The guidelines for a good landscape follow many of those set for the portrait, but project those approaches onto the broader world around us.
There is the classic countryside, the untouched countryside, the changed countryside, the ravaged countryside, the desolate countryside, the dense countryside, the countryside inundated by human intervention or the countryside recovering from human intervention.
The urban landscape, the city landscape, the suburban, the beautiful, the ugly, the funny, the strange, the lost and the empty.
Good art shows us something that either we haven't seen before or something that we think we know but in a different way, that is guideline we should all try to follow.
first look at or least begin to look at the vast canon of landscape photography that already exists, analyse it and try see what make it resonate. In fact if you find something that really speaks to you use it as inspiration.
Secondly photography is fundamentally a voyeuristic medium in that it allow us to see things we wouldn't normally see. So use this to show us something we don't normally see, remembering that what is deeply personnel is also universal.
What we want to see in a landscape is something that tells us a story, not the whole story but at least part of it. So a good landscape has a narrative to it or a suggestion of a narrative.
Think very carefully about the light, light is the engine of photography it drives the structure and the essence of an image. So think hard about the quality of the light, the time of the day, the angle, where it is and where it isn't.
Please take careful consideration of the quality of light in the landscape you are shooting, should it be morning, or afternoon with its long shadows, or midday with no shadows. All of of these lighting conditions have something to say, find what works best and go with that.
When looking at landscape photographers, the photos in which I felt drawn closest to where photos where they captured air viscosity. Either through cool damp air of Todd Hido, that the colour grading of the image gives the light a flavour as it travels and partially illuminated the scene. Similarly with Alfred Steiglitz in his image of a grand station, you gather an additional sense from capturing the dust illuminated by beams of light; the image has additional depth. Costanza Gastaldi's use of mist in the image suggest an opertunitistic practice either taking many hikes and having the perfect conditions or luck in the perfect conditions when she is at her locations in China. I like the high contrast qualities of Robert Adams but the way the dynamic levels of light have all been captured within the image.
A key part of my objective was to simply try and take my photos as soon as possible and to take my cameras with me everywhere. Fortunately in the first five weeks of this course I had planned three interstate trips. I had plans to travel to Tasmania to visit my friend in Hobart, work scheduled at a Victorian acrobatic convention and tickets to see Hamilton, the musical, in Sydney. This was all following, performing in self produced circus show "Line of Sight" at the Adelaide Fringe Festival.
I knew that this would mean I would have lots of interesting subjects and unique insight to photograph.
I am very proud of my landscape images. I captured them both in Tasmania and they where both captured with a Holga on 120 film.
My first image was taken on a short pit stop we made on our way to the hike together. I liked the way the little row boat appeared to be floating on reads. The print was able to preserve the texture of the reeds perfectly, the reflection also surprisingly retaining brilliant detail.
The mountain top image was captured just as a rain was coming forth and we needed to make our way back before it got to heavy. Many people have remarked as how the photo looks like a painting with some even referencing the painting below. As I have never seen it before I think that is almost freaky how many similarities they share. Namely the mountain shape and position in relation to the figure(my good friend Hunter in my photograph) in the background.