Mount Shuksan from Picture Lake, North Cascades National Park, Washington

In the perennial search for sure-fire ways to create compelling landscape photography it’s easy to overlook one of the simplest elements in the equation. Sometimes you just have to wait.

You’ve done your location research, you are proficient in the features and functions of your equipment, and you’ve selected a lens and composition that accurately expresses your vision. Now all you need is the light. When it’s a sunrise or sunset you’re after, it’s easy to calculate the time you need to arrive at your location and programs like The Photographers Ephemeris (www.photoephemeris.com) are an excellent resource. But weather is the great unknown that even meteorologists can’t predict with 100 percent accuracy.

The image above was made at one of the most popular and well-known locations in the US, and when I arrived I was surrounded by the anticipated number of photographers. But the mountain had been covered in clouds most of the morning and showed little promise of making an appearance. It was a long wait, and everyone else decided it was more time than they were willing to invest.

This was the only image I made that day as the weather rapidly deteriorated, but when the clouds parted for that brief moment my patience and preparation was rewarded. It doesn’t always work out this way, but as the saying goes - ”you’ll always miss 100 percent of the shots you never take”.

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.

Fall color and fresh snow, Sierra Nevada Mountains, California (click to view larger)

Making great images of fall color obviously starts with the seasonal changing of the leaves. Where and how this happens is dependent upon elevation and temperature and no two years are ever the same. The higher mountains of the west begin in mid-September, eastern hardwoods in October, and the lower red-rock country of the southwest in early November. Once you’ve settled on a destination and found that great grove of trees the next step is to consider the light.

It might seem like the vibrant reds or yellows before you would be faithfully reproduced by your sensor no matter what time of day, but understanding the quality of the light can go along way towards guaranteeing your success. Using backlight or sidelight when the sun is low on the horizon and illuminates the leaves from behind creates a wonderful warm glow, especially when set against a dark background. Softlight is another great light source (illustrated above) that occurs when the sky is overcast and acts like a giant studio softbox. Under these conditions, it doesn’t matter what time of day you’re shooting as the shadows are eliminated and the uniform light both reduces the contrast while intensifying the colors.

So when the scene presents itself, consider the light and don’t be too quick to trip the shutter. A slight change in position or a little patience could make the difference between a good image and a great one.

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.

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.

Watching the LA Marathon today (on a cold, soggy morning in Southern California) got me thinking about the correlation between endurance sports and photography and the rewards involved when going the distance. Coming back from a remote shoot with successful imagery involves many factors that all need to come together and often requires the same discipline used in running a marathon. Call it hang time or as I prefer “marathon mentality”, it’s a willingness to stay just a little longer, travel just a little further, or even endure some discomfort - then expect the unexpected.

After racing many marathons over the past 15 years I began to see a connection between the investment and return for both my photography and racing. Both require the obvious advanced preparation and planning, photo equipment needs to function properly in extremes of temperature and often with rough handling  just as the body must be conditioned to endure the effects of running 26 miles. But once at a location or a race the mental process of being ”in the moment”, in a heightened sense of awareness for extended periods, is often just as important and can be the difference between success and failure.

I’m always amazed at the multitude of reasons why people run marathons, but the one thing they all have in common is a desire to push themselves further than they have ever gone before. In the same vein, your photography can be taken to the next level simply by tuning your senses to absorb all that is around you and a willingness to exercise your own marathon mentality.

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.