JUNE 15, 2017
BEGINNER
Tips for Photographing
Mountains
Featuring REED HOFFMANN
© Reed Hoffmann
Using a wide-angle lens you can include more than one mountain peak in a
photo. Here the mountains are reflected into the water.
People have always been fascinated by imagery of mountains. Artists have been
drawn to them (pun intended) over the centuries, and photographers like Ansel
Adams focused on their jagged peaks from the early days of photography.
Mountains are even included in the words to "America the Beautiful." So how can
we make the most of these "purple mountain majesties" in our photos today?
The first and most important rule is to make sure that the horizon line in your
photograph is straight. If you're hand holding your camera, take care when looking
through the viewfinder (or on the LCD if you're composing that way) to make sure
that the horizon is straight, not slanted. Sometimes you can fix a crooked horizon
line with software, after you've taken the photograph, but doing so may also mean
you'll have to crop out part of your picture. If you are using a tripod, that's even
easier. Many tripods have a built-in bubble level that will show you whether or not
the camera is straight.
Some Nikon cameras incorporate our Virtual Horizon feature which quickly and
accurately displays a graphic on the LCD to show the camera's position relative to
the actual horizon. This is an invaluable photographic tool when shooting
landscapes and architecture. No more guessing if the horizon in your scene is
level.
You don't have to be particularly close to a mountain to make a nice photo. In fact,
you'll often be many, many miles away. The only truly limiting factor then is how
clear the air is. If there's haze, pollution or fog, the mountains may be too obscured
to see clearly.
As long as you can see the mountains, though, you can photograph them. Mist,
rain, haze and snow can enhance an image, where the weather becomes an
important subject along with the towering peaks. Sunlight can break through an
overcast sky, showing a small portion of the mountains behind the clouds, making
a unique photographic opportunity. And, when the sky is filled with haze, you can
sometimes make photographs of the mountain range that resembles layers of
peaks and valleys repeating in the distance.
M o u n t ai n s as B ac k d r o p
Photographing mountains from down in the valley will allow you to include near
objects as framing elements. For example, a tree with overhanging branches can
frame the distant mountain peaks, will make the photograph more interesting.
Other foreground subjects can be flowers, a road leading towards the distant
mountains, herds of grazing wildlife; even an old barn, cowboy, or boats on a lake.
When photographing this scene, you're using the mountains as a backdrop for
something else. That helps gives some context to the main subject (which is in the
foreground). Whatever it is, though, the mountains add not just another interesting
visual element, but some sense of location and scale as well.
“
As long as you can
see the mountains
you can photog raph
them. Mist, rain, haze
and snow can
enhance an imag e,
where the weather
becomes an
important subject
along with the
towering peaks.
”
© Reed Hoffmann
The road draws your eye into the
photograph; finally you're brought to the
mountains in the background.
Reflections
If there's water in the foreground, and if it is still (not moving), you can include the
mountain's reflection in the water into your picture. If you come upon a lake and
the water is choppy, you won't be able to capture the reflection clearly, so try again
the following day. If you can, head out shortly after sunrise (or even get up early
and photograph the sunrise), when there is no wind, and the water's surface will
be flat.
Normally photographers try to avoid placing the horizon line in the center of the
frame, but this is an instance where you can go ahead and break that rule. By
placing the horizon line in the center of the frame, the photo becomes symmetric
(bisecting the frame into two equal parts). Experiment with your composition and
move the horizon line. Try composing the photo so only the reflection is in the
frame; or compose a picture with only a small amount of surrounding land in the
frame.
Taking photos at "first light," (sunrise) or at sunset will give your images more
vibrant colors. The light in early morning will be cooler (blues and/or violets),
whereas the light at the end of the day often will be warmer (reds and/or yellows).
If you are lucky enough to have a mountain range close to where you live, you
could even try taking pictures of them at different times of the day, or even different
times of the year, to capture the changing seasons. Include foliage or a body of
water and its reflection in the images. And, photographing the rising or setting sun
in your photograph will give you a different look than if you have the rising or
setting sun at your back.
You can also affect the color of your images by experimenting with the white
balance settings on your camera. While cameras often are set at "Auto" white
balance, if you choose Incandescent or Fluorescent, the colors will look cooler,
while Cloudy and Shady will make them warmer.
© Reed Hoffmann
Experimenting with white balance
can lead to unique images. Here
this silhouette with the crescent
moon was photographed with the
camera's White Balance set to
Shade, which causes the sky to be
a warm orange.
© Reed Hoffmann
Experimenting with white balance
can lead to unique images. Here
this silhouette with the crescent
moon was photographed with the
camera's White Balance set to
Fluorescent, which causes the sky
to be a cool blue.
From the Top
Don't just photograph a mountain or mountain range from down in the valley. If
there's a ski lift or gondola that takes tourists to the top of the mountain, you might
want to ride to the top and photograph the mountain from the peak, looking down,
for a different view.
However you photograph them, mountains almost always make a great subject or
background for your images.
To see more of Reed Hoffmann's photography, visit his website at http://reedhoffmann.com.
Featuring
REED HOFFMANN
Reed Hoffmann
Over 25 years ago, Reed started in studios, then worked at
newspapers, and now freelances out of Kansas City. He has been
shooting digital since 1996 and teaching digital photography since
2000. Nationally recognized as an expert on digital photography,
Reed has helped over 30 U.S. and Asian news organizations ease
their transition to digital. He is also a founding member of Blue Pixel,
a major digital imaging consulting firm.
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