Table Of ContentPETER WATSON
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COMPOSITION
AN INSPIRATIONAL AND TECHNICAL GUIDE FOR PHOTOGRAPHERS
IN THE LANDSCAPE
PETER WATSON
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First published 2014 by
Ammonite Press
An imprint of AE Publications Ltd
166 High Street,
Lewes, East Sussex, BN7 1XU, UK
Text and photographs © Peter Watson, 2014
Copyright in the Work © AE Publications Ltd, 2014
All rights reserved
The right of Peter Watson to be identified as the author of this work has been asserted
in accordance with the Copyright, Designs and Patents Act 1988, sections 77 and 78.
No part of this publication may be reproduced, stored in a retrieval system or
transmitted in any form or by any means without the prior permission of the
publisher and copyright owner.
This book is sold subject to the condition that all designs are copyright and are not for
commercial reproduction without the permission of the designer and copyright owner.
The publishers and author can accept no legal responsibility for any consequences arising
from the application of information, advice or instructions given in this publication.
A catalogue record for this book is available from the British Library.
Publisher: Jonathan Bailey
Production Manager: Jim Bulley
Managing Editor: Gerrie Purcell
Senior Project Editor: Wendy McAngus
Editor: Sara Harper
Managing Art Editor: Gilda Pacitti
Designer: Robin Shields
Set in Syntax
Colour origination by GMC Reprographics
PAGE 1 PAGE 2 RIGHT
Askrigg Common, The Yorkshire Gunnerside, The Yorkshire Dales, Near Nenthead, Cumbria, England
Dales, England England
Camera: Mamiya 645 AFDII with Mamiya
Camera: Mamiya 645 AFDII with Mamiya Camera: Mamiya 645 AFDII with Mamiya digital back
digital back digital back Lens: Mamiya 35mm (wide-angle)
Lens: Mamiya 150mm (telephoto) Lens: Mamiya 150mm (telephoto) Filter: None
Filter: 2-stop ND graduated Filter: Polarizer (fully polarized) Exposure: 1/2sec at f/22, ISO 100
Exposure: 1/8sec at f/18, ISO 100 Exposure: 1/15sec at f/16, ISO 100 Waiting for the light: Immediate
Waiting for the light: 30 minutes Waiting for the light: 50 minutes Post-processing: Colour balance
Post-processing: Curves adjustment, Post-processing: Curves adjustment adjustment (warming)
colour balance adjustment (warming)
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CONTENTS
INTRODUCTION 8
Chapter One Chapter Three
WHAT MAKES A GOOD LANDSCAPE? 10 CHOOSING THE VIEWPOINT 58
Chapter Two Chapter Four
SEEING THE PICTURE 34 USING LIGHT AND SHADOW 80
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Chapter Five Chapter Seven
USING THE SKY 102 CREATING IMPACT 144
Chapter Six Chapter Eight
CREATING DEPTH 122 CLOSE-UP IMAGES 166
IMAGE GALLERY 182
GLOSSARY 187
ABOUT THE AUTHOR 189
EQUIPMENT USED 189
INDEX 190
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INTRODUCTION
Give three photographers an assignment to capture and depict the characteristics of
a specifi c location, and you will be presented with three sets of quite different images.
The place, the light and even the equipment used might all be identical, but as soon
as that crucial variable element – the photographer’s vision – is introduced, results will
suddenly become diverse. Each photographer’s approach will become the decisive factor,
and ultimately it will be their style and use of composition that determines the success or
otherwise of the assignment. The link between the right creative approach and success
is immutable – and it applies to every single picture we capture. How we view the
landscape, interpret its features and compose the photograph is, in this burgeoning era
of automated digital image-making, now more important than ever. The photographer’s
input is of paramount importance and the development of a recognizable and creative
style is therefore a big step forward along the route to success.
Throughout this book we will consider every aspect of viewing the landscape and
composing images in such a way that they engage with the viewer and make a
lasting impression. We will also look at using light and colour to strengthen a picture’s
composition, as well as covering the technical aspects of focusing, exposure and selecting
the right aperture and shutter speed. All the photographs in this book are supported by
descriptive text that reveals the techniques and creative processes that lie behind each
picture. Background information, some of my personal observations and anecdotes
concerning the practicalities of capturing images in ever-changing conditions are also
included. The aim of this book is to inspire and equip you with the knowledge to help
you produce photographs that are creatively composed and visually distinctive. As you
put into practice the techniques discussed throughout the book and venture out to
capture the captivating beauty of the landscape you will, I hope, discover that it is truly
a photographer’s landscape.
Cotterdale, North Yorkshire,
England
Camera: Mamiya 645 AFDII with Mamiya
digital back
Lens: Mamiya 35mm (wide-angle)
Filter: 2-stop ND graduated
Exposure: 1/4sec at f/22, ISO 100
Waiting for the light: 45 minutes
Post-processing: Curves adjustment
8 COMPOSITION IN THE LANDSCAPE
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Chapter One WHAT MAKES A
GOOD LANDSCAPE?
The Isle of Harris, The Western Isles, Scotland
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