An ultrawide angle lens is often the best friend of a landscape photographer. But sometimes it can be advantageous to take a slightly different approach. In this video, photographer Nigel Danson shows the benefits of shooting landscapes with a 70-200mm f/2.8 in the beautiful landscape of Scotland’s Glencoe.
I don’t really shoot all that many landscapes, but I do shoot in landscape locations a lot. I photograph people in them. Being based in the UK, my biggest issue with location work, as much as I love it, is the weather. Specifically, the bad version. At least with human subjects, there are often alternative spots we can go to with a little more cover.
Sometimes, though, weather changes are subtle, and can actually work in your favour. In this video from landscape photographer Mads Peter Iversen, we see just how the weather influences landscape photography, and how he got a photo at Glencoe in Scotland which he considers to be his best ever.
Ansel Adams is a photographer who is spoken about a lot. To many, especially landscape photographers, he’s a huge inspiration. Every snippet of information we see about his photographs or the man himself offers valuable insight. We learn more about who he was, how he worked, and his thought process.
In this one hour and twenty two minute documentary, we learn more about Ansel and his work than in just about anything else I’ve seen. It’s an old documentary, but it’s recently become popular again online, and I thought I’d share it here with you.
One of the windiest nights I’ve ever taken pictures turned into perhaps the single most rewarding — and frightening — landscape photography experience of my life. I was on the Mesquite Sand Dunes in Death Valley, a place I had visited twice in the past, though under much tamer conditions. This night, the gusts of wind were far greater than I had seen before, and they kicked up a layer of sand that made for amazing sunset photos. But as the day came to a close, it was clear I had entered uncharted waters.
Thunderstorms are awe-inspiring, whether you watch them live, in photos or in videos. But videographer and photographer Dustin Farrell has made a slow-motion video that makes thunderstorm more enchanting than ever.
Dustin chased storms during the summer of 2017 and collected his best shots in a short film titled Transient. It shows lightning in slow motion and turns a sudden flash of light into a hypnotizing electrical drawing in the sky. If you enjoy watching the lightning, you’ll enjoy it even more in slow motion.
I’ve wondered for a long time what it means to be an ethical landscape photographer. Sure, this field isn’t known for its wide-reaching moral dilemmas or particularly sticky situations, but the question still deserves attention. As landscape photographers, we are in a rare position to show the Earth’s most amazing places to an audience of countless people. It makes sense to me that we should do so with respect. One of the most important rules? Don’t cause harm — not in the field, and, perhaps, not even in post-production.
It might seem like one of the simplest parts of photography: leveling your horizon. Most photographers want their horizons to be straight, of course, but this isn’t an area of photography that gets too much attention. And why would it? Leveling the horizon is a very easy task — right? In practice, though, it requires more care than many people think. You can’t just rely on your camera’s “virtual horizon,” or your post-processing software’s “auto straighten” tool. Our perception of a level horizon is more complicated than that.
I more than often hear landscape photographers complaining about “bad” weather and then say it’s chugging down. Honestly, I don’t know what they’re talking about. I thrive in stormy weather. Rain, strong winds, and what can sometimes be a bit of a problem, low hanging clouds – yes it’s next to nearly impossible to keep your camera dry, it’s next to nearly impossible to keep the lens clean and it requires extra energy to keep up the spirit – but “bad” weather is not bad weather, it’s amazing. For two reasons: One, you can photograph during daytime instead of hitting odd hours during sunset or sunrise. Two: And most importantly, it can create some amazing dramatic photos with a lot of atmosphere.
Photographing volcanoes can be dangerous, but it’s certainly an experience to remember. Israel-based photographer Erez Marom traveled to Hawaii to try it for himself, and he captured the magnificent view of hot lava flows. But there was a price to pay – and he paid with his gear.
He used a drone to get some aerial shots. But at one point, he got too close and the hot lava melted the plastic. Fortunately, Erez still managed to save the photos, and he kindly shared them with DIYP. And although his drone is destroyed – it was definitely worth it.
Luminosity masks are one of my favourite things about editing images in Photoshop. They offer so much more power than you can get in Lightroom or Adobe Camera Raw. Creating them, though, can often be a long winded affair. And a given set of actions to create them may not always work so well on any given image.
In this video, Photoshop wizard, Unmesh Dinda shows us a way to create luminosity masks very quickly and easily. It’s a method that also offers a lot more control over the “old way” of doing things, too. Unmesh does walk us through the old way, too, because it’s always good to know multiple methods. But it just goes to show how quickly the other process works.