How to use light well in landscape photography.

This paper will introduce the application of light in landscape photography and how photographers use the characteristics of light to produce different scene effects.

Nikon D800, 24-85mm f/3.5-4.5 G ED VR

Nikon D5000-200mm f/4.0-5.6g edvr

When creating landscape photography, it is very important to approach the quality of light through two interrelated attributes: directionality and color temperature. The directionality of light determines the most important shadow, contrast and texture quality in the landscape. Conversely, shadows can produce depth, shape and size in the scene, and can also evoke emotions and emotions.

Consider a simple crumpled paper. If we change the direction of light, will it affect the appearance?

Only incandescent lamps are used in the photo. The directionality of this light is more or less the same, but not exactly the same. Some shadows can make shapes, sizes and textures appear, but the effect is not striking.

If the lighting is adjusted by placing the incandescent lamp at the top in front of the object, just behind and on both sides of the object, the object will become lifeless and dim compared with the previous image.

Let's light this paper at a small angle on the left. Now, the light source is unidirectional, moving at a small angle on the whole object. We can see longer shadows, more shapes and contours, and more textures and depths.

Let's illuminate the paper from a small angle on the back (that is, backlight).

On the one hand, long shadows still exist, which means that we can enjoy the same physical properties (shape, texture and depth) and observe the drama in photography. The difference is that the "terrain" itself has also changed due to the change of shadow direction. Now, instead of projecting long shadows perpendicular to the lens axis, we project shadows onto the lens.

Now, shadows become more hidden, just like the first two examples. When shadows are filled with more uniform light, they are hidden. Most of the physical depth, texture, shape and mood visible in sidelights and backlights will be lost.

Headlights are essentially similar to the light used by many portrait photographers, that is, diffuse headlights (that is, "butterfly lights") to cover up spots on the face. For fashion photographers, the quality of this light may be what they want. But for landscape photographers, such "defects" must be registered.

Shadow and contrast are important visual clues to perceive the shape and depth of three-dimensional space. Low angle, one-way edge or backlight are very suitable for landscape photography.

First, side lighting.

Unidirectional light beautifully creates attractive shadows, textures and shapes, and also provides a three-dimensional sense of space for the scene.

Considering the scenery below, the incident sunlight enters at a slight angle almost perpendicular to the lens axis.

Nikkor-SW 75mm f/4.5，Ilford HP5 Plus，Wratten

It can be clearly seen that shadows in sand, leaves and sandstone rocks create the illusion of depth and many interesting textures.

In the photos taken while walking in the mountains, the light is incident at a slight angle almost perpendicular to the lens axis. Shadows and contrasts, as well as sense of size and texture, are very attractive.

Nikon D800, Voith Ander 40mm f/2sliiii

The light passes through the peak at a low angle and is perpendicular to the lens. Pay attention to the direction of shadows, the overall contrast and the rough texture in snow and rocks.

Second, the backlight

In the next sand dune photo, the light passes through the landscape from behind at a slight angle, casting a shadow on the lens. This kind of light, like side light, can magically bring out the texture of sand and beautifully enhance the shape and outline through the interaction of shadows and highlights.

Nikon D800, Nico 28-300mm f/3.5-5.6 G ED VR

Third, silhouette.

The silhouette of pine trees in the sunset creates a lively and romantic atmosphere.

The combination of deep shadows and bright highlights produces depth and emotion, while light slides at the bottom of clouds and the surface of the ocean to produce attractive textures.

Fourth, light transmission.

A typical example is the warmth and bright light of autumn sunshine.

Verb (abbreviation for verb) headlight

The directionality of the light from behind the photographer effectively hides the shadow of the lens, which is not desirable for landscape photographers. Hidden shadows will plunder the shape, depth and texture of the scene, thus producing a plane image.

However, in three cases, frontal lighting can potentially be used to create attractive landscape photography. The first situation is that sunlight, especially in the early sunrise and late sunset, illuminates distant buildings.

Nikon D3s, nikel 50mm f/ 1.8 D

The second situation is shooting a rainbow.

Nikon D800, Nico 28mm f/2.8 Automatic Exposure System

The third situation is to capture the shadow cast by the object directly behind the camera, which makes the foreground in the scene more interesting.

Nikon D3s, nikel 24mm f/ 1.4G

Six, soft light

Due to the diffuse reflection of this illumination, most shadows in the landscape are filled. As shown in the figure below, this leads to relatively low contrast and physical and emotional dullness. For these reasons, unless there is nothing unusual or unique about the landscape itself, this kind of lighting is usually avoided when shooting the landscape.

Nikon D800, 40mm f/2sliiii

The potential benefit of diffuse uniform lighting in rendering is that it can capture the flower brightness of plants and flowers, especially when lighting cloudy sky (between f/5.6 and f/8).

Nikon FM3a, 28-70mm f/3.5-4.5 D, Kodak Ektar 100, 81a.

Seven, noon sunshine

The problem with this non-unidirectional lighting is that the projected shadow is relatively shorter, clearer, darker and less textured than the longer, softer and more delicate shadow of unidirectional lighting.

Nikon FM3a, 28-70mm f/3.5-4.5

Eight, prime time

Finding this light is simple: shortly after sunrise and shortly before sunset. The duration of each hour may be different, depending on your position relative to the equator of the earth. This kind of lamp has the unidirectionality needed to produce long shadows, display textures and provide zoom space.

Nine, color temperature

Color temperature is an interesting physical property of light, which determines the relationship between the temperature of radiation source and the color of light emitted by light source. In color digital photography, the color temperature of light is usually synonymous with the principle called white balance.

The color temperature of sunlight is periodic all day. It is low at dawn (that is, visually warm), gradually rising at noon (that is, visually cold or neutral), and then gradually decreasing to sunset.