Project 37: ways of dramatising a landscape

This project called for an evaluation of what techniques could be used to make a landscape photograph more dramatic. Here are my thoughts:

1. Inherently spectacular subjects such as mountains, cliffs, sea stacks etc - this is very much in the vein of the work by Galen Rowell who photographed in mountainous areas of the world where the scenery was inherently dramatic. Here is an example...

Last light on Horsetail Fall, Yosemite National Park

2. Extreme focal length of lens:very wide angle or long telephoto - here is an example of a photograph taken by David Noton using a 15mm fisheye lens which shows a wide perspective creating an image where the full extent of the bay can be appreciated adding to the drama of the scene:

 Port Campbell National Park, Great Ocean Road, Victoria, Australia

3. Rich colours at sunrise and sunset - photographing during the magic hour is perhaps the most oft used way of creating dramatic images as in this shot at dusk by David Noton:

Twelve Apostles at dusk, Port Campbell National Park,
Great Ocean Road, Victoria, Australia. 

4. Backlighting - this inherently creates a dramatic image due to the high contrast nature of the resulting images. Here is a particularly dramatic image taken by Galen Rowell:

God beams and colors of The Glory through prayer flags atop Gokyo Ri, Everest Region, Nepal

5. Unusual composition - by definition this approach can inherently take many forms. Here is an example by Galen Rowell based on over-emphasising the foreground interest relative to the background:

Cuernos del Paine at dawn from Lago Pehoe, Patagonia, Chile

The project requires me to come up with some other examples of dramatic landscapes. Here are some thoughts:

1. Reflections - lakes surrounded by dramatic scenery can create a dramatic image when on a still day the landscape is mirrored in the lake - Buttermere in the English Lake District is a great location for this type of image. Sadly on the two occasions I have been there recently it has been very windy...still conditions are a pre-requisite for this type of image.

2. Dramatic Weather - stormy weather can be very dramatic with majestic cloud conditions and strong light. An image of a storm brewing over a distant landscape is an example of this type of image. 

3. Extended Leading lines - a shot along a beach with the sea tracing a long winding line into the distance has the potential to create a dramatic image particularly if the light and weather add to the mix.

4. Use of unusual aspect ratios - wide panoramic images with aspects ratios above 2:1 can add to the drama of a scene as they can present a perspective not normally seen by the human eye. 

5. Using ND filters to create long exposures - this approach particularly when the photograph has elements within it which are moving can create unusual and dramatic images. This is particularly the case when capturing images of the sea or lake moving over rocks or other static elements. The water takes on a creamy texture and the impression is of movement. The same is true of rivers and streams moving over rocks.

These are a few thoughts and I may add to these at a later stage as ideas come to me. 

Landscape Photography Influences - Galen Rowell

This is the first of what will probably be several posts on Galen Rowell, is one of the selected photographers as possible subjects for Assignment Four. Whilst in Lanzarote I spent some time reviewing his book Galen Rowell's Vision The Art of Adventure Photography.

I thoroughly enjoyed the book. Rowell's enthusiasm and passion shines through the work. Rowell specialised in adventure photography in extreme wilderness locations. He started off as an active participant, climbing extensively all over the world. Photography was something he did as he pursued his adventures. Progressively he became more a photographer and less an adventurer. Sadly Rowell and his wife were killed in a aircrash in the early 2000's.

The book comprises a compilation and reworking of articles Rowell published in Outdoor Photographer magazine. The chapters are grouped into four sections:

1. Goals: Transforming dreams into realities through personal visions
2. Preparations: Pushing the limits of equipment, film and technique
3. Journeys: Merging visions with realities
4. Realizations: Communicating your worldview through photography

It is a highly readable and practical book. But as can be seen from the section titles Rowell  was emotional and passionate about his work. 

I found the first section particularly influential. One of my key goals for undertaking the Landscape course is to try to develop my personal style or signature. Rowell talks at length about the subject of personal style. The key lessons on style I have taken from his ideas are;

• style should be internally directed and come from an emotional to the subject
• emotionally distancing oneself from the subject will result in the photographer avoiding developing their style
• the photographer should seek to simplify to produce powerful images
• fine photography communicates by metaphor
• clarity, emotional response, and a sense of order combine to create style from within

These are really interesting insights. I have made a mental note to  ask myself three key questions when considering making an image: what emotions does the scene  evoke (if none then perhaps its time to move on); how can I convey these emotions simply and powerfully; what metaphor can I use to achieve this. 

I also found Rowell's ideas about image maturity very interesting. He defines the terms mature and immature as follows:

An immature image is a normal subject photographed for an immature audience, ie an audience not familiar with the subject. Such images need to be bold, direct and obvious. In the case of landscape this might be a straightforward depiction of a landscape scene.

 A mature image is a normal subject photographed for a mature audience, ie an audience familiar with a subject. In this case the bold and obvious might be regarded as a boring cliche so more subtle imagery is needed suggesting the presence of something. For example a detail from the landscape which symbolises the big picture.

The key lesson from this idea of image maturity is that I need to consider who is the audience for the image whether the subject is well known by this audience. 

Rowell also makes many interesting points about photographic ethics and suggests that the ultimate aim is to pre-conceptualise an image and to go out into the landscape and find the image. Emphasis is on the word find, rather than manipulate, control or contrive.

Section 2 on equipment, film etc is somewhat dated now, but it is clear that Rowell was on top of his game technically and this is an aspiration I aim to adopt too.

Section 3 talks about the practical challenges of access, commercial encroachment on wilderness areas, environmental and human pollution issues. He raises many issues which remain important today. 

Finally in section 4 he talks about using photography to communicate your views on issues you feel strongly about which are of importance in the world today. Rowell had for many years provided through his images support for Tibet in its fight for independence. This gets back to the issue of passion and emotion. I have to say that reading Rowell's articles made me realise how superficial some of my work is and how I need to challenge myself emotionally if I am to radically move my work to another level. 

All in all this is an excellent and extremely influential book. I intend to read further works by Rowell and may well select him as my photographer for my detailed review in Assignement Four.

My favourite image from the book is the one below. It is a shot of bad weather clearing El Capitan in the Yosemite valley. I love the way the snowclad pine trees point inwards accentuating the height and scale of the mountain behind. The cloud covered but still sunlit mountain looks wild and threatening. This is not a study of the detail of the rock face. Rather it is  an emotional depiction of the awesome nature of weather in the high mountains. 

Clearing storm El Capitan Yosemite by Galen Rowell