Landscape Photography Quotes

To the complaint, 'There are no people in these photographs,' I respond, There are always two people: the photographer and the viewer.

Landscape photography is the supreme test of the photographer - and often the supreme disappointment.

The photographer is an armed version of the solitary walker reconnoitering, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes. Adept of the joys of watching, connoisseur of empathy, the flâneur finds the world 'picturesque.

A photograph is both a pseudo-presence and a token of absence. Like a wood fire in a room, photographs—especially those of people, of distant landscapes and faraway cities, of the vanished past—are incitements to reverie. The sense of the unattainable that can be evoked by photographs feeds directly into the erotic feelings of those for whom desirability is enhanced by distance.

We regard the photograph, the picture on our wall, as the object itself (the man, landscape, and so on) depicted there. This need not have been so. We could easily imagine people who did not have this relation to such pictures. Who, for example, would be repelled by photographs, because a face without color and even perhaps a face in reduced proportions struck them as inhuman.

Everything is destined to reappear as simulation. Landscapes as photography, woman as the sexual scenario, thoughts as writing, terrorism as fashion and the media, events as television. Things seem only to exist by virtue of this strange destiny. You wonder whether the world itself isn’t just here to serve as advertising copy in some other world.’ Jean Baudrillard,

Becoming a professional photographer is not a pre-requisite for making successful images. Being passionate about your subject matter is.

Landscape is to American painting what sex and psychoanalysis are to the American novel.

The thing to remember when traveling is that the trail is the thing, not the end of the trail. Travel too fast and you will miss all that you are traveling for.” -Louis L’ Amour

Turn the TV off and read an inspiring book, it will make a difference behind the camera.

You don’t take a photograph, you make it.

When you've had a bad experience, you sometimes feel compelled to recreate it in a way that allows you to control it.

One of the most magical things about photography happens when you place one picture next to another picture to create new meanings.

Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.

We observe few objects really closely. As we walk on the earth, we observe the external events at two or three arms' lengths. If we ride a horse or drive in an automobile, we are further separated from the immediate surround. We see and photograph "scenery"; our vast world is inadequately described as the "landscape." The most intimate object perceived daily is usually the printed page. The small and commonplace are rarely explored.

Whenever I listen to an artist or an art historian I'm struck by how much they see and how much they know--and how much I don't. Good art writing should therefore do at least two things. It should teach us how to look: at art, architecture, sculpture, photography and all the other visual components of our daily landscape. And it should give us the information we need to understand what we're looking at.

When looking at an extraordinary landscape, there are no questions, no answers, no desires, no plans, no worries, no past, no present, no future; there is only a deep silence, only a glance!

One of the most magical things about photography happens when you place one picture next to another picture to create new meanings. When you see a picture of a person and another of a place, your mind automatically fills in the gaps as if they're connected.

Craig Varjabedian’s photography captures, with arresting clarity, the ineffable whispers of time and spirit layered deep in New Mexico’s cultural landscape. Through the artful combination of his compassionate eye and technical virtuosity, he evokes the past in the present and the holy in the everyday.

Working with light is photography at its essence, where everything else is stripped away and all that is left is your vision and intuition about how to convey what you think or feel. We are so distracted by the technology and complexity of digital photography these days, that the opportunity to be still and just notice can become a rare occurrence.

While many think I have a dream career, it is hard work, with long solitary hours both in the field and at home in the studio. Often we complain of not having enough time to achieve our personal goals, and when we get off track we can get discouraged and unmotivated. But finding time is often just a re-examining of your priorities, and deciding what really matters to you.

With a vintage lens and an eye on regional America, Varjabedian captures both the spirit of place and the sense of enduring culture in the southwest. His imagery comments upon landscape, culture, and how the two influence and imprint each other. Sometimes tinged with religiosity, sometimes humorous, his photographs have an intense clarity that befits his subject: New Mexico.

Want my opinion, just as an amateur? I think photography’s a much artier art than most people believe. It’s logical to think that, if you’ve got an eye for composition—plus a few technical skills you can learn in any photography class—one pretty place should photograph as well as any other, especially if you’re just into landscapes. Harlow, Maine or Sarasota, Florida, just make sure you’ve got the right filter, then point and shoot. Only it’s not like that. Place matters in photography just like it does in painting or writing stories or poetry. I don’t know why it does, but . . . [There is a long pause.] Actually I do. Because an artist, even an amateur one like me, puts his soul into the things he creates. For some people—ones with the vagabond spirit, I imagine—the soul is portable. But for me, it never seemed to travel even as far as Bar Harbor. The snaps I’ve taken along the Androscoggin, though . . . those speak to me. And they do to others, too. The guy I do business with at Windhover said I could probably get a book deal out of New York, end up getting paid for my calendars rather than paying for them myself, but that never interested me. It seemed a little too . . . I don’t know . . . public? Pretentious? I don’t know, something like that. The calendars are little things, just between friends. Besides, I’ve got a job. I’m happy crunching numbers. But my life sure would have been dimmer without my hobby.

Often we complain of not having enough time to achieve our personal goals, and when we get off track we can get discouraged and unmotivated. But finding time is often just a re-examining of your priorities, and deciding what really matters to you.

The thing to remember when traveling is that the trail is the thing, not the end of the trail. Travel too fast and you will miss all that you are traveling for.

destinations and teach field workshops on landscape, close-up, and hummingbird photography. More than 50,000 people have attended their intensive 1 -day nature photography instructional seminars. Both love to teach others

Similarly, if you fill the frame with a dark subject, such as dark rock or a black bear, and use the exposure recommended by the meter, you will get a gray rock or gray bear.

What does photography mean to you, and most important, why do you photograph? Ask yourself this question repeatedly, and make it a regular ritual.

We are so distracted by the technology and complexity of digital photography these days, that the opportunity to be still and just notice can become a rare occurrence.

Lichtenberg speaks, in one of his aphorisms, Of a tremor: any act, even an exact one, is preceded by a trembling, a haziness of gesture, and it always retains something of it. When this haziness, this tremor, does not exist, when an act is purely operational and is perfectly focused, we are on the verge of madness. And the true image is the one that accounts for this trembling of the world, whatever the situation or the object, whether it be a war photo or a still life, a landscape or a portrait, an art photo or reportage. At that stage, the image is something that is part of the world, that is caught up in the same becoming, in the metamorphosis of appearances. A fragment of the hologram of the world, in which each detail is a refraction of the whole. The peculiar role of photography is not to illustrate the event, but to constitute an event in itself. Logic would demand that the event, the real, occur first and that the image come after to illustrate it. This is, unfortunately, the case most of the time. A different sequence demands that the event should never exactly take place, that it should remain in a sense a stranger to itself. Something of that strangeness doubtless survives in every event, in every object, in every individual. This is what the image must convey. And, to do so, it must also remain in a sense a stranger to itself; must not conceive itself as medium, not take itself for an image; must remain a fiction and hence echo the unaccountable fiction of the event; must not be caught in its own trap or let itself be imprisoned in the image-feedback.

Need to shoot some pictures is not only found in the special family occasions, but also necessary for architecture, landscape and even industries. These are pictures which are kept by business related people, so that these can be used in some way or the other in their business ventures. To shoot such pictures of landscape or industries, the industrial photographer is important. Such a professional will be able to know the right places to place the camera, proper areas to be shot and the type of video or photographs to be captured. The same goes true for the architectural photographer, who can shoot pictures from the proper angles and keep the images required during the editing process. Such features can be understood by photographers after lots of experience and suitable cameras. • To become architectural photographer, skills need to be rightly developed Holding a camera and shooting with the right ingredients is a part of the professional work of a photographer. It is possible to get the right images by the industrial photographer, if the camera angle and distance is adjusted. Also, the exposure is of good quality, with camera being found in the proper regions. In their efforts to come up with proper photographs, these professionals get high end cameras, with plenty of different variations possible. In the event of getting the best deals, people should also depend on these professionals. By the virtue of being an architectural photographer, the experience is of much importance. These people will know the right camera angle and the best possible designs that can be shot. Many precautions are also to be taken, because the concept of photography is good technique, which can be developed by proper observation of the scenario. Visit us:- raygun.com.au

Canceling my cable TV service has provided many extra hours a week that I use for study, reading and learning new skills, and working in my studio, all things that keep me motivated creatively. Sure we still watch television, but that content comes from internet services such as NetFlix, and DVDs where we control when we watch. Most importantly, I have more time to spend with my family , read more books, and get out in nature, which is so key to a balanced life in general. And best of all, I feel I’m making better use of my time on day to day basis.

Regardless of how you come up with the good land and good sky images, you’ll need Photoshop to combine them. I’ll explain how to merge the two images in a way that our visual system finds believable in chapter 6

If you look at a beautiful landscape from afar, everything is beautiful, if you look very closely, your mind may change completely, especially when you see the terrible struggles of life happening ruthlessly inside that landscape!

This too will pass, of course. In fact, artistically speaking, it has passed. The unfolding over time of a great idea is like the growth of a fractal crystal, allowing details and refinements to multiply endlessly – but only in ever-decreasing scale. Eventually (perhaps by the early 1960's) those who stepped forward to carry the West Coast Landscape Photography banner were not producing art, so much as re-producing the history of art. Separated two or three generations from the forces that spawned the vision they championed, they were left making images of experiences they never quite had. If you find yourself caught in similar circumstances, we modestly offer this bit of cowboy wisdom: When your horse dies, get off.

Exposure value is a way to express the combination of aperture and shutter speed. A camera setting with an aperture of f16 and a shutter speed of 1/125s represents a given Exposure Value (EV). ISO is not a part of the EV equation. Other combinations of aperture and shutter speed will give the same EV. An aperture of f11 and a shutter speed of 1/250s will result in the same EV as an aperture of f22 and a shutter speed of 1/60s.

The woods offer a unique canvas for photographers, with an ever-changing landscape of light and shadow.

Explore captivating photography from around the world on Vagabond Travel Magazine. Discover remarkable landscapes & cultures through the lens of Mary Bartnikowski.

Embark on an unforgettable adventure of discovering the beautiful landscapes of Oregon Coast Solo in a Van. Immerse yourself in coastal wonders & create beautiful memories.

And the desert shall reclaim, it’s wealth!

there is such an unfortunate irony in photography these days. for as people pursue desires to visit and capture images of unspoiled landscapes. they inadvertently in the process turn these beautiful locations into anything but unspoiled, regardless of ideals of conservation. and more-so, so many ruin natural beauty by exploiting these magical places with their greed and dreams of success, and regrettable egos with overdeveloped look-at-me-syndromes...sadly sometimes, for so many of us, now the only way today to truly protect an unspoiled place is to not share its beautiful photo or location with anyone, anymore

He realized the one bit of photographic advice he’d never gotten from his father or Ansel Adams was the need to nurture an emotional bond with his subject, something portrait photographers had always capitalized on. To incorporate this into landscape photography would be a little “out there” to the masses, but for Randy it was a slap on the forehead.

Photography is a classic interest of the INTP, which depends strongly on the Si – Ne combination, as well as on Ti for attention to technical detail. Landscape photography, for example, is the art of conveying a sense of mood/atmosphere to the viewer (Si). The correct employment of lenses, filters etc. brings out the Ti core, while the enjoyment of seeing the world as an fascinating varied object to be observed and captured in the best possible way brings out the Ne-Ti architect.

When you include angled lines, choose a perspective that allows the angles to be at least 20 degrees off-level. Anything less doesn’t look deliberate and isn’t as appealing. To control the angle of lines, change your perspective. For example, in a landscape with a straight fence through it, you could hold your camera perpendicular to the fence so that it was perfectly straight across your picture. Or, you could move close to the fence and turn left or right so that the fence drew an attractive 20 to 30 degree angled line through the landscape. However, you wouldn’t want to be somewhere in-between; a 5 degree angle would look careless and unattractive.

Success is not counted by how high you have climbed but by how many people you brought with you.”  - Wil Rose

Living in the desert makes a lot of things very clear. It really gives you an unobstructed view. The severity of the landscape opens people up to their inner selves. St. Anthony went into the wilderness and was tormented by demons. Jesus was tempted by the devil in the desert. In an unexpected way, the Mojave is a very spiritual place.

Living in the desert makes a lot of things very clear. It really gives you an unobstructed view. The severity of the landscape opens people up to their inner selves. St. Anthony went into the wilderness and was tormented by demons. Jesus was tempted by the devil in the desert. In an unexpected way, the Mojave is a very spiritual place.