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Fine Art Landscape Photography

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Fine Art Landscape Photography

Second, I have a broad view as to what Landscape Photography might embrace. Landscape Photography is not just a pretty picture of a natural open vista with a straight horizon. For me, it can involve the human influence; be it people, their culture or their structures. So long as ‘key elements’ play an important part of what is, the core landscape narrative, I believe any element can be included in a landscape photograph.
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Fine Art Landscape Photography

William Neill has produced images of natural landscapes for forty years. His images are available as Limited Edition fine art photographs at a number of fine art galleries. His work has been published in books, magazines, calendars and posters. William licenses his images for stock photography usage, including for advertising, corporate, editorial and other uses. In 1995, the Sierra Club awarded Neill the Ansel Adams Award for Conservation Photography.
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Fine Art Landscape Photography

You should have seen this tip being mentioned quite often, but it is still as true as on the first time it was written. Unless you have the talent of a landscape painter like Turner (and if you do, then why are you doing photography?), you will always need to get the best possible light to turn mundane scenes into remarkable images. Special light creates special images, and this is absolutely true in landscape photography. Shooting a gorgeous scenery under harsh light and clear skies will create a good photo, but certainly not a remarkable and unique image, as it will lack contrast, depth, tonal range and “emotion”. Creating “art” requires the presence of an “Artisan” who is also an “Artist”, meaning that he is both skilled in his craft and passionate about his subject. One of the most important raw materials a photographer should work with is light, so you should always spend as much time as needed to find the perfect light conditions to shoot a scene. Even though every now and then you might be lucky and find stunning light by chance, this is a chase that invariably needs many hours of preparation and scouting.
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Fine Art Landscape Photography

There are endless online discussions about the true concept of Fine Art, many regarding photography. As soon as you say that you’re a “Fine Art” photographer you are bound to hear criticism, mostly centered around the thought that you are being elitist and vain using such terms.
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Fine Art Landscape Photography

There is one more crucial aspect to landscape photography as art, and it’s related to “meaning”. When you choose to pursue artistic photography, you can either use mechanical imitation as a foundation for what you do, or you can try to inject meaning into your actions as an artist.
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Fine Art Landscape Photography

He has always felt more comfortable outside the boundaries of traditional landscape photography where he felt greater creative freedom and satisfaction. A technically perfect and traditional photograph in the style of an Ansel Adams, be it in colour or black and white, left him uninspired. Frank says, “I do recall thinking early on that the detail of an Ansel Adams shot was boring to me—almost too technically perfect to be interesting. That kind of work is the goal of most landscape photographers, so the number of competing images is ridiculous, and they all end up looking like each other. I wanted to be able to enter a landscape with a different goal—that of interpretation rather than duplication.”
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Fine Art Landscape Photography

Capturing powerful landscape photographs, images that might be considered “Fine Art,” is no easy task. Here are 7 tips that have helped me to capture better, more meaningful landscape photos.
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Fine Art Landscape Photography

Third, I am also very open to a vision and an aesthetic which is interpretive. As photographers we are creative and we bring our own vision to what we see and do. We are not ‘photocopiers’; we are not there to just make a Xerox copy of what we see. I like to think that the photographer can be a ‘part’ of the photograph in the sense that the photographer contributes their own unique vision of the scene.  I understand that some photographers like a purist approach to landscape photography where a faithful capture of the landscape is required. And that is perfectly ok, however I don’t consider it a “hard rule” and as such I don’t limit my self or this list to such visions.
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What Michael offers us, is a unique capture of a landscape and in the process shows us that landscape photography can be many things. This series is in the style of old photographs; a rocky coastline as if photographed in a century old process which adds a mysterious narrative to this work.  Michael says, “I imagine these views through a telescope. I imagine pirates and explorers. I imagine swooping gulls and terrible storms, shipwrecks and stories of adventures and heroism,”

At a time when Black and White was the norm for quality art photography, a few photographers were breaking the rules. William Eggleston was already well into exploring colour as an art medium, however it was three particular photographers who pushed even further. Sometimes called “The Colourists”, Pete Turner, Jay Maisel and Eric Meola all bulldozed the envelope with bold, graphical and often experimental colour. They started to use colour, not as a functional representation of the scene, but as the primary element in the design and form of the image. Pete Turner in particular was often prepared to be very ‘technically experimental’ in his methods.
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Matthew Brandt says, “Photography has so many applications, that I see it expanding further in many directions to many representational forms. But it definitely seems that there is something in the air to rekindle the notion of a photograph as a unique object.  Photography’s always been an unruly medium based on experimentation and playing with process. There are so many historical methods that have been used to make a photograph, and they all have inherent signifiers that relate or don’t relate to a viewer. A lot of the meaning within my work is in the process, and how it relates to the photographic subject. As there are so many subjects out there, it is another step to determine its most suitable material manifestation. In order to find it, there needs to be experimentation.”
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It is a style of photography, with its rich full-on colour,  which is highly liked by and marketed towards, mainstream buyers of stock photography and some home, office and hotel space decorators and collectors of limited edition prints. It is a large and specific market where a limited number of photographers have done well via both print sales, licensing, workshops, lectures and books.
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Special light creates special images, and this is absolutely true in landscape photography. Shooting gorgeous scenery under harsh light and clear skies will create a good photo, but probably not a remarkable one as it will lack contrast, depth, tonal range and “emotion.”
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People tend to think of landscape photography as a very Zen-like activity, but if you want to get the job done, be ready for a delicious adrenaline rush when you are trying to deal with temperamental gear, harsh environments, physical obstacles, and quickly changing light. The famous golden hour should unfortunately be called “the golden few minutes.”
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Marc Adamus is one photographer who stands out in this style. His success, in part, is due to his willingness to put himself into some great locations and his patience, perseverance and planning to ensure he gets great light. He has an eye for the epic, majestic and the bold. Marc has a ‘he who dares, wins’ mindset; the ‘Bear Grylls’ of landscape photography. Marc does indeed capture dramatic light and colour with an excellent eye for the grand composition. He lives the adventure and the dream, with his camera.
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Many of Jennifer’s works are ‘constructed visions’ of an idyllic or mysterious place, that does not exist. They are truly unique editions and a reminder, that landscape photography can be many things.
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Paul was a legendary photographer based in Namibia. The sky was his studio. He set the benchmark for capturing the most beautiful images of our Earth from above. Paul said of his vision; “At the Skeleton Coast and the Namibian desert, it is easy to imagine that you are the first person to cross the horizon, the first person to experience being here. It is nature at its most raw. The landscape is inspirational, vast and sparsely populated. It presents me with a sense of discovery, with its rock formations, caves and dry riverbeds. There is no camouflage, it is stripped bare, you are able to read the geological time – read the history of the landscape.”
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I find Simon Robert’s work very interesting. Simon likes to explore the relationship between geography and people; the human landscape, as a place where people live, work and play. His is a different vision and narrative. It is about the landscape and its human presence.
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Susan Burnstine is a highly successful fine art and commercial photographer. She is represented in galleries across the world and widely published. Susan has a very particular vision which she captures in-camera, on film, using a wide variety of self made cameras. I have always love photographs which I call “perfectly, imperfect” and Susan’s work captures the essence of this concept so well.

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