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Introduction Camera Settings JPEG vs. Raw ISO White Balance Colour Filters Depth of Field Camera Position Composition Lighting Conditions Lens Choice Phil North FODCC 2
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Capturing that perfect landscape shot with your camera is a thrill and satisfaction everyone should experience. Whether it s the location you were shooting, the gear you took along, or the composition decisions and editing techniques you utilised your final photo holds a personal memory that you want to relive or share with others. There are many elements we can control while out in the country side and taking photos, like the planning, logistics, or camera settings we use. There are factors we cannot control, like the weather or other people, that cause us to make in-the-moment decisions that affect our post-production processes and time. Phil North FODCC 4
Plan your photo shoot Research your chosen location Use photo sharing Websites like Flickr Use an App like The Photographers Ephemeris (TPE) to research sun rise and sun set directions Use Google Earth to view how the shadows move across the landscape. Use Google Earth to research possible view points Use OS map to determine how to get from your Parking place to your photo location Arrive in good time to get set up and compose your photograph. Phil North FODCC 5
To create a dynamic photographic image: Must have good light About 2hrs in the morning and 2hrs in the evening approximately 1hr either sunrise and sunset Light is warm and soft Creates longest shadows and gives the appearance of depth Must have a good camera position Must use the correct focal length The aim is to capture your emotional response to the scene in front of you. Phil North FODCC 6
Camera Canon 5D mk3 Canon 5D S Lenses EF16-35L f2.8 EF 24-105L f4.0 EF 70-200L f2.8 Manfrotto tripod with ball head Cokin Z pro Neutral Density Filters Hoya Circular polariser Phil North FODCC 7
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Camera Settings Shoot in RAW Retains all the colour information for post processing Keep ISO setting as low as possible Minimises sensor noise, best image quality Use Aperture Priority For control of depth of field White Balance In most cases Set to daylight daylight renders colours as they actually are. Use Mirror Lockup Phil North FODCC 9
JPEG vs. Raw Starting Histogram of a flat scene Increasing Contrast in Photoshop to improve image and use full dynamic range Phil North FODCC 10
JPEG vs. Raw Gapping - JPEG file gets destroyed a little bit. The gaps represent loss of image tonal information (posterisation). RAW file Phil North FODCC 11
ISO A low ISO is the norm for the landscape photographer (100 on Canon). Gives least amount of noise (signal to noise ratio). Best Image quality (colour and dynamic range). Only use a high ISO where necessary Low light conditions To avoid blurring movement Phil North FODCC 12
White Balance Phil North FODCC 13
The daytime sky is blue because the shorter wavelengths of blue light are scattered in our atmosphere. The Sun can sometimes seem very red when it is rising or setting because we are looking at it through more of the Earth's atmosphere which is scattering more of the blue light, leaving red. Phil North FODCC 14
White Balance Set the White balance to the prevailing light On a sunny day set to Daylight Sunsets set to Daylight On overcast days set to Cloudy Will add orange/yellow to your photo to fix the blue cast found on cloudy days Open Shade, the scene is illuminated with light reflected from the sky and is very blue. Will add even more orange/yellow to your photo than the cloudy setting. Phil North FODCC 15
Daylight Cloudy Phil North FODCC 16
Auto Phil North FODCC 17
Daylight 5500K Phil North FODCC 18
Daylight 5500K 8000K Phil North FODCC 19
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Colour influences mood and emotion. Using it well can give great power to your images. Filling a frame with bold contrasting colours such as blue and yellow or blue and orange will create a picture that is exciting and dynamic. Using colours that harmonise such as red and orange creates an image that is soothing and restful. Phil North FODCC 21
Every colour on the colour wheel will make the audience feel something different and invoke certain emotions based on their reaction to the colour. The idea is that you seek out scenes featuring colours that sit directly opposite each other on the colour wheel, as these are known to work harmoniously. Reds, for example, work particularly well with greens, while oranges sit well with blues, and purples with yellows. Phil North FODCC 22
A colour scheme based on complementary colours Phil North FODCC 23
A colour scheme based on analogous colours Phil North FODCC 24
The chart shows a range of colours and how each may have a positive or adverse effect dependent upon the colour intensity or the context of the colour. Phil North FODCC 25
http://www.colormatters.com/color-and-design/basic-color-theory A colour scheme based on analogous colours A colour scheme based on complementary colours Phil North FODCC 26
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Filters Circular Polarising Filter Darkens blue Sky Cuts through haze Removes reflection Increases saturation Single Coated cheaper but lower quality Multi-coated sharper images less flare On a wide angle lens use with caution Can only polarise 90 degrees to the sun so not all areas can be polarised over the full field of view Phil North FODCC 28
Canon 5D mk3 EF16-35 f14 1/13s ISO 100 16mm Phil North FODCC 29
Canon 5DS EF70-200 f14 1/15s ISO 100 120mm Phil North FODCC 30
Graduate Neutral Density Graduated neutral density (GND) or "grad" filters are an essential tool for capturing scenes with a broad dynamic range. They work by obstructing progressively more light toward one side of the filter, and can be used in virtually any situation where brightness changes uniformly in one direction either at a sharp boundary such as a horizon, or more gradually across the entire image. Graduated ND filters affect two aspects of a photograph: Dynamic Range. One is able to capture scenes whose range of brightness exceeds the capabilities of your camera. This is the most commonly understood application. Local Contrast. Even though GND filters usually decrease the contrast between extreme light and dark regions, the contrast within each region actually increases thereby improving the appearance of colour and detail. This is perhaps a less commonly known benefit, but likely causes the greatest improvement. this is because extreme tones are brought closer to the mid-tones, which are where a camera's tonal curve has the most contrast (and where our eyes are most sensitive to tonal differences). Phil North FODCC 31
Graduate Neutral Density Phil North FODCC 32
Hard - use where the horizon is flat i.e. coastal scenes Soft - use where the horizon is uneven i.e. mountain scenes Phil North FODCC 33
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Depth of Field Deep depth of field is the mark of the classic landscape Use a small aperture for sharpness throughout the image. Do not use the smallest aperture as this does not have the best image quality (use F8 to F16) Choosing a higher f-stop has its disadvantages. It increases the necessary exposure time It can also reduce image sharpness due to diffraction. Focus 1/3 of the way into the scene Phil North FODCC 35
Focus Stacking and DOF Focus stacking is a powerful technique for extending a photo's apparent depth of field Several photos are taken by gradually incrementing the focusing distance across the subject. These photos are then aligned in Photoshop so that their content is overlaid pixel by pixel. A composite image is then created based on the sharpest regions from each of these separate photos. Phil North FODCC 36
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Lighting Conditions Bright blue Sunny Days Flat scenes little or no contrast (sun high in the sky) Photograph broad scenes limit the amount of sky in the photograph back lighting in autumn forest scenes Partially Cloudy Can make good black and white images Shafts of sunlight illuminating the focal point. Cloudy/Overcast Days Photograph waterfalls and streams Don t include the sky Golden Hour (Sunrise/Sunset) Mix land and sky Use split ND filter or use HDR Phil North FODCC 38
The Golden Hour Canon 5D mk3 EF17-40 f14 0.4s ISO 100 27mm Phil North FODCC 39
The Golden Hour Canon 5D mk3 EF17-40, f14, 8.0s, ISO 100, 27mm Phil North FODCC 40
The Golden Hour Canon 5D mk3 EF17-40 f16 1.6s ISO 100 32mm Phil North FODCC 41
The Golden Hour Canon 5D mk3 Sigma 24-70, f13, 5.0s, ISO 100, 70mm Phil North FODCC 42
Canon 5DS EF24-105 f11 0.6s ISO 100 40mm Phil North FODCC 43
Canon 5DS EF24-105 f11 0.6s ISO 100 28mm Phil North FODCC 44
The Golden Hour Canon 5D mk3 17-40 f11 0.5s ISO 100 24.0mm Phil North FODCC 45
Canon 5DS Canon 16-35 f13 1/250s ISO 400 32.0mm Phil North FODCC 46
Canon 5DS Canon 16-35 f13 1/30s ISO 100 32.0mm Phil North FODCC 47
The Golden Hour Canon 5D mk3 EF24-105 f16 1/6s ISO 100 40mm Phil North FODCC 48
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Partly Cloudy Days Canon 5D mk3 Sigma 24-70 f16 1/100s ISO 100 48.0mm Phil North FODCC 51
Partly Cloudy Days Canon 5D mk3 EF24-105 f16 1/80s ISO 100 24.0mm Phil North FODCC 52
Partly Cloudy Days Canon 5D mk3 EF16-35 f11 1/40s ISO 100 35.0mm Phil North FODCC 53
Partly Cloudy Days Canon 5D mk3 EF24-105 f16 1/80s ISO 100 80.0mm Phil North FODCC 54
Partly Cloudy Days Canon 5D mk3 EF24-105 f16 1/80s ISO 100 80.0mm Phil North FODCC 55
Partly Cloudy Days Canon 5D mk2 EF 17-40, f16, 1/25s, ISO 100, 27mm Phil North FODCC 56
Overcast Days Canon 5D mk3 EF16-35 f8 1/100s ISO 1250 32.0mm Canon 5D mk3 EF16-35 f5.6 2s ISO 100 35.0mm Phil North FODCC 57
Overcast Days Canon 5D mk3 EF17-40 f8 1/25s ISO 100 40.0mm Canon 5D mk3 EF17-40 f3.5 1/160s ISO 100 24.0mm Phil North FODCC 58
Overcast Days Canon 5D mk3 EF17-40 F8 1/40s ISO 100 20.0mm Phil North FODCC 59
Canon 5DS EF24-105 F13 1/50s ISO 400 58.0mm Phil North FODCC 60
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Camera Position Create a foreground, a mid ground and a background. Where you stand can make all the difference to the scene. Explore all angles Create an interesting interaction between foreground and background Create harmony between foreground and background subjects Use the rule of thirds Phil North FODCC 62
Canon 5DS EF24-105 f14 0.3s ISO 100 50.0mm Phil North FODCC 63
Canon 5DS EF24-105 f14 0.4s ISO 100 32.0mm Phil North FODCC 64
Canon 5DS EF24-105 f11 2s ISO 100 35.0mm Phil North FODCC 65
Canon 50D Sigma 24-70, f20, 1/25s, ISO 100, 24mm Phil North FODCC 66
Canon 5DS EF24-105 f13 1/25s ISO 400 47.0mm Canon 5DS EF24-105 f13 1/15s ISO 400 24.0mm Phil North FODCC 67
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Technical Definition Composition is a visual structure imposed on an artistic expression It involves a selection and arrangement of visual elements within a defined space Phil North FODCC 70
For the photographer: Good compositions tell a story about the subject Composition entices viewers emotionally and visually into the scene. Composition allows you to impose your artistic vision. Composition invites the viewers to see the world through your eyes. Phil North FODCC 71
Composition Rules Obey the Rules Sometimes Rule 1: The Rule of Thirds Rule 2: The Construct of Depth Rule 3: Leading Lines Once you re comfortable with the conventions and rules, try to subvert them and creatively bend them. Phil North FODCC 72
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Composition Canon 5D mk3 EF16-35 f16 1/6s ISO 100 35mm Phil North FODCC 74
Composition Canon 5D mk3 EF16-35 f13 1/40s ISO 100 16mm Phil North FODCC 75
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Canon 5DS Canon 24-105 f14 1/30s ISO 100 73.0mm Phil North FODCC 79
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Composition Canon 5D mk3 EF16-35 f16 1/8s ISO 100 16mm Phil North FODCC 82
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Canon 5D mk3 EF24-105 f11 2s ISO 100 40mm Phil North FODCC 90
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Patterns can be a repetition of shapes Phil North FODCC 99
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What's wrong with the camera position for this image Phil North FODCC 105
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Lens Choice Wide Angle Makes background appear small wile including more of it. Creates illusion of greater than normal space Exaggerates the foreground Greater amount of Depth of Field Telephoto Makes background appear larger while showing less of it Compresses subjects against background Isolates subject Shallow Depth of Field Phil North FODCC 109
Canon 5D mk3 EF16-35 f11 3.2s ISO 100 16.0mm Canon 5D mk3 EF16-35 f11 1.6s ISO 100 35.0mm Phil North FODCC 110
Canon 5D S EF24-105 F14 1s ISO 100 86.0mm Phil North FODCC 111
Canon 5DS EF24-105 f14 1/10s ISO 100 24mm Phil North FODCC 112
Canon 5DS EF24-105 f14 1/20s ISO 100 47mm Phil North FODCC 113
Canon 5DS EF24-105 f14 1/15s ISO 100 105mm Phil North FODCC 114
Lens Choice Canon 5D mk3 Sigma 15mm, f14, 1/25s, ISO 100 Phil North FODCC 115
Lens Choice Canon 5D mk3 Sigma 24-70, f14, 1/50s, ISO 100, 42mm Phil North FODCC 116
Lens Choice Canon 5D mk2 EF70-200 f16 0.3s ISO 100 173.0mm Phil North FODCC 117
Lens Choice Canon 5D mk2 EF70-200 f16 0.3s ISO 100 200.0mm Phil North FODCC 118
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The light from the sun low in the sky and approaching or passing heavy rain showers produce dramatic lighting conditions. Phil North FODCC 120
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