By Robert M. Teague
What if you were told of one simple way to dramatically improve your photography
overnight, and do it for less than $50? Would that capture your attention? There
is a simple way, as simple as a trip to your nearby bookstore.
I've read literally hundreds of photography books over the years, some good and
some bad, and along the way gathered a good selection of photography books for my
bookshelf; books that I return to over and over again, either for inspiration or
a mental refresher of some valuable technique. Even with a large selection of books
to choose from, there are three books that I return to frequently. I have found
these three books to be of such value to my work, that I often carry one of these
books whenever I travel.
Photographing the Landscape: The Art of Seeing
by John Fielder
Of the three books I recommend, this is the best one for the new photographer who
is just learning about landscape photography. However, the advanced photographer
will find value in this book as well, since it delves into topics that are not often
addressed in the photography literature normally available. Later editions of this
book has been updated with the digital photographer in mind, however, I’ve
found very few differences between the editions.
John Fielder is a fine art large format landscape photographer specializing in the
landscapes of Colorado. In addition to being one of the most highly rated photographers
in Colorado, his writing is very clear and well laid out. As a teacher, John has
a way of communicating the photographic process in a manner which seems relevant
to all photographers.
In the first chapter, John makes effective use of metaphor by comparing the photographic
process with preparing a pizza. The seven topping on John’s photographic pizza
are: color, form, moment, perspective and the cheese is the view. The oven is the
analogous to composition, and the kitchen is light. John then goes on to discuss
these element, starting with theory of color, including color relationships, the
various elements of form (line, shape, pattern, texture, volume contrast and form),
through moment (seasons, time of day, quality of light, and other type of natural
phenomena), into perspective (depth of focus, scale) and finally view (the grand
scenic, microcosm, and the intimate landscape). Finally, all these elements are
put together in the form of composition; including the use of dominant features,
balance, proportion and rhythm.
In the second chapter, John goes into the mechanics of photography; how to use the
camera, understanding depth of field and exposure, and the various types of photography
equipment available.
The final chapter of the book, chapter three, John delves into the mechanics of
taking photographs in a natural setting, such as how to be comfortable in nature
(the mechanics of hiking and camping), tips for preparing for a photographic trip
(what type of equipment to take, what kind of film, etc), how to seize the moment
(scouting, patience and spontaneity). Finally, John presents us with a case history
of one of his photographic excursions.
Large Format Nature Photography
by Jack W. Dykinga
As its title implies this book is geared towards the Large Format photographer.
Photographers using other types of cameras can benefit from Jack Dykinga’s
insight into landscape photography as well, but may seem overwhelmed at times with
the book’s emphasis on the Large Format camera. Throughout this book it’s
assumed that the photographer has at least a basic understanding of the large format
camera.
Jack Dykinga, a former Pulitzer Prize winning photojournalist, is now considered
to be one of the top landscape photographers in the United States. His work focuses
on environmental issues within the United States and Mexico, and he was instrumental
in the establishment of the Grand Staircase-Escalante National Monument in Utah,
as well as Sierra Alamos National Park in Mexico.
This book is traditional in its approach to teaching photographic technique; focusing
on composition, light, focusing the camera, lenses and filters, exposure, gear and
weather, finishing with a chapter on making landscape photography into a career.
The one theme this book follows throughout is one of a thoughtful, patient approach
towards the craft of photography. This approach can be seen in his description of
how Jack chooses a filter or the way that he marks his lens boards to annotate the
amount of rise or fall that can be used with that particular lens. In the chapter
on focusing the camera, we learn about using various camera movements to achieve
sharp, in focus images. This section alone has made the purchase of this book invaluable
to me; I admit that I didn’t truly understand how to properly use back tilt
to it’s fullest until I read this book.
The book concludes with a discussion on developing personal vision. Jack sums the
book quite nicely in this section with “What we photograph, how we frame it,
and our choice of lens defines our unique vision. It’s how we see. We see
a composition, plan for optimum light, and record that vision on film.”
Light and the Art of Landscape Photography
by Joe Cornish
Too often landscape photographers concentrate on the minute details of composition,
while ignoring the role that light plays on the emotional impact that an image should
convey. This book, whose primary goal is to remind us of the role light plays, and
its emotional impact, does not overwhelm us with the technical details; instead
it relies on a series of narratives by master landscape photographer Joe Cornish.
Technical concepts are discussed where necessary to complement the narrative, but
the images themselves are the primary purpose of this book.
Joe Cornish is one of the top landscape photographers in the United Kingdom today.
His work graces many galleries, but it is his images of nature for the National
Trust that sets Joe Cornish apart from other landscape photographers. His work has
been instrumental in saving many of the UK's; finest natural areas from overdevelopment.
The first chapter of this book can be considered the signature chapter. It introduces
the reader to the concept of “TLC: Timing, Lighting and Composition.”
This concept that carries throughout the remainder of the book, and as Joe’s
essays show, these elements, in the right mix, can impart emotional impact to an
image.
Building upon the foundation of TLC, the reader is introduced to the concept of
“Foreground Background” in the following chapter. This concept can be
thought of simply as visual depth, and is the basis for what is commonly referred
to as the “grand landscape”, as popularized by master landscape photographers
like Ansel Adams and others.
Next, the reader is introduced to the effect that color has upon the landscape in
the chapter titled “Out of the Blue.” While our eyes have an amazing
ability to filter out and correct distortions and color casts, this is not true
of film. There are numerous ways to work with this limitation; this book discusses
using different temperature balanced films (like tungsten film), corrective filtration,
or simply accepting the casts as an artistic compositional element. A good example
of how color affects the final image and its emotional impact can be seen in the
essay titled “Contours in blue.”
A line from a poem by T.S. Eliot’s “Little Gidding” leads us into
the next concept in the chapter title “The Point of Return.” This concept
revolves around getting to know our own backyards, through exploration and through
a process of learning to see the familiar in a new light.
In the next chapter, “On the Rocks”, we take a step inwards, to see
how a single, reoccurring subject, rock, can be used as a theme point for our images.
In “Days of Wonder”, we are given an opportunity to pause and reflect
upon those places and times that caused us to wonder, and to contemplate the beauty
of the natural world.
Finally, in “Friends and Heroes” we are introduced to those who have
influenced landscape photography, both as an art form and as a means of protecting
our natural environment. Some of the names are very familiar to most; Ansel Adams,
David Muench, Charlie Waite and Michael Fatali. Some, like Peter Dumbrovskis are
less well known, but each has made his own impact as a landscape photographer.
In Conclusion
In each of these books, the photographer has explained his craft in their own individual
and unique way; John Fielder’s thorough and precise discussion of the philosophy
of photography, Jack Dykinga’s hands on approach to large format photography,
finally to Joe Cornish’s learn by example method.
A good photography book should not only to inspire the creative juices within you,
but help give direction to your creativity. Use them as a guide, absorb the knowledge
they contain, but ultimately, you need to find your own voice, and create your own
images.
