Archives for category: Landscapes/seascapes

Just 6 days left to view the limited edition print exhibition by Deb Paton and David Bigwood at the Jindabyne Visitor Centre.

Autumn

There’s still three weeks left to see the exhibition of limited edition prints by David Bigwood and Deb Paton, sponsored by Snowy Mountains Creative, in the exhibition space at the Jindabyne Visitor Centre. Here are two of the prints each image measuring 42x30cms and matted in frames.

I admit to being a fan of Charlie Waite. This English landscape photographer has figured extensively in my photographic education. I was lucky enough to attend one of his weekend workshops while in the UK, have interviewed him for several magazines, enjoyed visiting his exhibitions both in London and Sydney and have a collection of his books which I dip into regularly when I need inspiration or reassurance.
He is called the doyen of British landscape photographers, an accolade that is not given lightly but which, in my opinion, is well deserved. And, why all this preamble? I have just been reading Charlie’s latest addition to my library, Behind the Photograph — Charlie Waite’s favourite photographs and the story behind them and this prompted me to dig out one of his DVDs. In it he had forsaken his usual state of the art cameras for a selection of compact digitals. I hasten to add that this was a temporary exercise as he showed that with thought these small cameras can produce quality results. It was a reminder that it is not the equipment that makes great photographs, it is the photographer and the way in which he or she uses the equipment they have.
I bought the DVD for a friend who had just started making pictures of the landscape but I found it most instructive listening to Charlie’s thought processes as he began making pictures. In particular, I was taken by one sequence when he was searching for images in a West Country harbour and finding no big picture that satisfied him. However, in no time he was happily shooting a number of images that many of us would have passed by. It was a vivid reminder that in the big picture there are dozens of small pictures ready for the photographer with the eyes to see them.
I don’t think the DVD is available now but Behind the Photograph is. You can find the details on Charlie’s website (https://www.charliewaite.com/) from where you can download the ebook. If you are serious about landscape photography do get hold of this book and learn how an expert’s mind works as he surveys the scene he is about to photograph.

Snowy Mountains Creative invites you to an exhibition of limited edition prints by photographer David Bigwood and graphic artist Deb Paton, at the gallery in the Snowy Region Visitor Centre in Jindabyne.
The exhibition will be open all March, the centre opening hours are 8.30 am to 5pm each day

Newly added to the prints for sale in a variety of sizes. (Shop>Photographic Prints>Snowy Mountains, Australia) Click on the picture for a larger image.

Another of my e-books that is popular.

In the days of film BD (before digital) no self-respecting landscape photographer would leave home without an armoury of filters. Then came digital and Photoshop and it seemed that the days of filters for every occasion were numbered. My expensive collection of Lee filters was consigned to my spare camera bag.
But, keen reader of photography books as I am, I noted that filters were getting mentioned again and again and again. The final straw was when I was browsing through a book by one of my favourite photographers, David Noton, who mentioned time and time again the use of his polariser, neutral density (ND) graduated and neutral density full filters. (David Noton: Full Frame (David and Charles) 978-0-7153-3614-4) If they were good enough for a brilliant photographer like him, who was I to forego them. So a scrabble through my spare bag ensued and I went forth suitably filtered.
Not, I hasten to add, with the full arsenal that I used to carry in film days but with those that are proving useful in digital days to improve the results out of the camera so that less time has to be spent in processing in front of the computer.

To buy, go to my ‘Home’ page tab above and click on ‘To see my e-books on photography available for tablet readers, including Kindle, and for reading on your computer’. Then click on ‘Introduction to Filters for Digital Photography’.

Stock photography by David Bigwood at Alamy

While browsing through my files, I came across this picture that I had not previously processed — just one of hundreds. I thought it may have some potential so set about processing it. I liked the result so here it is.

PICTURECORRECT

PHOTOGRAPHING THE MICRO LANDSCAPE
BY DAVID BIGWOOD

When I began making pictures of the landscape, it was always the big picture that mattered. And I suppose it’s the same for most of us. It was a case of taking a few exposures and then moving on to the next grand view.

Then came the day when I needed to make some pictures—photographers will know what I mean—and the weather was against me. Uniformly grey clouds and lousy light are no recipe for great landscape shots.

With the itch in my shutter finger unsatisfied, I had to find a subject, so I began casting around the area. And, what do you know, there were dozens of them. Of course there were, for those who have eyes to see. The big picture is made up of thousands—maybe millions—of smaller pictures, and this is what I had been missing.

And, it’s not only the weather that can be against the making of the big picture. Sometimes it’s hard to avoid the crowds in a popular spot, for example, but if we are attuned to looking within the scene for its components and are able to recognize potential pictures among them, then our frustrations at not being able to make pictures because of situations that are beyond our control can be relieved.

The same applies when the big picture just isn’t right. Maybe it’s the light that is wrong—from the wrong direction, at the wrong time of day—or something in the scene is just not photogenic and it can’t be got around by moving it or moving our viewpoint. This happened to me recently when I went to the Snowy River in the New South Wales high country in Australia. The attractive scenes that I knew from five years ago had disappeared in the disastrous bush fires of January 2003 and the area had not fully recovered. There were dead trees everywhere and the whole area had a scrubby look about it. Its former beauty will come back, but it will take a lot more time. Big picture scenes were out, so I concentrated instead on close ups of some of the spring wildflowers that were brightening the river bank.

And, when I spent a week last year on England’s Cumbrian coast, the weather was less than kind but nevertheless I found subjects to shoot between the bursts of sunshine by looking into the landscape.

It was the weather that first forced me into exploring for smaller pictures but now it’s my natural approach to landscape photography. I do not shun the big picture, but now I am loath to leave a place until I have made some images that show something of its intimate details. I have learned to not only look but also to see.

And, that is the first step to making pictures of the micro-landscape, the bits that make up the whole. You may have heard the comment by camera club judges, “a well seen picture” and that is what we have to be aware of when considering our photography. We have to look and then, more importantly, we have to see the picture opportunities that present themselves. We have to take our time. We have to immerse ourselves in the area. We need to feel for the place. We need to experience wonder at the age of rock formations and how, over millenniums, they have been fashioned by wind and water, at the way in which trees and other plants survive in less than perfect conditions and how they cling to life and overcome obstacles by growing round and over them. We need to be in awe of the power of nature.

I try not to have preconceived ideas of what I am looking for as subjects when I begin to explore. To do so would defeat the object of the exercise, which is to first look and then to see. However, depending on the location, there are some obvious subjects that crop up repeatedly. For instance, in Britain’s ancient woodlands the twisted and contorted trunks of old trees, the bases of the same trees which often incorporate huge boulders, and in the moorlands, the wildflowers that fill the meadows in high summer, the fallen golden leaves of the deciduous trees in autumn and, in the winter, the plants that brave the snow, the streams winding between snowy banks and the footprints of animals, and birds in otherwise undisturbed snow.

On the coast, there are the rock pools gouged out by centuries of water action, and their inhabitants, rippled sand, flotsam and jetsam, the plants that bind the sand, the multi-colored pebbles, and the many wonderful shapes of rock platforms and the strata in cliffs.

Wherever you are, look up. Sometimes a wonderful, and generally fleeting cloud arrangement will make a great image. And there may be a photogenic arrangement of leaves on a tree or at your feet. Check the trunks of trees, especially after or even during rain when the bark of some trees, especially in Australia, is magnificently colored. Watch the swirling water in creeks —apart from anything else, flowing water is very therapeutic and calming—especially where it ripples over boulders.

Then there are the grasses, especially when back lit, or flowers or fungi, or fallen trees or…the list is infinite. Those are just some examples but it doesn’t matter where you go, you will find subjects to fill your viewfinder if you really look.

As far as technique is concerned, the important thing is to ensure that your subject is sharp and possibly isolated from the background by using a large aperture. Unless you’re using a fast film or ISO setting, a tripod will be useful, if not essential, to ensure that your camera stays focused where you want it and that camera shake does not ruin a precious picture.

If you want to make close-up pictures, a macro lens or a set of extension tubes will be necessary. I sometimes find focusing when using extension tubes a bit difficult especially when the lens is practically touching the subject. It is sometimes easier then to move the camera backwards and forwards to establish correct focus rather than using the focus adjustment.

Close-up images of flowers are often better when made under overcast skies as the reduction in contrast suits the subject and enhances the colors. I carry a plastic sheet when expecting to do close-up work at ground level to make the job a little more comfortable.

As the light level on grey days or in woods is sometimes a little low, you may want to use some fill-in flash to enhance your subject. If you can, adjust the output of your flash gun; aim to produce a flash about two stops under the exposure setting of your camera, which will produce a natural looking image. I have been able to produce quite good results at times with a very basic flash gun by shooting through a couple of layers of a white handkerchief. Not very scientific but it has worked. But, do experiment with your equipment before you leave home!

Aluminum foil can also be useful to bounce light into your subject and it’s worth carrying some in your camera bag. I have a Space Blanket which I bought many years ago, which is very useful as a reflector. I can also wrap myself in it if I get lost and have to spend the night outdoors in low temperatures! One question that crops up every now and then about the photographing of the natural world is: do we take the picture exactly as it is found or can we move things around and even import an item from somewhere else? As far as I’m concerned, that is up to you!

For the record, I do clear away distracting items, some grass for instance, and I have been known to introduce a greenish leaf from a few centimeters away on to a pile of autumn colored leaves to provide some contrast. But, if I can, I leave it as I found it. If I do make changes they are only minor. But, it’s your picture and your choice.

I have used film and digital to produce my micro-landscape pictures but what you use is immaterial. It is the result that counts and that result will come from your ability to see the picture in the first place and then from your technical know-how.

About the Author:
David Bigwood is a photographer in the Snowy Mountains of New South Wales, Australia.

6 RESPONSES TO “PHOTOGRAPHING THE MICRO LANDSCAPE”

Andy Keeble
Friday, October 12th, 2012 at 1:54 pm
A very interesting article. There is a whole world to explore but the patience required must be astronomical! However the resulting images are quite breath taking.
Andy

Kathy Clark
Saturday, October 13th, 2012 at 8:54 pm
Very well said. I love seeing what is available just inches away. You never know what you will run across, especially with all the bugs in Alabama.
Thank you for sharing this, very inspiring.
Kathy Clark

Waheed Akhtar
Sunday, October 14th, 2012 at 2:17 am
Some great tips here for micro photography. Thank you.

Rob Gipman
Thursday, November 5th, 2015 at 2:54 pm
I’ts a fascinating world to indeed. took this shot as my first real macro with a 50mm lens reverted. https://www.flickr.com/photos/gipukan/4392466957/

Robert Guildner
Thursday, December 7th, 2017 at 11:47 am
Thank you for this insightful article. Your suggestions apply to everyday life and just not photography.

Neil
Thursday, December 7th, 2017 at 10:13 pm
Really useful article and I must say that you have a wonderful, almost poetic, style of writing.

You are invited to view my new shop that I have opened on Etsy. Prints and other photographic products will be available for sale. https://www.etsy.com/au/shop/TheForestArtGallery?ref=search_shop_redirect

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