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Why are my Buildings Falling Over? A Short Guide to Perspective Distortion and Correction in Photography

by Misho Baranovic

I’ve read a lot of perspective correction articles over the past few days and my head is spinning from the technical explanations, illustrations and equations.   In this article, I’m going to keep it simple and talk about the role that perspective plays in photography.

What is Perspective?

Perspective is one of the many ways that the human eye can judge depth within a scene.  Perspective is something that we can see with one eye (monocular) rather than two (binocular).  It refers to the angle and location of parallel lines within a scene.  The eye registers depth when parallel lines start moving towards each other (converging).  An example would be standing on a straight road, looking down the road, and noticing how the road narrows as it gets further away from you.

In art and photography, Linear Perspective refers to the way lines are drawn and captured to show an objects perceived size within space. In short, how we translate real world depth into a flat picture. Linear Perspective is made up of two basic concepts, the horizon line and vanishing point.  The horizon line represents the viewing angle of the observer.  Vanishing points are the point (on a horizon line) where parallel lines meet (converge). For example, the point where the two sides of the straight road meet (as shown below).

One of the key visual cues in Linear Perspective is that vertical lines and edges remain vertical in the scene. The only time you would have vertical lines coming together is if you are trying to show a triangular or pyramid shape within the scene, like the angle of a building’s roof or the shape of the Eiffel Tower.

Since the start of photography, camera and lens makers have focused on replicating the visual cues of Linear Perspective in order to make photos look as ‘true to life’ as possible. Nearly all modern lenses are rectilinear – they capture straight lines in a scene as straight lines in a photograph.  Whether wide angle or zoom, DSLR or iPhone, lenses are designed to keep lines straight, which helps the eye judge depth within a two dimensional scene. The fisheye is the most popular non rectilinear lens as straight lines are shown as curved from the extreme field of view.

Perspective Distortion

For this article I’m going to focus on only one form of photographic perspective distortion – perspective convergence or keystoning.  This form of distortion is very common across architectural, street and travel photography.  It’s most often seen when tall buildings ‘fall’ or ‘lean’ within a picture. This distortion has become so common that most people have stopped noticing it within their pictures or just think it has something to do with the focal length of their lens. For example, you can see the extent of the vertical convergence below when the verticals are outlined in white.

For a number of photographers, vertical convergence and distortion are unpleasant and unwanted because they don’t conform to Linear Perspective cues where vertical lines remain vertical.  This makes the scene look different to how we think it should look.  While this distortion can be used creatively, corrected photos often look ‘right’ to the viewer (see below).

Why does Distortion Happen?

It’s actually pretty simple.  As mentioned, modern lenses are designed to show straight lines.  However, this only works when we the camera is pointed straight at (in line) with the object that is being photographed. This is because the distance between the camera and object remains the same.  As soon as the camera is titled then the distance changes.  Let me explain, if I’m trying to capture a tall building straight on with my camera I can only get the bottom section – vertical lines are straight but I’m missing the rest of the building. Now if I angle the camera higher I can get the whole building into the frame but now the vertical lines (sides of the building) are converging.  Why?  It’s because the top of the building is now further away from the lens than the bottom – just like the road receding into the distance.
So how do you take a photograph of a tall building without this happening?  There are a few ways.  The most obvious is by changing your viewpoint.  You need to get higher to shoot more of the building front on, with the mid-point being the best place to capture the maximum amount of the structure.  You could shoot out the window of a neighbouring building, or if there is nothing around you could spend some money on a crane!
This photo was taken from the third floor of a neighbouring block. You can see that all the verticals in the photo are straight.
If you can’t physically get higher then you can change your viewpoint in two other ways.  One is with the help of shift lenses the other is through perspective correction software.

Shift Lenses

The ability to shift the position of the lens has been around since the beginning of photography.  The original view cameras (created in the 1840s) used a bellows system which let photographers change the position (shift) the lens in relation to the film. The shifting mechanism acted like a mini elevator, moving the photographer’s viewpoint higher and lower. Historically, shifting in order to correct perspective convergence was seen as an important part of the capture process, just like focus, shutter speed and aperture. Shifting was possible because the lens captured a much larger (circular) field of view than the film. The same way that modern shift lenses work.  Modern shift lenses are commonly used by architecture photographers to limit vertical convergence on large buildings. However, these lenses can only be used on DSLR or medium format cameras and can also be very expensive (upwards of $1,000).
Here you can see the mechanical shift mechanism on an SLR lens – Photos by Bengt-Re

Software Correction

In recent years, digital technology has been able to replicate this shifting process, artificially changing the photographer’s viewpoint.  Software like Photoshop, Lightroom or Gimp reworks the pixels in an image in order to straighten vertical lines in turn reducing distortion.  Most of these programs allow you force the image back into a ‘correct’ position through either sliders or by selecting and dragging a corner.  One of the downsides of the software is that significant adjustments require resampling of the image, often reducing sharpness in parts of the photograph.
Camera Distortion Correction with Photoshop Elements 11
For photographers that either shoot or edit photos on their mobile phones, the Perspective Correct app for iPhone uses the touch interface to adjust both vertical and horizontal convergence within an image.  For example, an up/down swipe on the screen represents the same movement as the shift mechanism on a lens. 

While it’s easy to overlook, small perspective adjustments can often be the difference between good and great urban and architectural photographs.


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3 Ways Photography Can Ease Anxiety

A Post By: Megan Kennedy

Anxiety is a condition that can be utterly debilitating. From intrusive anxious thoughts to overwhelming fear or panic, anxiety can make it difficult to cope with everyday life. Fortunately, studies have demonstrated that it is possible to lessen the effects of anxiety through art therapy. In this article I’ll have a look at some of the ways photography can ease anxiety symptoms.

f/1.8 1/4000 ISO 100

1. Perspective

One of the key ways photography can ease anxiety is through perspective. In photography circles, perspective usually refers to the camera’s point of view. Perspective can also be used to describe the relationship between objects in an image.
However, perspective in everyday language also refers to “a particular way of considering something“. An individual’s perspective is guided by their own experience. Therefore, a person suffering from anxiety may view the world through a prism of distress.
The beauty of photography is that it can change visual experience – which in turn alters personal perspective.

f/3.5 1/320 ISO 100

With an eye to the viewfinder, priorities can shift from the internal to the external. Energies are funneled into discovering and negotiating subject matter. A focus on composition and exposure stimulates a perceptible reach beyond mental distress and sustained visual-analysis distracts the mind which can loosen the grip of anxiety, improving perspective.

2. Getting out

When anxiety starts to creep in, the first instinct can be to hole-up at home. Some downtime alone can be therapeutic. But anxiety can exacerbate the desire to self-isolate, which, in turn, can amplify anxiety – a vicious cycle.
Sufferers of anxiety and are often advised to get out of the house and exercise. Go for a run, or a walk, get into yoga… something that gets endorphins happening. And for a good reason too: it’s proven that exercise propagates good mental health. But exercising while combating anxiety is easier said than done. That’s where photography comes in.
For many photographers, the potential for a great photographic opportunity is a powerful motivator to actively seek photographic subjects outside the confines of the home, helping to shift the burden of anxiety a little. In addition, placing emphasis on the familiarity of the photographic process expands the comfort zone, making leaving the house a bit less daunting.

f/4.0 1/100 ISO 160

The physical nature of photography decreases the tension in anxious muscles and can divert attention away from the experience of anxiety in general. Of course, photography may not be as labor-intensive as a session at the gym (although it could well be, depending on the situation), but the physically and mentally active role of the photographer behind the camera is one of the best ways photography can ease anxiety symptoms.

3. Expression

When Nicéphore Nièpce succeeded in making the earliest surviving camera-made photograph in 1826, he probably didn’t envisage the far-reaching impact his endeavor would have on the human transferal of information.
Nevertheless, as photography evolved, so too did the capacity for people to communicate ideas and experiences through the photographic image.
Because no two experiences are the same, anxiety can be hard to endure and even harder to explain. Many photographers, however, have found ways to channel their experiences within the photographic medium.
For example, the Let’s Talk campaign looks to promote mental health awareness by photographing sitters with their mental health stories written on their faces.

f/8.0 1/800 ISO 1000

Another website, fragmentary.org curates photographic bodies of work that document the highly personal experience of mental health photographically. By delving into the complexities of anxiety and depression, photographers like Courtney Lowry and John Mannell express creatively what words cannot adequately describe.
Exploring mental health artistically is an impactful way photography can ease anxiety. Self-portraits, abstract renderings, photo-manipulation… photography enables photographers to share experiences, lessening the often lonesome burden of anxiety and perhaps creating new relationships along the way.

Whether you are a seasoned photographer or just starting out, the ways photography can ease anxiety are far-reaching. From altering perspective to influencing motivation and cultivating expression, photography can ride with you through highs of mental health, and support you in the lows.
Have you found that photography helps you to ease the anxiety in your life? Share your thoughts with us in the comments.

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                                            These men risked their lives to save a giraffe                         


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Mastering Aspect Ratios in Photography

By: Tim Gilbreath

Aspect ratio is a phrase that you’d normally expect to hear when discussing movies or televisions, but as it is a measurement of image proportions, it’s also important in photography. It is also one of those things that is always there, even if you don’t think about it.
Aspect ratio in photography is a description of an image’s vertical and horizontal proportions expressed as two numbers separated by a colon, and composed of similar units of measurement, whether it be inches, centimeters, or feet.
You’ve seen these numbers before, such as 16:9, which is commonly known as widescreen format, and used to describe many TV’s and computer monitors.
16:9 would be an image (or in the case of a TV or monitor, a screen) that is 16 units wide and 9 units tall. Aspect ratio doesn’t describe actual size, as a 16:9 ratio could be 16 inches wide by 9 inches tall, or 16 feet wide and 9 feet tall. The numbers only describe the proportions.

Although it’s not in the scope of this article, movies and film sometimes also use what’s known as cinema terminology to express aspect ratios, such as 1.85:1 (cinema standard widescreen) and 2.39:1 (anamorphic widescreen).
Although you can convert these expressions to standard ratios, for our purposes, we’ll only stick with standard x:y expressions that relate to camera sensors or photographic images.

So why are aspect ratios important to photography?

Primarily, they are important because every image we shoot, as well as every camera we shoot with, has a base aspect ratio. Our camera bases the aspect ratio on the proportions of the sensor, which you cannot change.
However, you can change the resulting image’s aspect ratio, and most importantly, you can change it for creative reasons.
There are actually two types of aspect ratio in photography we need to familiarize ourselves with; the aspect ratio of the camera we’re shooting with, and more importantly, the final aspect ratio we will present our image in.
We, of course, can change the latter in post-processing, for whatever reason we decide.
Some cameras also have settings that allow you to change aspect ratio in-camera before shooting, but this is made possible by the camera software cropping. It’s always better to change the ratio yourself and crop later in post-processing.

Why would we want to change the aspect ratio of a photo?

The main reason – composition.
Changing the aspect ratio in Photoshop or Lightroom is essentially cropping the image to a specific proportion that makes the photo more pleasing to the eye. A wide, sweeping shot of a beach and sky will not look as wide and sweeping in a standard 3:2 presentation as it would in a 16:9 widescreen format. Composing the image in widescreen proportions gives the scene a more open, cinematic feel.
Let’s take a look at the most popular aspect ratios in photography, and what they are commonly used for.

Breakdown of aspect ratios in photography

3:2 ratio

The 3:2 ratio is probably the most commonly used aspect ratio in photography, due to the fact that it is the standard proportions used with modern DSLR camera sensors.
The reason for this is because it is also the ratio used by classic 35mm film cameras. Digital camera sensors were originally designed to replicate that ratio.

An image captured with a DSLR in native 3:2 format. Modern DSLR cameras usually capture images in this format.
EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode

Before photography, artists generally used a set of proportions similar to this because of its visual appeal. The 3:2 format is a great general use ratio, and allows for a fairly wide feel while still capturing vertical elements of a scene.

4:3 ratio

The 4:3 ratio is a classic format that has its roots in digital point and shoot cameras, which were developed to basically match the proportions of video monitors of the time.
The format is used in point and shoots, many compact cameras, and micro four-thirds systems.

The 4:3 format allows for more vertical space and can better focus attention in on a specific area of a scene. Here we’ve used the 4:3 ratio to remove distracting portions of the scene and isolating the flower and mushroom.
EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode

Just as with old TV and video monitors, the 4:3 format has a taller, slimmer look that appears more square to the eye. It is a good creative choice when you need to capture vertical elements of a scene.

16:9 ratio

The 16:9 ratio is more commonly known as the “widescreen” format.
It was developed as a replacement for the old 4:3 ratio during the advent and implementation of HDTV. Most TV’s and monitors now are created with this format in mind.
The longer, more horizontal format is great for displaying landscapes and other vistas, and creates a cinematic look and feel when used in photography.

This image is expansive in native 3:2 format, and contains too much empty space.
EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/320 sec, 250 ISO, Manual Mode

Adjusting the aspect ratio to 16:9 allows for a much more flowing, cinematic look and feel. This format is especially good for displaying wide fields of view.
EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/320 sec, 250 ISO, Manual Mode

1:1 ratio

The 1:1 ratio, or square format, might be mistaken as a newer format, as it is well-known for its use on the Instagram platform (although photos are no longer forced in that format with the service). However, square images are also the usual ratio for medium-format cameras, as well as a few toy cameras.
This format is a good choice for cropping close and isolating a subject or a scene that doesn’t involve an expansive landscape.

Returning to our mushroom photo, the 1:1 (or square) format lets us crop in close to a particular subject and remove any distracting elements. Here, we are focusing on the mushroom itself, and nothing else.
EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode

5:4 ratio

The 5:4 ratio formatted images are primarily used in large-format photography, as many of those cameras use sheet film with dimensions of 5×4 inches.
From a creative standpoint, images using this ratio are almost as tall as they are wide, and are great for capturing vertical elements of a scene.

The 5:4 ratio is very similar to the 4:3. Again, we can use it to remove distracting elements on the sides of a scene.
EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode

2:3 ratio

Finally, the 2:3 ratio is a specialty aspect ratio that is used for images in vertical or portrait orientation.
It is primarily used for portraiture, when elements of the scene (in most cases, a person), align in a vertical orientation.
You can also use vertical formats like 2:3 for landscape photography to capture tall elements within the frame, such as trees and mountains.

This image was framed and captured vertically, and later cropped in post-production to 2:3 format, to accentuate the height of the trees and the vertical expansiveness in the scene.
EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/80, 400 ISO, Manual Mode

Creative cropping

Before the advent of digital photography and software, aspect ratios of the camera being used generally dictated what ratio the image would be in.
In the digital age, however, we have the ability to simply and quickly crop in whatever photo software we’re using.

Changing aspect ratio of an image in Adobe Lightroom. Not only are several presets available to you, but you can enter a custom ratio as well.

Instead of being bound to a specific format, you can change it. Therefore, changing the look and feel of an image for creative reasons, even after pressing the shutter and recording the image on the sensor.
So now you know a little more about aspect ratios in photography, and why it’s important. What formats do you find yourself using? Do you alter the aspect ratio during post-production? Leave us your comments below!

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5 Easy Steps to Choose the Perfect Prime Lens for You

By: Elizabeth Halford 

“But how will I zoom in and out?”,  I blinked my eyes in disbelief.

“You’ve got feet, don’t you?”

My first encounter with the concept of fixed or prime camera lenses was when they were explained to me (a baby photographer) when I met with a local wedding photographer whose work I was (and still am) crushing on. I was so surprised to hear that there were lenses that (gulp) didn’t zoom. ‘What’s the point of that?’ I wondered. Why pay more for less?
Clearly, I had lots of catching up to do!
There are many merits to utilizing prime lenses in your photography. One is that you may find you can achieve mind blowing sharpness and quality with a lens that isn’t 10 lenses in one. I like to say that the 50mm prime lens doesn’t have to try to be anything other than 50mm. It only needs to focus on (pun intended) being the best 50mm it can be. Of course, there are many fantastically sharp and capable zoom lenses out there, but you will find that you’re not only paying for quality, but versatility. Prime lenses aren’t very versatile, but what they lack in versatility, they can make up for in quality which may leave you asking, “what zoom?”

How to choose

So with so many to choose from, how do you choose the perfect prime lens for you? You can be like me and buy-to-try a whopping 14 lenses in 5 years, to the tune of $10,250, (true story) or you can try these great 5 steps:

1. Choose one of your existing zoom lenses
2. Set it on a focal length and leave it there
3. Shoot for a week or so only on that setting. Experience what it’s like to use your feet instead of your zoom. Photograph your typical subjects, ones you photograph the majority of the time, and see how that focal length feels.
4. Repeat the exercise at different focal lengths.
5. Assess your experience shooting at different lengths. The setting at which you felt most comfortable will be a great indication of where to start when purchasing the perfect prime lens for you.

Bonus tip!

If you use multiple lenses (or even just a few), there’s a super cool way to use Lightroom to see all the images taken with a particular lens. First, make sure you’re in the library module. On the left (under the smaller preview image) click ‘all photos’. Then on the top bar, click ‘metadata’. You’ll then see many sorting options depending on what photos you want to see. In the middle is the box which shows every lens you’ve used for all the images in your catalog (if you don’t see that use the pull down menu to select “lens”. How cool is that?! Then you can sort by focal length and see which one(s) you use most often.

My Final Choice

As I mentioned before, I’ve experimented with many different zoom and prime lenses. As for primes, I’ve owned the following Canon lenses: 50mm f/1.8, 50mm f/1.4, 50mm f/1.2, 85mm f/1.8, and 24mm f/2.8. After all that, the only one that remains in my collection is the 50mm f/1.2. I personally love quite tight portrait shots so although I think the quality was fantastic, the 24mm was too wide. The 85mm had phenominal sharpness and quality, but I sold it to help pay for the 50mm. I find the 50mm great on my full frame camera for wideish family shots but also tight-enough portraits. The f/1.2 means it’s my best lens for ultra low light and the sharpness is a little mind blowing. For me, it’s the perfect prime lens.
Now, there are many lenses from which to choose and that’s where you fine people come in! If you’re a prime lens aficionado or even just a fan of a particular lens, get involved below and tell us what prime lenses you have experience with, and which are your favourites!

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5 Common Camera Setting Mistakes Made by Newbie Photographers

By: Megan Kennedy 

Photography is a process of constant learning, so it’s only natural to make mistakes along the way. But with a little bit of advice from those who have been there already, fledgling photographers can avoid a few common camera setting mistakes and focus on bigger and better things. Here are a few tips and tricks I learned early on that will help you get stuck into quality image making.

1 – Leaving image stabilization on when using a tripod

Image stabilization is a handy device that can reduce camera shake and improve image quality when it’s used properly. When activated, image stabilization counteracts slight movements of the camera to help reduce blur in your photos. It can be so effective that cameras and lenses equipped with the system allow you to use a shutter speed of between three and five stops slower than cameras without the feature.
This makes for sharper images in lower light conditions. Sounds great right? Well yes, but not all the time. In fact, when image stabilization is used with a tripod, it can sometimes be more of a hindrance than a help.
If your camera is already set up on a tripod, it should be steady enough by itself. In this case, with the image stabilization left on, the system may try to compensate for minuscule vibrations that wouldn’t otherwise have an effect on the image, increasing blur rather than reducing it.
Check your camera or lens user manual to learn how to switch the system off while shooting with a tripod and you’ll get much sharper images. Just don’t forget to turn it on again when you are going to hand-hold the camera.

In this example, you can see the difference in sharpness between the photograph taken with Image 

Stabilization on and the photograph taken with IS off. Notice that the photograph with IS off is 

sharper, with greater contrast.

2 – Using the wrong autofocus mode

When I started out in photography, I remember struggling to properly focus on a subject in my frame, often leaving the camera to select a point at random and hoping for the best. At the time, I didn’t realize the importance of different autofocus modes.
Autofocus offers several different modes which you can select. These are One-Shot AF (Canon)/AF-S (Nikon), AI Servo AF (Canon)/AF-C (Nikon), and final AI Focus (Canon) and AF-A (Nikon).
Probably the most commonly used focus mode is the One-Shot/Single-Servo option. It is the best choice for stationary subjects and serves as the standard setting on your camera. For this setting, the autofocus system achieves focus and then locks that setting in until the shutter is actuated. Once locked, you are assured that your subject will be sharply focused.
AI Servo/AF-C, on the other hand, focuses the lens continuously, which makes it ideal for tracking a moving subject. In this focus mode, the camera will let you take a picture at any time, even if the subject isn’t in focus. This mode is the best choice when you have a moving subject like children, animals, shooting sports, birds, etc.

You can change your focus mode in the quick control panel (this shows the Canon options).

Many cameras also offer a third autofocus mode: AI Focus (Canon) or AF-A (Nikon). This mode attempts to automatically detect whether the subject is stationary or moving and sets the focus mode depending on the situation. However, AI Focus isn’t as reliable as the other two dedicated settings, so it’s best to deliberately select between One-Shot/AF-S or AI Servo/AF-C where possible.

AI Servo/AF-C focus mode is ideal for photographing moving subjects.

3 – Not shooting in RAW format

For much of my early photography, I shot in jpeg. It was a familiar file format, so I just went with it. Only later did I discovered what I was missing out on. JPEG files are processed by the camera. That means that while settings like color temperature and exposure are set based on your camera settings, the camera will process the image to adjust blacks, contrast, brightness, noise reduction and sharpening. The file will then be compressed into a JPEG.
But because the image has been edited, compressed and then saved as a JPEG, information in the original photograph gets discarded and cannot be recovered. This limits how much editing you can do with the image in post-production.

Advantages of RAW format

RAW files, on the other hand, are uncompressed and unprocessed. Although they come out looking flatter and darker than JPEG images, they retain all the information recorded in the original image. This allows for a lot more flexibility in post-production, allowing you to take full control over adjustments that you want to apply to a photograph.
Shooting in JPEG can be useful for happy-snaps or circumstances where output doesn’t need to be as higher quality. Otherwise, for professional-grade imagery, you want to shoot in camera RAW. And if you aren’t sure, it is possible to shoot both at the same time – just make sure you have an extra CF card or two on hand.

You can see that the unedited, uncompressed RAW image is a lot flatter than the JPEG because it 

retains all the information of the original shot. Only after processing will the RAW image match or 

surpass the look of the JPG.

4 – Always shooting in automatic mode

Automatic exposure mode means that the shutter speed, aperture and ISO are set automatically by the camera for a given situation, leaving you to depress the shutter button and move onto the next shot. But what if you want to take more control over your images?
The biggest advantage of shooting in manual mode (or shutter/aperture priority mode) over automatic is creative control. Plus, the camera doesn’t always get the algorithm for exposure right, so you can end up with underexposed or overexposed images.

Choose a semi-automatic mode instead

You don’t have to shoot fully manual to take better control of your images either. Aperture and Shutter Priority modes allow you to select and adjust either your aperture or shutter speed while the camera compensates to give you the right exposure.

Auto shooting mode.

By using Aperture Priority, you have much more control over the depth of field in your image, dictating how much of the image is in sharp focus. This is helpful for many genres from portraiture to landscape photography, changing the dynamic of your images depending on the situation and how deep you want your photographs to look.
As for using Shutter Priority, being able to take control of the motion in an image allows for a lot more creative leeway. Motion blur has long been used to make images more dynamic. Think waterfalls with smooth flowing water and time-lapse cityscapes, as well as intentional camera movement.
While Automatic exposure mode is useful and often effective, relying only on Auto is allowing your creative photographic potential go to waste. Experimenting with shooting in full Manual or Shutter or Aperture Priority Mode means that you can truly get to know your camera and exploit its artistic possibilities.

5 – Not backing up files

We have a saying in Australia; “She’ll be right”. The term asserts that whatever is wrong will right itself with time. It’s both an optimistic and an apathetic outlook, and when it comes to photography, it can be the start of a spiral into digital file oblivion. I’m talking about backing up files.
Okay, so it isn’t technically an in-camera setting mistake, but photography has an enormous output of content that needs to be maintained so that it is as fresh as the day it was created.
From day one, “she’ll be right” just doesn’t cut it. If you only have one copy of your images stored on a hard drive, and that hard drive fails, (as they often do) then you’ll completely lose all your work. Forever! The easy solution is to have a second or even third copy of your images stored somewhere else, either on an external hard drive or cloud storage service.
Make the investment now and you’ll thank yourself later.

An old favorite, this image is backed up on two separate hard drives!

Conclusion

Starting out in photography can sometimes seem like a daunting task – there’s so much to learn! But photographers, for the most part, are a friendly bunch. We’re happy to pass on the tips and tricks we’ve learned along the way.
By doing your research, there are plenty of ways to dig into photography, avoiding common mistakes, and delve into the world of photography with confidence!

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8 Common Landscape Photography Mistakes

By: Barry J Brady 

As photographers, we know that there are literally hundreds of small things that need to be done in each scene, that add up to the final magnificent shot. Sometimes when we get behind the camera, and the light becomes amazing, it’s very easy to forget one or two things, and the result is that the shot is not as good as it could have been. There are lots of details to remember, but there often some obvious things that have been forgotten. These are the common mistakes I see in many landscape images. If they were corrected at the time, the image would have been much more dramatic and powerful.

Penguins and iceberg in Antarctica.

So here are the eight top landscape photography mistakes make so you can avoid them and improve your images:

1. Lack of stability – use a tripod

In creative images, blurriness can be very interesting. In landscape images however, you usually want your image to be sharp all the way through. The best way to be sure that your image is sharp is to use a tripod. If you are shooting in low light (you mostly will be if you are shooting landscapes) then you absolutely need to be using a tripod.
Now, there are tripods and there are tripods. For landscape photography, you might want to invest in a more heavy-duty one. The small light-weight tripods might do the trick for a while, but if you are shooting on a location and it’s windy, your tripod may get blown over, or might move because of the strength of the wind. A good tripod will also last a long time and take a beating, so buy the best tripod you can afford, and make sure you keep your camera as still as possible when shooting.
Another good piece of equipment to buy is a cable release. You don’t need to buy one of the expensive ones with the intervalometer built-in, no, just a simple cable release. Once you are set up and ready to take your shot, step back from the camera and press the button. There will be no vibration from you pressing the shutter release and your image will be nice and sharp. If you don’t have a cable release, you could use the built-in self timer to release the shutter too.

2. Not getting the horizon straight

This almost goes hand-in-hand with using a tripod. Many a good landscape image has been damaged by a skewed horizon. Fortunately, this can be easily fixed in Photoshop or Lightroom, so it’s not a very big worry, but you might have to crop out some details to get that right. The idea however, is to get the shot right in camera first, then edit.
You can use a few different tools to make sure your horizon is straight. Firstly, switch on the grid in your camera viewfinder, line up the horizon with the horizontal line, and you should be good. Some tripod heads have a built-in spirit level, make sure this is level and your horizon should be fine. Lastly, use the live view function on your camera, and if you have it, bring up the false horizon dial on the back of your screen, level your camera, and you are done.
I prefer levelling my horizon in camera, as it helps to save time in post production. If you need to straighten the horizon afterwards, you will need to crop the image as I noted earlier, which means your composition may change slightly. I prefer not to crop as far as possible, so getting it level in the camera is a good goal.

A crooked horizon is distracting.

Looks better now that the horizon is straight.

3. Shooting only in landscape format

Many photographers assume that they should shoot a landscape scene in landscape (horizontal) format. This is normally not a bad idea, but in some cases, a portrait orientation (vertical) can work really well. Think of a forest or mountain scene. If the subject shape is more vertical than horizontal, try it in the portrait format, it can add a dynamic feel to the scene.

Shoot in portrait format too!

4. Not thinking about the aperture

I truly believe that aperture is a composition tool. When you are setting up a scene, you should be thinking about your depth of field. Do you want everything from the foreground to the background to be in focus? Generally, in landscape photography, this will be the case.
If that is what you want, make sure your aperture is f/8, f/11 or higher. That way, you will ensure that everything is in sharp focus. If you are at f/2.8, and you focus on the foreground, the background will be out of focus, and the middle of your scene will be soft. This should be one of your key checkpoints when you set up the shot. If you are using a wide aperture and the mountains in the distance are out of focus, this cannot be fixed afterwards in Photoshop…not yet anyway!

In a landscape image, you will likely want everything in focus.

5. Shooting using the camera’s landscape mode

Yes, you may have a landscape setting in the scene modes on your camera. As much as possible, try not to use it. Why? Well, it’s not great at making the exposure look good for your scene. What it will do is set your aperture to f/8 or even f/11, but it may not render the scene as effectively as you could do using manual settings. The scene settings are designed to work within certain parameters and in low-light conditions, they are not always the best choice. Try and shoot your landscapes on manual settings as far as possible, that means that you control ISO, shutter speed and aperture.

6. Standing next to other photographers

If you see a group of photographers standing on the top of a hill, it might be a good idea to shoot from somewhere else. This is not to say that other photographers have got it wrong, rather what I mean is, you want to go home with a different image to the others. Sometimes, the best composition or vantage point is at one particular spot, that’s fine, take a shot from there, but look for other places to get a great shot too.
It’s a good idea to scout a scene before you shoot it. Go and take a walk around the day before, look at where the sun will be setting, and decide on your position. Don’t simply follow the crowd, then your images will look like the rest of the images taken there.

A different vista of Machu Picchu.

7. Uninteresting negative space

Negative space is the space that surrounds your subject. This space can truly make, or break, your image. In most cases, the sky is the negative space in a landscape scene. A clear blue sky looks great, but some wispy soft clouds can really make the scene dramatic. If the sky has no clouds and is clear, this can make the scene seem uninteresting.
If you find that in your scene, make the sky a smaller portion of your image, if there are some great looking clouds, give it more space in your scene. Sometimes, you don’t have a choice, you may only be able to get some shots on a particular day. In that case you need to get what you can. If you don’t have this constraint, try to go back on another evening, when there are some clouds in the sky. Clouds give the sky detail, they reflect the sunlight, and can look yellow orange against a blue sky. This makes for a much more interesting scene.

The sky had no clouds, so I made it a small part of the image.

8. No clear subject

It sounds crazy, but it is very easy to have an unclear subject in landscape photography. Most often, landscape photography is of a natural scene, mountains, forest, river, seascape, deserts, etc. Whichever one it is, make sure that it is clear to your viewer.
If you are photographing a mountainous scene, make sure you use a lens that works for that scene. Landscape photographers are tempted to think that every image needs to be taken with the wide angle lens. Sometimes, this can cause the mountain range in the background to seem small and insignificant. The same can be true in any of the other types of landscape photography. Be sure that your viewer knows what they are supposed to be looking at, and show them that, and the beauty that surrounds the subject. Get close to your subject, as close as possible, and if it’s not close enough, maybe you need to use a different lens to get closer. A 50mm lens can be used in landscape photography, so can a 200mm lens, it all depends on what you want the viewer to see.

The iceberg in front of the ship is clearly the subject here.

Next time you are planning a landscape photo shoot, run through these points quickly and see how it works out for you. If anything, you will be more mindful and deliberate about what you are shooting, and that will immediately improve your images. Enjoy.

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