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Edwin is a sought after speaker and instructor and also shoots for several high profile companies. He is an inspiration for this generation's band of photographers and many wait for photos from his next adventures. Raymond is an award-winning photographer with a worldwide reputation. One of his photos was even elected as one of the best photos in the 10 years history of the organization. These days he works as a nature photographer, mostly leading expert tours across the stunning nordic nations.

He is an ambassador for the Lucroit filter system, and has won awards in a range of international photography contests. Alban grew up on the shores of southwest France, and could easily have spent a lifetime enjoying the waves were it not for his passion for photography. Although self-taught, Alban is highly skilled with post-processing techniques and covers many of his secrets in his personal classes. Despite this, he is insistent that his photography talents come instead from an ability to convey a vision, and the passion and energy he has for capturing the natural world. He firmly believes that anyone able to harness that same passion can take their photography to new levels, and now leads tours and excursions to help passionate photographers do exactly that.

The most beautiful volcanic landscapes in the Arctic await. Oli is a native Icelander, family man, professional photographer and a guide. Born in , Oli grew up in Reykjavik and his enthusiasm for photography was obvious early on. Oli took a keen interest in computer technology and laid the camera for rest for a few years. After working in the advertising business in Iceland for many years Oli decided to make his increasingly time demanding hobby his career. Oli has published work in e.

Oli has been a Photo Guide for quite a few years now with great success, he is knowledgeable in the land, the sagas and the photographic field. Siggi was born in Iceland and has spent most of his photography career in this paradise. During his time as a photographer, he early on found that his passion lies with photographing the beautiful landscapes and nightscapes of Iceland.

One of his favorite activities is being out, chasing the northern lights and thinking of new ways to top his shots. He has won multiple awards for his work, both locally and internationally, especially for his photos of the Aurora Borealis. Sigurdur has also written a book on the subject to aid everyone in getting the perfect shots of Lady Aurora and held nightscape photography workshops in Iceland since the beginning of with great success. When the days get longer and the northern lights fade into the daylight, he turns his eyes towards the sun and the amazing midnight sun that Iceland has to offer with the golden hours that seem to stretch on forever.


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A teacher of education with a master degree in educational philosophy. Mads is specializing in fine art landscape photography and video editing but works with other genres of photography too. He started out as a photographer in and his experience with video editing goes back to I am a child of the postmodern era. All of these influence my photography heavily.

And then I often think of my art as expressions of feelings. That's also the reason why my pictures are not just black and white or just colorful and shiny. It's the full spectrum all the way from the relaxing and peaceful over the epic awe and wonder to the dramatic and depressive.

It can be a mix of feelings, it can be confusing, it can be simple and it can be fresh. I shoot to edit.

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Half the work is done in the editing phase, where the pictures come to life and where the mood I'm in influence the final product. For Kaspars, this has become a lifetime passion that he pursues all across the rugged and pristine landscapes of Iceland. For this intrepid explorer, there is nothing more exciting than to get off the beaten track, traversing the last remnants of wilderness left to be discovered in this world.

His enduring belief is that there are still many grand scenes in Iceland that are yet to be photographed; his sense for adventure is a testament to the energy that he puts into finding them. With an intimate knowledge of the Icelandic landscape and having guided countless photography workshops, Kaspars is well-versed in working with the unique and oftentimes dramatic conditions that this country has to offer.

Well-accomplished in both Lightroom and Photoshop, Kaspars has an extensive understanding of complex post-processing techniques that will assist you to no bounds with unleashing your creativity and finding your own style. His mellow outlook and easygoing, relaxed nature will have you feeling at home with your camera and your tripod in Iceland in no time. Albert is a Dutch photographer with an extreme passion for landscape photography. He aims to capture places and certain moments in the best way possible by using his own vision and unique style.

His style consists of strong vibrant, sometimes fairytale like images in which he expresses himself. Albert has a background in Design, Video and Animation. Albert loves to travel. Sometimes the story arises naturally from the composition of the image, such as two lovers waking along the beach into the sunset. Other times the story is provided in a short written narrative. Stories are successful because they provide context to the image and invite viewers to go deeper into the image and explore how it relates to the narrative. Sometimes a good title for an image is all that is needed to give additional context to the image that is largely already self-sufficient in telling a story.

Viewers love a good story even if it is brief. Some of my stories for landscape images have to do with the challenges that often come with getting the shot. But I also have stories that have to do with the history of a landscape. These stories are more archetypal in nature and contain visual metaphors that point to common experiences. With all types of stories, the story not only helps lead the viewer into the image, but also helps reveal what the photographer was thinking and feeling at the time of capture.

On this evening beautiful intense front light at low angle came through a crack in the clouds strongly illuminating the trees, clouds and reflections. The clouds also reflected light back onto the scene. We live in a time when many of the images that rise to sudden popularity were taken in conditions of underwhelming light. I personally have watched and listened to a few well known video tutorials where the author even indicated that good natural light is not necessary because it can be created in Photoshop. Often these tutorials start with images where the directional and nuanced lighting is for the most part absent except for perhaps some lingering light in the sky such as images taken just before dusk.

The reason to start there is because it is easier to manufacture the needed light for these images through painting through a masking in Photoshop. I have noticed recently, however, a trend recently where the best landscape photographers are now featuring images with beautiful and often subtle natural light. One of the reasons for this is that we have become numb to the countless spectacular images manufactured in Photoshop with once in a life time epic lighting.

The images now lack context and no longer stand out as they all blend into a vast uniform commonality on platforms such as px and Instagram. It is important to note that Transcendental Nature Photography has no prohibition on introducing sources of light that were not there to begin with, ultimately there are no rules. The Transcendentalist just wants to preserve the relationship with nature as it is experienced and intuitively grasped, because it is this connection that points to soul and spirit and ultimately a shared vision. Images that have staying power and lasting impact will be anchored in the natural light that was present at the moment of capture.

We always start with nature as it presents itself in the here and now. This is what provides us as a mirror to our authentic self and also what transports us and our viewers into a shared world of soul and spirit. This does not mean we cannot enhance the lighting that was in the original scene. If fact, this is necessary to poetically evoke the feeling of nature as the manifestation of the world of soul and spirit. The quality of the light is determined by its angle, direction, color and intensity.

Shooting directly into the sun at a low angle may provide dramatic back lighting of elements in the scene. Side lighting at a low angle is best for revealing textures and contrast. Front lighting at low angles can transform a scene when channeled through a small opening in dark clouds.

Diffused light from an overcast sky can help rein in excessive contrast and emphasize subtle colors and textures. Before sunrise the lighting is cool but transitions to warm as the sun rises. As the sun sets the lighting gets warmer but eventually transitions to cooler tones. This is why the feel of sunrise can be quite different than sunset. How does the movement and transition of light along with the interplay of light and shadow correspond with your own internal landscape and emotional state of being?

Through timing, image framing, and post processing can the external and internal landscapes be brought into a closer union? We associate light with illumination: the ability to see, consciousness, awareness, and transcendence. Light and its effect on the physical landscape can be thought of as a metaphor that illuminates inner or even transcendent vision. The possibilities for the effect of light on an image are endless. Learn how to read light and you are well on your way to mastering landscape photography. In this image the blue green Red Orange Colors are complementary and green to yellow orange colors are harmonious.

Blotches of bright and saturated color are one of the first things we see in an image which helps explain why certain images capture immediate attention and instant likes in popular social media platforms. It does not take long for many photographers to catch on to to this as they bring overly saturated color into their images through processing. After all the average attention span when scrolling through images on social media is only a second or two and color along with high contrast is often what wins out given this short period of time.

The problem with these images, however, is that upon closer inspection they do not hold our attention long. Images, however, with rich, nuanced and carefully selected colors are something our eyes can rest on and explore for longer periods of time and perhaps we can even bring into our homes as wall art. Colors in the red area of the color spectrum are known as warm colors and include red, orange, and yellow.

These warm colors evoke emotions ranging from feelings of warmth and comfort to feelings of anger and hostility. Colors on the blue side of the spectrum are known as cool colors and include blue, purple, and green. These colors are often described as calm, but can also call to mind feelings of sadness or indifference. Complementary Colors are opposite each other on the color wheel and produce lively attention-getting contrast. Adjacent colors on the color wheel, such as red, orange-red, red-orange, and orange are harmonious.

There is red in all four colors. The likeness results in pleasing harmony. Next time you are out in the field and framing a composition ask yourself what effect are the colors in the scene having upon you? Are one or more of these colors not consistent with your current emotional state? Will more selective framing of the scene reduce the number of potentially clashing colors? To a certain extent the color balance, hues, saturation, tints, tones, and shades can be modified in Photoshop. It is usually best, however, for colors to also have a good grounding in the actual scene and to keep processing modifications of colors more on subtle side of the spectrum.

But some of the grace and naturalness of the scene along with its connection to the soul and spirit will be lost with drastic alterations of hues or saturation levels. I used my mm lens to achieve a compressed perspective of these Aspens that were at some distance away from the dark cliff in the background that was in shadow. I accentuated the contrast between the Aspens and the dark cliff to achieve a better level of contrast helping make the image pop. Tonal contrast refers to the difference in bright and dark areas in a photo. In this topic I am primarily concerned with Tonal Contrast.

Contrast can be both at a macro level with the differentiation of the subject from the background and at the micro level helping to reveal important details in the image. Both macro and micro tonal contrast can help create a sense of depth and a multidimensional aspect to the image.

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Liberty Bell Reflecting Pond. Micro tonal contrast in this image helps make it work. Micro contrast is especially evident in the trees and clouds, and to a somewhat lesser extent on the mountain and the red huckleberry bush. We do not need a sledge hammer to our heads to direct our attention to what to look at in the image.

Excessive contrast often made possible through the aggressive application of luminosity masks and corresponding curve adjustments can distract from the organic feel of the image and its connection to the time and place that is the source of our inspiration. Some images cry out for lower contrast, as is the case here with the trees and reflections on a foggy day at Cavanaugh Pond close to my home in Renton Washington.

Image composition is simply the arrangement different subjects and visual elements in the frame. This is what will happen once an image is hung on a living space wall where it will be looked at again and again. But the Landscape is far more expansive than the studio and there are a multitude of if scenes within scenes and even scenes at the micro level. From all of this we can make an almost infinite number of composition choices. Sometimes just moving the tripod a couple of inches can create an altogether different composition. Guy Tal offers three concepts for thinking about composition in the field: Framing, Perspective and Balance.

I have found these three concepts match very well my more intuitive method of approaching composition and will use them to discuss my approach to composition. It is important to recognize there are no absolute rules in composition. Creation of a good composition is ultimately a more of an intuitive process that flows organically from our experience of the scene. We know good composition when we see it even if it cannot be attributed to specific rules of composition.

In this regard we do not look for specific features such as leading lines or foreground elements first and then compose the shot around this. The composition should always start from our experience of the scene, our emotional response, our intuition about its meaning, and ultimately our intentions for the image—these are the compositions that will have lasting impact. In this composition using a mm lens at close range, I chose to emphasis a very small area of the slot canyon wall. This allowed me to create an abstract image featuring diagonal lines, somewhat analogous geometric shapes, and patterns of colors.

The single most important decision one makes in composition is framing—how much or little of the scene to include in the image frame. When approaching the scene it is best to at first not even take out the camera. How does the scene make you feel? What are the elements in the scene that you are attracted to? What are the elements of the scene you do not like and can these be eliminated or deemphasized? Does the scene stir up memories—joy or sadness? Does the scene leave you feeling calm and peaceful, or is there more of a sense of energy and motion associated with changing conditions?

Once you have an idea of your intentions for the scene use your hands or better yet your imagination to build a frame- then think about which focal length would best match your rough framing and intuitive grasp of the scene. Once you have identified the initial framing of the scene, it is now time to determine where best to position yourself relative to the scene.

Much of this exploratory work can also be done without a camera. Get down low, and then perhaps even lower as in right on the ground. How does the scene look from different vantage points? If shooting with a wide or normal angle lens, get closer then move away from foreground objects. A very low perspective will provide maximum emphasis to foreground elements but may lack the height necessary to fully appreciate leading lines to a primary subject or place too little emphasis on the mid-ground.

Are both your foreground and mid-ground elements equally important or is it more important to place maximum emphasis on the foreground that might also be your primary subject? The key is to keep moving around the scene exploring different alternatives before setting up a tripod with camera for fine tuning of the composition. In this image there are two main subjects, the mushrooms and the waterfall. I chose a very low and close perspective to give primary attention to the mushrooms underneath and seemingly looking out to South Falls.

The mid-range gets only low to moderate emphasis in this image. In a well balanced image distractions will be eliminated or minimized, there will be no competing elements, and there will not be excessive negative space. There will be a visual flow to the primary subject through the use of leading lines, contrast and or a path of light. In wide angle images, there will be a natural and flowing transition from the foreground to the mid-ground and background portions of the image.

Color transitions and where the rocks meet the autumn meadow provide a sense of cascading diagonal lines that lead the eyes through the foreground and mid-ground portions of the scene to the overlapping ridges beyond. The overall result is a great sense of depth in the image and an overall well balanced composition.

Gestalt theory provides us some clues.

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Gestalt refers to a configuration or pattern of elements so unified as a whole that it cannot be described merely as a sum of its parts. Gestalt helps explain how our vision works in grouping elements into more unified groups and associations. Our eyes and the corresponding processing of vision in our brain work much different than the lens of our camera. We can look into the chaos of a forest and still see a fundamental unity, the camera initially cannot.

Often normal vision is identified as what one would see through a standard 50mm lens. Our eyes move around and within blinks of the eye we go from seeing the world wide to narrow to panning the scene almost simultaneously. There are certain principles of the Gestalt theory of perception that can help us in creating transcendent and unified images. Objects and elements that are similar are perceived as a group. For example our mind will still group together objects with a roughly circular shape even if they are different sizes and dimensions and occur in different parts of the scene. The eye perceives that objects close to one another as belonging to a group and these objects do not necessarily need to be similar.

The mind assumes that lines extend beyond the edges of the frame. In the landscape photo this principle helps create a sense of depth along with the use of a wide-angle lens as the mind believes that the boardwalk continues beyond its vanishing point. The mind completes shapes that only exist partially in the image, such as a partial circle or triangle.

With time one can recognize shapes in a scene that may not be apparent at first and integrate these shapes with other similar shapes in the scene to create a visual thread that helps tie together and unify the image—think of this as visual poetry. Seldom is image making a precise lesson in geometry but rather has more to do with identifying somewhat similar shapes, patterns and colors that can create a balanced whole. Some Gestalt unifying gestalt principles can be seen in this image. There is a similarity of shapes between the granite rock in the foreground, the upper half of Lake Valhalla, and the top of Lichtenberg peak in the upper left.

The proximity of the granite rock with the harmoniously colored sections of golden yellow green and orange red foliage helps form a unified foreground group. The triangular granite rock partially hidden by foliage closure points continuation down the slope to the lake and the peak aided by slightly diagonal lines in the mid ground. The lake itself and the peak point to the sky and warm clouds of sunset continuation. Emergence is somewhat different from the other Gestalt principles in that it is something that one sees after initially grasping the unified whole image.

Emergence is about going deeper into the image to appreciate the details, subtle gradations of color and light recall our discussion about micro contrast. This flies in the face of those who argue that details do not matter and suggests that once the whole is recognized we need to give the viewer a place to go for awhile to discover more about the riches of the image. Emergence is a necessary gestalt principle for images with lasting impact.

Emergence can be seen in the above image, especially in the foreground, with the details in the granite rock and subtle gradations of color and tones in the foliage. It can also be seen in the forests and rocks of Lichenberg Peak. Some refer to this difference as one between documentary and expressive photography. I prefer to think about it as moving toward transcendental photography.

The transcendent image instills an emotional reaction and evokes an appreciation for still another dimension, the soul and spirit of a place and time and offers the viewer a shared vision. Every natural fact is a symbol of some spiritual fact. Every appearance in nature corresponds to some state of the mind, and that state of mind can only be described by presenting that natural appearance as its picture.

Ralph Waldo Emerson Nature—Chapter 4 A leaf, a drop, a crystal, a moment in time, is related to the whole, and partakes of the perfection of the whole. Each particle is a microcosm and faithfully renders the likeness of the world. Ralph Waldo Emerson Nature—Chapter 5 I am excited to announce that my Calendars are now available. When I fell asleep Saturday evening I had no plans hiking the next day. But when I woke up about 5AM feeling wide awake and calculated that if I left for Poo Poo Point soon I could be at the top before sunrise—this all changed. I decided to go and I am glad I did!

It was one of those mornings where the valleys are filled with a sea of fog moving like spirits through the forest. As the sun rose interesting combinations of warm and cool light ensued. I used my telephoto lens to capture about images and the constantly changing drama and action. Even in the field, however, I knew this image was the one that best captured the feeling of this place and time!

Sometimes one is just in the zone and it all comes together-weather and atmospheric condition, the forest, imagination, vision, ones inner state of mind, emotions, weather, and technique—all working together seamlessly together in a state of flow to bring to the light of day an image that lurks just below the level of consciousness. This image is of Gold Creek Pond close to sunset on a late December evening.

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It was cloudy most of the day but toward sunset there were brief openings in the clouds to let in some beautiful light. Kendall Peaks are in the distance which were the destination for many of my previous snowshoe trips. On this trip, the snow around the pond and up the valley was very compact so my micro spikes were sufficient and snow shoes were not needed. As I stared across the pond I noticed the bridge and Kendall Peaks rising above the forest. Often I have hiked around this pond on snowshoes and also up the long winding trail to the top of the peaks.

In the long moments of reflection leading up to this image I would often flash back to these earlier experiences, but some how the beauty of this place—its silence, interspersed by the occasional duck calling or light wind blowing— would bring me back to the here and now. In the mountains it is almost like we experience eternity one moment at time. In this moment I knew I would return to this place again and again. In landscape photography there is a lot of waiting for the right moment to arrive. But it is this waiting in beautiful place like this that I often like the most, experiencing the timeless wonders of nature.

On my first full day at Mobius Arch in the Alabama Hills there was an unrelenting wind and rain storm for a good part of the day until just before sunset. I lost power at my Hotel in Lone Pine, but when I saw the sun break through the clouds and the wind subside I went back to the Arches and was able to get set up just in time for this image. But for us photographers it is often a signal to us that it is time to go!

Daffodils bask in the evening light and are reflected in the water spanning long rows of flowers. Bright yellow daffodils are the first to bloom in the flower fields of the Skagit valley often as early as late February. The weather at this time is usually still cool and damp, sometimes even cold. The fields are wet and muddy making setting up to take images an invitation to play and roll around in the mud! The Roozen family business of growing Tulips, Daffodils and Irises is the largest in the world, covering Skagit Valley with more than acres of field blooms and 16 acres of greenhouses.

This year heavy spring rains flooded many of the field rows with standing water creating wonderful opportunities for silhouettes and reflections. A few of the fields were so bad that Roozengaarde closed them to any public access. Please respect their wishes and remember we only have access to these private field due to the good graces of Roozengaarde.

Getting to these fields for sunrise can be a bit of a challenge for those of us in the Seattle area which is about two hours away. This year I scouted the fields the day before, spent the night in a comfy hotel, and made the long walk to this field using headlamp to be on site before dawn. I have always just sped by this lake on my way back from the North Cascades, but last June on the way back from a hike and seeing the parking lot empty, I decided to spend a couple of hours exploring this iconic overlook. I love the fjord like quality of this lake and the teal color of the water seals the deal with me!

With the earlier hot weather and rapidly melting snow, the water was flowing very good in the North Cascades now and it seemed like every quarter of a mile there was a seasonal waterfall, some spilling water directly onto the road! I just love where I live in the Pacific Northwest. If I was a dying horse these heather pillows would seem to be a beautiful final resting spot.

How do these trails get their names anyway? Heather are some of the first flowers to bloom after the snow melts usually right after the Avalanche and Glacier Lilies make their appearance. The contrast of the pink magenta flowers and the surrounding new green foliage to me is just striking. Spring comes to these meadow a little later than down in the lowlands, around the middle of July!

I took this image on the last night of a week long multi-day backpacking trip with the Sierra Club. The day before I did some scouting around the lake and was immediately drawn to this series of rocks leading up to this bonsai rock. Chimney lake is somewhat difficult to photograph because the shoreline close to the water lacks remarkable features and the mountain on the backside of the lake is a long and fairly uniform ridge also lacking distinctive features. This bonsai rock I thought would give the lake character and a more distinctive identity. At this time the light was way too intense causing massive flare even with a lens that is not prone to flare.

There was a short window of time, however, about a couple of minutes, when the flare was manageable and the sun star was still reflected in the lake. It was during this brief period of time I captured this image! A few seconds later the sun star reflection disappeared, and about a minute later the sun sank below the distant ridge and the entire lake area was in deep shadow.

But what I found most interesting at Death Valley are the more intimate and often abstract small area scenes deep inside the various slot canyons. I am sworn to secrecy about the location of this image, but the location really does not matter so much for an image like this. Venture into any of the canyons and wander deep inside, then pause not just for moments but extended periods of time to take in the small wonders of these canyons.

Study small areas on the walls and look for interesting patterns, lines, shapes, and contrasting colors. Images will reveal themselves to you in time. One just needs to stop and listen to the silent sounds written on the canyon walls. As the early morning mists clears out of the Enchantments Basin and Leprechaun Lake, a thin mist still hovers over Prusik peak creating a soft and airy feel on the granite walls of the peak extending down to some of the autumn larches.

I find Leprechaun to be the most interesting of all the Enchantment Lakes with its various peninsulas and channels spread out across the lower Enchantments basin. To me it is more like a half of dozen lakes than just one.


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Soon after this clearing high winds would blow in snow clouds with flurries at night and a full fledged snow storm the next day. We found a nearby high location with cell phone reception and learned that the storm would last several days. We decided to leave the next morning heading down the steep mountainsides in at least six inches of snow with micro spikes on our boots and gloves on our hands! I took this image in November at Kubota Garden as the diffuse sunlight making its way through clouds and trees was just beginning to illuminate the delicate now bright orange leaves of this legendary Japanese Maple.

Part of the look and feel of this place is the stream and water that surrounds this tree that sits on a small peninsula. The tree is also surrounded by and sits below a mixed forest of much taller deciduous and evergreen trees providing a sense of enclosure. With my frequent pilgrimages to this place only 15 minutes from my home, I think it is safe to say that I periodically worshiped this beautiful tree! It was a sad day for me, however, when I returned to the tree in April of this year and found out that an almost unbelievable rumor I heard was in fact true.

This legendary Japanese Maple Tree fell victim to a huge fallen tree in a storm, fatally crushing the Japanese Maple and now the tree is no more. They have planted a new smaller Japanese Maple from another location in the garden that has good form and symmetry, but it will take years for it to reach the size and stature of the one in this image.

The long process of renewal now begins. The lesson I learned from this episode is not to take anything in nature for granted. The only thing that is eternal in nature are the ever renewing cycles of creation and rest. Somewhere it is always Spring, and somewhere it is also always Autumn.

One can feel a tremendous sense of accomplishment and inspiration through finding beauty in familiar and ordinary places. Often this beauty is not obvious and may be hidden. This is one such place, no more than a half hour from my house at a park in the Snoqualmie Valley used primarily to walk dogs. But nowhere have I gained more traction in developing my skill set than in presenting an ordinary place in the best light. This is also the ultimate confirmation to others that you have arrived as a photographer through your ability to make even the ordinary look good.

What originally brought you to Landscape Photography? Typically these experiences are charged with deep emotions that have a profound and lasting effect on the individual. But the resulting images often fall way short of expressing the emotions and feelings surrounding the sense of place. Instead the images are largely documentary and also are not good even from a technical perspective. But make no mistake, the photographer felt a great sense of inspiration at the moment of capture. Often we will return to a place as our photographic skills evolve to rekindle and capture the emotions we originally felt as we were just starting out in photography.

This is such a place and last week I made this return journey. The desire to better capture the emotions and feelings surrounding a sense of place helps motivate the photographer to learn. The photographer begins the process of learning the technical aspects of photography: aperture, shutter speed, ISO, focus, angle of view, image development, etc. This is learning photography as a craft. The photographer also begins learning the basics of composition: lines, shapes, patterns, subject placement, light, creative processing, etc.

This begins the process of learning the art of photography. But as the photographer embarks upon this path of learning, he or she may feel that some of the energy and enthusiasm that originally brought them to landscape photography is missing. The process becomes almost mechanical and may not be in touch with a vital link to the world of feeling and emotion and who one is as a person.

It is at this point that the landscape photographer begins looking for new sources of inspiration. I felt a tremendous sense of emotion that touched the depths of my soul as this scene slowly evolved as the sun rose over the tulips fields shrouded in mist and morning dew. I did not employ technique and compositional artistry for its own sake. I will now discuss each of the following sources of inspiration. It can be challenging to create a unique composition in an iconic place, but if one follows their instincts and intuition for what is interesting in the scene and perhaps also receives a blessing from mother nature of unique weather and flora, it is not only possible but also probable.

Iconic places are iconic for a reason. They have the power to instill strong emotional reactions and even have symbolic value in our collective psyche that can be tapped into and shared instilling similar emotions in others. Every year individuals and families make pilgrimages to such iconic sites as Oxbow Bend, Yellowstone Falls, Crater Lake and others for precisely this reason. Never underestimate to power of visiting an iconic site. In our modern internet world images are published in a number of ways. Some are published in traditional sources such as printed magazines such as Outdoor Photographer or presented in physical galleries, but increasingly images are published in online magazines such as Landscape Photography Magazine.

Perhaps the most accessible source of images is Social Media which includes Facebook, Flickr, Instagram and px. There are also websites where we can find the work of individual photographers and their blogs. To quote Miles:. What makes the image work vs. How can you incorporate those techniques yourself? Why not? How can you avoid the pitfalls that made the photograph less intriguing? In viewing published images we are not trying to replicate what others have done. This image of the Enchantments was recently published as the final frame in the July issue of Landscape Photography Magazine.

None of us are an island onto our self and we are all indebted to not only those who came before us but also to landscape photographers currently operating in the field. One can find an immense source of inspiration through following the life and work of photographers who we admire. I recommend picking only about three or four to follow in depth. Questions to consider include:.

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To truly appreciate the work of the photographer we need to get to know who he or she is as a person, which will of course take time and effort. If the photographer is featured in a podcast, listen to it. Read their blogs and social media posts. Watch their tutorials. Reach out to the photographer, let them know you are inspired by their work, and cultivate some one on one communication, perhaps even friendship. If they offer workshops, attend their workshop. As I have progressed as a photographer over the years their are several photographers whose work I admire that I have reached out to.

Along somewhat similar lines, many landscape photographers find inspiration and even a sense of belonging in joining other photographers for social photography in the field. This can be done formally through clubs or more informally through meet ups and circles of friends deciding to get together. Companionship and collaboration with like-minded people can also facilitate additional learning as one sees how others approach the art and craft of photography. My only caution here is that although we are social by nature and need this kind of interaction, it is also true that to fully blossom as an artist one needs to ultimately cultivate more inner sources of inspiration.

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I will discuss this more later in the article in the tenth source of inspiration, inner sources. I have been following the work of Candace for about five years now and just love her painterly approach and color harmony in her images. Tiberman Sajiwan Ramyead — Mauritius. And to compound the problem my photos will be for a book I am writing. I am now re-shooting the landscapes, monuments, cemeteries, bridges, churches, etc. Thanks Tiberman — Mauritius. I just discovered your site via DPS and am so glad I did.

I love and do landscape photography as well as nature and wildlife. Thank you so much for your generous contribution to help, I am sure, many photographers. Yes foreground, midground and background imply depth, but so do other things. For example. The rock in the foreground appears even closer due to its warmer color ii Things get bluer as they get further away, a trick used by painters of eras gone.

That is evident in the main photo also where the mountain is of a bluer hue than the foreground. Still new to dslr photography and just got my new toy recently. Hello,mr steve. I always get funny rings around the sun which ruins the shot. Are there any articles on this here? Thank you! Your email address will not be published. This site uses Akismet to reduce spam. Learn how your comment data is processed.

Photo by Steve Berardi Landscapes are one of the most difficult subjects in nature photography. Generally, the mid-day sun produces more flat looking colors.