We are sure that almost everyone is familiar with this. Exactly! This image depicts the famous default wallpaper hill of Microsoft’s Windows XP™ operating system.
A ‘digital window’ overlooking a green hill and blue sky in the Los Carneros American Viticultural Area of the California Wine Country. This photo, named Bliss, consistently makes a Windows XP™ PC recognisable.
The photo is mostly as it was taken in reality. Although there was later speculation that the image had been created with software such as Adobe Photoshop, O’Rear claims that it never was.
Capturing stunning landscapes with a tripod isn’t always possible. X-Photographer Mark Gilligan explains how to perfect your hand held shooting technique.
You are out on a day walk with friends and suddenly the view that opens up before you all is fabulous. You really want to photograph it. After all, photography is your hobby and you never turn a good opportunity down. It makes your walks all that more interesting and memorable.
Whilst you enjoy taking pictures of the places you have visited, you are now getting more serious about photography. However, no matter how appreciative your friends are of the landscape, they don’t seem to match your enthusiasm when it comes to photography. Whilst they are content to snap away with their cameras or phones, they bemoan you for ‘holding’ them up as you go to get your tripod out. Of course you will enter into a bit of banter but they will probably just leave you to it and walk ahead.
Sound familiar?
Most photographers are aware of shooting at ‘golden hour’, but ignoring ‘blue hour’, the short time before sunrise and after sunset, can provide stunning results, as Mark Bauer proves.
All photographers are familiar with the famed ‘golden hours’ around sunrise and sunset and it’s probably fair to say that the majority of landscape images are shot in these periods. The low, warm light is extremely flattering to the landscape, so it’s easy to understand why. However, it would be a mistake to restrict your landscape photography to these times, as you would then miss the magic of the ‘blue hour’.
The blue hour is the period of twilight each morning and evening when the residual sunlight takes on a predominantly blue hue. During this time, the sun is below the horizon, but it illuminates the upper layers of the atmosphere – the longer, red wavelengths pass straight out into space, while the shorter, blue wavelengths are scattered in the atmosphere. his results in images with a blue colour cast and saturated colour. The cool, blue tones in this period can create an atmosphere of mystery and romance – so if you like your landscapes moody, this is the time to shoot. Continue reading “True Blue: Shooting landscapes in the twilight with the GFX 50S”
Chasing after that ethereal golden hour sunrise but not a fan of the early starts? X-Photographer Mark Gilligan tried out wild camping to rise with the sun. Here’s how he got on.
Ah, the simple pleasures of life. They invigorate the soul! Changes and new experiences are great but it’s nice to do what you enjoy. It gives us you a lift. Genesis, my favourite band of all time, summed it up nicely when Peter Gabriel lent his unmistakable voice to, “I know what I like” and I am, sure many of you reading this will feel the same.
We are all ‘routined’ to a point and I suppose I fall into that bracket. Whilst I may be laid back I am never complacent. I regularly slip out of the ‘comfort zone’ and push myself, but if there is one thing I do not like to disrupt, it is enjoying a good night’s kip! A comfy bed with clean sheets, bit of a read, lights out and I am off.
I awake, have an invigorating hot shower, get dressed and breakfast. Then it is time to attack the day. I definitely know what I like and I approach my photography in exactly the same way. I love the mountains and great views. I will never tire of them but it would be easy to keep going along to regular haunts never being bored with them and marveling at what they give me. That won’t change. After 40 odd years of shooting professionally, I am still learning my craft and I enjoy exploring new ways to enrich my skillset. It was on one of my, “what can I do now?” days that I thought about wild camping. Continue reading “A Quest to Capture the Golden Hour: Wild Camping in the Lake District”
Photography is all about the light and, as landscape photographers, we are constantly searching for the most interesting and evocative lighting conditions. Without it our pictures can be dull and lacklustre but when Mother Nature performs her magic, the landscape is transformed enabling us to capture some stunning imagery.
Some of my favourite conditions are shooting into the sun to capture those dramatic sunbeams, starbursts or beautiful back-lit scenes. Although this is counter intuitive to everything we are taught early in our photographic journey, this technique helps emphasise, shapes, lines and silhouettes to produce some striking images.
A trip to Iceland never fails to provide interesting shots as Landscape photographer Mark Bauer demonstrates in this article, sharing some of his stunning shots captured on the medium format Fujifilm GFX.
Sunrise at the ice beach at Jökulsárlón, with waves washing around one of the many icebergs. GF23mm f/4, ISO 100, 2 seconds at f/16, LEE 4-stop ND and 3-stop reverse graduated ND.
I’ve been shooting with the medium-format FUJIFILM GFX 50S since early April 2017 and have been more than impressed with its performance as a landscape camera. But for a camera to be truly usable by landscape photographers it has to be able to withstand the elements and, until recently, it would be fair to say that my GFX had had a fairly sheltered life. I was keen to see how it would perform in harsher environments, so took it with me on a recent trip to Iceland; this also gave me the opportunity to test its high ISO performance while shooting the Northern Lights.
Dramatic light at Fjallsárlón, looking towards one of the outlets of the the Vatnajökull glacier. Adapted Mamiya 105-210mm, ISO 100, 1/60 second at f/11, polariser.
I’m lucky enough to have visited Iceland on numerous occasions and it remains one of my favourite destinations for landscape photography; there really is nowhere else like it. On this occasion, I was co-leading a workshop and we were based on the south coast, beginning the tour near the town of Höfn and working our way back west. On this trip, we were able to include the ‘must-see’ locations of the Stokksnes Peninsula, Jökulsárlón glacier lagoon, the beach at Vik, with its dramatic rock stacks, and many places in between.
The dramatic sea stacks at Vik partially silhouetted against a colourful sky at sunset. Despite the extremes of contrast, the GFX was able to capture the full range of tones without the need for a graduated filter. GF32-64mm f/4 at 60mm, ISO 100, 2.5 seconds at f/22, LEE 4-stop ND.
The weather in Iceland can be harsh, to say the least. On this trip we experienced winds which threatened to knock us off our feet and temperatures which dropped below minus 10. Perfect for finding out how tough the GFX is. Despite the unpredictable weather, winter remains my favourite time for visiting Iceland: changeable weather makes for dramatic conditions and the low winter sun means that there is a permanent ‘golden hour’ during the day.
The good news is that the GFX held up really well under some tough shooting conditions. The environmental sealing was given a severe test on a morning when there were gusts of wind so strong that we had to kneel down and cling on to our tripods to prevent kit from flying off into the distance. The wind whipped up the gritty, volcanic sand from the beach and sea spray coated all our gear. None of this bothered the GFX, which didn’t miss a beat and allowed me to grab some shots in between the gusts.
Early morning light warming the cliffs at Dyrhólaey, from Reynisfjara beach. GF32-64mm f/4 at 63mm, ISO 100, 2 seconds at f/11, LEE 4-stop ND.
On the days when we were able to stand up, we were treated to some exceptionally good light – a fabulous sunrise on the famous ‘ice beach’ at Jökulsárlón and a colourful sunset at Vik. Fujifilm has an excellent reputation for colour and it goes without saying that the GFX captured beautiful colour on these occasions, but the sensor’s wide dynamic range was also a key factor in being able to make the most of the conditions, especially at Vik. Because of the shape of the cliffs there, it wasn’t possible to use a graduated filter to darken the bright sky; however, filtration proved to be unnecessary, as it was possible to capture the full range of tones without a grad.
The ability to set different aspect ratios in-camera is a feature which frequently comes in handy and it did once again on the Iceland trip. Not all scenes will suit the native aspect ratio of your camera, whatever it is, so being able to experiment and see different ratios in the viewfinder, rather than having to try to visualise them, is a real boon. I found, for example, that a square crop or 3:2 ratio made for a better composition at Vik than the GFX’s native 4:3.
Looking towards the sea stacks at Vik, from Dyrhólaey. GF32-64mm f/4 at 57mm, ISO 100, 17 seconds at f/16, LEE 6-stop ND.
Of course, one of the main reasons photographers visit Iceland is the Northern Lights. I’ve been lucky enough to shoot some really good displays over the years, but sadly, that was not to be the case on this trip as we suffered a lot of cloudy skies and low activity on the nights which were clearer. On the one night that we had a reasonable display, strong winds restricted our viewpoint to a sheltered spot where it was hard to get a good composition. However, this didn’t stop me being able to assess the GFX’s technical performance and its suitability for astro work.
Northern lights over Jökulsárlón Glacier Lagoon. GF23mm f/4, ISO 1600, 20 seconds at f/4. The GFX recorded plenty of detail with low noise levels in this low light, high ISO shot.
The main things to be aware of when shooting the Northern Lights are getting enough light on the sensor to record an image while keeping the shutter speed short enough to avoid star trails. Depending on the focal length used, 15-20 seconds is usually a good maximum. This means that in order to get a usable exposure, you will need to use a high ISO and open up your lens to its widest aperture. Having a lens with a fast maximum aperture such as f/2.8 is desirable and as there are no native Fujifilm wide angles faster than f/4, I had considered adapting a third party lens for the trip. In the end, however, I decided to take the GF23mm and trust that the GFX’s high ISO performance would compensate for not being able to shoot wider than f/4.
Northern lights over Jökulsárlón Glacier Lagoon. GF23mm f/4, ISO 1600, 20 seconds at f/4. The GFX recorded plenty of detail with low noise levels in this low light, high ISO shot.
The GFX acquitted itself really well; high ISO noise is impressively low and the nature of the noise fine-grained and therefore easy to deal with in post-production; a fast wide angle lens is certainly desirable but you can live without one and I’d certainly have no reservations about using the GFX + 23mm f/4 combination on my next Iceland trip. Another important point to bear in mind when shooting the night sky, is being able to find true infinity focus – not always straightforward with modern autofocus lenses. Using the distance scale in the EVF meant that this was a simple matter with the GFX and GF23mm – another point in its favour.
The church at Vik, with its dramatic mountain backdrop. The low sun in winter means that you can get golden light throughout the day. Adapted Mamiya 105-210mm, ISO 100, 1/20 second at f/11, polariser.
Iceland is always great fun and I’ve never failed to come back with interesting shots. This trip was no exception and there was the added benefit of my gaining increased confidence in the GFX system.
A frozen rock arch at Dyrhólaey. GF32-64mm f/4 at 64mm. ISO 100, 120 seconds at f/11, LEE 10-stop ND.
The FUJIFILM GFX 50S delivers the world’s best image quality. It combines outstanding resolution of 51.4 megapixels with exceptional tones, advanced color reproduction and high-performance lenses. This level of image quality is purely motivational. The world around you changes the moment you hold this camera in your hand. Appreciate all that can be achieved with Fujifilm’s new medium format mirrorless camera system, GFX.
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