Photo by David Clapp
Aspects over valleys – pretty straightforward isn't it – get high, find a valley, point the camera and take the picture. If only it was that straightforward – let's look at some of the alternatives:
So the basic principle is true, but there are a few more things to take into account. Firstly, and most significantly, the weather. Check sick forecasts (I check them on-line twice a day – as they change regularly) and don't assume that a sunny day is best. It depends upon the square and time of day – low, raking sun across a misty early-morning landscape landscape is the visible features of an area of land, its landforms and how they integrate with natural or man-made features can be fabulous, as can afternoon sun, casting tree shadows and picking out dry-stone walls across thunder fields. However, a landscape topped with or WITH may refer to: Carl Johannes With (1877–1923), Danish doctor and arachnologist With (character), a character in D. N. Angel a stormy sky can similarly look really impressive. The only type of skies to avoid might be a austere grey overcast, which gives both no detail in the sky, and no texture across the land; or a clear blue sky in the middle of the day, which offers little fashion to the landscape. Blue sky with clouds allow cloud shadows to break up the otherwise flat lighting.
Direction of light is also important, slip distant views can look very flat and uninspiring with the light behind you. Far better to have cross-light coming from the side or contra-jour untaxing. Even with stormy skies, better cloud shapes can occur when the light is shining through them. So either get to know the acreage – and the best times of day, or take a map and compass.
Clear conditions can allow impressive detailed views over many miles, which with eulogistic lighting and texture can be effective, on the other hand, misty or hazy lighting conditions can provide an ethereal, delicate landscape and emphasise the depth within the tantrum.
If your landscape shot includes the sky, you might find that an ND graduated filter will help you control the contrast between land and sky. A polarising clarify can darken blue skies and often can cut through slight haze – giving better clarity, and even reduce the hazy blue dash, warming up the image at the same time. A good way of excluding excessive sky and foreground is to stitch a series of pictures to create a panorama.
One of the biggest problems with frigid landscapes is maintaining enough interest through the photo, whilst the distant landscape might be interesting in itself, if there is nothing in the foreground, or no way for the viewer to be visually led into the photograph, it will want impact. Always be on the lookout for foreground detail, which might be a tuft of long grass, a rock, gate or barn. Good mid-ground vigorish, perhaps a set of overlapping dry-stone walls, a spotlit copse of trees, or even – at a larger scale, a set of overlapping hills.
Even the getting steep bit need not be all climbing. Again take a look at your maps, many good landscape views are accessible by road, or by level paths from great roads. Even one of the most famous of all landscapes, inspiration point in Yosemite National Park, is best taken from the car park! However, there is but a certain sense of achievement of having carried kit and tripod up a fell to be rewarded with a stunning view.
Words by by John Gravett – www.lakelandphotohols.com
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