














Im going to come clean with this image. This image is a composition of 2 images. I really liked these 2 images and i thought they would look brilliant as one composition. The background with the dramatic clouds and hills was one image. The foreground of the canoes was taken from a separate image, i thought it was a shame to leave these 2 separate because they were both good images. So i set to to make one composition,i think this composition has come out successful. These images were taken in Windermere.

Abstract sea scape














This image was taken in Redcar  throughout my research i have found my self being more and more attracted to abstract work. When i saw this composition before capturing it on my camera i thought wow thats rather abstract.i love the compositions how the boat ramp and dessert of sand almost meet in the middle but just doesn't quite reach. The sea then divides the image into another 3rd and then the raked sand then brings your eye around to the right of the composition. I really like this image and Im glad i captured it at the right time, after packing up my equipment we turned around and the tide was coming in and the composition was ruined i just timed it right really.

Tutorial with Richard Whitehead.

Over the duration of doing this assignment i have tred my best to get out to as many places as possible to try and get landscape photography. and after checking the weather forecast and all the research i have done. Although you can know all the facts i found that landscape photography is down to split second opportunity, You can make a great landscape come to you you have to wait for it. A great landscape for me is one out of 100 images within a day. unfortunately luck wasn't on my side although i practiced my research, shutter speeds, depth of field, composition, and filters you have to be in the right place at the right time. All the images I was turning out were'nt brilliant and i only had about 5-6 images good enough to enter, from visiting the places i went but i had to produce 10.
I asked Richard if it was possible if i could enter images which i took a couple of month ago which fit into the brief(have been taken with the research i have practiced like filters shutter speeds,and depth of field). I didn't want to enter rubbish work when i had some brilliant landscapes at home not taken long ago. Richard said this as fine to enter the images i had taken a couple of moths ago providing I opened from fresh again and re-edited them from scratch which is what i did. In the next post i will post my final 10 images and explanations about my images and why i choose them.

Organised and visited day trips.

Over the duration of doing this blog, although i may have not written as i have gone along I have visited many places to do some photography.here is the list:
*Roseberry topping-got lots of photography of roseberry toping, surrounding landscape fields and surrounding
*North Yorkshire dales- drove through the country side looking for good imagery but didnt find any that day(the weather clouded over)
*Newbiggins-got lots of photography of rough sea against rocks and quirky little cottages.
*Robin hoods bay-Drove through robin hoods bay tried to get some imagery but wasn't much there although it was a gorgeous, got imagery of quirky cottages and walkways.
*Staiths-Got some great photography of landed boats, sun sets and the surroundings of staiths
*Whitby-got some imagery again of some rough sea.
*Runswick bay-again got some great imagery of rough seas and cottages.
I stupidly did not date when i went to these places so i couldn't really say when i went.So i know in future don't flap about all the work i have got and concentrate only on that but also date when i went out to get landscape photography and day trips.

Zone system research

The zone system begins with a zone chart. Zone 1 is pure black; zone 9 is pure white; zone 5 can be described subjectively as middle gray. On paper, zone 5 corresponds to a reflectance of 18%. Since computer monitors and printers vary greatly — Macintoshes have different brightness curves (gammas) from PC's — what you see here may not be an accurate representation of the zone chart. You will need to have a good feeling for Zone 5-- middle gray, so if what you see doesn't seem right, you should go to a camera store and buy a Kodak 18% reflectance gray card. These cards are used by professionals for exposure metering in the studio: They place the card next to the subject and meter from it. This is equivalent to incident light metering: measuring the light that reaches the subject. With incident metering, the exposure is independent of the subject's reflectance: dark subjects come out dark and light subjects come out light. Incident metering works very well in studio environments and for close-ups, but it isn't practical for landscapes. Meters built into cameras measure reflected light.
1 2 3 4 5 6 7 8 9










Ansel Adams' description of zones (geared towards black and white printing)
Low values
Zone 0
Complete lack of density in the negative image, other than film base density plus fog. Total black in the print. We will omit zone 0 from the remainder of this tutorial; zone 1 will be considered pure black.
Zone 1 Effective threshold. First step above complete black in the print. Slight tonality, but no texture.
Zone 2 First suggestion of texture. Deep tonalities, representing the darkest part of the image in which some detail is required.
Zone 3 Average dark materials. Low values showing adequate texture.
Middle values
Zone 4
Average dark foliage. Dark stone. Landscape shadow. Recommended shadow value for portraits in sunlight.
Zone 5 Clear north sky (panchromatic rendering). Dark skin. Gray stone. Average weathered wood. Middle gray (18% reflectance).
Zone 6 Average Caucasian skin value. Light stone. Shadows in snow in sunlit snowscapes.
High values
Zone 7
Very light skin. Light gray objects. Average snow with acute side lighting.
Zone 8 Whites with textures and delicate values (not blank whites). Snow in full shade. Highlights on Caucasian skin.
Zone 9 Glaring white surfaces. Snow in flat sunlight. White without texture. (The only subjects higher than Zone 9 would be light sources; they would be rendered as the maximum white value of the paper surface.
In a scene — in the field — each zone represents a doubling or halving of the luminance — the light reflected from the subject — or equivalently, a difference of one f-stop. The eight steps between the nine zones in the chart (1-9) represent a luminance range of 256 (28). On paper surfaces, this difference is considerably compressed. On good photographic paper, pure white is about 90% reflectance and pure black is about 2% reflectance. The maximum tonal range is around 45, equivalent to about 5.5 zones (log245). Reflectance differences between zones are less than a factor of two. The difference between zones at the ends of the scale (1 and 2 or 8 and 9) is much less than between zones in the middle (4, 5, and 6).

zone system research taken from: http://www.luminous-landscape.com/tutorials/zone_system.shtml

Definition of Abstract

Abstract art uses a visual language of form, color and line to create a composition which may exist with a degree of independence from visual references in the world.[1] Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. The arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.[2]

Abstract art, nonfigurative art, nonobjective art, and nonrepresentational art are loosely related terms. They are similar, although perhaps not of identical meaning.

Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be only slight, or it can be partial, or it can be complete. Abstraction exists along a continuum. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities. Figurative art and total abstraction are almost mutually exclusive. But figurative and representational (or realistic) art often contains partial abstraction.

Definiton taken from: http://en.wikipedia.org/wiki/Abstract_art

Michael Kenna

























































Michael Kenna so what do i like about Micheal kenna's work? I think he has studied the zone system very well and practices it very well. It is very obvious from his works, his black are the blackest of blacks set against the snow whites.I love Dark images and i think thats what attracts me to his work, because his work is so emotional and moody. I also like some of his images because they seem very abstract, like the image above. I have never really been keen on abstract art before but i seem to favor it within photography. I think i would like to bring some abstract work within my final 10 Images.

Marc Adamus








































This is my favorite selection of work by Marc Adamus. I love marc's work definition on love. His compositions are exquisite and his colors are so strong and "contrasty". His compositions are well thought out and hi use of shutter effects are brilliant mac's work will have a big influence on my work, because i believe that he is a brilliant landscape photographer.
Images taken from:http://www.marcadamus.com/index.php

Sunrise and sun set predicition charts

When planning to do a landscape photography shoot it is important that you know what time the sun rises and sun sets. This is a vital thing to know. So after doing some research on this I found a graph that has mapped out every month of the year and when to expect the sun to rise and set.
Information taken from: http://www.locationworks.com/sunrise/instruct/index.html

Twilight is not measured in light intensity, it is determined by the sun's position relative to the horizon. There are three types of twilight (Civil, Nautical and Astronomical): the Twilight shown in the chart is Civil Twilight, which is defined as the time when the Sun is 6° below the horizon.

The Azimuth of sunrise/sunset is the compass bearing. North is 0°, East is 90°, etc. On the equinox (approx March 21st/September 21st), the sun rises due east and sets due west (all over the world). At other times, the sun rises north or south of due east.

The Altitude of the sun is measured from 0° on the horizon, to 90° at the zenith (the point of the sky directly above you). In the UK, in summer months, the sun will be seen to rise in the north-east, and as it travels clockwise it climbs higher in the sky until it reaches its highest point, at which point it is due south of the observer. From there it descends until it sets north-west.

diagram 1

The Times and Azimuths shown assume a flat (nautical) horizon. The Solar Location Diagram can be used to determine the times/azimuths of sunrise & sunset in situations where the horizon is obscured. Determine the altitude of the obstruction, e.g. building or mountain, then use the solar location diagram to determine the time & azimuth of sunrise/sunset.

diagram 2

Example: let's say there is a mountain which has an altitude of 10° relative to the horizon. The concentric lines on the Solar Location Diagram represent 10° of altitude, with the outermost representing the horizon. In the example diagram shown left, the second concentric line - representing 10° - meets the sun's path when the sun is due East, at about 07:10.

Many countries use Daylight Saving Hours in summer, where the clock is moved forward/back one hour. If these hours apply, times will be shown on the chart followed by an asterisk.

Magnetic Declination is the term used to describe the difference between True North and Magnetic North. The Calculations shown in the Sunrise/Sunset Predictions have made an allowance for this difference, therefore the azimuths and altitudes shown are accurate to the readings shown on your magnetic compass. For an explanation, see: Geological Survey of Canada: Magnetic Declination and to find the declination for your area, see: GSC Canadian Geomagnetic Reference Field (you will need to know your latitude and longitude). If Magnetic Declination applies, this will result in an asymmetric path in the Solar Location Diagram: compare the diagrams below for the same day (August 1st) in Cape Town and Vancouver.

diagram 3 diagram 4


Monday 10 May 2010

Jim Patterson

After browsing thought the internet i came across jim Patterson: http://www.jimpattersonphotography.com/index.html











I really love how he composes his images how he goes around the norm and places his objects in the centre of his work. This is unusual, for instance this image above would if done by another photographer might of consisted of the objects to the outside of the image with the sunlight coming straight from the centre of the image. But mu most favorite image is the image bellow. For me i find this image really striking and for me it has an almost abstract feel to it. I love the misty effect caught by a slow shutter speed, and how these rocks rise from out of the mist. And then its just finished of perfectly with a moody sky. I like how he's captured an abstract feel to his work i may carry on this idea into one of my images. 

Jason Theaker

http://www.jasontheaker.com/
Jason Theaker is a landscape photographer who i came across over flickr. His work instantly stood out for me because the colors within his work were so strong and bold. His compositions and use of shutter effects are skillful bellow you will find some of his work which i like:










































































Landscape photographer Helga Kvam

Web address:http://www.stuckinphotos.com/
when searching for landscape photographers i came across a photographer who produces gorgeous landscape photography. Her work is both effective and well composed. I went onto her website (web address given above) and had a look on her website. Its a very difficult website to navigate through and her details are hard to understand.
As far as i can gather she is a female photographer(although her website is shared)
her name is Helga Kvam and she was born in Iceland.












I found her website very difficult to navigate though every page you visited had a comment bar to the right, spoiling the image as well as the drop down menu to the left. Her work is so heavily copyrighted there was no chance i would of been able to save one of her images (the background image on the website) so i had to print screen to show her website.

Landscape photography tips:


My first love in photography when I first got my trusty old Minolta SLR as a teenager was landscape photography. There’s something about getting out in nature with the challenge of capturing some of the amazing beauty that you see. Perhaps it fits with my personality type – but I loved the quietness and stillness of waiting for the perfect moment for the shot, scoping out an area for the best vantage point and then seeing the way that the light changed a scene over a few hours.

While I don’t get as much time as I’d like for Landscape Photography these days – I thought I’d jot down a few of the lessons that I learned in my early years of doing it. I’d love to hear your own Landscape Photography tips in comments below.

Landscape Photography Tips

1. Maximize your Depth of Field

While there may be times that you want to get a little more creative and experiment with narrow depth of fields in your Landscape Photography – the normal approach is to ensure that as much of your scene is in focus as possible. The simplest way to do this is to choose a small Aperture setting (a large number) as the smaller your aperture the greater the depth of field in your shots.

Do keep in mind that smaller apertures mean less light is hitting your image sensor at any point in time so they will mean you need to compensate either by increasing your ISO or lengthening your shutter speed (or both).

PS: of course there are times when you can get some great results with a very shallow DOF in a landscape setting (see the picture of the double yellow line below).

2. Use a Tripod

As a result of the longer shutter speed that you may need to select to compensate for a small aperture you will need to find a way of ensuring your camera is completely still during the exposure. In fact even if you’re able to shoot at a fast shutter speed the practice of using a tripod can be beneficial to you. Also consider a cable or wireless shutter release mechanism for extra camera stillness.

Related Reading – Introduction to Tripods

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3. Look for a Focal Point

All shots need some sort of focal point to them and landscapes are no different – in fact landscape photographs without them end up looking rather empty and will leave your viewers eye wondering through the image with nowhere to rest (and they’ll generally move on quickly).

Focal points can take many forms in landscapes and could range from a building or structure, a striking tree, a boulder or rock formation, a silhouette etc.

Think not only about what the focal point is but where you place it. The rule of thirds might be useful here.

Related Reading – Focal Points in Photography


4. Think Foregrounds

One element that can set apart your landscape shots is to think carefully about the foreground of your shots and by placing points of interest in them. When you do this you give those viewing the shot a way into the image as well as creating a sense of depth in your shot.

Related ReadingGetting Foregrounds right in photography

5. Consider the Sky

Another element to consider is the sky in your landscape.

Most landscapes will either have a dominant foreground or sky – unless you have one or the other your shot can end up being fairly boring.

If you have a bland, boring sky – don’t let it dominate your shot and place the horizon in the upper third of your shot (however you’ll want to make sure your foreground is interesting). However if the sky is filled with drama and interesting cloud formations and colors – let it shine by placing the horizon lower.

Consider enhancing skies either in post production or with the use of filters (for example a polarizing filter can add color and contrast).

6. Lines

One of the questions to ask yourself as you take Landscape shots is ‘how am I leading the eye of those viewing this shot’? There are a number of ways of doing this (foregrounds is one) but one of the best ways into a shot is to provide viewers with lines that lead them into an image.

Lines give an image depth, scale and can be a point of interest in and of themselves by creating patterns in your shot.

Related Readinglines in photography“>Using Lines in Photography (mini-series)

7. Capture Movement

When most people think about landscapes they think of calm, serene and passive environments – however landscapes are rarely completely still and to convey this movement in an image will add drama, mood and create a point of interest.

Examples – wind in trees, waves on a beach, water flowing over a waterfall, birds flying over head, moving clouds.

Capturing this movement generally means you need to look at a longer shutter speed (sometimes quite a few seconds). Of course this means more light hitting your sensor which will mean you need to either go for a small Aperture, use some sort of a filter or even shoot at the start or end of the day when there is less light.

Landscapes-WeatherPhoto by 3amfromkyoto

8. Work with the Weather

A scene can change dramatically depending upon the weather at any given moment. As a result, choosing the right time to shoot is of real importance.

Many beginner photographers see a sunny day and think that it’s the best time to go out with their camera – however an overcast day that is threatening to rain might present you with a much better opportunity to create an image with real mood and ominous overtones. Look for storms, wind, mist, dramatic clouds, sun shining through dark skies, rainbows, sunsets and sunrises etc and work with these variations in the weather rather than just waiting for the next sunny blue sky day.

9. Work the Golden Hours

I chatted with one photographer recently who told me that he never shoots during the day – his only shooting times are around dawn and dusk – because that’s when the light is best and he find that landscapes come alive.

These ‘golden’ hours are great for landscapes for a number of reasons – none the least of which is the ‘golden’ light that it often presents us with. The other reason that I love these times is the angle of the light and how it can impact a scene – creating interesting patterns, dimensions and textures.

10. Think about Horizons

It’s an old tip but a good one – before you take a landscape shot always consider the horizon on two fronts.

  • Is it straight? – while you can always straighten images later in post production it’s easier if you get it right in camera.
  • Where is it compositionally? - a compositionally natural spot for a horizon is on one of the thirds lines in an image (either the top third or the bottom one) rather than completely in the middle. Of course rules are meant to be broken – but I find that unless it’s a very striking image that the rule of thirds usually works here.

Related ReadingGetting Horizons Horizontal

11. Change your Point of View

You drive up to the scenic lookout, get out of the car, grab your camera, turn it on, walk up to the barrier, raise the camera to your eye, rotate left and right a little, zoom a little and take your shot before getting back in the car to go to the next scenic lookout.

We’ve all done it – however this process doesn’t generally lead to the ‘wow’ shot that many of us are looking for.

Take a little more time with your shots – particularly in finding a more interesting point of view to shoot from. This might start with finding a different spot to shoot from than the scenic look out (wander down paths, look for new angles etc), could mean getting down onto the ground to shot from down low or finding a higher up vantage point to shoot from.

Explore the environment and experiment with different view points and you could find something truly unique.

Information taken from:http://digital-photography-school.com/11-surefire-tips-for-improving-your-landscape-photography