Thoreau’s famous words apply as much to successful landscape photography as life itself. Often when we first approach a classic scene we’re inclined to capture as much of it as possible in hopes that nothing is left out. Many times a wide angle view is the best perspective for those grand vistas, but it still must be carefully composed in order to guide the viewer’s eye through the frame. The problems arise when there is too much information and the image becomes cluttered and confusing. It’s time to go long and distill the elements down to their essence.

As with taking on too much in our lives and missing the forest for the trees, sometimes we need to simplify the scene to make it stronger. By carefully cropping out distracting elements and focusing on light and form we can create images with much more visual impact that connect with our audience on a higher level.

Hiker looking down on the colorful Cedar Breaks Amphitheater, Cedar Breaks National Monument, Utah

There’s a popular climb at Joshua Tree called “Figures on a Landscape” that got me thinking about the connection between man and the environment. Not so much from an environmental standpoint (this could fill numerous posts), but photographically speaking. The climb is not long by Yosemite standards, but the lack of apparent holds on the colorful granite creates the illusion of climbers on a much larger stone palette.

Landscape photography can often portray the natural world in abstract even with the best intentions of  preserving its true form. It’s the nature of the beast – and that’s fine when you’re creating intentional abstracts or scale is irrelevant. Perspective control lenses and software can correct bending horizons and converging trees to create a more accurate representation if necessary, but there isn’t much else in nature that subscribes to our architectural way of thinking.

Now don’t get me wrong – that’s a good thing! Nature should be wild and chaotic and unpredictable, and in most cases that’s exactly what we’re hoping to capture. But there are times when this can also lead to confusion with our audience. When you’re trying to convey a sense of scale such as the immensity of the Grand Canyon or the vastness of the night sky the simple inclusion of a person in the frame can give your image an instant focal point and more importantly, a sense of perspective.

Mount Rushmore and fall color, Mount Rushmore National Memorial, South Dakota (click for larger view)

I always strive to find the unique angle or foreground subject in my landscape and travel photography and most of the time this is simply a matter of scouting the location before the sweet light arrives to find that special element. But sometimes the options are limited and even the subject itself has really only one angle. Mount Rushmore is a classic example.

The sculpture created by Gutzon Borglum in the 1930s is an icon of Americana, and has probably been photographed more times than Old Faithful or Yosemite Falls. Of course I too had to capture my version, but with limited access to the monument my choice of lens was about the only option. Tight telephoto images are captivating and show the skill and detail that went into Borglum’s creation, but in the end it was a simple splash of fall color and a wide field of view that captured the essence of what I felt and gave the image that extra something that set it apart from the crowd.

So the next time you find your vision is hampered by the limitations of your surroundings go long or go wide, but try to include something special within the frame that gives your image a unique quality.

Climbers on the classic traverse of Matthes Crest, Yosemite National Park, California (click for larger view)

Exploring the high peaks of the Sierra Nevada Mountains of California is a magical experience. The Range of Light, as John Muir affectionately called it, is essentially in my backyard (just a few hours drive away) and I try to make the most of it throughout the year. Winter is a fantastic time to discover the vast solitude that awaits the backcountry skier, late spring and summer provide ample opportunity to backpack to secluded lakes and hidden valleys, and autumn, my favorite time of year, is perfect for sharing the lofty summits with good friends.

Many of the peaks in the range average over 13,000 feet and the views stretch far and wide. Photography in the crisp, clear alpine air needs no polarizing filter to faithfully reproduce the deep indigo hue that looks as if it must have been tweeked in Photoshop. My go-to lens in these high and wild places is the Nikkor 16mm, which has a wide field of view, provides maximum depth of field with extremely close focusing, and is very compact making it especially easy to climb with.

Climbing photography is challenging as vantage points are often limited and safety always comes first. But the heightened sense of awareness that is a requirement when scaling the peaks has a dual benefit - that of visual clarity. Great shots have a way of presenting themselves, and capturing those images is often just a matter of living in the moment.

The Wave, Coyote Buttes, Paria Canyon-Vermilion Cliffs Wilderness, Arizona

Compelling landscape photography is often comprised of one or more elements that make it stand out from the crowd. Magical light, richly saturated colors, and dramatic vistas can all make for great images, but sometimes we’re not rewarded with these sure-fire conditions even after the long hike or waiting out the inclement weather.

Fortunately there are other ways to create visually dynamic imagery when mother nature is not cooperating – namely your lens and your eyes. Perspective is a powerful tool that is controlled entirely by your choice of lens and framing. A wide angle lens with both excellent depth of field and field of view can be used to emphasize a foreground element such as a plant or rock within the context of its larger mountain or desert environment. In most cases this also creates an imaginary line directing the viewer’s eye across the frame, which in turn adds a sense of drama to the composition.

So the next time the conditions aren’t coming together the way you had planned and your landscapes are proving lack-luster,  try changing your perspective – and you might just see the scene in a whole new light.

Peninsular Bighorn Sheep, Anza-Borrego Desert State Park, California

Wildlife photography is not my specialty, but I never pass up the opportunity to add a dynamic element to my landscapes when the local fauna is easily accessible. On a recent trip to Anza-Borrego Desert State Park I had heard that the endangered Peninsular Bighorn Sheep were frequenting the canyons, so I made a point of seeking out these magnificent animals. Still after three days in the park and many miles on the trail I had plenty of great images of blooming succulents and lush oasis, but not a single animal.

Then shortly before leaving the park I decided to make one last trip up Borrego Palm Canyon where, just a half mile up the trail, this handsome creature appeared on the ridge above me. Assuming I might only get a glimpse before he darted up the canyon wall, I took my obligatory insurance shots then waited to see his reaction. Much to my surprise he wasn’t in a hurry, so I left the trail (in a wide arc giving him plenty of room) to get a better angle. At first he was attentive to my movement but not agitated as I crossed the ridge and moved closer, then he seemed to accept my presence and for the next hour provided me with an amazing one-on-one photo session that I won’t soon forget.

Now I would have loved to have ended the day on that note, but unfortunately as the title of this post suggests, my luck had run its course. Not twenty minutes after heading down the trail, I somehow managed to slip on a rock (something I haven’t done in 35 years of traipsing through the wilderness), fell hard on my right side, and watched in horror as my Nikon body and 70-200mm lens lay in five pieces not far from my head. Fortunately I wasn’t injured and my equipment was insured. In fact, the great people at Rand Insurance (who underwrite my Nanpa policy) were so efficient that I was able to replace the equipment within ten days – just in time for an upcoming trip to Europe.

So if there is a moral to this story, it’s to keep taking those insurance shots when opportunity presents itself (and with a little luck you’ll come away with much more). And above all, make sure your equipment policy is up to date!

Fall aspens along Bishop Creek, Sierra Nevada Mountains, California

The digital age has opened up a whole new realm of possible solutions from HDR (High Dynamic Range) to stitched panoramas, and filters have always been invaluable in controlling and shaping the light just as much in the digital realm as in the days of film.

With all of these techniques available it’s easy to lose focus, to put the cart before the horse so to speak, and attempt to “shoot for HDR” or push a filter to its limits. As with the constant temptation to buy the latest camera or software, we need to remember that it’s not about the gear or the technique, but the vision. That’s the essence of creative photography and yet often misplaced amid all of the many possibilities.

No matter what the future may bring our most important tool as photographers will always be our mind’s eye, and the equipment in our bag or on our desktop is just a means of  helping the viewer connect with what we felt emotionally when we made the image.

California Poppy detail, Antelope Valley, California

Ever feel like you’re in a photographic rut? Like the images just aren’t flowing through the lens and onto the sensor as easily as they should? New and stunning scenery will always help inspire the creative juices, but what if travel isn’t in the cards right now? Sounds like the perfect time to try out a new perspective and a great tool for this is the Lensbaby.

There’s no question that this is the oddest thing you’ll ever attach to the front of your camera, and using it is definitely a throw-back to the dark ages of photography with its completely manual focus and exposure. What started out as a toy-like novelty with a plastic lens and bellows has evolved into a series of high-quality tools each with a slightly different slant (pun intended). Basically its a limited use selective focus lens that mimics the look of a Holga camera with the added ability to move the sweet spot of focus to any desired part of the frame and vary the depth of the out of focus areas. Mounts are available for all major DSLR models and a macro kit is also available.

This is a fun lens to use and creatively its application is unlimited. So the next time you find yourself in creative funk, give this little gem a try and see the world in a whole new light.

Climber on Wall Street along the Colorado River Gorge, Utah

Rock climbing is one of those sports in which the sum is definitely greater than the parts. Originally just one facet of mountaineering, it evolved into it’s own specific niche with the advancement of equipment and bold new techniques, which allowed the seemingly impossible to be conquered. But as any climber will tell you, the rewards are much more than just the satisfaction of getting to the top.

For many, climbing is as much a spiritual journey as a physical one. It’s often compared to ballet in the vertical in which a sequence of moves are carefully choreographed and the mind is sharply focused on the next position or placement of protection. And like a chess game, the participant must constantly adapt his or her thinking with each move as the climb progresses.

Because of this requirement of critical thinking it’s not surprising that climbing courses have been encouraged by large corporations across the country to help their employees develope not only trust and teamwork, but focus and attention to detail – disciplines which are critical to success in both endeavors. And of course, the more obvious byproducts of a day at the craigs is great physical conditioning and a memorable adventure with good friends.

Adding photography to the mix is a natural for those looking to capture high action in a natural setting. Whether you’re a participant or just an observer, rock climbers move at a slow enough pace that capturing the moments that define the sport is relatively easy. My favorite lens while climbing is a 16mm, which not only provides a wide field of view to include a good sense of place but has incredible depth of field to make sure everything from the rope in my hands to the distant mountains are sharp.

Frost on Mountain Ash Berries, Mount Rainier National Park, Washington

Grand landscapes are the cornerstone of most outdoor photography, but it’s easy to be overwhelmed by the big picture. Trying to capture all that beauty and present it in a single frame is often the biggest conundrum of outdoor photographers. When the light is dramatic it transfixes us and we want to get it all in, whether it’s a firey sunset that fills the sky or a hillside covered in golden autumn hues. The mantra is “go wide” and we reach for our faithful 24mm lens to preserve every bit of nature’s gift.

It’s human nature to want to take it all in, but the big picture is only one factor in conveying the emotion that is felt at the scene. The details which often lay at our feet and are so easily overlooked not only create a continuity in telling the story of a particular location, but can result in images that stand quite well on their own. And when the dramatic light is nowhere to be found as on dreary overcast days, this is the perfect time to focus on the small things.