10 things you can shoot, edit and create this month, from bluebells and boats to film noir and steam locomotives
1 | LANDSCAPES
More tips for top scenics by Mark Bauer and Ross Hoddinott
In addition to the rules of composition – though perhaps they are better thought of as general guidelines – there are a number of other compositional tricks you can use to organise the frame and draw attention to the main subject. These are the use of frames within frames, movement and texture, and shapes and patterns.
Frames within frames
One way to keep a composition tight and focus attention on the main subject is to use a natural frame, such as an overhanging branch, archway or other object, to frame the principal subject. This technique is popular with landscape and architectural photographers and has become something of a cliché but in the right circumstances, it can still be effective.
By framing the scene, attention is focused inwards to the main part of the picture. Rock formations, archways, branches and leaves make excellent natural frames. It’s best to be bold when using such frames for your landscapes. It’s also effective to partially frame a view, perhaps with an arrangement of rocks at the bottom of the frame (see image at the bottom of page 47 in the book). This works particularly well if there is a strong sky above the landscape, which frames the top of the picture.
Movement and texture
Although it isn’t always strictly necessary, landscape compositions often work best when they have a strong centre of interest. The other elements in the picture should direct or lead the eye to that centre of interest. This can be achieved by using lead-in lines (see pages 46-47 in the book) or by employing objects that point into the frame. One way to create lines and pointers is to use movement.
If you use solid neutral density (ND) filters to extend exposure times (see pages 81–82 in the book), you can create lines and pointers from the resulting patterns of movement –for example, the ‘S’ curve created by a wave breaking on the shore.
In macro (extreme close-up) shots, texture can be a subject in itself, but in a landscape, texture can make an effective foreground. Used well, it can make the viewer want to reach out and touch it, pulling them into the picture. Contrasting textures, such as hard and soft, can also be used to create tension within a composition.
Archway This archway, lit with the golden light, makes an excellent frame for a slightly different take on a well-known view.
Camera settings: Fujifilm GFX 50S, 23mm, 7 secs at f/16, ISO 100.
Rocky ledges Shooting with a long exposure as the waves wash over the ledges adds texture to the foreground. The waves act as strong lead-in
