What is landscape photography? 

Landscape photography is the art of capturing natural scenery or landscape. Typically it depicts a wider, open space rather than small details. It can include people, animals or man-made structures, but is always about the great outdoors. It can be your way of showing how you see the world around you and capture the beauty of an environment.

What kit do I need for landscape photography?

• A camera plus a lens that has a wide-angle view of 28mm or wider is a great place to start. Some will want an even broader view, so a 24mm or wider lens would be a good choice, particularly for capturing vast scenes and big open spaces. Find the best camera for landscapes, plus the best wide-angle lenses. A smartphone is also a great option for landscapes, as they normally come with wide-angle and ultra-wide-angle cameras.
• A tripod will help, especially to capture scenes with water, which are smoothed by longer exposures; or when you want to use a lower ISO speed for maximum image quality. Shutter speed is a lesser concern when your camera is stable and steady on a tripod.
• Filters – use a polariser if you want deeper blues and fewer reflections from leaves and water. Graduated filters are great for darkening the bright skies but leaving the rest of your image unaltered. If you want even longer exposures, then an ND filter will be needed.
• Clothing – weather appropriate apparel is just as essential as your camera, as you may spend hours walking around to find the best viewpoint or waiting for the light to hit your scene just the right way.

Camera settings for landscape photography

Landscape photography is all about light, location and composition. Where you place objects or how you frame the scene before you are key components; but also the camera settings you use play an important part in getting a sharp, detailed shot.

Remember the elements that make up your exposure: aperture, shutter speed, and ISO speed, as there are some recommendations here that will help when shooting landscape photography. For a refresher, have a look at our guide to exposure.

Here are the 4 main camera settings to pay attention to in landscape photography:

• Aperture
• ISO speed
• Shutter speed
• Focus

Aperture and depth-of-field

Depth-of-field – use a smaller aperture to ensure a lot of the scene is in focus, with as much of it as possible sharp and in detail. Closing the lens aperture down to f/8 – f/16 will get more of the scene in focus from the front of the image (things close to you) to the back of the image (things furthest away). This is also known as pan-focus, where everything in the image is in focus.

But beware of diffraction – if you stop the aperture down too far, such as f/18-f/22 or more, you will suffer from diffraction and get softer images. When diffraction becomes an issue depends on your camera sensor size – our macro photography guide contains our definition of diffraction. Note: Diffraction tends to kick in at f/11 on Micro Four Thirds, f/16 on APS-C, and f/22 on Full-frame cameras.

ISO speed

As we’ve said previously, the lowest ISO speed available will give the best results (with the most detail, and lowest noise). However, be aware that the camera you use may have a different low ISO speed to another camera.

On most, the lowest ISO speed is ISO100, but on some the lowest is ISO200. If you are tempted to use a “LOW” or (L) ISO speed on your camera, be aware that this is often an “extended” ISO speed, and results in reduced dynamic range.

So check what your actual low ISO speed is on your camera. If you’re not sure where to find this information, have a look at our review of your camera as it will state what the standard ISO range is, and the extended ISO range. Normally you want to avoid using the extended ISO range.

On many Olympus and Panasonic cameras, the low ISO speed is ISO200, and ISO100 is extended, which is shown as “Low” or L.100. Users of Fujifilm cameras need to check as some of these have the lowest (native, non-extended) ISO speed as ISO160.

Shutter speed

With some of the best tripods for landscape photography, you can use slower shutter speeds and create beautiful effects at waterfalls like the one seen above. You can also try using the self-timer or a remote to avoid camera shake at longer exposures as even the smallest movement, like pressing the shutter release button can blur your images. Alternatively you can connect your camera to your smartphone and use it as a remote control. Another thing to be aware of is the camera strap – if it’s big, then it could cause the camera to move if it’s windy. Make sure to weigh down your tripod with sandbags (or a heavy rucksack) to avoid movement.

If you use slower shutter speeds, you can blur the water, but any movement (in trees or scenery) will become blurred, too. To get really slow shutter speeds on brighter days, then you’ll need to use an ND filter.

Focus and front-to-back focus

To keep things simple, by using one focus point, you can control and know where you are focusing in your image. In landscape photography the challenge is to render as much as possible from the front of the image to the back of the image in focus.

Newer cameras often include “focus peaking” a useful tool that shows which elements of your scene are in focus by highlighting the edges with a bright colour. Don’t worry if you don’t achieve perfection, but try to focus on the main area of interest in the frame.

What makes for good landscape photography?

Light and location play a massive part in landscape photography, but are not the only aspects to think about when shooting landscapes. Breaking down what you include in your image can take your landscape photography from average to spectacular.

Here are 6 main things to consider when composing your shot:

1. Light (and weather)
2. Location
3. Points-of-interest
4. Leading lines
5. Level (Horizon)
6. Composition

Light, weather

Shooting in the “golden hour” (the hour before sunset or dusk, and the first hour after sunrise, dawn) will give a warm golden looking landscape. On the other hand “blue hour” after the sun has set and before it has risen will give images with a blue tone. Just before sunrise and after sunset are also great times to shoot, as the sky changes colours rapidly. For more examples have a look at our guide to outdoor light with David Noton.

Weather can dramatically change the light in the scene, as well as the look of a landscape image, so don’t be afraid to shoot when there is mist, fog, or even during or after a rain shower. A break in the clouds can turn a dull image into a striking image as can be seen in the example above. If your camera and lens are not weather-sealed, make sure you have a waterproof backpack or plastic bag to offer some protection for your kit in the worst of the weather.

…and Location

Shoot somewhere dull, and even with the best lighting possible, the best camera possible, and the best settings, you’ll still most likely end up with a dull photo. Landscape photography tends to include travel, and finding the most pleasant-looking locations and landscapes is part of the exciting appeal of landscape photography, whether that’s near you, or further away.

Check out some recommendations for the best landscape photography locations in the UK here.

Points-of-interest

To include people or not? By including people you can give a sense of scale, as well as potentially date the photograph to a certain period – depending on how visible the subject’s clothing/style/fashion is. The same goes for any other man-made objects included, such as buildings or vehicles. By including a subject or a person in the shot you add an additional element and give a sense of balance to the image.

Leading lines

If you think of the elements in an image as guiding the viewer through the frame, you can look for leading lines in the scene, such as a road heading towards an impressive mountain range, a river to a waterfall, or even the formation of rocks and land leading you through the image.

On the level?

Watch for the horizon and keep the camera level – use the camera’s built-in axis or dual-axis level if it has this, or look for the spirit level built into your tripod. If you don’t have these features, then you could pick up a simple spirit-level hot-shoe attachment for not much money.

Alternatively, activate the on-screen grid display if your camera has this feature. If you don’t manage to get it perfect in-camera, then you can always edit the image later to straighten up the image. Some modern cameras have a built-in horizon correction feature, so check the manual to see if yours has this.

Composition

All of these factors play a part in how you compose and frame your image, and how you place the elements in front of you into the photograph. If you’re just starting out in landscape photography, then using the “Rule of thirds” is a great place to start, but don’t be afraid to experiment with different framing. See our guide to the art of photography and composition for more ideas.

Other things to think about: You don’t always have to shoot vast landscapes. Instead you could zoom in to look at the finer detail, and this is where a macro or telephoto zoom lens could come in useful. If there is water in the scene, then look for reflections.

Aerial landscape photography: If you have access to a drone, then shooting from a high-angle can give a totally different look to your images. See our guide to aerial landscape photography for more information.

Intimate landscapes: Landscape photography doesn’t have to just be wide-angle, sweeping vistas. Try honing in on a smaller part of a scene for a more interesting alternative. See this guide to Intimate landscape photography.

Square landscapes: Landscape photos also do not have to be taken in landscape orientation. Changing to portrait or even square format can make an interesting composition. Transform your landscapes with square format here.

Editing Landscape images

It’s likely that you’ll need to (or want to) edit your photos to ensure you’re showing the landscape how you want to show it. Slight tweaks to contrast, saturation, and exposure to improve dynamic range in the image can make your images look better. You can also correct the image if it’s not entirely level.

Expanding dynamic range – If you shoot using raw you have the ability to correct any errors in exposure or white balance. There is also the ability to expand the dynamic range in the image, which means you can recover shadows and dark areas in the image as well as recover highlights in the brighter areas.

Another option is to use exposure bracketing to help with this, but make sure you use a tripod so your images line up. Have a look at our guide to maximising dynamic range. Shooting raw also gives you the ability to tweak the sharpness and noise levels to get the very best out of the photo.

Landscape Photography Competitions

You can enter competitions to win prizes and recognition, as well as learn from others. Look out for landscape photography competitions such as the famous Landscape Photographer of the Year, and the International Landscape Photographer of the Year. There is also the landscape photography round of the Amateur Photographer of the Year Competition (APOY). Other general photography competitions feature Landscape categories, so have a look at our complete guide to the best photography competitions to enter.

More Landscape Photography Inspiration…

You’ll find a range of landscape photography articles here, and you can learn from professional photographers. We have articles from famous landscape photographers including Ansel Adams, William Garnett, Michael Kenna, Colin Prior, with AP contributors including Jeremy Walker, David Clapp, Verity Milligan, Rachael Talibart and Lizzie Shepherd to name a few. If you want to learn from the greats, make sure you have a look at their work.

For even more inspiration have a look at some of the landscape photography books available. You’ll find AP’s own book on “Landscapes” is a great resource for learning even more.

Frequently asked questions

What is RAW?

What is a raw image? Cameras will by default save images as JPEG files, which are processed by the camera to produce the best-looking image, but this results in less control to edit and adjust the image. Shooting in the raw file format, you are getting the “raw” (uncooked, unprocessed) image from the camera, and therefore can edit it to your own personal tastes, as well as recover shadow or highlight detail that might have otherwise been lost if you’d only taken a JPEG image.

What is exposure bracketing?

Exposure bracketing is when you take several different images, but at different exposures. Most mirrorless and DSLR cameras have this feature, and it lets you take the same shot at different exposures, so for example, you could take one at -1EV, one at the normal exposure, and one at +1EV, allowing you to capture the darker and brighter parts of the image with more detail. You can then combine these images later in a photo editing package for an extended dynamic range. However, to get the best results your camera needs to stay in the same position for every shot, which is why a tripod is extremely useful for this.

Do I need a high-resolution camera for landscape photography?

The higher the better? It’s not necessarily true as some cameras with lower pixel-count have better low light capabilities than their high spec counterparts. Whether you need a higher pixel-count, depends on how and what you shoot and how you intend to use your photos. For example, with a 16 MP camera you can achieve good print quality up to A2 size but if your photos never leave your computer this is really not something you should worry about. You need more pixels or higher resolution if you are planning to print your photographs in large, or if you like to crop extensively. With more pixels thus more detail is available in your image and you don’t loose quality and get pixelated images when cropping.

Instead of getting hung up on megapixels, what you really want to consider is the dynamic range of your camera.

What is dynamic range?

Essentially, dynamic range is how much detail your camera can record between the brightest and darkest part of your scene. The greater the dynamic range in an image, the more the camera has been able to capture the tones from dark black to bright white. In landscape photography, this becomes particularly important as there is often a big difference in light between the brightest area (often the sun), and the darkest areas of an image.

Sensor size affects dynamic range: in principle cameras with larger sensors are better at capturing a wider dynamic range. A 16MP crop sensor camera will generally have less dynamic range compared to a 16 MP full-frame camera, because the larger sensor will host larger pixels that are able to receive or read more light.

•  Beginners guide to different camera types.
•  Beginners guide to different lens types.
• Beginners guide to using a camera taking photos.
• Beginners guide to Exposure, aperture, shutter, ISO, and metering.
• How to get perfect colours – white balance explained
• 10 essential cameras accessories for beginners
• Beginners guide to the Art of photography and composition
• Beginners guide to Photoshop Elements and editing photos
• Complete guide to Portrait Photography
• Complete guide to Macro Photography
• Complete guide to Street Photography

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This is not to prescribe a one-fits-all checklist before you step out of the door, but is rather a list of useful items that we and other landscape photographers have found useful, and sometimes indispensable for outdoor photography shoots.

Read more:

• Complete guide to landscape photography
• Guide to fine art landscape photography
• Guide to night landscape photography
• Alternative landscape photography tips

All you need for landscape photography in 2024

Much of this equipment will be familiar, some of which you may already have. As a genre, landscape photography brings its own challenges and opportunities that can affect the gear you choose; whether buying new equipment or simply deciding what to pack for a trip out.

1. The camera

The key thing here is to have interchangeable lenses, so a DSLR or mirrorless camera is best. DSLRs tend to be a little bigger and heavier, but also have a longer battery life, which can be useful out in the field. Either is fine, and for you to weigh up according to your circumstances: read on!

Resolution matters, but is not everything. A 20MP camera will capture all the fine detail you’re likely to need, even for quite large prints, for publishing in magazines and books, and certainly any kind of display online.

Other factors like weatherproofing become important for landscape photography. And if you don’t much like carrying or using tripods, in-body stabilization, or lenses with IS are definitely advantageous as the light fades and the wind rises.

Read more:

• Best cameras for landscape photography
• Best cameras for beginners
• Best mirrorless cameras
• Best cheap full frame cameras

2. Lenses

A standard camera kit lens in the range 24-70mm or its equivalent will be fine for many shots, but an extra-wide-angle lens will help you capture huge, sweeping vistas. It will be perfect for shooting astrophotography or the northern lights, too.

A telephoto zoom can be surprisingly useful too. Longer focal lengths don’t just let you pick out distant detail, they compress perspectives too, so that large-scale backdrops like mountains and forests look much larger and more imposing.

Read more:

• Best lenses for landscape photography
• Best lenses for astrophotography

3. Tripods and other supports

Should you take a tripod? This is a personal choice that depends largely on how much walking you’ll do to reach your subject. While tripods add weight and take time to set up, they have some important advantages for landscape photography.

First, they let you use slower shutter speeds, smaller lens apertures and lower ISO settings without worrying about camera shake. If you’ve gone to some effort to reach your location, you don’t want to throw it all away with sloppy technique.

Second, they open up whole new techniques; notably long exposure blur of skies and water, and dramatic astro images after dark.

Third, they leave your hands free to swap filters, change batteries, pick a different lens or grab a snack or drink. There is often a lot of waiting around for the light to be just right, and you don’t want the camera constantly in your hands while you do.

In windy conditions outdoors, a heavy solid tripod may be more stable. Otherwise a travel tripod may be the right alternative: lighter and smaller when packed down, most have a hook at the base of the centre column on which to hang your camera bag for extra stability.

Read more:

• The ultimate guide to tripods
• Tripod advice from professional photographers
• Best tripods to buy

4. Filters

There are many different filter types for landscape photography, notably polarizing filters, graduated filters and neutral density filters; though not all are quite as essential today with digital imaging and the best photo editing software.

The most expendable filter type is the graduated filter. These are designed to tone down bright skies for a more balanced exposure with the landscape, but as long as you choose an exposure that doesn’t blow out the sky (raw files will give you more leeway); it’s easier to do that later in software than it is to try to juggle handfuls of filters.

Polarizing filters are more useful, but not always essential. They are known for making blue skies richer and deeper, but you need to watch out with wide-angle lenses because the polarizing effect will not be even across the sky. This is another thing that’s easier handled with software.

However, polarizing filters can also cut reflections from vegetation and water, increasing overall saturation and making the bottoms of rivers and lakes, for example, more visible. This is an optical effect you can’t reproduce digitally.

ND, or ’neutral density’ filters are perhaps the most useful. All they do is cut down the light entering the lens so that you can use long exposures of many seconds, even in bright daylight. You will need a tripod for this. The long exposure will blur clouds and water for that ‘silky’ look so popular in landscape photography right now.

Read more:

• Best camera filters for photographers
• Best filters for landscape photography
• How to use filters for better landscapes
• Top 3 filters for landscape photography

5. Backpacks

You’ll need a backpack to carry all this gear around in. For urban photography or travel, we might recommend a shoulder bag for faster access to it. The extra capacity, load-bearing capability and comfort make a backpack the much better choice for landscape photography, given the physical demands of the walking that it often demands.

If taking a tripod, choose a backpack with external straps or pockets designed to attach it securely or, if you have an especially compact travel tripod, you might even be able to fit it inside.

Most backpacks are weatherproof to some degree, and some come with fold-away rain covers for wet weather.

Read more:

• Best camera bags to buy
• Best camera backpacks

6. What about a drone?

The best camera backpacks don’t just make carrying a lot of gear over long distances more comfortable, the larger ones have space for drones, controllers and other accessories too.

Drones have become very popular amongst landscape photographers for previously inaccessible perspectives and shooting positions: and not just for stills photography but video intros too. Ensure that you’re allowed to fly a drone at a chosen location first. Strong winds may be too much for lighter consumer drones like the Mavic Mini. Drones use a lot of power, so take spare batteries…

Read more:

• Best drones with cameras
• Drone photography tips for beginners

7. Accessories

For today’s digital photographers, batteries are a constant pre-occupation, especially with mirrorless models. One would certainly regret not taking spare batteries to a shooting location some distance away.

A portable power bank is another alternative since the best power banks can contain enough power to recharge a camera battery several times over. But charging takes time, and some older cameras don’t support USB charging at all. A portable power bank is a good fallback, but it’s not as quick as just swapping out a battery.

Spare memory cards are a good idea too. Maybe you use larger capacity memory cards you’re never going to fill up? Even here, though, memory cards can get corrupted or just stop working. It’s rare, but it’s typically at the worst possible time.

The great outdoors can be messy, muddy and wet, so take a selection of cleaning materials too. A microfiber cloth is handy for wiping down cameras and lens barrels, but proper lens cloths or wipes are best for optical surfaces.

Cameras and lenses can generally shrug off a little light rain or spray, but you don’t want any on the lens because that will spoil your shots. So our final tip is to take a lens hood and use it. These are designed to reduce flare from bright light (like the sun) just outside the frame, but they also help shield the front of the lens from rain.

So that’s our roundup of everything you need for landscape photography. We hope we haven’t forgotten anything. You will probably have your own ideas about some extras, such as a thermos full of hot tea and some snacks. No landscape photography expedition is complete without snacks.

Read more:

• Best UK landscape photography locations (part one)
• Best UK landscape photography locations (part two)

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Your guide: Jeremy Walker – Jeremy is regarded as one of the finest landscape photographers in the UK and has been producing eye-catching images for use by clients around the globe for over 25 years. He is in regular demand as a guest speaker, writer and workshop leader and wrote the book, Landscape. See his website for more.

Why do we do it?

What is it that compels us to set the alarm to some unearthly hour, hang around in the pre-dawn cold, damp and dark, just for the fleeting possibility of taking a photograph which may or may not be any good? Shooting landscapes requires a certain mindset.

Why might we drive long distances to some far-flung location in the vain hope of taking a picture? Are the miles spent on the motorways, highways and byways, and the short sleepless nights in uncomfortable hotels really worth it just to produce a landscape image? Why do we do it?!

As a working professional I could answer all such questions with the fact that it’s my job; but that would be an unsatisfactory answer, and an unsatisfying job. There is more to it than a living – it is more a way of life.

For many it could be as simple as just enjoying the great outdoors, the exercise and the fresh air, but this does not explain the drive to get up early, carry a camera, or hang around for a sunset. Is it the solitude, peace and quiet of the countryside that draws us in, or is it the desire to be creative?

A colleague of mine (a very well-known American photographer) described going out location hunting and shooting a landscape as being on a treasure hunt; the search for the location being an important part of the journey, as important as shooting the final image.

Perhaps for many landscape professionals it is a lifestyle choice, the joy of travelling and new experiences, staying in hotels, eating out, meeting the locals, exploring new destinations and hunting for a location or viewpoint that hopefully no one has shot before. In the past you could make a living doing this.

Before you say, ‘What a great life,’ there are many downsides too. Being away from home for weeks or months at a time puts immense strain on family life, and I know many professional photographers with failed marriages. The cost of travelling and shooting can mount up very quickly, especially if your plans start to unravel.

I have spent seven nights in one hotel in the hope it would stop raining long enough for me to shoot one landscape. The costs rapidly mounted and then there was the added pressure to make up for lost time at the next location. It is a great life when it all comes together but needs to be carefully balanced between financial reward, lifestyle and family.

What of enthusiasts who have ‘proper’ jobs, with normal financial constraints and family commitments? It is surely harder for them to justify spending all their time shooting, travelling or researching landscapes. What drives them to such lengths? An enjoyment and passion for creating landscape images, for being outdoors and enjoying Mother Nature, no doubt. In this day and age, though, I suspect some people will have other motives besides.

There will be some who shoot landscapes purely for their ego and the adulation, to gain more ‘likes’ on their social media posts than the next person – who seek validation from others to feel some arbitrary respect for themselves.

Many will shoot landscapes because they see it as a way of adding to their income through the use of stock agencies. Others will shoot landscapes because it is part of an ongoing project, a book, competition entry or qualification panel. Most of us, however – pros and enthusiasts alike – just want to go and shoot images that fulfil our creative desire and passion.

Where do we go?

So where do you go to shoot your landscapes and what makes you want to shoot a particular location? How do you find that location? Again, landscape locations, like so many aspects of photography, come down to personal choice.

Some photographers will want to shoot coastal scenes, others snow-capped mountains, and there will be those working to  strictly defined parameters to suit the project they are working on. Others of course are happy to go with the flow, drift and shoot whatever they stumble upon.

Years ago, location finding was every bit an art form as the actual image taking was. There were no social media platforms displaying thousands of oversaturated, annotated, geo-tagged, pinned and cross-referenced images. There were very few location guidebooks – travel guides, yes, but books written solely to show photographers the coordinates of where to put their tripods: no.

My American friend was right: location finding was akin to a treasure hunt, and hopefully you were the first to the treasure. Nowadays, with the plethora of media platforms displaying the latest images from around the world on a daily basis most photographers will have an idea of where they want to go.

But here’s a thing, do you go and just copy what has been done before, or take inspiration from an image you have seen and use this as the basis for your own exploration? I know many enthusiasts simply do not have the time for hours of research and time on location is a precious resource; but try not to blatantly copy someone else’s shot.

Be inspired and stimulated by others but have the courage of your own convictions to do things your own way. The alternative will be to queue up with all the other photographers to shoot ‘the’ waterfall, mountain, castle etc from exactly the same spot as everyone else.

Workshops are a great way to shoot locations if your time is precious. You will be delivered to the right spot at the correct time, the legwork of location hunting being taken away from you. The downside, of course, is the potential for the rest of the group to shoot a very similar image to yours.

I have to admit I enjoy shooting on my own, researching locations and doing a little exploring and not telling anyone where I have been, happily spending hours in my own company to produce a single image. However, not everybody is as intrepid on their own, and understandably so.

If you are with a fellow photographer, try not to stand side by side, tripods overlapping, taking exactly the same shot. We have all been influenced, stimulated and hopefully motivated by other photographers’ work at one time or another and this is only healthy.

Just try to avoid outright copying; put your own take on any given landscape location. After all, a location should be more than just a set of coordinates and a ticked box.

When is the best time?

Most people who shoot landscapes will have it in their heads that the best time to shoot is at sunrise and sunset. As a very general rule this could said to be true. However, there is plenty to a landscape in between those times – more than a pretty pink sky at sunrise or fiery orange clouds at sunset.

Think about the quality of light, its direction, strength and colour. I see many people shooting sunsets and totally ignoring the gorgeous light hitting the landscape and ignoring it’s potential. Look for how it is interacting and playing across the surface of the scene to give an effect and a look far greater than just another shot of orange clouds.

Again, it comes down to the individual’s taste and how we see the world, but try to look beyond the obvious. Perhaps set yourself the task of shooting a series of landscapes where you don’t actually look directly at the sunrise or sunset; observe what the light actually does.

The light before sunrise, often muted and pastel in colour and low in contrast can be quite exquisite, but is so often overlooked. The same can be said of the light at the end of the day. With everyone’s obsession with the actual sunset, the light an hour or so before the sun dips over the horizon can be fantastically sharp, directional, colourful and very usable.

Thirty minutes or so after a sunset, you again can have a great quality to the light. Landscape photography is not about sunrise and sunset, it’s about the light and using it to maximum effect. Landscape photography should not be limited to just the dawn and dusk sessions with which we associate it.

Long shadows and oodles of texture created by a low sun are great, yet given the right subject matter and appropriate weather you can shoot at pretty much any time of day. Start thinking about the light and how it behaves, how it interacts with the landscapes around you. Free up your creative mind and get away from just the sunrise/sunset approach.

What kit do you need?

Carrying a camera and lenses to do the job in hand should be a simple enough procedure. If you have done the appropriate research and know where you are going and what type of shot you are after, you can whittle the amount of camera gear you are carrying down to a minimum.

Overloading your bag with too much kit could turn a potentially enjoyable exploration of a stunning location into a yomp of pain and discomfort. I am reminded of a photographer who carried two bodies, a 16-35mm, 24-70mm and 70-200mm zooms, five spare batteries, a flash gun and large tripod to his location.

And this was before he had to pack waterproofs, water bottle and other sundry items that were needed. Needless to say, he didn’t enjoy himself and refused to admit he was carrying too much.

I know there is a great fear with enthusiasts that they will miss out on the shot of a lifetime if they are not carrying every bit of kit they own, but I feel there is also an equal opportunity to miss out because you are not enjoying yourself, your head is constantly facing the ground, your back hurts and everything has become a burden.

Take a small gamble, rationalise what kit you may need for a given location and keep things to a minimum. During the course of shooting my book, Landscape, I started to walk into locations with a Leica M10 body and three small primes. Having a minimal
amount of kit at my disposal really helped to concentrate the mind, made me work really hard for angles and viewpoints that worked and, just as importantly, the walk in to the location was much more pleasurable.

In fact, the whole shooting experience was so much nicer. Yes, there is of course the chance that you may miss a shot, but you cannot legislate for every conceivable scenario when on location, unless of course you are shooting a commissioned job and the budget allows for a Sherpa.

What is ‘minimal’ kit?

The minimum kit for a landscape location shoot is probably a body with a 24-70mm zoom, a spare battery, a handful of LEE Filters and a tripod. But do you think about the ‘other’ stuff?

Waterproofs and an additional warm layer, plus a hat and gloves, especially if you are at altitude or shooting in winter. How about a map? Apps don’t always work in remote areas and battery strength can be limited in the cold.

A water bottle is a must, even for short walks; and if you are staying out longer, a flask with a hot beverage could be essential. High-energy snacks should be carried on longer walks and, if heading out on to the mountains in winter, a survival bag.

Have you thought also about carrying a small first aid kit, a whistle and a head torch, and do you know the internationally recognised distress signal, and – just as importantly – the correct response? Now, you may think I am being over the top and that you are never going to be too far from the car.

Here’s a thing. Many people have walked up to and shot The Old Man of Storr, on the Isle of Skye. A popular location with landscapers, about an hour and a half’s steepish walk from the car park. Clear and sunny when you start out, you warm up, you drink water. At the top you are waiting for the light, it clouds up and the wind starts to blow.

Your body has cooled rapidly, you add the extra layer you are carrying and have a slurp of coffee. Hopefully you are okay. You are prepared, you have not only your camera kit but the right kit for just being at that location. It means you can shoot and be safe. Location photography is not about carrying all your camera kit: carry the right kit and be able to enjoy yourself.

Jeremy’s 8 top tip for great landscapes

1. Consider the location

How it will work with the final image you have in your mind. Does it tell a story, convey a message or is it just a record shot with a pretty pink sky? Try to avoid the bland and banal, and think for yourself.

Have the courage to stick to your own creative thoughts and ideas.

2. Shoot locations you want to shoot

Explore, study maps and head a little off the beaten track. Don’t become a collector of locations just because everyone else is shooting them. Shoot a location because you want to be there, not because you are on a box-ticking exercise. Remember, a location should be more than just a set of coordinates.

3. Plan ahead

Think about where you are going and what you will need and try not to carry every piece of camera kit you have ever owned, plus the kitchen sink. Sometimes you will miss a shot because you lack a certain lens, but enjoying the outdoor experience is just as important as enjoying the photography. If a location shoot becomes a chore, what is the point?

4. Shoot whatever the weather

Consider all types of weather conditions and the type of light you would like at your location. Remember, it’s not just about sunrise and sunset. Stormy skies can mean dramatic light during the middle of the day, even at the height of summer. Study the light It is after all, the main ingredient to landscape photography.

Study how light works, how it bounces off clouds, how its direction, strength and colour can work for or against you. Watch how light strikes objects and surfaces, revealing textures and interesting nuances in the landscape.

5. Start a project

Give your landscape photography a direction, shoot for a project and assemble a cohesive body of work. It helps to concentrate the creative mind. Themed photographic competitions (Amateur Photographer of the Year, perhaps?) or recognised distinctions such as those the RPS offer are well worth looking at, to help give your landscapes a meaning and purpose.

6. Give apps a go

Use all available resources at your disposal. Apps for weather, sunrise/sunset, tide times. In fact, there is an app for just about everything these days. The same can be said for the myriad location guides that are available, and of course magazines such as AP are a great resource. However, don’t just copy what has gone before but take inspiration from it.

7. Be prepared and stay safe

Carry water, a hot beverage, high-energy snacks, waterproofs, small first aid kit, a torch and whistle. Know what the internationally recognised distress signals are. Don’t just think ‘I’m only popping out for an hour.’ An hour can turn into a whole afternoon and evening if the light comes good, so you need to be prepared.

8. Aim for quality not quantity

Do not rush from one set-up to another in the hope that ‘there will be a decent image in there somewhere’. Slow down, observe, think and take your time. Think about the location and what you want to achieve. Aim for one great shot, not several mediocre ones.

Additional reading:

• Essential landscape photography advice
• Best cameras for landscape photography
• Best lens for landscape photography: our picks of wide-angle zooms
• The best landscape photography books for inspiration

The post Questions to ask yourself before shooting landscapes appeared first on Amateur Photographer.

Landscape has always been one of the most popular genres of photography, and it’s easy to see why. A good landscape photograph can be and encompass many things, as the books on our list demonstrate beautifully. It could be the celebration of a place or particular feature – a spectacular mountain or peaceful lake – or the evocation of a moment, like a pitch-perfect sunrise or sudden snowstorm. Rural, urban – devoid of people, or full of them. If you wish to improve your landscape photography, the world is your oyster.

A great source of inspiration to take more and better landscapes is to observe the work of others; hence this list of some of the best landscape photography books to have passed our desks in recent years. Some of these collections comprise the work of several photographers, while others are by just a single artist. It doesn’t matter really – we just love seeing great landscapes!

Broaden your horizons with the right kit: check out our guides to the best landscape cameras and best lenses for landscape photography.

Featured image: St Michael’s Mount, Cornwall, England – from The Art of Landscape Photography

Best landscape photography books

Landscape by Jeremy Walker

2020, RRP £45, Self-published, hardback, 232 pages

Regular readers will already be aware of the stunning work of landscape pro Jeremy Walker. His debut book, published in 2020, takes a look at some of the UK’s lesser-known hidden gems found hidden away from the more obvious landscape locations.

It also explores some of Britain’s history, through the ruins of once-impressive castles and abbeys. Presented here are dramatic landscapes, atmospheric weather conditions and if nothing else, a checklist of potential getaway locations for your next photography trip. Its foreword is by AP editor, Nigel Atherton.

Landscape Photographer of the Year: Collection 15

2022, RRP £35, Ilex Press, hardback, 224 pages, ISBN: 9781781578650

The annual Landscape Photographer of the Year competition is one of the highlights of the photographer’s calendar, and the 2022 crop produced some absolutely spectacular imagery. The full collection from the competition’s 15th year would make a tasteful addition to any coffee table, and is the ideal source of inspiration for anyone looking to remind themselves of the incredible landscape possibilities in the UK alone.

The competition, founded by avid landscape shooter Charlie Waite, was won that year by first-time entrant Will Davies – a reminder that you don’t have to be a seasoned shooter to make a great showing in LPOTY. You can read our full interview with previous LPOTY winner Will Davies, and see a few of the winning 2023 LPOTY entries. But really, wouldn’t you rather have them in glorious printed form, to be admired and shared from the comfort of your sofa? So we thought…

Chasing Light by Stefan Forster

2022, RRP £40, Teneues, hardback, 240 pages, ISBN: 9783961713837

For their sheer diversity of locations, pick up one of Stefan Forster’s books. Every year, the Swiss photographer spends six months travelling the world, and leading a number of workshops to the planet’s most beautiful and remote places. Much of the time he spends in Iceland, his adopted second home.

In Chasing Light, his latest volume, we can see some of Stefan’s most beautiful experiences to date, shown from a variety of impressive perspectives. This tome is a potential classic in the making and a masterclass in how straightforward landscape imagery should be done.

The Art of Landscape Photography by Mark Bauer and Ross Hoddinott

2022, RRP $21 / £13.99, Ammonite Press, softback, 192 pages, ISBN 9781781454480

If you’re keen to learn more about great landscape photography, then you’ve got not one, but two industry pros on hand here to go beyond the basics and look at the heart and soul of landscape photography – composition and aesthetic design to convey meaning and emotion. With numerous examples, as well as in-depth technical detail, this is one to really pore over to improve your skills.

Stone Age: Ancient Castles of Europe by Frédéric Chaubin

2021, RRP £42.49, Taschen, hardback, 412 pages, ISBN: 9783836585019

Castles are a classic mainstay of landscape photography. If they’re your thing too, then this book – which spans Europe and includes more than 200 buildings in 21 countries – is likely to be manna from Heaven. What’s more, the images (like the one below) were shot on film with a Linhof view camera, so they’re not quite the same as your average picture-postcard travelogue. Again, you could quite easily use this as a checklist to help you plan your next landscape expedition.

Don McCullin: The Landscape

2018, RRP $92 / £44.38, Jonathan Cape, hardback, 184 pages, ISBN: 9781787330429

While best known as a documentary photographer of some of the most harrowing conflicts of the post-war 20th century, Don McCullin is also an accomplished landscape shooter and darkroom master. In this inspiring collection he captures the dark, brooding mystery of the west country in winter, notably the Somerset Levels.

A tough Londoner by birth, McCullin’s country roots run deep – he first came to Somerset as an evacuee in the war and has lived near Bruton there for many years. There are also scenes from farther-flung locations, such as Syria and India. Wherever he shoots, McCullin’s composition is dramatic and arresting, and the darkroom toning utterly breathtaking.

Ansel Adams 400 Photographs

2007, RRP $32 /£28, Little, Brown & Company, hardback, 432 pages, ISBN: 9780316117722

No collection of landscape photography books would be complete without a mention of the original master, Ansel Adams. This book from 2007 is a comprehensive overview of the legendary photographer’s stunning work, published in a beautiful volume. With an RRP of £30 (and generally available at a cheaper price) it’s an absolute bargain, and likely, if you buy just one book from our list – this should probably be it.

Sirens by Rachael Talibart

2018, prices vary, Triplekite Publishing, hardback, 64 pages, ISBN: 9780993258992

One of the best contemporary landscape photographers working today, you would be hard-pushed to find a brand new copy of any of Rachael Talibart’s books – which is a testament to how popular they are. You should be able to find second-hand copies of Sirens, however, which showcases her critically acclaimed seascape and wave work – the monstrous waves being named after mythological beings. Beautiful and considered work, this would be a fantastic addition to any budding landscape photographer’s shelf.

Landscape Photographer of the Year: Collection 16

2021, RRP $39.23 / £20.49, Octopus Publishing Group, hardback, 224 pages, ISBN: 9781781579404

The Landscape Photographer of the Year competition has been running for a fair few iterations now, and if you’re looking for more landscape inspiration, the previous years’ collections are just as spectacular as the latest. The 2023 competition was the award’s 16th year – you can see the 2023 LPOTY winners here – and includes some absolute gems. Look out for next month’s announcements of this year’s winners and their winning shots.

The winner in 2021 was Mara Leite, whose image ‘Morning at Countryside’, taken in West Sussex, netted her a cool £10,000. If you fancy a shot at that, then picking up the collection is a great way to familiarise yourself with the kinds of images that impress Charlie Waite and the other competition judges.

Classic landscape photography books

Our recommended selection of definitive landscape books

Earth from Above by Yann Arthus-Bertrand

2017 (originally published in 1999), £58, Abrams, 440 pages, ISBN: 9781419722844

First published over 20 years ago, this gorgeous book has sold more than three million copies worldwide. Aerial images from multiple journeys across five continents and 60 countries provide a comprehensive survey of the Earth from a spectacular vantage point – and from a time before drones made it more commonplace. In the newer edition, over 100 new pictures are included, as well as essays from leading experts and environmentalists.

Land by Fay Godwin

1985, Prices vary, William Heinemann Ltd, 160 pages, ISBN: 9780434303052

Arguably one of the most essential purchases for anybody interested in British landscape photography, this beautiful collection of black & white imagery covers a good breadth of the country. The pictures are subtle and lovingly printed, and anybody who finds one second-hand is unlikely to be disappointed.

Light and the Art of Landscape Photography by Joe Cornish

2003, Amphoto, Prices vary, ISBN: 9780817441524

Joe Cornish is one of the UK’s most well-known and popular landscape photographers, and this almost 20-year-old book gives an insight into his creative genius. Featuring 150 fantastic images, alongside his valuable insights on how the picture came to be made, plus technical info and the thought processes and creative inspirations behind each image.

Cape Light: Photographs by Joel Meyerowitz

2015 (originally published 1979), Prices vary, Aperture, 112 pages, ISBN: 9781597113397

Although currently out of print, this exquisite selection of photographs is widely regarded as one of the most influential and popular photography books, particularly as it was unusual at the time for its use of colour. Whether you can get your hands on an original print, or the 2015 re-edition, you’ll find a masterful array of captivating shots.

Further reading:

• Beginners guide to Landscape Photography – Get shooting!
• Books from AP: Bookazine Improve Your Photography
• See the best landscape photographs
• Best Camera for Landscape Photography 2023
• Best photography books of 2023

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post The best landscape photography books for inspiration appeared first on Amateur Photographer.

Night landscape photography: Moon cycle and weather

The moon will have a dramatic effect on our images. A full moon will cut exposure times and make the sky appear more of a blue colour, almost like it’s daytime; however, it will also reduce the number of visible stars. The moon cycle along with the moonrise and set times can easily be found for most locations on the Internet. But you can also use apps like PhotoPills or SkyView Lite to determine the phase and position of the moon in the sky in your location.

The moon peeping through clouds creates a dramatic effect.

Also, keep an eye on the weather forecast. Clear skies work well for star trails but don’t ignore cloudy or partly cloudy nights. Add a fair amount of drama and a Halloween edge to your images by shooting when mist or fog sets in. It can transform a mundane scene in the day to a spine-chilling one at night; but be careful as water droplets can settle on the lens surface during long exposures and are very difficult to detect in the dark. A great example of night cityscape photography is Brassai’s series of Paris by Night which features a variety of scenes in thick fog and uses the streetlights to create stark contrasting black and white images.

Night landscape photography: Light pollution

While light pollution (brightening of the night sky caused by streetlights and other man-made light sources) can mean it’s harder to see as many stars, it can also add some much-needed colour to a sky. Light pollution will have the most dramatic effect on the sky when there is a new moon or the moon is yet to rise.

Using artificial lights can enhance an image by introducing more colours and complimenting the composition.

Take a spare torch and batteries

I often work in remote locations so I always carry a spare torch to find my way back to the car, as my main rechargeable torch often runs out of power. I find a spare wind-up torch works well, as you are then not reliant on battery power. Long exposures can quickly drain camera batteries so make sure they are fully charged and that you have a spare. Also shooting at night means you will often have to shoot with temperatures dipping below zero. In such conditions, the life of batteries can be cut to around half their usual duration. To avoid the cold draining your batteries keep them close to your body, (inner pockets for example) to keep them warm, and make them last longer.

Night landscape photography: On the night

Step 1.  Choose your composition

Arrive at your location while it’s still fairly light to help you easily compose your images. When setting up your camera make sure that your tripod is placed on secure ground and ensure that it is not going to move during the long exposure.

Long exposure shot of architecture.

Step 2. Shoot RAW

By shooting your images in Raw format you will have more flexibility and be able to apply a wider range of changes to your images at the post-processing stage. Small adjustments to white balance, exposure and noise can all be applied when editing the Raw files.

Using car lights or lights from buildings is a great way to capture city nightscapes.

Step 3. Set up your camera

Attach your cable release, set your camera to bulb mode and select your aperture. Alternatively, If you don’t have a cable release you can set your camera’s self-timer with a few seconds delay to avoid camera shake or connect your camera to your smartphone and use that as a remote release. Finally, focus the lens on your subject, and once this is completed remember to switch to manual focusing so that the lens doesn’t start to hunt after dark.

Step 4. Take a test shot

Once it’s dark, lock open the camera’s shutter using your remote release. Remember to take note of the total exposure time. If you would like to focus the attention to a certain part of your scene try illuminating your subject with a flash or torch light, again keep track of your exposure time and roughly the amount of light applied to your subject.

Step 5. Review your test shot

Review your test shot and work out what areas need more or less light, as getting the correct exposure involves a little bit of trial and error. Once you have decided on what exposure changes to make, simply re-take the shot and keep reviewing the images until you get a result you are happy with.

Night landscape photography: tips to help you take better night photos

Focus using a torch

To aid with focusing in the dark, shine a powerful torch on your chosen subject. Once your camera gets a focus lock, switch your lens to manual focus so that it doesn’t hunt when you press the shutter button.

Compose using high ISO

To compose your night landscape photography shots in the dark, change the ISO setting to your most sensitive available then take a test exposure and recompose as required. Remember to lower your ISO setting back to 100-200 once you’re done.

North star

Take a compass with you and work out the position of the North Star. As the Earth rotates the North Star will appear to stay fixed and the rest of the stars will appear to rotate around it. Sky.., app

Two’s company

Night photography can be quite spooky so having a friend with you will keep you company and make you feel safe, they can also help you with illuminating the scene from different angles, or you can ask them to stand in your composition and use their silhouette to indicate the scale in your image.

Photo: Unsplash, Dimitry Bessonov

Dress warm

It can get very cold at night, particularly when standing around waiting for long exposures, so warm clothing is essential.

Noise reduction

If your camera has a noise reduction facility, turn it on for your final shot of the evening. Once the main exposure is completed you can pack away your camera while it’s still exposing for the dark frame. When you arrive home it’s exciting to view the completed image for the first time.

Submit your night photos to APOY!

Happy with your photos? Submit your night landscapes to our Amateur Photographer of the Year competition. The Low Light round is now open and closes 11:59pm on 13th November.

Further reading:

Fright Night: ghost camera takes spooky London Photowalk

Complete guide to outdoor light in photography

Art Wolfe on his approach to night photography

How to photograph low light urban landscapes

Essential guide to Astrophotography

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

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James Abbott’s tips for using filters for long-exposure landscapes

Every landscape photographer strives to put their stamp on the locations they shoot, and while most are best shot at a specific time of day to take advantage of the best light possible, one way of finding your unique voice is to take control of exposure times using ND (neutral density) filters.

Lower-strength ND filters can be as simple to use as attaching them to a lens and shooting normally, while the more extreme filters ranging from 6-stops and above require a little more care and attention to ensure correct exposures. In this long-exposure masterclass, we’re going to take a closer look at long-exposure landscapes and how to successfully shoot them using ND filters to achieve a range of effects.

Filter densities explained

Filter manufacturers use different methods of displaying ND filter densities. These include how many stops of light the filter reduces, which is the easiest, optical density, and ND factor. Once you buy into a filter system, it pays to familiarise yourself with the method used so you can quickly identify filters.

ND filters compared

ND filters come in a range of light-reducing densities, and with screw-in filters you can get variable ND filters with strengths ranging from around 1.5 stops to 8 stops. For ultimate flexibility and control, the four filters that you need to control overall exposure are: a polarising filter, a 3-stop ND, a 6-stop ND and a 10-stop ND.

You can buy other densities, but with these four filters you’re covered for practically every eventuality. The four images here were shot in bright conditions so exposure times show a clearer progression of blur as filter strength is increased.

Polarising filter 1/10 sec: Polarisers are often used in combination with ND filters as they remove surface reflections from water and can deepen blue skies, but, with the ability to reduce exposure by up to 1.5 stops, can also be used as a weak ND filter.

3-stop ND 0.8 sec: The humble 3-stop ND filter is arguably the most versatile of all ND filters since it’s ideal for shooting in low light conditions and around golden hour when you wish to achieve a longer exposure but not one that’s several minutes long.

6-stop ND 5 seconds: 6-stop ND filters require exposure to be calculated, either by counting stops or using an exposure calculator app. This filter is best used when a 3-stop ND doesn’t extend exposure time enough, but a 10-stop filter makes exposure times unnecessarily long.

10-stop ND 1 minute: 10-stop NDs were the first ‘extreme’ ND filter to be released and provide the ability to shoot extremely long exposures in low light conditions, or even exposures that are 30 seconds or longer in bright and sunny conditions.

How to use extreme NDs

Learn how to correctly calculate exposure when using high-density ND filters that throw the standard rules of exposure out of the window

Extreme NDs, Big Stoppers and Little Stoppers are all names you may have heard of. In a nutshell, these simply refer to ND filters that reduce light entering lenses by more than 4 stops. ND filters in this category can’t be used like lower-strength NDs where you simply attach them to the lens and shoot as normal; these ones require you to calculate exposure based on what the ‘standard’ exposure should be, then shoot in Bulb mode and manually time exposures if they’re longer than 30 seconds.

Unfortunately, most cameras have a maximum shutter speed/exposure time of 30 seconds, which is often too short when using extreme NDs. Owners of higher-end Fujifilm cameras such as the X-T4, GFX100S and X100V can set exposure times up to 60 minutes in duration so you don’t have to shoot in Bulb mode.

For everyone else though, Bulb mode is the key to long-exposure success. On a technical level, a long exposure is essentially any shutter speed that’s too slow for the camera to be handheld without causing camera shake. However, for the aesthetics of landscape photography, it’s often not until shutter speeds are around one second that photographers consider exposures to be long.

Exposures up to 30 seconds using extreme NDs can be dealt with by the camera; beyond this we have to manually time exposures and hold the shutter open in Bulb mode. Let’s take a look at how it’s done.

How to calculate correct exposure times

1. Attach ND grads: Securely attach your camera to your tripod to ensure that it can’t move during the exposure, and compose the shot. At this stage, attach a filter holder and any ND grads required to maintain sky detail. Manually focus 1/3 of the distance into the scene beyond the foreground for a large depth of field and to lock focus.

2. Identify ‘normal’ exposure: Select aperture priority mode at f/11 with ISO 100 and apply any exposure compensation as required for a correct exposure. The shutter speed here was coming in at 1/4sec, but if it was much slower than this it would have been beneficial to increase ISO to 200 to halve the exposure time.

3. Use a calculator app: Use a free exposure calculator such as the LEE Stopper app or NiSi Filters app. Both allow you to select which filter density you’re using, and you simply need to input the standard exposure time for the app to then give you the exact exposure time required. Both apps feature a timer.

4. Shoot the long exposure: Set the camera to manual mode and if the exposure is longer than 30 seconds, rotate the thumbwheel until Bulb is shown. Make sure aperture and ISO are the same as in step two, and you’ll need to use a shutter remote to release the shutter at the same time as starting the app timer.

5. Reattach filters and shoot: Attach your chosen ND filter and then the graduated ND if you used one. Release the shutter with the remote, at the same time as the app timer, and make sure it locks to hold the shutter open – depending on model. Press the shutter button to end the bulb exposure when the timer ends.

Approaches to long-exposure

All landscapes have moving elements, whether it be grass, water or clouds etc. Many even have a combination of some or all of these factors, so there’s always a huge amount of potential for creative long exposures. The most dramatic, and often interesting, movement can be found in water and clouds, and exposure time itself can produce drastically different results depending on what you’re aiming for.

Scenes with clouds in the sky look great when you use a long exposure to capture them streaking towards the camera. The exposure required could be anywhere from 30 seconds to several minutes, depending on how fast the clouds are moving. With water, exposures between 1 and 3 seconds provide the most texture and definition in it, while exposures of 30 seconds and above create a silky water effect in waterfalls and the completely smooth water in lakes and the sea.

The latter is a popular approach when it comes to shooting minimalist images of a tree, for instance, surrounded by silky-smooth water.

Getting the look

One thing that will always make long exposures effective is a static visual element within the scene that remains pin-sharp. Not only does this contrast and accentuate the movement within it, it also acts as a visual anchor that avoids images becoming a pure blur and ultimately abstract.

Personal preference will often dictate which exposure time you opt for, but light levels can also be a factor; it’s easier to extend exposure time than reduce it, which is why it’s essential to carry several ND filters with you when shooting landscapes. For instance, when shooting waterfalls, you’ll often be in dark locations so a 3-stop ND filter may allow you to achieve exposure times of 1-15 seconds while shooting in the morning.

However, shooting in the afternoon might require a 6-stop or 10-stop ND to be used to achieve an exposure long enough to blur clouds.

Fake the effect in Photoshop

You can fake the look of ND filters by shooting five to ten exposures of a subject with the camera on a tripod. You then need to sync the raw files in Lightroom before opening all the exposures as Layers in Photoshop. Next, go to Edit>Auto-Align Layers and leave the Projection set to Auto and hit OK.

On the Layers panel left mouse click on the top Layer, hold down Shift and click on the bottom Layer so all are selected, then right mouse click on the Layers and select Convert to Smart Object. Once the Smart Object has processed, go to Layers>Smart Objects>Stack Mode>Median. Once the mode has been applied the image will look like a long exposure.

Finally, flatten the image and crop the edges to remove space left after the image alignment.

James’ Kit list

Tripod
A tripod is essential for long-exposure photography because the camera must be kept completely still during exposures to avoid camera shake in areas of the scene that should be sharp.

Shutter remote
Using a shutter remote allows you to fire the shutter without touching the camera and causing camera shake. They’re also necessary for shooting in Bulb mode to manually hold the shutter open.

Exposure calculator apps
The LEE Stopper and NiSi Filters apps allow you to dial in the standard exposure and will calculate the exposure required for a variety of ND filters including 6, 10 and 15-stop NDs.

Filter holder
If you plan to combine ND filters with graduated ND filters to maintain sky detail, you’ll need a filter holder where 100mm filters slot in place and can be stacked according to requirements.

Variable ND filter
Variable ND filters are a budget option providing a variable density ranging from roughly 1.5 stops to 8 stops, which is controlled by rotating the front part of the filter.

NIKON D810 · f/5 · 1/50s · 85mm · ISO800

James Abbott
James is a freelance photographer and photography journalist specialising in creating shooting and editing techniques that help photographers improve their skills. His first book, The Digital Darkroom: The Definitive Guide to Photo Editing in Adobe Photoshop and Affinity Photo, is on sale now. www.jamesaphoto.co.uk.

Guy Edwardes’ tips for creative long exposures in landscape photography

I think it’s important to start by stressing that I never use long exposures just for the sake of it! I always consider whether a long exposure is appropriate, as well as how long it should be. There are certainly times when a longer exposure is beneficial, but at others it can be detrimental. My incentive for using longer exposures is to help inject life and a sense of movement into otherwise still images of the landscape. The exact length of exposure required for this will vary and may depend upon several factors.

I always work in manual exposure mode when shooting long exposures. This allows me to choose the perfect aperture, ISO and exposure time, and to then use neutral density filters to control the brightness of my image. I also use manual focus, as stronger neutral density filters can cause the autofocus to hunt. In this article I will run through the three main reasons why I might consider the use of a long exposure in my own landscape photography.

Capturing cloud movement

Long exposures can add a dramatic effect to a landscape scene, especially when clouds are moving quickly and in the right direction! The best effect will be achieved when using a very wide-angle lens and when clouds are either moving towards the direction you’re photographing, or directly away from it. You may need to experiment a bit to find out exactly how long your exposure will need to be, as this will depend upon how quickly the clouds are moving. It could be anything from a few seconds to several minutes, and you would control this using neutral density filters. Whenever you shoot long exposures it’s worth taking several frames to choose from later, as the effect will be slightly different in each one.

Creative control of water movement

For me the most effective use of long exposure times is to control the way moving water is recorded in my landscape images. In coastal locations I may be looking to smooth out the texture and contrast of ripples and waves to help emphasise features such as boulders, piers, sea stacks and rock arches. In poor light I often use very long exposure times of several minutes to create minimalist seascapes by smoothing out the water to an almost glass-like state.

A longer exposure time can also be used to create separation between the flowing water in a river and static rocks within the river and along the riverbank by reducing contrast and texture in the water. Using a fast shutter speed to capture landscape images that include moving water can result in a ‘frozen in time’ look that seems unnatural to my eye. To overcome this, I will decide upon an appropriate exposure time that I feel suitably captures the flowing nature of the river at the time.

Working with the conditions

In windy weather when vegetation is blowing around, I often choose to work with the conditions, rather than fighting against them. The latter usually results in compromises to image quality from using high ISO settings and wider lens apertures to achieve a shutter speed fast enough to freeze wind movement.

Therefore, try sticking to a low ISO setting, along with the aperture you require for sufficient depth of field, and simply allow the vegetation to blur during the resulting long exposure. This approach can help to capture a more atmospheric result, indicative of the weather conditions at the time. It should be obvious that you deliberately intended to blur the vegetation, so a neutral density filter may be required to set a long enough exposure time, although in overcast light a polarising filter is normally sufficient.

Problems to overcome

Always take the time to use neutral density filters to achieve your long exposure, rather than expanded low ISO settings or a very small lens aperture, both of which are detrimental to image quality. Remember to turn off in-camera and lens stabilisation when shooting long exposures, otherwise the stabiliser can blur the whole image. Long exposures cause the camera sensor to get hot, which in turn can lead to ‘hot pixels’ showing up in your image. For this reason, it’s best to turn your camera off whenever you’re not taking pictures to allow the sensor to cool. Some camera bodies include the menu function ‘pixel mapping’ to remove hot pixels – it is worth running this before taking any long exposures.

Another option is to use in-camera long exposure noise reduction, but this takes time and is therefore impractical when shooting very long exposures. Perhaps the best solution is to shoot a final long-exposure image with your lens cap on. This black frame will still show the hot pixels and can be used to perform a dark frame subtraction in Photoshop. Place the dark image as a new layer on top of the image you’re working on and change the blending mode to subtract. Most hot pixels will vanish, and the remainder can be removed using the spot healing tool.

There is certainly a degree of trial and error in long-exposure landscape photography, but as a creative technique it may help to elevate your landscape shots to the next level.

How to shoot moving water with long exposures in high-contrast lighting

1. High-contrast scenes require exposure bracketing and blending if you don’t use graduated ND filters. However this can cause problems when shooting long exposures with moving water, as the water effect will vary in each bracketed frame. I overcome this by using a variable neutral density filter (VND).

2. Choose the ideal camera settings for your shot. This would normally be a low ISO to minimise noise and a middle aperture for the best image quality. You can also set what you consider the perfect exposure time for the effect you’re trying to capture.

3. Turn the VND filter until the scene appears dark enough to capture plenty of detail in the brightest highlights. This can be judged by using the live histogram on your rear LCD screen. Note that if you have the sun in the frame this first image will be very dark indeed! Take the first image.

4. Without changing any camera settings, carefully turn the VND filter until 1-2 stops brighter. Take a second image. Repeat this process until you’ve captured a final image with plenty of detail in the darkest shadow areas. The number of images required will depend upon the contrast in the scene.

5. The water movement in each frame will be similar, as the exposure time remained the same. Therefore, the resulting set of images can be blended, in Adobe Lightroom (Merge to HDR) into a single DNG RAW file with expanded dynamic range. This can then be processed as normal, but with the increased capacity to recover highlight and shadow areas. If using an exposure time of only a few seconds, it may be necessary to refine the end result by blending the best single exposure for the water with the HDR file using layers and masks in Photoshop.

Why it Works

For this shot of Porth Nanven in Cornwall I used a very long exposure time of five minutes. This was achieved using a 15-stop neutral density filter. It is a single exposure at f/11 and ISO 100 to maximise image quality. I opted for such a long exposure for two reasons. Firstly, as the clouds were moving directly towards me and I was using a 16mm wideangle lens, I knew that a long exposure would transform the clouds into streaks that would help to draw the viewer’s eye into the centre of my composition. Secondly, I wanted the nice smooth boulders to form a prominent and important element in the foreground. The water flowing around the boulders during the long exposure has helped to isolate individual boulders, as well as simplify the overall composition by smoothing out the texture and contrast in the waves and ripples; otherwise the image would have looked very busy.

Guy’s Kit list

Wide-angle lens
Although lenses from wide-angle to telephoto can all be used successfully for shooting long exposures, ultra- wide-angles tend to produce the most dramatic effects if you’re trying to capture water or cloud movement. My Canon EF 11-24mm f/4L is my most-used lens when shooting long- exposure landscapes.

Tripod
A sturdy tripod and head are essential for long- exposure landscape photography. Spiked tripod feet and a weighted bungee cord can help improve stability, especially in windy conditions. I use a Sachtler Flowtech 75 video tripod and Really Right Stuff BH55LR ballhead.

Neutral density filters
I recommend having a minimum of 3-stop, 6-stop and 10-stop ND filters available. Even 15-stops can be useful in very bright conditions. I use a set of Breakthrough drop-in ND filters and variable ND filter via my Canon EF-RF drop-in filter adapter.

Remote release
For exposure times longer than 30 seconds you may need a remote release to use the bulb setting on your camera. However, many modern cameras allow bulb to function through the use of touch shutter, or the setting of longer exposure times directly.

Guy Edwardes

Based in his home county of Dorset, Guy has been a professional landscape and nature photographer for almost 30 years. He is represented by major picture libraries, and he runs a series of photographic workshops and tours around the world. See his latest work and available workshops at www.guyedwardes.com.

Further reading:

• The top three filters you need for superb landscape shots
• Lee filters Super Stopper targets long-exposure photography
• Guide to fine art landscape photography
• Guide to Moonlight Landscape Photography

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Why shoot landscapes in monochrome? It’s a reasonable question. Why not instead exploit the capabilities of a modern sensor and shoot in glorious colour? To me, the answer is not a technical one. I find there is an undefinable quality about black and white images that I just don’t get from an image that was shot at sunrise or sunset and packed with super-juiced post production primary colours.

It’s a good idea to bookmark for later this guide to some of the best software for black and white editing. There is a new version of the Nik Collection from DxO, for instance, which includes some great improvements to the local adjustment tools. As I will discuss later, one of the best tools for black & white editing is Silver Efex.

Black & white imagery is not for everyone. A client said bluntly at a recent workshop, “I don’t do black & white” – fair enough, but I feel they are missing out on an incredibly creative aspect of photography. The days of starting out by mixing chemicals in the bathroom, sticking bin bags across the window to achieve blackout, an enlarger precariously perched on a stool and prints being washed in the bath are probably consigned to the past, but processing your own black & white negatives and then printing them really concentrated the creative mind.

You saw the world in black & white, your whole photographic output was in mono and so you looked at the world in shadows, tones, contrast and texture. Colour, unlike today, rarely came into it.

The best times and places for moody monochrome landscapes

Shooting moody monochrome landscapes requires a great deal more effort than just getting up for a sunrise or sunset and then hitting the saturation slider in post production. Having found a location that will work well in mono is one thing; being there at the right time in the right conditions is another.

Weather forecasts showing the percentage of cloud and rain, wind speed and direction become critical. A forecast showing a 50% chance of rain with the wind at 15 to 20 miles an hour can be encouraging. Basically, look for sunny intervals with frequent showers.

Clearing (or approaching) storm clouds on a background of deep blue sky with dark patchy shadows scudding across the landscape are heaven for those photographers who want oodles of mood and drama; although there is a price to pay for such dramatic conditions. If you seek storm clouds, the chances are you are going to get wet, cold, hit by hailstones or even snowed on! But trust me on this one, it will be worth it.

Hunkering down on a hillside, even well prepared and in the right outdoor kit, can seem slightly unpleasant at times but when the storm clears you are there, in place and ready to shoot. There is no getting out of the car, getting togged up and walking to the right spot: do this and the chances are that you will have missed the shot, that transient moment when all the elements come together for a split second.

Yes, you may suffer a cold droplet dribbling down your neck or a pounding by hailstones, but these are outweighed by the feeling of being in the right place at the right time, ready and waiting – then getting the image. Hours of discomfort and patience that create the chance are a part of it.

Thinking and shooting in mono also opens up the possibility of a larger, longer working window. Sunrises and sunsets with their pretty pink skies come and go after about an hour but when shooting in mono there is often an opportunity to do so much longer into the day. Yes, conditions and location will have a big say in this, yet you can often use the light to your advantage even several hours after sunrise or before sunset.

Late autumn, winter and even early spring are great times to consider shooting mono, as there is precious little colour in the landscape anyway and the sun is never going to climb too high in the sky.

Editing for moody monochrome landscapes

When shooting atmospheric monochrome landscapes, you should be aware of how you are going to process them and what sort of feel and look you are going to give your images. The doyen of many landscape photographers, Ansel Adams, always said to visualise the final print on the wall before you take the camera out of the bag, and this still holds true today.

On location, you should know what look and feel your image will have, and when sat in front of your computer you should know how to achieve the desired result. It is not just a case of pushing the saturation slider to the left in Photoshop, desaturating the image and hoping for the best. Contrast, clarity and colour channels can all come into play in creating the look and feel you desire.

Possibly the best-known software for creating black & white images is the superb Nik Silver Efex. It is a very creative and powerful program with many presets; though it too has its limitations. It can be very unforgiving, so you need to check your images carefully for any deficiencies and imperfections that it may create.

In using software that has many presets, there is the risk of producing images that look like everyone else’s. Choose what to use carefully. Look to create your own style, apply a pic ‘n’ mix type of approach to your selections so that, hopefully, no one else will have quite the same look and feel to their images.

You have visualised and shot your landscape as a black & white, but of course the camera chip is seeing colour (unless you have the stunning Leica M11 Monochrom) and the resultant raw file will contain all the colour information that was in front of you at the time of shooting. In converting the raw file to a black & white image the software is using the colour information and you can turn this to your advantage.

For instance, if you want dark black skies, make your blues as dark as possible, using a polariser or grad. Even when shooting for a black & white image you still must be aware of colour and how its conversion will affect the resultant image.

Just do it

I urge you to give black and white photography a go when the conditions where you live are right for it. Not just pleasant images with a wide tonal range and a well-balanced histogram, but images with solid blacks, mood and drama by the bucket-load. Set your camera monitor to mono and visualise and explore a dramatic world devoid of colour.

Why this image works

The ruins of Kilchurn Castle on the shores of Loch Awe are often photographed at sunrise with calm waters, reflections, snow on the hills and often a thin layer of mist wafting by. I wanted to see what the castle was like late on a breezy, wet winter’s afternoon. My visit was more in hope than anticipation as it had rained all day. Scotland in winter is always a frustrating battle against the elements.

Storm clouds hung over the hills, the wind ruffled the water, and the sun was well hidden: not a promising start. However, just for a few minutes a beam of light pierced the gloom and illuminated the stark trees in the foreground, the castle being almost an afterthought in the distant background.

I knew then that a bit of work in Photoshop and a black & white conversion in Silver Efex would produce the moody and dramatic image that I had in my mind’s eye. Judging the scene when you shoot it and knowing your software are key to this type of image. At the time of shooting, you should have an idea of what your final image will look like, and how you are going to achieve it.

Jeremy’s top tips for atmospheric monochrome landscapes

Follow the weather forecasts

Don’t be put off by warnings of showers or even storms. You want moody and atmospheric conditions, but need to find a balance of showers, sunshine, and a strong breeze. Use at least three different forecasters to get a good cross-section of what is likely to happen.

Go prepared

There may be a great deal of hanging around waiting for the perfect conditions. Warm waterproof clothing and the correct footwear are the essentials but carrying a flask of coffee and some comfort snacks can be just as important. A soft waterproof cushion to sit on and protect you from cold and damp surfaces during a long vigil is also a must!

Make the best use of filters

Use grads, polarisers and any other filters that will have an impact on how a colour or hue will translate into black & white. It’s also important you get to know your software; how it works with and interprets your raw files. This comes with experience so don’t let one shoot put you off. The more you shoot and process, the better understanding you will gain.

Pick the best subject matter

Large, dark brooding skies work well over castles and ruins, less so over pretty rose-covered cottages. Try to choose a subject matter where the mood and drama help tell a story – ancient stone circles, Neolithic earthworks, and abandoned buildings like old churches can all look amazing with stormy skies and fleeting patches of light.

Patience and perseverance

Judging the conditions at any given location is never going to be easy. There will be a great deal of frustration when the elements do not come together, hours spent just waiting with nothing to show for it. But when the light, clouds and the landscape come together in harmony the struggles will be worth it.

Jeremy Walker

Jeremy, one of the UK’s leading landscape photographers, is known for his eye-catching panoramas and moody black & white landscapes. Landscape is his acclaimed first book and he is in much demand as a speaker, writer, and workshop leader. See www.jeremywalker.co.uk or follow him on Facebook or Instagram.

Further reading:

• The best cameras for black and white
• Guide to black and white fine art photography
• How to use filters for better landscapes
• Nik Collection 6 released
• Adobe Photoshop review
• Leica Monochrom M11 review

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The post How to capture moody monochrome landscapes appeared first on Amateur Photographer.

The first thing to remember when using a smartphone for more serious work is to stop thinking of it as a ‘snapshot’ camera and treat it like a DSLR or mirrorless set-up. Composition and lighting are equally important for mobile phone photography.

The latest smartphone sensors pack a mighty punch, with 48MP or more being common these days, but these sensors are quite small. This means a very deep depth of field even with the fast apertures that phone cameras have, which is perfect for landscape photography, and noise can be more of a problem in low light. However, the clever software engineers have found solutions that negate almost all these issues, with the latest phones being packed with firmware to simulate shallow depth of field and reduce noise significantly in low light.

iPhone 11 · f/1.8 · 1/2571s · 4.25mm · ISO32

There is also the issue of the lenses having a fixed, usually very fast, aperture. The latest iPhone, for instance, has an f/1.78 aperture on the main camera and f/2.2 and f/2.8 on the ultra-wide and telephoto respectively. While a fast aperture can be useful in low light or indoors, they are not adjustable, and this must be taken into account when shooting long exposures.

While phone batteries last a long time, when you are using it as a camera for a long period, the battery will drain quicker, so to be on the safe side it is best to pack a power bank when out shooting.

The same rules apply

Any landscape photographer will tell you that the best time of day is just before and just after dawn or before or after sunset when the sun is low in the sky (the golden hour), and this doesn’t change if you use a mobile phone.  

Rule of thirds and lead-in lines are two of the most commonly used composition techniques used for landscape photography and are relevant no matter what camera you use. Most camera apps have the ability to display a 3×3 grid on the screen and some even have a spirit level, both of which assist in composition, so it’s worth making use of these.

iPhone 15 Pro Max · f/2.2 · 1/950s · 2.22mm · ISO50

Lens selection

Most high-end smartphones have two or even three lenses giving a super-wide, wide and telephoto option built in. The latest iPhone 15 Pro has a 0.5x, 1x and 3x optical lenses built in, with the addition of a 15x digital zoom (5x optical and 25x digital on the Pro Max). Add-on lenses are also available, which increases the flexibility of the main camera.

Like all things in photography, you get what you pay for, and the cheap end of the market really isn’t worth bothering with. Moment, a US-based manufacturer, produces a set of five lenses – fisheye, wide-angle, telephoto, macro, anamorphic – which are built to a high standard with optical glass and metal bodies. 

iPhone 11 · f/1.8 · 1/3300s · 4.25mm · ISO32

Most smartphone cameras have one sensor with the headline megapixels (48MP in the case of the latest iPhone) and the other cameras will be lower resolution (12MP in the iPhone, for example). 

External lenses all use the main camera, so you can adjust the focal length of the main camera and gain the maximum image size with no loss of quality. The most useful lenses for landscapes are wideangle and telephoto.

iPhone 15 Pro Max · f/2.2 · 1/1000s · 2.22mm · ISO50

Apps

The camera app built into most smartphones is a very powerful tool, with lots of built-in features like ‘night mode’ or ‘live mode’ for long exposures. However, on the iPhone, these built-in app don’t allow for manual control of the settings. There are several camera apps available, such as ProCam8 and Pro Camera by Moment. I use the latter because it also provides in-camera corrections for any of the Moment lenses I mentioned earlier.

These third party camera apps allow manual control of the shutter speed, ISO, focus and white balance. It also allows other useful functions like focus peaking, histogram, highlight and shadow clipping. You can choose to shoot in JPEG or raw, or both, and the screen can be set to show a grid and a spirit level.

Like the camera app, your smartphone will come with editing software built in.  However, these tend to be rather basic and if you want more control there are plenty of photo editing apps available. I have used Photoshop Express, but my preferred mobile editing software option is Snapseed. It provides a number of useful tools for editing on the move and, most importantly, it allows edited files to be saved as a copy, so you don’t have to overwrite your original file.

iPhone 15 Pro Max · f/1.8 · 1/4000s · 6.86mm · ISO80

Smartphone Landscape Photography Kit List

• Smallrig Dual Handle Phone Cage: Keeps your phone secure and allows items to be bolted to the frame such as handles, lights and a tripod.  The handle also includes a Bluetooth shutter release. 
• Mini Tripod: A mini tripod is always useful. I recommend the type with flexible legs to allow it to be placed around poles or fences for added flexibility.
• Moment Lenses: Added flexibility allowing the user to get the highest quality from the main (larger) sensor.  The Moment 18mm wide and the 58mm telephoto are most useful for landscapes.
• Filters: Variable ND and CPL filters are always useful for landscape photography, and for smartphone photography it is no different.
• Peak Design Wrist Strap: This useful strap keeps the phone attached to your wrist when walking around. Using a wrist strap keeps it safe from theft and when working near water. Easy to remove when it’s not needed.

Useful features

Live Photo –Long Exposure

iPhone 15 Pro Max · f/2.2 · 1/4630s · 2.22mm · ISO32

Selecting Live Photo before you take a picture means the iPhone records a short video of 1.5sec. In post editing you have several options, with ‘long exposure’ being one of them, transforming moving water and fast-moving clouds with motion blur.

To enable Live Photo, tap the Live Icon so it doesn’t have a line through it. Tap the shutter release to take the image. Open the image from your photo folder. There is a Live Photo dropdown box in the top left. Select ‘Long Exposure’ from the dropdown menu.

Panoramas

iPhone 15 Pro Max · f/1.8 · 1/700s · 6.86mm · ISO200

Creating a panoramic image is simple and effective on a smartphone. Select ‘Pano’ on your camera app. This is on the bottom row of the iPhone screen. Make sure the arrow is facing the direction of travel you wish to make. Tap the shutter release and move the phone continuously across the scene, keeping the arrow on the line. Tap the shutter release to finish the image.

Night mode

iPhone 15 Pro Max · f/1.78 · 1/5s · 6.86mm · ISO1600

This mode allows you to take images in very low light, which is useful for late night urban landscapes. Images taken in Night mode can be taken handheld, but it is best to put the phone on a solid surface or on a tripod. Night mode usually turns on automatically when needed; the icon is at the top left of the screen. There will be a number indicating how long the exposure will be. You can adjust the exposure time by selecting Night mode in the bar just above the shutter button.

Jeff’s top tips for capturing an array of landscape scenes

The Postcard Shot

iPhone 11 · f/2.4 · 1/607s · 1.54mm · ISO20

This is the first shot of a scene, which is usually the most obvious angle or composition. I take this as my ‘banker’ shot, the image that I would be happy with if I couldn’t get anything else and wouldn’t look out of place on a postcard.

Frame the Shot

iPhone 11 · f/1.8 · 1/8850s · 4.25mm · ISO32

I try to find something to frame the main subject. This could be a tree with branches and leaves curling around the subject.  Alternatively, it could be a window frame, archway or another structure.  

Panorama

iPhone 15 Pro Max · f/2.8 · 1/500s · 15.66mm · ISO50

Does the scene lend itself to a panoramic view? Sometimes there is a lot of sky and foreground, which can either be cropped out at the editing stage or the smartphone’s panorama function comes into its own.  

Details

iPhone 11 · f/1.8 · 1/1072s · 4.25mm · ISO32

Once I have the ‘big picture’ I start to look for something making use of small details. At Seacliff, the small harbour has a lot of rusty machinery, which is great to photograph.  Getting in close and framing Tantallon Castle between the spoke but focusing on the rusty metalwork gives this shot a different and creative perspective.

Conclusion

One of the advantages of a smartphone is its portability and the fact most people have it on them at all times. The good news is you can shoot excellent images using just your phone no matter where you are, whether that’s a budget phone or a flagship phone. My favourite place for landscapes is the Highlands of Scotland or the beautiful coastline near to my home in East Lothian.

There’s an old saying that the best camera is the one you have on you at the time you need to take the shot. The latest smartphone cameras certainly pack a mighty punch and the ability to shoot in different file formats, to fit filters and additional lenses have increased the flexibility of the camera that is always in your pocket. Will it replace a DSLR or mirrorless camera? That’s down to us as individual photographers but the results you get from your phone are certainly not second best any more.

Article by Jeff Carter

With over 30 years of photographic experience, SE Scotland-based motorsports photographer Jeff Carter has travelled the world in search of that perfect shot. The former Fujifilm X Photographer has also carved out a reputation for his landscape work, running workshops in and around his home in Dunbar and further afield in the Highlands. Visit www.macleanphotographic.com and Instagram: @maclean_photo 

Related reading:

• Best UK landscape photography locations
• Questions to ask yourself before shooting landscapes
• Top tips on how to take great vertical landscape photos

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The post Master Landscape photography with your phone – the complete guide appeared first on Amateur Photographer.

In this guide to the UK’s best landscape photography locations, expert professional guides provide a list of places in Scotland, Northern and Southeast England, the Midlands, East Anglia, and Wales, plus the the most photogenic locations in Northern Ireland, South and Southwest England.

If you want to jump to a specific area, simply click the links below:

• Scotland
• North England
• Midland and Wales
• East Anglia
• South East England
• South and South West England
• Northern Ireland

Best landscape photography locations in Scotland

1. Traigh Rosamol, Isle of Harris

Traigh Rosamol looks out over the Sound of Taransay and is situated on the north-western coast of South Harris in the Outer Hebrides. Access is easy from the car park just behind the beach. This view is from the north-eastern end of the beach just before dusk and I chose to exclude most of the sand as it was a mass of footprints from the day’s dog walkers.

I wanted to create a peaceful image with a serene, blue feel so elected to use a LEE Little Stopper, which allowed me to extend my shutter speed to 30 seconds. This has removed all texture from the water and added a soft appearance to the clouds above the North Harris mountains. This is truly one of the most beautiful places on the planet and will offer amazing images at any time of year.

2. Ben Loyal from Lochan Hakel, Scottish Highlands

Situated on the north coast of Scotland near the village of Tongue, Ben Loyal is one of my favourite mountains to photograph. From this viewpoint, you are facing almost due south so timing is critical. In the middle of the day at any time of year the sun will be above the mountain creating a silhouette, so early and late in the day are best.

This image was made just after dawn and the clouds have helped with the contrast. Even so, I needed multiple graduated filters to allow me to capture detail in the mountain. To get to Lochan Hakel take the minor road south from the village of Tongue for a couple of miles and you will discover the Lochan on your left. I would advise a daylight recce before arriving in the dark for your first dawn shoot!

3. Rannoch Moor and Lochan Na h’Achlaise, Scottish West Highlands

After travelling north through the Bridge of Orchy, the main A82 rises up via a series of sharp bends onto Rannoch Moor. The first Lochan you see on your left is Lochan Na h’Achlaise and the best views of the Black Mount complex are from the south-eastern shore about 100m from the road.

For me, this is always a winter location. At dawn, the sun rises behind you and at dusk (as in this image) it drops in front and to the left with the last light of the day catching the mountaintops. Many people make the mistake of photographing from the road, but a short walk to the water’s edge will reward you with multiple potential foregrounds. It can be a bit boggy though, so make sure you have your wellies!

Other locations in Scotland worth visiting

• Balnakeil Bay near Durness is a wild and remote location with an extensive dune system and miles of perfect sand and turquoise blue sea.
• Duncansby Head near John O’Groats in the far northeast offers amazing sea stacks and precipitous cliffs. A great dawn location in winter.
• Glen Affric near Inverness is considered by many people to be the most beautiful Glen in Scotland. It has to be visited in autumn for the spectacular colour.
• Stac Pollaidh, in Assynt near Ullapool, is another of my favourite mountains. Great views from the northeast shore of Loch Lurgainn.
• Glen Etive and the River Etive. Access from Glen Coe. Fantastic rock details particularly on a wet, miserable day!

Your guide: Phil Malpas

Phil is a freelance photographer based in Wiltshire. He leads photographic tours around the world for Light & Land. Visit Light and Land for more information.

Best landscape photography locations in Northern England

1. Wastwater, Lake District

Wastwater is best reached from the A595 driving through Gosforth and continuing on this road for a few miles signed ‘to the Lake shore’, where there is plenty of parking. It’s the perfect late afternoon location owing to its position and great for that colourful sunset.

Autumn is the best time of year as the sun sets due west of the lake lighting up the whole image. Composition is important and this location delivers. You have Yewbarrow on the left, Wastwater Screes on the right and Great Gable and the Scafell range as the perfect backdrop. A wide-angle lens will be required. I took this rainbow with a 16-35mm lens on a full-frame camera, which perfectly delivered.

Read more on the best wide-angle lenses for landscape photography here.

2. Blackpool North Pier

Blackpool North Pier doesn’t sound like a must ‘go-to’ location but you can get some spectacular results at the right time of day and in the right season. There’s street parking just north of North Pier. It is a great structure for photography so couple this with a west coast sunset and you’re on to a winner.

The other photogenic aspect of the pier is that it’s home to thousands of starlings that roost here in late autumn and early winter. Position yourself so the setting sun is shining through the uprights, which will cast lovely shadows on the rippled sand. A sunburst will give an extra dimension too. Increase your ISO to enable you to shoot faster shutter speeds to avoid blurred starlings.

Check out this article for advice on how to shoot fast-moving birds.

3. Moonrise over Blea Tarn and the Langdales, Lake District

From Little Langdale drive along Side Gates until you come to the Wrynose Pass junction. Keep right here for about a mile until you come to the National Trust parking at Blea Tarn. The tarn is a perfect early morning location with the impressive Langdale Pikes as your backdrop.

Early morning starts are best here as you want to get the Langdale Pikes showing some sunrise colour as well as some perfect reflections. Hopefully, you can get some mist dancing above the water, which is very common at this elevated location. Bring a medium focal length lens – typically 24-105mm as there are many items of foreground interest such as fences, stones, beautiful Larch trees and of course The Langdale Pikes.

Other locations in Northern England worth visiting

• Bamburgh Castle is located on the Northumberland coast. It’s worth a visit any time of year but I recommend early morning to get the sunrise and fog/mist. Time your visit for an outgoing tide, as you want those rocks to be wet, to add colour and drama. Look for compositions with slabs of rock that point to the castle for great lead-in lines. It’s the perfect destination to use a set of Graduated Neutral Density filters.
• The timeless, picturesque village of Staithes in North Yorkshire has higgledy-piggledy cottages and winding streets that lead down to the harbour. 
• Tewet Tarn in the Lake District is a hidden gem. Located near St. John’s in the Vale, it offers stunning views across to Blencathra and Skiddaw. It is a great location for taking panoramic images.
• Dubs Hut and Warnscale Head Bothy are two very photogenic slate huts high above Buttermere in the Lake District. Great Gable and Haystacks offer superb backdrops.
• Mary’s Shell, a beautiful sculpture on Cleveleys Beach in Lancashire, is a perfect location at sunset to try out your 10-stop Neutral Density Filter.
• Lindisfarne is a 16th-century castle situated on Holy Island, Northumberland. This location has numerous foreground-interest objects to create perfect compositions.

Your guide: Martin Lawrence

Martin is a landscape photographer specialising in images of the Lake District and Scotland and offers photography workshops. He also writes photographic tutorials for magazines and websites. See here for more.

Best landscape photography locations in the Midlands and Wales

1. Padley Gorge, Peak District

Padley Gorge is somewhat of a mecca for photographers and suits both wide and telephoto lenses depending on your focus. There are several points of access: parking on the side of the B6521 (this can get very busy if you don’t arrive early), the car park at Grindleford, or the pay-and-display car park at Surprise View that involves walking down to the gorge through Bolehill Quarry (also very photogenic).

The gorge is at its most beautiful when autumn sets in and the rusty, warm colours prevail. The best time to visit is early morning, especially during autumn and winter when there is always the possibility of frosty and misty conditions. There are plenty of compositional opportunities all along the gorge so make sure you explore. It’s worth packing a circular polariser and an ND filter to create some long exposures of the water.

2. Chesterton Windmill, Warwickshire

As a photographer based in the Midlands, Chesterton Windmill has been on my radar for some time. It’s architecturally appealing with its unique circular design and archways. The windmill is accessible from the side of the road but the field in which it resides is in constant use so it’s worth paying attention to where you’re standing and being mindful of the crops.

The windmill itself stands on the top of the hill, which provides the opportunity to capture some vistas of the surrounding countryside. There’s no perfect time of day to capture the windmill, but I prefer it at sunset, or during stormy weather, which provides a dramatic backdrop. It’s worth bearing in mind that the crop is on rotation and this can make a more interesting tableau if you manage to catch the crop during a colourful year.

3. Three Cliffs Bay, The Gower

Access to Three Cliffs Bay involves some scrabbling over sand dunes, but it’s worth it to get down onto the shoreline. You can park at the Gower Heritage Centre and walk down to the beach, but your return to the car park will be uphill. I recommend visiting when the tide is going out, which will open up access to some of the adjacent bays such as Pobbles, Tor and Oxwich.

As the tide recedes it provides some interesting wide-angle compositional opportunities including the cliffs themselves, especially when the light is low. Visiting at sunrise or sunset provides the best chance of getting some interesting conditions, especially during autumn and winter when the cliffs catch light from both the sunset and the sunrise. Use an ND filter of 6 or 10 stops to create some attractive long exposures.

Other locations in the Midlands and Wales worth visiting

• The Tree on Llyn Padarn has become one of the great photography clichés of Snowdonia. Access is via Padarn Country Park, and the tree itself is visible from the car park. The tree is most attractive during autumn and spring. For the best conditions in the surrounding scenery, shoot during the golden hour. During sunrise, there’s more chance of the lake being still and the possibility of ethereal conditions, but sunset can create some gorgeous light on surrounding mountains and in the sky. Using a wide-angle lens and a circular polariser will help bring out reflections.
• Penmon Point (Trwyn Du in Welsh) is an attractive lighthouse that sits on the northeastern corner of Anglesey in north Wales. From the shoreline, there is a view
  of both the lighthouse and Puffin Island in the distance, with views back across the Menai Straits.
• The Vale of Glamorgan harbours an intriguing coastline. Nash Point, with its epic rock formations, makes for a captivating composition, whatever the weather. 
• The relative flat of the Midlands is thankfully interrupted by the Malvern Hills in Worcestershire, which provides plentiful vistas of the surrounding countryside. This area is at its best in autumn, especially at sunrise.

Your guide: Verity Milligan

Verity is a professional urban/landscape photographer based in Birmingham. She has worked on campaigns for international organisations, leads workshops for Light & Land and is an ambassador for Zeiss. See here.

Best landscape photography locations in East Anglia

1. Thurne, Norfolk

Thurne is a classic Broads location with lazy rivers, whispering reedbeds and two windmills (or wind pumps to be precise), the gleaming white painted Thurne Windpump and the red brick St Benet’s. There are a handful of parking spaces beside Thurne Dyke (NR29 3BU) from where a path runs around the dyke and along the river.

Use a wide-angle or standard zoom lens and look for groups of reeds, boats or old jetties to use as foreground interest for shots of the windmills. A polariser will help to make the most of any reflections. There are opportunities in golden hour light at either end of the day here but Thurne is at its best early on a calm morning with crystal-clear reflections and mist swirling up from the river and marshes or a coating of frost on the reedbeds. Usually late autumn to early spring has the best conditions and less boat traffic.

2. Old Hunstanton, Norfolk

This beach is a vast swathe of golden sand beneath distinctive red and white striped cliffs. The unusual rock formations, which stretch out in lines below the cliffs, are fantastic for long exposures, so don’t forget your Big Stopper 10-stop filter.

Big wide-angle views can be found in all directions – looking out to sea at sunset, along the line of cliffs with the shipwreck in the foreground or back towards the cliffs, which look especially good when lit by low sidelight or reflected in one of the shallow pools left at low tide.

Check the tide before you visit – a receding tide is the safest and best for a footprint-free beach. There is a car park on the cliff top (PE36 6EL) and a footpath down to the beach. Turn left at the bottom for the cliffs; there are also dunes worth exploring to the right.

3. Shingle Street

At first glance, this remote shingle beach on the Suffolk coast looks like an unlikely place for landscape photography and it can be challenging to find the shot here but once you get ‘your eye in’ it can be amazing. The shoreline is constantly being re-moulded by the sea into sweeping curves and lagoons – and these shapes make fantastic leading lines while a couple of white cottages provide much-needed focal points.

Long exposures are very effective; the smoothed water simplifies the shapes of the shoreline. Monochrome also helps to contrast the tones and textures of the water and bright cottages against the dark shingle. Dramatic weather suits this beach but it’s not all doom and gloom: in spring the beach is alive with colourful wildflowers. There is a small car park on the left just before the houses (IP12 3BG), and from there, it is a short trudge across the shingle to the shore.

Other locations in East Anglia worth visiting

• Happisburgh Lighthouse is a beautiful red and white lighthouse set back from the clifftops. The beach below is littered with interesting old sea defences as well.
• Southwold has plenty of photographic spots on offer, from the quirky pier, and colourful beach huts in the dunes, to the ramshackle old harbour.
• Dovercourt lighthouse is a Victorian lighthouse resembling a moon landing craft that has landed in the sea off the Essex coast, fabulous for long exposures and sunrises alike.
• The stretch of the River Stour that meanders its way through the meadows between Flatford and Dedham in the heart of Constable Country is wonderful.

Your guide: Justin Minns

Justin is a landscape photographer known for his atmospheric images of East Anglia. As well as running workshops in the region he is also the author of Photographing East Anglia, a photographers’ guidebook to the area. See here for more.

Best landscape photography locations in Southeast England

1. Church Norton, West Sussex

Best at very high tides at dawn, this discreet, spit-protected RSPB wetland location typically brims with flat, calm waters at the highest tides providing fabulous opportunities to use nature’s mirror to great effect.

This area often catches coastal mists too so that’s a real bonus. The little local church is very picturesque, nestling in its own well-kept space with no other buildings around it. You can also access a typically deserted shingle beach from here that delivers great low-tide dawn ops. Park up in St Wilfred’s Church parking lot (PO20 9DT) and follow the signs to the RSPB nature reserve.

2. West Wittering, West Sussex

The location for my winning LPOTY image is best at low tides during sunset or dawn. An expansive sand shelf of a beach adjacent to the Chichester Channel with big tidal movements, this immersive location has spacious, uninterrupted westerly views. Perfect for both subtle, minimal shots and expansive, dramatic sunset scenes.

Avoid busy times, there’s nothing worse than hordes of people and packs of dogs leaving footprints gouged into your unblemished sandy foregrounds. Use a Tide Times app (and the Photographer’s Ephemeris) to plan your trip.

Often the parking lot here (PO20 8AJ) will be shut when you want to shoot, so park up outside and head down the long entrance driveway. You may have to park some distance away so allow 20-30 minutes for the walk to the water’s edge, especially if the tide is way out.

3. Aldwick Rocks, West Sussex

These primaeval-looking humps of stone provide a foreground to midground visual punctuation and make great silhouettes when light levels are low, at sunset or dawn during low tide. There’s a beached decomposing wreck of a section of the WWII D-Day Mulberry Harbour nearby at this location, and that can make for an interesting subject when it’s semi-submerged at low tide.

There’s nothing to compare with having the beach all to yourself at 4 am, for example, under steadily evolving pre-dawn skies, with freshly laundered, brand new sand forms, varied tide pools after each turn of the waters and beautiful twilight colours bouncing off reflective expanses of damp beach and rock formations.

The most important thing with the coast is getting to know when the most favourable moments are for your visits. For this location, I recommend parking on Marine Parade (PO21 2QA) opposite Marine Park Gardens near the boat pound at the west end.

Other locations in Southeast England worth visiting

• Pagham Harbour/RSPB Pagham is one to visit at high tide during dawn or sunset. This location is great for both bird and landscaper photographers. Extended walks on pathways around the reserve provide views of the dynamic shapes in the reserve’s wetland mudflats and grasses. Park at the end of Church Lane (PO21 4NR) where the road stops and then follow the signs to the nature reserve. 
• Littlehampton is best to shoot at low tide during dawn or sunset. It’s a big sandy beach with interesting rockpools; it also has a wonderful skeletal timber pier formation at the estuary of the River Arun that makes for interesting long exposures. Go right down to the end of Rope Walk and park up in the pay and display area (BN17 5DL) The beach is over the ridge.

Your guide: Benjamin Graham

Benjamin was the winner of LPOTY in 2017. He runs tours with Light & Land and teaches photography privately and at West Dean College. See his website, Twitter and Instagram for more.

Best landscape locations in South and Southwest England

1. Colmer’s Hill, Bridport, Dorset

The conical tree-clad Colmer’s Hill is an iconic landmark in West Dorset and a ‘must visit’ location if you’re in the area. Sunrise is undoubtedly the best time to photograph it and misty conditions are an added bonus. Parking is extremely limited beside the A35, so arrive early or be prepared for a long walk!

There are good vantage points from both Quarr Hill and Eype Down, with footpaths providing easy access. In good conditions, there can be many different compositions to try, mainly based on using Colmer’s Hill as a focal point within the wider landscape, or floating in a sea of mist!

2. Portland Bill, Dorset

The Isle of Portland offers much photographic potential, but the red and white lighthouse at Portland Bill is the highlight. It can be shot from either side with crashing waves in the foreground and at both sunrise and sunset. This is also one of the best locations along the south coast for astro-landscape photography, with very little light pollution when looking south towards the Milky Way.

Just below the lighthouse lies Pulpit Rock, another useful focal point for shots along the shoreline, particularly at sunset. Portland can be a great place for long exposures, so take your 10-stop ND filter. Dramatic scenes can be captured in stormy conditions, but take care as the waves can be large and powerful!

3. Rockford Common, New Forest National Park, Hampshire

Rockford Common lies above a shallow valley on the western side of the New Forest. The classic viewpoint with a path leading through a colourful purple expanse of heather-clad heathland has become a popular spot, and rightly so. The valley is particularly prone to morning mists throughout the year, so sunrise tends to offer the best opportunities, although late afternoon also works well if the heather is in bloom.

Don’t restrict yourself to the one honeypot location though, because all of the surrounding heaths offer much potential and tend to be less busy into the bargain. There is scope for expansive wide-angle shots as well as for landscape details, layers and isolated trees.

Check out this list of the best wide-angle lenses for landscape photography. 

4. Glastonbury Tor, Somerset

The familiar outline of Glastonbury Tor can be seen from many places throughout the flat landscape of the Somerset Levels and from the surrounding hills. It can be used as a distant focal point, but there are also great shots to be had from the summit of the Tor itself.

One of the best spots from which to photograph The Tor surrounded by mist or set against the rising sun is Walton Hill just south of Street. From here a telephoto lens of 300 to 600mm is required. There is a convenient car park right at the best vantage point on the summit. To get the sun rising directly behind the Tor you’ll need to visit in mid-summer. Use an app such as TPE or PhotoPills to ensure you pick the best day!

5. St Michael’s Mount, West Cornwall

Just a short drive from Penzance is one of Cornwall’s most recognisable and picturesque landmarks. St Michael’s Mount is a tidal island, which at low tide links to the parish of Marazion by a man-made cobbled causeway. A tide in the region of 2-3m is often a good height, revealing the causeway, which provides an obvious and attractive lead-in line toward the Mount in wide-angle compositions.

This is a location that can work well throughout the day, but at sunrise, the beach is quieter, cleaner and golden early morning sunlight will bathe the bay and island. At higher tides, much of the beach is submerged, but there are slipways and rock pools that provide foreground interest. Be prepared to regularly change viewpoint as the tide either rises or falls. Wear wellies to avoid getting wet feet!

A good range of lenses will be useful, but a wide-angle zoom – in the region of 16-35mm – is often a good choice, producing dynamic results with depth and interest. This can be a popular location, so arrive and set up early.

6. Hartland Quay, North Devon

This stretch of north Devon coastline is among the most dramatic and spectacular you will find anywhere in South West England. Hartland Quay is on the edge of the Atlantic Ocean – it is a remote, wild and windswept place. From Clovelly Cross, take the B3248 to Hartland and continue to Stoke and past St Nectan’s church toward the coast. Drive down the narrow track toward the beach – there is plenty of parking near the Hartland Quay Hotel.

At high tide, explore the views from the cliff tops – in spring they are carpeted with sea pinks that add colour and interest to wide-angle vistas. You can walk to Speke’s Mill Mouth, which is also photogenic. At low water, explore the rocky beach, which is home to photogenic ledges and rockpools. This is a good location for evening light and sunset. It’s worth carrying a versatile range of focal lengths. A good sturdy tripod will be essential, particularly in windy, stormy conditions. The hotel is a great spot to shelter and have a pint after an evening’s shoot.

7. Great Staple Tor, Dartmoor, Devon

Dartmoor National Park is home to some extraordinary scenery. The landscape is wild, rugged and punctuated with large, imposing granite outcrops – or tors. This is not a landscape you want to shoot on a clear, sunny day. Instead, you want drama. Autumn and winter are ideal times of the year. During autumn, the bracken becomes golden and the light and skies tend to be more suited to landscapes.

This can be an unforgiving place, so wear water and windproof clothing. Great Staple Tor is one of many great tors to visit. It’s home to a couple of large granite pillars and there is no shortage of compositions to be found. There is a large car park at Pork Hill on the B3357, between Tavistock and Merrivale. Walk north up the slopes of Little Staple Tor and carry on to Greater Staple. The climb will take you about 30 minutes, but this is often a quiet location and well suited to a morning or evening light.

8. Trebarwith Strand, Cornwall

Located about 2 miles south of Tintagel – home to the myth and legend of King Arthur – Trebarwith is a golden, sandy beach, popular with tourists and surfers. It can be busy in the summer months, so visit out of the holiday season and on a weekday to avoid the crowds and messy footprints. You can achieve good shots at either high or low water, but a mid-tide can prove more challenging. At high tide, the beach is completely submerged, and you can stand on the Strand and shoot out towards the sea with incoming waves rushing in either side of you.

But be wary of spring tides and big waves. For safety, always consult a good tide app, like AyeTides, before you visit. This is a great sunset location and Gull Rock on the horizon provides an obvious focal point. Take wide-angle lenses, ND filters and grads and also a lens cloth and wipes – sea spray can be a real issue here if there is onshore wind.

Other locations in South and Southwest England worth visiting

• Corton Denham is a classic rural village scene in south Somerset best viewed from Corton Hill. The lighting is best late in the afternoon between May and July.
• Knowlton Church is a ruined Norman church set within a Neolithic henge earthwork. Great at sunrise and sunset or for spooky night photography, as this is one of Dorset’s most haunted locations!
• Swyre Head, Worth Matravers in Dorset is one of the most impressive viewpoints along the Jurassic Coast World Heritage Site. Beautiful at any time but especially good at sunset.
• Bolderwood Ornamental Drive in the New Forest National Park, Hampshire, is an impressive mixture of trees, which makes this a great location for capturing autumn foliage.
• The Crowns Engine houses at Botallack in west Cornwall, perched above the sea, create an iconic shot. The ruined tin mines make a great long exposure subject.
• Bedruthan Steps are arguably Cornwall’s most impressive stretch of coast, home to large granite stacks – or steps. In spring, wildflowers carpet the cliff tops.
• The lighthouse at Trevose Head provides a great focal point in wideangle shots. Padstow Lifeboat Station is within walking distance and worth shooting too.
• Valley of Rocks, just north of Lynton in Devon, is an impressive dry valley and boasts incredible views and geology. It is one of Exmoor’s most scenic locations.
• Located on the south-western edge of Dartmoor, Shaugh Prior is home to boulder-strewn rivers, oak-woods and riverside walks. Best shot in spring or autumn after a little rainfall. There is a small National car park nearby.

Your guides:

Ross Hoddinott
One of the UK’s top landscape photographers, Ross is the author of several best-selling photography books. He co-runs Dawn 2 Dusk Photography, which specialises in landscape photography workshops. See here for more.

Guy Edwardes
Based in his home county of Dorset, Guy has been a landscape and nature photographer for over 25 years. His work has been widely published and he runs a series of popular photographic workshops all over the world. See here for more.

Best landscape photography locations in Northern Ireland

1. Dunluce Castle, Co Antrim

Approximately 20 minutes by car further along the coast from Ballintoy you’ll find Dunluce Castle. This location was used in Game of Thrones and is an impressive ruined castle that sits precariously on the edge of a cliff overlooking the sea.

You can shoot the castle from various angles, but the most dramatic images can be captured down below near the sea. Here you can use the waves and rocks as foreground interest with the castle looming above. It’s a bit of a steep scramble down and as always the sea must be treated with respect at this location.

I always try to capture the sun setting out to sea or going down just behind the castle as I have done here. As the castle sits so high in the frame, once you meter for the lighter areas, the castle will end up in silhouette, even if you’re using graduated filters. This might be what you want to achieve but for this image, I shot three bracketed exposures and blended them later, which meant that I was able to keep detail in the shadow areas.

2. The Hares Gap, Mournes, County Down

In County Down, you’ll find the Mourne Mountains. If you love hiking and don’t mind an early start there are numerous dramatic images to be captured here on various peaks. This particular spot is called The Hares Gap and is a gentle hike compared to other spots in the Mournes. Starting near Tollymore Forest Park you walk up through the Valley along the Trassey River. Keep right along the hillside until you make it to the famous Mourne Wall.

If you time it right you can capture some stunning images back down the valley as the sun sets. Here I used the wall and stile as the main focal point with some wonderful light from the setting sun in the valley beyond and the river snaking off towards the horizon. I bracketed my exposures and blended them later. I also had some issues with flare so a small umbrella held just above the top of the lens was enough to eliminate it.

3. Ballintoy Harbour, County Antrim

Ballintoy Harbour was made famous by Game Of Thrones. They shot many scenes here and it’s easy to understand why. There are multiple points of interest in a very small area and it’s great for both sunrise and sunset shots. There is the harbour itself and various sea stacks, sea arches and beach coves; while a short walk will bring you to Elephant Rock, a lovely beach with a huge sea stack in the shape of an elephant complete with trunk.

Ballintoy can boast some dramatic waves, so be cautious when venturing near the edge of the rocks. For this scene I used a Big Stopper to produce a long exposure to smooth out the sea and clouds. This created the mood I was after and accentuated the shape and texture of the rocks.

Other locations in Northern Ireland worth visiting

• The Dark Hedges in Co Antrim is a beautiful avenue of beech trees. It’s best to get there early to avoid the tourists though as it is a very popular spot.
• Murlough Bay in Co Antrim
  is a bit off the beaten track but a wonderful view that’s best captured at sunrise in the summer.
• Giant’s Causeway, Co Antrim is a world-famous location. Again, an early start helps avoid the tourists.
• Tollymore Forest Park, Co Down, is a beautiful wood with rivers running through and looks spectacular in autumn.
• Ring Of Gullion in Co Armagh is an area with forests, lakes and ancient stones – certainly lots to explore.

Your guide: Gary McParland

Gary McParland is an award-winning photographer based in Co Armagh in Northern Ireland. His photography has graced publications all around the world including a National Geographic Book. See more of his work here.

Further reading: 

• Guide to Landscape Photography
• Intimate Spring: landscape photography with a difference
• The top 24 best landscape photographs
• Best UK locations for a weekend break

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Growing up in the southern region of Poland, I was fortunate enough to live near the Tatra Mountains; renowned for their stunning alpine landscapes. Although I always enjoyed spending time in the outdoors, hiking was not my cup of tea until I developed an interest in landscape photography in 2016.

Inspired to capture the breathtaking scenery before, and indeed beyond me, motivated me to explore the trails much further. The thrill of not knowing what lay ahead at the summit kept me going, always wondering about the kind of views and sunsets I might encounter.

As I delved deeper into the world of landscape photography, I began experimenting with different angles and compositions. It wasn’t long before I discovered that shooting in portrait orientation not only offered a fresher perspective compared to traditional landscape photography. Naturally, it also presented a different set of challenges and opportunities that I was eager to tackle.

Why shoot landscapes in vertical mode and how to do it

Can a landscape photo be vertical? When we think about landscape photography, we imagine photos of vast natural vistas captured in broad, horizontal format. However, the realm of landscape photography extends far beyond the boundaries of horizontal frames. By exploring new creative opportunities, you can unlock a whole new world of possibilities.

Next time you’re out in nature, consider experimenting with portrait orientation. By breaking away from traditional landscape photography and exploring new angles, you can discover a fresh and unique perspective that will set your work apart.

Pros and cons of shooting landscape photography in vertical mode

Why take vertical landscapes? One thing I love about shooting in a vertical mode is the ability to isolate the subject and draw focus to it in my composition while minimising distracting elements from the sides of the frame.

However, this approach also presents some challenges. One is the narrower field of view, which restricts capture of the full expanse of the landscape. As a result, you would need to be extra thoughtful when scouting the location and selecting the ideal spot for your photo. It’s essential to be intentional and mindful when working with this format. Get it right, though, and the results can be truly stunning.

Composing vertical landscape photos

Whether you’re shooting in horizontal or portrait orientation, it is crucial to ask yourself some questions before pressing that shutter button.

The first should be of what you are trying to achieve; the aim of the shot. Think about feelings or a story you want to convey and how you can capture them through the composition. Once you have a clear idea of what you’re after, experiment with different angles and heights to capture the best view of the scenery, as this can significantly impact the mood and overall feel of the image.

When it comes to composition, my focus is pretty much always on symmetry and aesthetics. I find that symmetry creates a sense of harmony and balance in my photographs, which is visually pleasing.

One technique that I particularly enjoy is incorporating a person in the far distance, framing them against a vast natural landscape. To achieve this, I often use a long lens such as a 70-200mm to compress the image and create a sense of scale. This imbues the shot with powerful narrative and emotional elements. It shows how small we are in comparison to the grandeur of nature.

As for the foreground, it’s essential to pay attention to different elements and leading lines. Look for rocks, stones, or flowers in the grass this can add interesting depth to your photos and help create more dynamic images, leading the viewer’s eye through different layers in your photograph.

Consider also breaking down your image into foreground, mid-ground, and background. For example, try framing your primary subject in the mid-ground and use the foreground to incorporate elements you see near you; this could again be flowers, rocks, or even tree branches. Finally, use the background to showcase mountains or dramatic skies to create a comprehensive and stunning image that tells a story.

Another great technique, when shooting in portrait orientation is to use a wide-angle lens. For example, let’s say you’re by a lake surrounded by mountains and the sun is just starting to set. Instead of capturing the panoramic view at eye level, why not try something different?

Position your camera just above the lake level and tilt it down to capture the pebbles in the water as your foreground. You can also capture the reflection of the mountains in the lake as your mid-ground, while the sunset and mountains serve as background. This technique can help create a powerful image that immerses the viewer in the experience, making them feel they are right there with you.

Remember, photography is all about capturing moments and telling stories. By experimenting with different compositions and orientations, you can elevate your photography to new heights and create images that truly resonate with your audience. So, go grab your camera, head outside and let your creativity run free!

Why shooting landscape photography in vertical mode works

There is no hard and fast rule on which orientation to use with landscape photography. The optimal approach will vary based on the circumstances, the subject being photographed, your artistic vision and message you wish to convey through the photo.

In this instance, I found that the portrait frame worked much better. By placing only one mountain peak at the centre of my composition, I was able to emphasise its majestic and powerful presence. The sight of the mountain standing alone against the backdrop of the sky evoke a sense of wonder, and appreciation for the raw and untamed beauty of nature and the stunning cloud inversion only adds to its mystique.

My goal was to capture the emotions I felt at that moment and create a personal connection between the viewer and the mountain. Using portrait orientation allowed me to create a more intimate and personal image that conveyed the sense of awe and wonder that I experienced. This could not be achieved using a horizontal orientation.

What equipment is best for shooting vertical landscapes?

What Paulina uses for landscape photos in vertical mode:

Lenses

My go-to lenses for landscapes are EF 16-35 f/4 and RF 70-200 f/2.8. The wide-angle lens is perfect for capturing wider vistas and creating a sense of depth and scale. RF 70-200 f/2.8, on the other hand, is an excellent choice for capturing distant subjects or creating a sense of optical compression.

Gitzo Tripod (GK100T)

While hiking having a tripod that is both sturdy and lightweight is crucial to avoid adding unnecessary weight to my already heavy backpack. I use it to capture landscapes or long exposure shots, as it helps to eliminate camera shake.

ND Filters

I like to have control over the amount of light that enters my camera and ND Filters come in handy when I want to capture moving elements such as clouds and water. I often use 3, 8, or 10-stop depending on the daylight conditions and what I’m trying to achieve.

PeakDesign clip v3

The camera clip has been a game-changer for me. It’s an excellent way to carry my camera when I’m on the move. The clip securely attaches to my backpack strap, giving me quick and easy access to my camera whenever I come across a photo opportunity. I no longer waste time taking off my backpack to access my gear.

For more, check out our picks of the best cameras, lenses, and filters for landscape photography.

About Paulina Stopka

Paulina is a London-based self-taught photographer and graphic designer originally from Kraków, Poland. She began her photography journey in 2016 and specialised in portrait, urban/architecture, and landscape photography. She is particularly drawn to symmetry and aesthetics when composing her photos.

See more of Paulina’s work on her website and Instagram.

Related content:

• Guide to Landscape Photography
• How to transform your landscapes with square format
• Intimate Spring: landscape photography with a difference
• The top 24 best landscape photographs
• Best UK landscape photography locations (part one)
• What to ask yourself before shooting landscapes
• Considerations of kit for landscape photography

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