Photography

What are the major principles of landscape design?

Unlocking the Secrets of Landscape Design: Line, Framing, Rhythm, Repetition, Patterns, and Balance

Hi. The question is what are the major principles of landscape design? Depends who you ask. But you're asking me, everyone has their priorities. Mine are these of line, the use of framing, the use of Rhythm, the use of repetition, if you have it and patterns, and then, finally, the sense of balance, when you look at everything put together now, line could be to the leading lines to fence line leading into the frame. Could be a little river goes through, could be a diagonal line, going through the frame, anything to keep the viewer. In the your picture space, that's the game. Keep the viewer into your picture space. So line will keep them there, framing, framing us out of the frame, very powerful device, you would. For example, if you have one tree and two big trees on either side, you find a way to frame that one tree in between those two big ones. So the I go through those two trees and into the frame, you want to pull your viewer into frame repetition, any kind of repeating idea, like fence posts that go back. That's Idea, almost anything. Cows, animals horses poles, you name it mountains any kind of repeating subject has visual interest and patterns for example shooting the bad water in Death Valley. It's all cracked mud. That's that's your shot. It's a pattern picture. It's all cracked. Mud little Hill in the background but your main thing is the pattern and subject like that and then we had balance throw that's done. You sit back and you look at it. Look at the shot and make sure there's no lines leading you out of the frame. No bright hot spots pulling your Iowa up into the sky, no black holes to pull your eye into that. You want balance. You want a shot that's easy to look at. So my basic priorities are. I look for line framing Rhythm. Repetition and patterns and Then a sense of balance at the end.

Principles of landscape design include the use of lines, framing, rhythm, repetition, patterns and a sense of balance.

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The major principles of landscape design, according to my perspective, include line, framing, rhythm, repetition, patterns, and balance.

Line refers to the use of leading lines or elements that guide the viewer's eye within the picture space. Framing involves creating a visual frame within the composition to draw the viewer's attention to the main subject. Rhythm adds a sense of flow and movement to the design. Repetition involves incorporating repeating elements or patterns to create visual interest. Patterns, such as cracked mud in a desert landscape, can be a main subject in the composition. Finally, balance ensures that the overall composition is visually pleasing and avoids distractions that may lead the viewer's eye out of the frame.

By considering these principles of line, framing, rhythm, repetition, patterns, and balance, you can create compelling and visually appealing landscape designs.

Infared presets in LR fall short: Get the right tools for true infrared photography

The question is, are infrared presets in Lightroom comparable in a word? No, just, no, you know, software cannot read. Tru-infrared, it converted camera. That's what it's designed to do. That's what it does. Here's an example, if you're photographing on the coastline and you have kelp, we're going to help us green. But when it's wet, it looks black, it's indiscernible from black. So you photograph that with a regular camera, try to convert The infrared, The Infrareds the software cannot see that black kelp as being infrared, it just shows up black but if you photograph them with an infrared camera, it'll look black but it'll come out like screaming, white and infrared. Yeah, it's fine. It reads that Spectrum which is not available in software, you know. So every so often I've seen to software conversions that look really good. One was from me, a Photoshop Master Guru been Wilmore and the second one I got lucky on it. Look pretty much the same, but if you want to do this get the right tools for it to get it converted camera. I shoot 720 which is like just high contrast black and white. It's what I like there's many conversion options, color options, Etc. If you want to do this consider investigating all those go to a life pixel.com and go to colori Vision. Kol 0 R IV is IO n.com and read everything, both of those websites. Then you get more of an idea of what you want to do. But if you want to shoot infrared, shoot infrared.

No, Lightroom presets cannot accurately replicate infrared photography, which requires a specific camera and conversion process. To get the best results, it is recommended to research websites such as Life Pixel and Color Vision Kolor IVision for more information on infrared photography.

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Are infrared presets in Lightroom comparable? In short, no. Software cannot replicate the true infrared capabilities of a converted camera. Infrared photography captures a spectrum that software cannot fully interpret. For example, if you photograph black kelp on the coastline, it may appear indistinguishable from regular black in software-converted infrared images. However, when captured with an infrared camera, the kelp would appear white and stand out in the infrared spectrum.

While there are some software conversions that may look good, it is recommended to use the right tools for infrared photography, such as a converted camera. There are various conversion options available, including different color options. If you are interested in infrared photography, consider researching and exploring the resources provided by websites like life pixel.com and colorivision.com to gain a better understanding of the options available. Ultimately, if you want to shoot infrared, it is best to use dedicated infrared equipment.

Filter 101: Protecting Your Lens in Hostile Conditions

The question is when to use a UV filter. Now, UV filters are referred to as protection filters to protect the front element of your lens. But I only use that in hostile conditions. In other words, if I'm shooting in the rain which I love to do. Pardon me, you'll get water on your front element. A lot. You're constantly wiping that front element down. If I pick up a grain of sand for example a good white that onto the front element and scratch the lens. So I've got a UV filter on to protect from rain to protect from blowing snow. Behind waterfalls gets very, very wet constantly wiping that front element down and again a grain of sand and I'm wiping in, I'm scratching the lens. So the UVS want for that part of me the other time. The other another time is in the desert or on the beach with blowing sand because sand as you know is glass blowing Saint hitting my front element can Nick the lens? Can mark it. So got a UV filter on for that. To protect the lens from the blowing sand and that's the conditions that I use the UV in.

A UV filter should be used in hostile conditions, such as when shooting in the rain or in the desert/on a beach with blowing sand. This will protect the front element of the lens from water, snow, and sand that could scratch the lens.

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When to use a UV filter? I use UV filters, also known as protection filters, in specific situations. The primary purpose is to safeguard the front element of my lens. I mainly use a UV filter in hostile conditions, such as shooting in the rain or behind waterfalls where the front element gets wet. Constantly wiping the front element in these conditions can lead to scratches or damage. Similarly, when shooting in the desert or on the beach with blowing sand, a UV filter helps protect the lens from potential nicks or marks caused by sand particles. These are the situations where I find it necessary to use a UV filter for lens protection.

Are there any philosophies that you live by or that have a strong influence on your decision making and actions?

Do No Harm: A Nature Photographer's Philosophy

The question is, are there any philosophy that you live by or that have a strong influence on your decision-making and actions? Let me just say relative to the business that I'm in the, The Outdoor nature photography, business. My overriding Philosophy is just Do no harm, Do no harm. You know, if the animal stressed out just don't be a part of it. Just walk away. I've done that many times animals around crowds. I just don't do it. Yeah, just stressed out enough, you know, I tend to walk very carefully over a beat with like, nice patterns, I want to avoid to go to patterns up, you know what, very gingerly over the stand to avoid, messing that up and I tried to avoid walking on a patch of while flash. I try to walk it in areas that don't that aren't populated by a subject. You know, that I don't want to destroy your hurt, you know? So, My over and with buildings, my God, the structures and national parks were all the graffiti it up and are written with names and dates and everything. You know, I never understood that but that again is, do you Do no harm thing. You know, what's the point of graffiti on, you know, I don't get that, you know? But again I just try to do no harm.

My overriding philosophy is to do no harm. I try to be very mindful of the environment and animals when taking outdoor nature photographs, and I avoid activities that may harm or hurt the wildlife or environment such as walking on fragile vegetation or writing graffiti on structures.

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In the realm of outdoor nature photography, my guiding philosophy is to do no harm. This means that if an animal appears stressed or uncomfortable, I choose not to be a part of it and simply walk away. I have walked away from situations where animals were surrounded by crowds, as it can cause unnecessary stress. I am mindful of my movements, walking carefully to avoid disrupting natural patterns or damaging the environment. When it comes to buildings, I am dismayed by the graffiti and vandalism often found in national parks. I believe in preserving and respecting these spaces, refraining from any actions that could harm or deface them. Ultimately, my philosophy revolves around the principle of doing no harm and leaving nature and its inhabitants undisturbed.

What are some tips to evoke strong emotional feelings in a landscape image?

Evoke Strong Emotions in Landscape Images: The Power of Early Mornings and Late Nights

What are some tips to evoke strong emotional feelings in a landscape image? Well, there's just one as far as I'm concerned, and the trick is to be able to get up. The trick is to be able to love to get up in the middle of the night. We'll leave some time, finding all the time of year and location. Latitude longitude muscle, attitude will be of 2:30 a.m. and Acadia in a summer, to go out and wait for the beautiful light to break at Sunrise and get that Golden Glow over everything. So the the first thing it is to love to get up early and go out and wait for the light to break and you have the different colors of the whole color palette goes from Blue to Amber during the summer. Rise and a sunset. Actually, the easier way is to go and do sunset because you're up already and the trick is to stay late, stay until it's dark. We've all left of seems too early, the Afterglow, maybe a little later than you think, but I stay until it's dark. Look at all the possible light that's coming up from below the Horizon, letting up the clouds, Etc, but those are my tips. Get up early, stay late and watch them. The full light break.

Get up early to watch the sunrise or stay late for sunset and watch the full light break. Wait for the beautiful light to break at Sunrise and get that Golden Glow over everything, and stay until it's dark to catch the Afterglow.

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To evoke strong emotional feelings in a landscape image, there is one key tip that I believe is essential: the willingness to wake up early. It's about loving the experience of getting up in the middle of the night, finding the right time of year and location, and being at the right latitude and longitude. For example, waking up at 2:30 a.m. in Acadia during the summer to witness the beautiful light breaking at sunrise and capturing that golden glow over everything.

The first step is to embrace the early mornings and patiently wait for the light to break, observing the transformation of colors from blue to amber. Another approach is to capture sunsets, as you are already awake, and the trick is to stay late until it's dark. Many photographers tend to leave too early, missing out on the afterglow and the unique light that emerges from below the horizon, illuminating the clouds and surroundings.

So, my tips for evoking strong emotional feelings in a landscape image are to love waking up early, stay late, and fully immerse yourself in watching the light unfold from dawn to dusk.

Can you share any techniques or strategies you use to let go of expectations and embrace unpredictability in your work?

Embrace unpredictability: Let go of expectations, embrace the unknown

Okay, the question is can you share any techniques or strategies you use to let go of expectations and to embrace unpredictability in your work? Sure don't have any expectations, you know, just go out and see what happens. Normally, when I go out to photograph, I don't know where the sun's going to be for Sunrise or Sunset. But aside from that I just show up and see what happens. I have no expectations, I try to have An open mind, a clear mind and expect nothing and just use your eyes and and your visual Acuity and your instincts and find subjects that way and seems that way. Now it's okay to create an expectation so you want to get a certain son over certain tree, that is creating an expectation that's fine. But if you want to free your mind, free of all conscious thoughts and just look and take it all in and see what attracts you. And that's, that's what I do.

When I go out to photograph, I don't have any expectations and try to keep an open mind. I just show up, use my eyes and instincts, and find subjects that way. It's ok to create an expectation if you want to get a certain shot, but if you want to free your mind, just look and take it all in and see what attracts you.

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To let go of expectations and embrace unpredictability in my work, I employ a simple approach. I don't have any expectations when I go out to photograph. I embrace the unknown and see what unfolds. Whether it's capturing a sunrise or sunset, I don't know where the sun will be positioned. I show up with an open and clear mind, expecting nothing.

I rely on my eyes, visual acuity, and instincts to guide me. I let go of conscious thoughts and simply observe my surroundings, allowing myself to be drawn to subjects that catch my attention. While it's okay to have specific expectations, such as capturing a particular scene, I find that freeing my mind from conscious thoughts allows me to fully immerse myself in the present moment and be open to the unexpected.

By approaching my work with a mindset of curiosity and openness, I can embrace the unpredictability and discover unique and captivating moments to capture.

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Tony is a Nikon Legend Behind the Lens and renowned speaker on photography and creativity. After a successful career as a jazz musician, educator, and professional magician, Tony settled on photography for expression 30 years ago. Represented by Getty Images, his work is published globally, and he has authored five books on the art of photography, as well as four photography DVDs and an iPhone instructional video series. He and Susan Milestone conduct Visual Artistry photography workshops in the US, Canada, and Iceland, and an interview with Tony on macro photography was featured in The New York Times. Tony recently released the first book in his Fine Art Nature Photography eBook series, “Creative Techniques and the Art of Self Expression.”

Tony Sweet