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The landscape photographers guide to using filters. A 132 page hardback book which is full of stunning images taken from around the world that will both inform and inspire you.

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  • THE LANDSCAPE PHOTOGRAPHER'S GUIDE TO USING FILTERS

    INSPIRING PROFESSIONALS

    Inspiring_Prof_Inside:LF_How_To_Booklet 26/10/10 14:35 Page 1

  • My aimas a landscape photographeris simple, I want my photographs to

    express the sense of wonderthe landscape inspires in me.

    Since light is the heart and soul of photography, the art of landscapephotography is largely about the weather, and being in the right place atthe right time. It is also learning the biological and geological richness ofthe planet, of seeing the beauty of rocks, plants and animals. It is seeingthe space in the landscape, in sensing its freedom. It is coping with theheat of a summer day, the cold of a winter one. It is about walking,climbing, waiting; it involves anticipation, and reacting when the time isright. It is about tuning in to the place and the moment. It is watching thecycle of the seasons, and the circle of life. It is connecting with the earth.

    Yet in the end, it all comes back to light. The landscape photographer hasno control over the light itself, for the sun is our light source, the sky is ourstudio, and the weather dictates mood and atmosphere. But we cancontrol the light entering the camera. By combining precise timing(to make best use of the light as it unfolds) with the subtle use of filters wecan ensure our compositions truly reveal the light and the land.

    Landscape photography isthe art of light.

    Joe Cornish

    Foreword

    Inspiring_Prof_Inside:LF_How_To_Booklet 26/10/10 14:35 Page 2

  • My aimas a landscape photographeris simple, I want my photographs to

    express the sense of wonderthe landscape inspires in me.

    Since light is the heart and soul of photography, the art of landscapephotography is largely about the weather, and being in the right place atthe right time. It is also learning the biological and geological richness ofthe planet, of seeing the beauty of rocks, plants and animals. It is seeingthe space in the landscape, in sensing its freedom. It is coping with theheat of a summer day, the cold of a winter one. It is about walking,climbing, waiting; it involves anticipation, and reacting when the time isright. It is about tuning in to the place and the moment. It is watching thecycle of the seasons, and the circle of life. It is connecting with the earth.

    Yet in the end, it all comes back to light. The landscape photographer hasno control over the light itself, for the sun is our light source, the sky is ourstudio, and the weather dictates mood and atmosphere. But we cancontrol the light entering the camera. By combining precise timing(to make best use of the light as it unfolds) with the subtle use of filters wecan ensure our compositions truly reveal the light and the land.

    Landscape photography isthe art of light.

    Joe Cornish

    Foreword

    Inspiring_Prof_Inside:LF_How_To_Booklet 26/10/10 14:35 Page 2

  • 4 5

    Contents

    Neutral DensityGraduated Filters

    Mark Denton

    Jeremy Walker

    Joe Cornish

    David Ward

    John Gravett

    Neutral DensityStandard Filters

    David Noton

    Jeremy Walker

    Charlie Waite

    Warm UpFilters

    Mark Denton

    John Gravett

    Tom Mackie

    David Ward

    Jeremy Walker

    CombinationFilters

    Joe Cornish

    David Ward

    John Gravett

    14 38 48 62

    Polariser

    John Gravett

    Joe Cornish

    David Ward

    Jeremy Walker

    David Noton

    Digital

    David Noton

    Glass Enhancer

    Jeremy Walker

    Effects

    Tom Mackie

    John Gravett

    78 94 104 110

    Black & WhiteFilters

    Charlie Waite

    120

    Inspiring_Prof_Inside:LF_How_To_Booklet 26/10/10 14:35 Page 4

  • 4 5

    Contents

    Neutral DensityGraduated Filters

    Mark Denton

    Jeremy Walker

    Joe Cornish

    David Ward

    John Gravett

    Neutral DensityStandard Filters

    David Noton

    Jeremy Walker

    Charlie Waite

    Warm UpFilters

    Mark Denton

    John Gravett

    Tom Mackie

    David Ward

    Jeremy Walker

    CombinationFilters

    Joe Cornish

    David Ward

    John Gravett

    14 38 48 62

    Polariser

    John Gravett

    Joe Cornish

    David Ward

    Jeremy Walker

    David Noton

    Digital

    David Noton

    Glass Enhancer

    Jeremy Walker

    Effects

    Tom Mackie

    John Gravett

    78 94 104 110

    Black & WhiteFilters

    Charlie Waite

    120

    Inspiring_Prof_Inside:LF_How_To_Booklet 26/10/10 14:35 Page 4

  • JeremyWalker

    Durdle Door, Dorset, England

    18 19

    Neutral Density Grad Hard

    The huge rock arch of Durdle Door is situatedon the South or Jurassic Coast and is a great place to visitespecially in winter when you can have the place to yourself.

    The Dorset coast is a great place to walk andhas many bays and coves to explore butthis has to be one of my favourite locations.

    This visit was on a cold grey winter'safternoon and I turned up more in hopethan expectation, as a large blanket ofcloud had been hiding the sun for most ofthe day. Having set the camera up andcomposed the shot, it was then a matter ofwaiting, and as the sun sunk lower andlower the cloud finally began to break andthe light began to hit the arch.

    As is often the problem, the exposuredifference between the sky and theforeground needs controlling. For this I useda 0.6ND hard grad placed just above thehorizon. As the light was not as warm as Iwould have liked I used an 81C colour filterover the whole shot just to help the feeland mood of the shot.

    0.6 NDGrad Hard

    81CStandard

    0.6 ND

    Inspiring_Prof_Inside:LF_How_To_Booklet 26/10/10 14:35 Page 18

  • JeremyWalker

    Durdle Door, Dorset, England

    18 19

    Neutral Density Grad Hard

    The huge rock arch of Durdle Door is situatedon the South or Jurassic Coast and is a great place to visitespecially in winter when you can have the place to yourself.

    The Dorset coast is a great place to walk andhas many bays and coves to explore butthis has to be one of my favourite locations.

    This visit was on a cold grey winter'safternoon and I turned up more in hopethan expectation, as a large blanket ofcloud had been hiding the sun for most ofthe day. Having set the camera up andcomposed the shot, it was then a matter ofwaiting, and as the sun sunk lower andlower the cloud finally began to break andthe light began to hit the arch.

    As is often the problem, the exposuredifference between the sky and theforeground needs controlling. For this I useda 0.6ND hard grad placed just above thehorizon. As the light was not as warm as Iwould have liked I used an 81C colour filterover the whole shot just to help the feeland mood of the shot.

    0.6 NDGrad Hard

    81CStandard

    0.6 ND

    Inspiring_Prof_Inside:LF_How_To_Booklet 26/10/10 14:35 Page 18

  • JoeCornish

    Chamber Of Secrets, Antelope Canyon, USA

    32 33

    Neutral Density Grad Soft

    I have made many photographic tripsto the United StatesSouthwest deserts,

    sometimes leading workshops there.

    It was the wonders of this spectacularregion that originally convinced me tobecome a landscape photographer.

    Antelope is a slot canyon, an extremelynarrow opening in the earth's surface,sculpted over many centuries by the actionof flash flooding.

    I used an Ebony 5x4 inch field camera, anda 90mm lens. The perspective is madelooking up the wall of the canyon from avery low angle. My goal was to combinethe swirling shapes of the canyon walls in arelatively abstract composition to expressenergy and movement in the solid rock.

    Spot-metering across the scene I discovereda brightness range in excess of eight stops.While I was prepared to lose the darkestshadows to black, it was essential that Ihold the highlights in the upper canyon

    wall, and retain detail in the shadows of theoverhang, for without them, the ebb andflow of the composition would be lost.

    I selected a three stop 0.9 ND soft grad toensure there was no risk of a visible'tideline', and introduced it on its side fromthe left. It was inevitable that some detailwould be sacrificed in the dark areas nowcovered by the ND, but the benefits ofsubduing the highlights were immediatelyapparent in camera. Placing the shadowon the right of the image at minus one anda half, compared to base exposure, Icalculated that the highlights on the uppercanyon would hold at plus two or so, takingthe reduction of the ND into account.

    0.9 NDGrad Soft

    0.9 ND

    Inspiring_Prof_Inside:LF_How_To_Booklet 26/10/10 14:35 Page 32

  • JoeCornish

    Chamber Of Secrets, Antelope Canyon, USA

    32 33

    Neutral Density Grad Soft

    I have made many photographic tripsto the United StatesSouthwest deserts,

    sometimes leading workshops there.

    It was the wonders of this spectacularregion that originally convinced me tobecome a landscape photographer.

    Antelope is a slot canyon, an extremelynarrow opening in the earth's surface,sculpted over many centuries by the actionof flash flooding.

    I used an Ebony 5x4 inch field camera, anda 90mm lens. The perspective is madelooking up the wall of the canyon from avery low angle. My goal was to combinethe swirling shapes of the canyon walls in arelatively abstract composition to expressenergy and movement in the solid rock.

    Spot-metering across the scene I discovereda brightness range in excess of eight stops.While I was prepared to lose the darkestshadows to black, it was essential that Ihold the highlights in the upper canyon

    wall, and retain detail in the shadows of theoverhang, for without them, the ebb andflow of the composition would be lost.

    I se