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RE A DING
the Landscape
An inspirational and instructional guide to landscape photography
PETER WATSON
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READING the Landscape
an inspirational and instructional guide
to landscape photography
P E T E R WAT S O N
22
photographers’
pip
institute press
22
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First published 2009 by
Photographers’ Institute Press
an imprint of
The Guild of Master Craftsman Publications Ltd
Castle Place, 166 High Street,
Lewes, East Sussex BN7 1XU
Text and photographs © Peter Watson, 2009
© in the Work Photographers’ Institute Press, 2009
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
Project Editor: Louise Compagnone
Managing Art Editor: Gilda Pacitti
Designer: Terry Jeavons
Set in Interstate
Colour origination by GMC Reprographics
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Contents
CHAPTER TWO
Trees, forests
& woodland 46
Introduction 9 CHAPTER THREE
Lakes, rivers &
CHAPTER ONE waterfalls 82
Mountains & the
wilderness 10
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CHAPTER FIVE
Coastal landscapes 148
CHAPTER FOUR Useful resources 183
Urban & rural
landscapes 114 Glossary 186
About the author 189
Index 190
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Introduction
Photography has, quite rightly, often been described as painting with light. Both painters and
photographers are indeed practitioners of visual art but, similar though the two art forms are,
there is a point at which they become divergent. Unlike the photographer, the painter is able
to observe, interpret and embark on the creation of a picture in what is essentially one
seamless act. The making of a photograph, however, is often a more prolonged process which,
for a landscape image, can span many hours, days, weeks – and frequently much longer. This
is because the outdoor environment is beyond our control, it can be demanding and there are
no shortcuts. To succeed we must observe the landscape and create and impose order on a
subject whose fi ner qualities are both ubiquitous and elusive.
This can be a challenge because – I can tell you from experience – there is more to the
landscape than meets the eye. It is not, at fi rst glance, what it appears to be. The fi elds, trees,
mountains, rivers and lakes which are so apparent to the casual observer are, in essence, a
collection of graphic lines, patterns, shapes, colours and textures. These are the elemental
building blocks of a landscape image which, together with the sky and light, form the basis of
the photographer’s raw materials. How effectively we use those materials is intrinsically linked
to our observation, reading and interpretation of the landscape. It is not only what we see;
what makes the difference is how we see.
Throughout this book I have endeavoured to explain and demonstrate, by example, how I
observe and interpret the variety of subject matter which is to be found across the length and
breadth of the landscape. I hope, therefore, that by reading the pages to follow you will gain a
comprehensive and rewarding insight into not only the many creative opportunities that exist,
but also to my approach to reading the landscape.
Peter Watson
LLYN GWYNANT, SNOWDONIA, WALES
I frequently visit this hauntingly beautiful valley which
lies deep in the heart of the Snowdonia Mountains.
It never disappoints. There are some places which are
simply sublime; they demand and reward the attention of
the photographer. Llyn Gwynant is such a place.
CAMERA Tachihara 5x4in
LENS Super Angulon 150mm (Standard)
FILM Fuji Provia 100
EXPOSURE 1sec at f32
WAITING FOR THE LIGHT 1 hour
INTRODUCTION 9
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CHAPTER ONE
Mountains & the wilderness
Mountainous landscapes and wildernesses are, I believe, among the most challenging and diffi cult
subjects to photograph. I say this, not because I wish to paint an overly pessimistic picture, but as a
result of my early experiences of failure – which I recall with more than a twinge of discomfort. Imagine
the situation: you escape from the urban sprawl, drive high into the mountains, park up and embark
on a journey of discovery. The air is clean and refreshing, the trickle of a stream the only sound and
grazing sheep your only company. You fi nd yourself surrounded by majestic peaks and the sight of
them takes your breath away. The splendour is all-embracing so you set up your camera and capture
the marvellous spectacle. A few days later, hoping to relive the moment, you look at your photographs
with bated breath. Then, with a sigh of frustration, you wonder what happened to the panoramic
vista, the towering mountains or the sprawling forest? It’s all there but, as a photograph, it is barely
recognizable because it somehow lacks the scale and impact of the original scene and is hugely
disappointing. So, what went wrong? It was a question I frequently asked myself during the early
stages of my learning experience.
Transferring a vast and imposing three dimensional landscape onto a small piece of two dimensional
fi lm or image sensor isn’t straightforward. Three into two doesn’t go, so we have to compensate for
this and make the most of the tools we have available. How the photograph is structured – from the
closest foreground to the distant horizon – is critically important, as is the light and shadow falling on
it. Ultimately, it is this combination of composition and light that will determine the outcome of a fi nal
image. This type of subject is demanding, but success is possible because it can be achieved through
practice and experience. These can be acquired and developed over time – with, of course, the right
technique, which I will attempt to demonstrate on the following pages.
LANGDALE, CUMBRIA, ENGLAND
I hadn’t planned to make this photograph but I was drawn
to it by the light. It was the shadow cast by the avenue of
trees and the angled sunlight falling across the mountain
that compelled me to stop and set up my camera. I would
have welcomed a little more cloud and a stronger hint of
autumn, but that perhaps will be next time.
CAMERA Tachihara 5x4in
LENS Rodenstock 120mm (Semi Wideangle)
FILM Fuji Provia 100
EXPOSURE 1/2sec at f32
WAITING FOR THE LIGHT 45 minutes
10 READING THE LANDSCAPE
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