Since I am primarily a landscape photographer, the light is critical to my images.  In the wrong light or bad light, images can really fall flat…I speak from experience.

  There is a learning curve to photography, it takes time to develop an eye for good composition and a feel for lighting…it has taken me years of practice (and looking at photographs and paintings by masters of photography and art) to get somewhat proficient. But there are many days when my images fall flat and must be deleted: don’t be afraid to delete the junk! Some people never delete images until they see them on the computer, however, I will delete in camera if the composition fails when I review them on the LCD. You must be cutthroat about your images, because as good as you may be in Photoshop or Lightroom, if your shots are bad, admit it..why waste time editing something that should be deleted. Some people don’t like to shoot at the same places; that’s ridiculous…I keep going back to Beavertail or other areas on the coast because weather is always changing; even my attitude changes day to day..I might be cranky one night, but in a good mood the next: it will have an impact on how I photograph.

   Here are a few examples of what I am discussing.  The first one is taken at Ponagansett Falls in Scituate. Be patient!  This night the sky looked like a dud, but as the sun set some clouds appeared on the horizon and things began to change..These three images were all taken within a half hour of each other.

The next image is a wide angle taken at Castle Hill in Newport. I was moving around on the rocks looking for a good composition about an hour before sunset. Always try to get to your location at least an hour prior to sunset; it gives you time to scout for the best spot and do test shots. The second shot was taken as the sun was setting and the clouds and rocks formed diagonals leading to the lighthouse.

The next image was taken in the Canadian Rockies…the first mountain shot was taken without sun. It was cloudy and foggy but it was worth waiting for the sun to break through the clouds, because it burned off a lot of the cloud cover revealing the mountains in the background.

The last one is the combined use of twilight and slow shutter speed. The first ferris wheel shot was taken when it was not moving just before twilight. The second image was taken during the twilight hour when the wheel was turning.  It is obviously much more interesting. Any rides at a carnival are fascinating when photographed at night when they are in motion.

 I know a lot of photographers will tell you they shoot only at F8, the sweet spot on their lenses..that is nonsense. I shoot at F16, 18, 22…the diffraction is minimal with the newer lenses; I need to shoot at those apertures to allow light to hit the sensor a long time to get the effect I am seeking; F8 doesn’t work for me unless there is wind, then I will use it on the foreground to stop movement..also, I use every filter imaginable on my lenses: soft edge grads, hard edge grads, NDs, polarizers, reverse NDs: whatever it takes to give me what I want…

To me, the most important thing about getting an image with impact is looking at the world with awe. Nothing is jaded to me. Think of everything you see as if it were for the first time.

This is a photograph with a diagram of the Rule of Thirds superimposed. The rule is often overused but if you are a newbie photographer it can help a lot to achieve a better composition. When I began photographing digitally quite a few years ago, it helped me to superimpose the grid on my live view image, so try it and see if it helps with composition.

The two images below demonstrate the use of time (with a 5 stop ND filter) to improve or change an image.  The top one is taken at f18, 24mm and 15 sec.

This image was taken with the same aperture and focal length, but with the 5 stop ND: the time was 150 seconds.

The feeling is totally different when an ND is used on an image..in the second image the clouds show more movement as they streak across the sky and the ocean is a lot softer.  So it is important to remember that time can change the whole look of an image. Also, any people moving will disappear from the image at 150 seconds.

Who says you can’t use bulls eye images, and have to keep things out of the center? If a subject is round, it works well.

and remember that a spiral can really draw the eye into an image:

Curving shapes are also leading lines into an image; look for them everywhere: the curve of a beach or a stream. In this image of Mistaya canyon, the river leads the eye to the mountain in the distance:

Remember that while it is a good idea to keep the horizon out of the center of an image, sometimes with reflections it is best to keep the horizon dead center.

Balance is very important to an image: light and dark must balance and act as counterpoint to each other. Look at Rembrandt’s images, he is the master of chiaroscuro…he placed light where it was important, yet maintained dark to balance the image. This image has light behind a seastack from the sun, but the dark, larger shapes on the left help to balance it.

Try to incorporate some of these ideas in your images, or not if you choose…but work to improve composition every day; be creative and use your imagination.. be your worst critic…I delete hundreds of images if they are not successful..don’t keep everything you shoot…what’s the point?

It is important to remember that when shooting sunrise or sunset there are clues that tell you where you are in the progression of light and time. When shooting at sunrise there is a change of hue giving  an indication of the progression of daylight beginning with the predawn colors: blue, lavender, pink, red, orange, yellow…all of these may appear quickly one after the other but when it hits the yellow color, that’s when you are about finished with sunrise.

Sunset is the opposite but after sunset you may be able to continue shooting for quite a while in the twilight hours, even continuing into darkness if you choose to photograph the stars. So here is the progression of sunset: yellow, orange, red, pink, lavender, blue, then black…remember that an hour after sunset there is twilight with beautiful blue skies for photographing cities enabling the buildings to stand out against the sky; whereas with a black sky, the buildings have no edges and disappear.

Also, in the mountains and sometimes along the shore there is a brief moment of alpen glow when the sky suddenly lights up with a pink color after the sun sets.

Here are some examples of the effects of sunlight on an image:

There is a lot of work involved in landscape photography. It may seem easy to get a good shot of sunrise and sunset, but that is deceiving.  The best landscape photographers in the world trek for weeks looking for the best compositions in the best light…Here is a site of a few of the top landscape photographers; let it inspire you to improve and work harder at composition:   https://worldclasslandscapephotographers.com/

You have heard about fisheye lenses and have often seen them used for many weird images: people with huge distorted faces, pets with massive noses, bent horizons, bizarre buildings, etc.  Do you want to use one?

Of course!

The fisheye lens can create absolutely amazing images unlike any other lens. The distortion of the fisheye compared to a rectilinear lens adds a completely new dimension to photography: creativity. And as photographers we want to be creative, don’t we? But as with all good things, there can be bad results, therefore the lens must be used with discretion and only when it adds to an image, not detracts. It is important to remember that the field of view of a fisheye is 180 degrees; the nearest rectilinear lens is the Canon 11-24mm with a 126 degree field of view…the fisheye takes in a lot of real estate and if you’re not careful an image can get very busy. And remember, you can get extremely close to objects; mine will get as close as 12 inches…

I have a Canon 15mm F2.8 fisheye.  It goes everywhere with me;  do I use it a lot?  No.

A fisheye lens is very light and usually small, therefore it is easy to bring along in your bag or in a pocket. You don’t need filters, it would be hard to fit one on the bulbous front lens element, so if I am shooting, the bracketing ability of my camera takes away the element of surprise when I review images. By bracketing, I can combine the sky in one image and the foreground in another if necessary…many times it is not…

I have found that there are certain times a fisheye can do wonders for an image. Night sky images can be incredible. My thought process is simple: if it looks like a fisheye will add something to my composition, I try it…at least by trying the lens, it can be ruled out if the composition fails.

There are even telephoto fisheyes… many manufacturers have fisheye lenses: Canon, Nikon, Sigma, Rokinon.

The lens I have was about $600…they are usually under $1000…some can be found used at Amazon for a lot less.

Here are some examples that may get you motivated to rent or purchase a fisheye:

Q. What are my options when I am shooting raw,  but running out of space on the memory card and forgot to bring another?

A. Switch to shooting in jpeg large..you will have a lot of space on the card…better to get a jpeg than nothing.

Q. My camera gives me an error message or stops working: How do I prevent myself from tossing the camera into the ocean?  (start with #1 and work your way down the list if nothing is working.)

1. remove and replace the battery; power up again.

2. replace the battery with a new one.

3. after doing the above, and camera isn’t right, return to default camera settings.

4. upload the latest firmware

5. Call a rep from the manufacturer. (Actually, this happened to me. The ability of my camera to auto focus was lost, I couldn’t get the center focus to even appear on the viewfinder; the rep was able to talk me through some repeated button pushes and the auto focus worked afterward.)

Q. The sky is bright blue, I’m shooting with an ultra wide angle and there is a dark blue blob in the middle of the image. What do I do?

A. Take off the polarizer or turn it so there is a negative effect…polarizers cause uneven skies on ultra-wide lenses.

Q.I am photographing a waterfall, it is cloudy but the water is still very reflective..what should I do?

A. Use a polarizer to cut the glare and slow your shutter speed to get flowing soft water.

Q. I am at the beach at sunset, but the darn sun is too bright on the horizon..How do I control it?

A. Use a reverse Neutral Density filter…it is darker in the middle, put the darkest part on the sun.

Q. I am at the beach and want the water to look misty and ethereal..what do I do?

A. Use a polarizer and a 5 stop  or 10 stop ND filter for a long exposure…use an aperture of around f16 or f18 and ISO 100.

Q, I am stuck shooting in the middle of the day on vacation…it is sunny, bright, blue skies with harsh shadows…how do I handle this?

A. Bracket three images.  convert them to an HDR image, then use a program like Silver Efex Pro to convert to black and white…because of the HDR treatment, the image will be dynamic in black and white.

Q. It is a cloudy, windy, overcast day…not good for photography…Is there anything I can do to shoot?

A. Pull out a 10 stop ND filter…it will give the clouds movement and drama, convert to black and white if necessary.

Q. I am shooting some scenes in the forest during the fall..it is windy as hell..what should I do?

A. Don’t fight the wind, let the grasses and trees move in the image for a unique shot; the stability of tree trunks will ground the shot.

Q. It is sunny, but I want to shoot a waterfall and there are specular highlights and too much brightness..

A. As a last resort, put on a 10 stop ND and polarizer, sometimes it will give an interesting result..otherwise use a telephoto lens and zoom in on a shady part of the falls, if possible.

Q. The sky is too bright in all my images, what will help?

A. Use a graduated ND filter to control the brightness of the sky and even the exposure…the 3 stop is my favorite, because a 1 stop is almost totally useless, and a 2 stop is often not enough.

Q. I am photographing the horizon on the ocean should I use a graduated ND or a hard edge ND?

A. Use a hard edge ND on a hard edged horizon.