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A master photographer's guide to capturing the natural landscape -- written for hobbyists and pros.
Step-by-step instructions, pictograms, and before-and-after comparisons provide a complete course in capturing a landscape's natural beauty. Renowned photographer Tim Fitzharris reveals foolproof techniques he has used through decades of fieldwork in a wide variety of settings. His own outstanding examples are accompanied by detailed information on the equipment, exposure, film, shutter speed and filters used.
The book is designed for use with the latest digital as well as traditional cameras. Fitzharris encourages photographers to rise above technology and remain sensitive to a landscape's changing moods. Everything needed to achieve professional results is covered, including:
- The best equipment and how to use it
- Digital camera considerations
- Detailed field techniques for a wide variety of natural settings
- Using filters
- Fine art composition, simplified and diagrammed
- A step-by-step guide to recognizing and finding great scenic shooting sites
- Getting a correct exposure every time
- Recording mirror-like reflections in lakes and shooting postcard-perfect sunrises and sunsets
- Creating high-quality panorama images
- Post-production basics, including image selection and color correction.
Filled with tips and strategies, this outstanding guide includes all that's required for taking professional-caliber photographs of great landscapes.
- Sales Rank: #1241802 in Books
- Brand: Brand: Firefly Books
- Published on: 2007-03-16
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .63" w x 8.50" l, 1.38 pounds
- Binding: Paperback
- 168 pages
- Used Book in Good Condition
Review
Whether you are a newbie, a seasoned photographer, or simply a scenery bug, this new offering ... packs a mighty bang for your buck. It is almost a landscape photography workshop in book form, illustrated by the kind of views ... that make you suck in your breath in wonder (and, yes, envy) as you turn each page. (Joy McDonell Canadian Camera)
Crammed with insightful tips on creating landscape pictures, written in a straightforward style with minimal jargon, the book also showcases more than 100 of Fitzharris's eye-catching landscape photographs, complete with informative captions about how the images were made. (Popular Photography)
A glowing tribute to the beauty of North America. (Joy McDonnell, Editor-in-Chief Canadian Camera)
[Fitzharris's] advice on such topics as field techniques, fine-art composition, and the best equipment to use is invaluable. This highly accomplished and useful guide is an inspiring improvement over more basic volumes like Michelle Perkins's Digital Landscape Photography: Step-by-Step. Recommended. (Daniel Lombardo Library Journal 2007-11-15)
A valuable reference... stunning photographs.... Beginners to pros can benefit from this opportunity to look through [Fitzharris's] lens. (Grand Magazine (Kitchener, ON) 2007-10-31)
[Fitzharris's] advice on such topics as field techniques, fine-art composition, and the best equipment to use is invaluable. This highly accomplished and useful guide is an inspiring improvement over more basic volumes like Michelle Perkins's "Digital Landscape Photography: Step-by-Step." Recommended. (Daniel Lombardo, formerly with Jones Lib., Amherst Library Journal and LibraryJournal.com 2007-11-15)
If you are looking for a book that covers almost all facets of landscape photography, you should take a close look at Landscape Photography by Tim Fitzharris... The book has awe-inspiring images on almost every page, which is a good reason alone to by the book, but the information offered is some of the best I have read... The real strength of the book is the fourth part, where Mr. Fitzharris' writing shines. He covers most all of the usual situations where landscape images are captured and describes what to look for and how to capture beautiful images... His ideas and suggestions are all very good. The best reason to buy this book is the images that Fitzharris includes to demonstrate his vision, ideas, and suggestions. Looking at the images will improve your photography... [This] is a book that should be on a photographer's bookshelf if they are interested in landscape photography and even nature photography in general. (Nature Light Photo 2010-05-01)
About the Author
Tim Fitzharris is a critically acclaimed photographer known by his colleagues for his regular column in Popular Photography and Imaging magazine. He is the author of 25 books, including National Audubon Society Guide to Nature Photography, Close-Up Photography in Nature, Rocky Mountains: Wilderness Reflections and Big Sky: Wild West Panorama. He lives in Santa Fe, New Mexico.
Excerpt. © Reprinted by permission. All rights reserved.
Introduction: The Earth, our planet, our home.
In its natural state it's difficult to imagine anything more beautiful. This book is intended to help photographers capture this beauty for the enjoyment of both themselves and others. The landscape is arguably the most difficult, challenging and fascinating of nature's subjects. It is an elusive target -- terrain shimmering in ultraviolet or buffeted by wind one day and twinkling with frost or glinting bronze under a sunset sky the next.
Not only does the landscape change, endlessly offering to the lens new contours, textures and colors depending on weather, light and season, it posts no signs to guide the photographer's approach. It does not encourage you to capture spreading antlers or eyes sparkling with highlights. Its appeal is broad, and as subject it is open to wide avenues of interpretation. It is more concept than thing, more mood or feeling than identity. You cannot take a picture of a mountain and say, "There, I've got it." You can only say that you know a bit of it, that you've spent some time near its energy.
If you have an artistic temperament, this will appeal to you. No matter how many times a famous landform has been photographed, your encounter with it will be unique and will remain so with every subsequent shooting session. Pulsing with light, mother of life, for the artist a subject both sublime and mindless, the land abides in us and for us. You appreciate this while looking through the lens, trekking to a shooting site or standing on a precipice waiting for sunrise. If you're reading this book, you're already attuned to this. You want to know more about direct engagement, about embracing this wonder of Earth through your eyes and insights, your photography and your art.
This book will help you understand how camera and film (or sensor) depict the land so that you can make images the way you see and feel. The technical components of professional-level landscape photography are all covered here. The emphasis of the book, however, is on the photographer's actual interaction with the subject. I've described here the numerous ways in which I photograph the landscape, the particulars of how I proceed to capture a dune field, ocean sunrise, autumn forest or alpine reflection. Each setting calls for the application of a different set of technical and artistic considerations. I've outlined the general procedures I use when working in the field, the focus being to enjoy the process while maximizing the quality of imagery.
To this end, you will find that keeping things simple -- technically, logistically, artistically -- brings you closest to the Earth, your subject, allowing the clearest expression of your artistic goals. The working models presented here are the ones that I use and know, but they needn't be the ones that you favor. There are many ways to approach landscape photography, and your art will benefit by considering how others photograph. As you gain experience you will discard some procedures, embrace others and develop new ones of your own.
It's impossible to photograph the landscape and not be aware of the accelerating deterioration of the planet's natural areas. Governments generally see progress in terms of economic growth manifested through industrial, residential, agricultural or commercial expansion, nearly always to the detriment of natural systems. As nature photographers we can use our influence to turn capitalism's focus on development to one that favors preservation. It's seems to be a losing proposition at this point, but you'll feel better and grow more appreciative of the subjects you photograph just for making the effort. Earthlings, unite!
Most helpful customer reviews
1 of 1 people found the following review helpful.
What a beautiful book
By Michael McKee
At the price this book is a bargain compared to many other photography books. And with page after page of stunning photos it might be worth the price for the pictures alone. Fortunately it is also a good how-to book on photographing nature.
Tim Fitzharris presents a pro's view of the subject, covering equipment, and other practical parts of the craft as well as offering an excellent primer on nature photography in particular but to do so he has also covered the basics of good photography in general. He also doesn't forget those who still use film and slides, discussing how traditional cameras are still the tool of choice for certain high-end and large size photographic needs.
I especially enjoy the way he shows a photograph and discusses how he took it and why he did what he did. There is a good mix of basic information and landscape specific takes that should appeal to a wide range of photographers. I love the book.
26 of 26 people found the following review helpful.
Finally! Someone Gets It Right!
By John Guilbault
Yeah, you need to get this book. This is the photography book I've been looking for. Tim Fitzharris doesn't just take stunning photographs, he disects photos and goes through the thought process so that the reader can understand what it was about the scene that caused him to frame it the way he did. He doesn't just say "follow your heart" or "discover what the scene is trying to tell you" or other artsy-fartsy stuff like that. He's a technician. He tells you how to assemble the photo piece by piece. No other book I've read goes into so much detail on how to actually frame a shot. Since digital cameras take away much of the worry about exposure, composition is the main worry, at least for me. Mr. Fitzharris does an excellent job of explaining vantage points, focal planes, proper camera placement and everything else associated with getting it all right in the camera.
Two tiny nits to pick, but certainly nothing worth deducting points for: 1) Fitzharris explains everything assuming you'll be using a 35mm or digital SLR camera, which is fine. But he uses a medium-format film or digital camera, and the pictures reflect this. Unless you're willing to spend the price of a new car on camera equipment, you shouldn't expect to be able to replicate the pictoral quality of his work. 2) Fitzharris points out that the best places to photograph water are actually from in the water, and he says that you should be "prepared to get wet". He also points out that this might cost you a camera or two, as any digital equipment dumped in the drink will be "a complete right-off". Whoa, there! Maybe a pro can right-off a few thousand dollars worth of equipment, but I saved for a year to buy my digital SLR. Taking it into the soup is just not an option.
One good thing that Fitzharris also covers is the amount of work necessary to get breathtaking shots. Up before dawn, hiking in the dark, coming back day after day if the light isn't right. He conveys the proper message that getting great shots on a consistent basis is real work. If you were under the impression that you could obtain shots like this while on vacation with your family, reading this book will quickly put that fantasy to rest. Fitzharris points out that it takes patience, dedication and time to get the good stuff.
This is by far the most informative book you can get on landscape photography. Fitzharris takes jaw-dropping, OMG-I-can't-believe-it photographs, yet it never seems that he's just showing off his work. I've read so many books where the author writes "this picture succeeds because..." and then goes on to explain why the shot he took is so great. In my view, if you have to explain to your readers why the picture succeeds, maybe it doesn't. Fitzharris never does this. He lets the shots speak for themselves, and simply describes the elements he looked for in composing the picture. And, wow. His pictures sure have a vocabulary!
4 of 4 people found the following review helpful.
Excellent resource
By Ugo Cei
I've recently been reading a slew of books on the subject of landscape photography. Probably I'm dreaming too much about being published one day on the pages of National Geographic, Audubon Magazine or Outdoor Photographer. Tim Fitzharris' National Audubon Society Guide to Landscape Photography (Firefly Books) is the last one in the series, so it's fresh in my memory, and it's one of the best, so I thought I'd write a review of it.
This book, of course, is for aspiring landscape photographer, but it assumes you have a good knowledge of the bases of the photography craft. You won't find here explanations of the exposure triangle, what ISO means, or other trivial stuff that you can find in any introductory text about photography, or for free on the Web. To be honest, you won't find a great deal of deeply technical stuff in this book, like for instance formulas to compute the hyperfocal distance (you can look that up on the Web too).
You will find here, however, a good discussion of optimal lens aperture, exposure time, and how to meter in difficult situations. So it's not like the book is only full of fluffy, artistic advice about pleasing composition. On the contrary, most of the advice revolves around quite practical, down-to-earth matters, like finding the best time of the day and the best lighting conditions for the kind of shoots you have in mind (or, even better, how to find the right subjects for a given lighting condition). It contains invaluable information on how to best pack your gear, how to select the best tripod, how to use filters. It even provides suggestions for how to dress for shooting in the desert, near the water, on the mountains.
Someone might think that all of this is of marginal importance, compared to the actual act of shooting, but I have a hunch it's fundamental instead. Being in the right place, at the right time, with the right equipment, warm and dry, is as important to getting a beautiful picture as carrying along the right lens. I have even earmarked some of the pages, like the one where using a photo vest with pouches instead of a traditional backpack is recommended, or the one about dressing with zippers instead of layers, for future reference.
Another recommendation that I think could be extremely useful is the one about getting familiar with a set of typical, recurring design templates. They embody eternal principles of composition that are common to all visual arts and can be invaluable in helping photographers to pre-visualize a shot and to recognize compositions that can often lead to a successful picture. As always, the advice to avoid stereotypes and occasionally think out of the box applies.
Any good photography book would not be complete without a selection of gorgeous pictures and this one is no exception. Tim Fitzharris' photographs are indeed among the finest. They're the kind of pictures that typically end up being published on the pages of the above-mentioned magazines, or on fancy calendars and posters. They are all colorful pictures of striking, natural, unspoiled landscapes, taken around sunrise or sunset and perfectly focused and exposed... well, now that I think of it, there are maybe too many colorful, striking, natural, unspoiled landscapes here. They were all taken in the American West, too. And the colors scream "Velvia" with a loud voice: Even the digital captures have that warm Velvia look. What I mean is that, just maybe, they smack just a tiny bit of manierism. I would have liked to see an occasional black&white shot, a rule-breaking, unusual composition, some human element, maybe even a blurry picture. Something artsy-fartsy that would surprise me, I don't know. Anyway, I guess most buyers of this book will have no problem with that, it's just a minor peeve on my part.
I've read some reviews complaining that all of the pictures in the book were taken with medium format cameras, and that's true. The 645 format is almost exclusively represented, with a near 50/50 split between analog and digital. Does that mean that us poor mortals with a 35mm DSLR, or even one with an APS-C sensor, cannot get any valuable information from this book? I don't think so. Aside from every gem contained here and which applies to what you should do before you even start shooting, even the technical shooting information can be applied, as long as you know how to convert focal lengths according to the size of your sensor or film.
In the end, my opinion is that Tim Fitzharris' book is a very good resource. It does not certainly cover every aspect of landscape photography, but what it covers, it does so from the perspective of a long career on the field and in a very clear and concise style. Other books (and I hope to review them here shortly) might cover different aspects, and their authors might disagree with some things that Fitzharris writes, so you should probably own more than one, but starting with National Audubon Society Guide to Landscape Photography is not the worst thing that you could do.
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