7 Lessons I Learned as a Landscape Photographer
Introduction
I'm writing this article right in the middle of my Dolomites photography workshop. The header shot was taken just yesterday by Sabrina at Cinque Torri, where we had an amazing session. The conditions were constantly shifting, with clouds and fog swirling around in what felt like an endless dance of atmospheric beauty.
It was a truly special afternoon, where everyone experimented with various compositions without falling into clichés, and hearing how much everyone enjoyed the process was incredibly rewarding.
I've been wandering around the Dolomites since I was just a kid, barely ten years old. When I first got into landscape photography many years ago, these mountains quickly became my favorite playground for playing around with my camera.
I’ve lost track of how many times I’ve photographed some of these places, and I still feel like I’ve only just begun to explore all the incredible opportunities these mountains have to offer.
I especially remember coming home frustrated many times because the weather didn’t cooperate, or I wasn’t prepared enough to capture that perfect shot when the light was just right. And as for the beginner blunders I’ve made, those are a whole story on their own!
As I look back on my journey as a landscape photographer, I realize how much I've learned from all those mess-ups.
So, I thought it'd be interesting to share with you the 7 most valuable lessons I've picked up along the way. These aren't just technical tips, but insights that have fundamentally changed how I approach my craft.
1. Trying to capture everything
In my early days, I'd see a grand landscape and try to squeeze it all into one frame. I was obsessed with the extreme wide-angle focal lengths. I remember one of the first shots I took in the Dolomites, where I tried to capture the entire vista. The result? A cluttered image with no clear focal point.
Shooting with a wide-angle lens in landscape photography is a lot like composing for a big orchestra. This is an analogy I love using when guiding other photographers. Just as a conductor brings together the diverse sounds of strings, brass, woodwinds, and percussion to create a harmonious piece, a wide-angle shot captures the full symphony of a landscape—the sweeping skies, the mountains, and all the intricate details in between.
Every element plays a part in the composition, working together to create a grand, cohesive scene.
However, just like conducting an orchestra, composing with a wide-angle lens is more challenging because you’re dealing with a vast array of elements. You have to carefully consider how each part of the scene fits together, ensuring that nothing overwhelms or clashes with the rest.
The wide angle of view can easily lead to distractions or a sense of chaos if not composed thoughtfully, much like an orchestra can sound disjointed if not well-conducted.
I've since learned to simplify my compositions. Now, I look for the most interesting elements in a scene and focus on those, drawing attention to the details with clarity and intent. This often creates a more impactful, engaging image that tells a clearer story.
2. Rushing from place to place
On my first trip to Iceland, for example, I tried to visit about 30 of the most popular photographic locations in only 16 days, traveling all around the island. I was constantly moving, never spending enough time in one place. The result was exhaustion and a collection of mediocre, rushed photos. Now, I prefer to spend more time in fewer locations. This allows me to observe how the light changes throughout the day and really get to know a place, resulting in more thoughtful, unique images.
3. Fixating on specific shots
When I first started out, I’d show up at a location with one particular image in mind, often inspired by photos I'd seen online. This sometimes led to disappointment when conditions weren't right or the scene didn't match my expectations. I've learned to be more flexible. Now, I observe the conditions when I arrive and work with what nature provides. Some of my best shots have come from unexpected situations or compositions I discovered on-site.
4. Over-bracketing
Early on, I had a habit of bracketing every shot, thinking it was always better to have more options. This led to memory cards full of nearly identical images and hours spent sorting through them later. Now, I check my histogram for each shot. If the scene's dynamic range fits within my camera's capabilities, I don't bracket. I only use bracketing when it's truly necessary, like for high-contrast scenes. This saves time both in the field and during post-processing.
5. Over-relying on tripods
I used to set up my tripod immediately upon arriving at a location. This often led to static compositions as I'd be reluctant to move once set up. Now, I spend time exploring a location handheld first. I'll try different angles, heights, and focal lengths before deciding on my final composition. Only then do I set up the tripod for the actual shot. This approach has greatly improved my compositional skills and the variety in my images.
6. Skimping on tripod quality
My first tripod was like a noodle in the wind. A short, cheap, aluminum lightweight model that I thought would be perfect for travel. However, it was unstable, especially on uneven terrain, and couldn't handle windy conditions. I quickly learned that a good tripod is a worthy investment. Now, I use a taller, sturdier FLM tripod that provides the stability I need for sharp images, even in challenging conditions. Remember, your tripod is what's holding your expensive camera gear – it's worth spending a bit more on quality. Your future self (and your photos) will thank you!
7. Over-correcting white balance
In post-processing, I used to always "correct" the white balance to make it as neutral as possible. However, I've learned that the natural color cast of a scene often contributes to its mood and authenticity. Now, instead of defaulting to auto white balance, I often shoot at a fixed color temperature (like 5500K - ‘Daylight’ camera preset) to capture the true light of the scene. In post-processing, I might adjust for creative reasons, but I'm careful to maintain the natural feel of the light I experienced in the field.
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