I N- S A P P E P B CI O A O L K O O F N F L E Y R £ 1 6. 9 9 RE A DING the Landscape An inspirational and instructional guide to landscape photography PETER WATSON rrttll__lliivveeBBooookk__0022..iinndddd 22 2277//1111//0088 1155::5555::4433 READING the Landscape an inspirational and instructional guide to landscape photography P E T E R WAT S O N 22 photographers’ pip institute press 22 rrttll__lliivveeBBooookk__0022..iinndddd 33 1199//1111//0088 1155::2222::3366 First published 2009 by Photographers’ Institute Press an imprint of The Guild of Master Craftsman Publications Ltd Castle Place, 166 High Street, Lewes, East Sussex BN7 1XU Text and photographs © Peter Watson, 2009 © in the Work Photographers’ Institute Press, 2009 All rights reserved The right of Peter Watson to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, sections 77 and 78. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission of the publisher and copyright owner. This book is sold subject to the condition that all designs are copyright and are not for commercial reproduction without the permission of the designer and copyright owner. The publishers and author can accept no legal responsibility for any consequences arising from the application of information, advice or instructions given in this publication. A catalogue record for this book is available from the British Library. Publisher: Jonathan Bailey Production Manager: Jim Bulley Managing Editor: Gerrie Purcell Project Editor: Louise Compagnone Managing Art Editor: Gilda Pacitti Designer: Terry Jeavons Set in Interstate Colour origination by GMC Reprographics rrttll__lliivveeBBooookk__0022..iinndddd 55 1199//1111//0088 1155::5500::2233 Contents CHAPTER TWO Trees, forests & woodland 46 Introduction 9 CHAPTER THREE Lakes, rivers & CHAPTER ONE waterfalls 82 Mountains & the wilderness 10 rrttll__lliivveeBBooookk__0022..iinndddd 66 2277//1111//0088 1155::5566::1144 CHAPTER FIVE Coastal landscapes 148 CHAPTER FOUR Useful resources 183 Urban & rural landscapes 114 Glossary 186 About the author 189 Index 190 rrttll__lliivveeBBooookk__0022..iinndddd 77 1199//1111//0088 1155::5500::4488 rrttll__lliivveeBBooookk__0022..iinndddd 88 1199//1111//0088 1155::5511::0011 Introduction Photography has, quite rightly, often been described as painting with light. Both painters and photographers are indeed practitioners of visual art but, similar though the two art forms are, there is a point at which they become divergent. Unlike the photographer, the painter is able to observe, interpret and embark on the creation of a picture in what is essentially one seamless act. The making of a photograph, however, is often a more prolonged process which, for a landscape image, can span many hours, days, weeks – and frequently much longer. This is because the outdoor environment is beyond our control, it can be demanding and there are no shortcuts. To succeed we must observe the landscape and create and impose order on a subject whose fi ner qualities are both ubiquitous and elusive. This can be a challenge because – I can tell you from experience – there is more to the landscape than meets the eye. It is not, at fi rst glance, what it appears to be. The fi elds, trees, mountains, rivers and lakes which are so apparent to the casual observer are, in essence, a collection of graphic lines, patterns, shapes, colours and textures. These are the elemental building blocks of a landscape image which, together with the sky and light, form the basis of the photographer’s raw materials. How effectively we use those materials is intrinsically linked to our observation, reading and interpretation of the landscape. It is not only what we see; what makes the difference is how we see. Throughout this book I have endeavoured to explain and demonstrate, by example, how I observe and interpret the variety of subject matter which is to be found across the length and breadth of the landscape. I hope, therefore, that by reading the pages to follow you will gain a comprehensive and rewarding insight into not only the many creative opportunities that exist, but also to my approach to reading the landscape. Peter Watson LLYN GWYNANT, SNOWDONIA, WALES I frequently visit this hauntingly beautiful valley which lies deep in the heart of the Snowdonia Mountains. It never disappoints. There are some places which are simply sublime; they demand and reward the attention of the photographer. Llyn Gwynant is such a place. CAMERA Tachihara 5x4in LENS Super Angulon 150mm (Standard) FILM Fuji Provia 100 EXPOSURE 1sec at f32 WAITING FOR THE LIGHT 1 hour INTRODUCTION 9 rrttll__lliivveeBBooookk__0022..iinndddd 99 2288//1111//0088 1155::5511::0011 CHAPTER ONE Mountains & the wilderness Mountainous landscapes and wildernesses are, I believe, among the most challenging and diffi cult subjects to photograph. I say this, not because I wish to paint an overly pessimistic picture, but as a result of my early experiences of failure – which I recall with more than a twinge of discomfort. Imagine the situation: you escape from the urban sprawl, drive high into the mountains, park up and embark on a journey of discovery. The air is clean and refreshing, the trickle of a stream the only sound and grazing sheep your only company. You fi nd yourself surrounded by majestic peaks and the sight of them takes your breath away. The splendour is all-embracing so you set up your camera and capture the marvellous spectacle. A few days later, hoping to relive the moment, you look at your photographs with bated breath. Then, with a sigh of frustration, you wonder what happened to the panoramic vista, the towering mountains or the sprawling forest? It’s all there but, as a photograph, it is barely recognizable because it somehow lacks the scale and impact of the original scene and is hugely disappointing. So, what went wrong? It was a question I frequently asked myself during the early stages of my learning experience. Transferring a vast and imposing three dimensional landscape onto a small piece of two dimensional fi lm or image sensor isn’t straightforward. Three into two doesn’t go, so we have to compensate for this and make the most of the tools we have available. How the photograph is structured – from the closest foreground to the distant horizon – is critically important, as is the light and shadow falling on it. Ultimately, it is this combination of composition and light that will determine the outcome of a fi nal image. This type of subject is demanding, but success is possible because it can be achieved through practice and experience. These can be acquired and developed over time – with, of course, the right technique, which I will attempt to demonstrate on the following pages. LANGDALE, CUMBRIA, ENGLAND I hadn’t planned to make this photograph but I was drawn to it by the light. It was the shadow cast by the avenue of trees and the angled sunlight falling across the mountain that compelled me to stop and set up my camera. I would have welcomed a little more cloud and a stronger hint of autumn, but that perhaps will be next time. CAMERA Tachihara 5x4in LENS Rodenstock 120mm (Semi Wideangle) FILM Fuji Provia 100 EXPOSURE 1/2sec at f32 WAITING FOR THE LIGHT 45 minutes 10 READING THE LANDSCAPE rrttll__lliivveeBBooookk__0022..iinndddd 1100 1199//1111//0088 1155::5511::0033