Photo Cascadia Blog
Posts Tagged ‘David Cobb’
For a good part of my life I’ve had a comic posted on my wall of a guy sitting in a chair with the caption, “Dare to be boring.” Sometimes I embrace that in my photography when trying to get creative with abstracts in a mundane landscape, or when embracing the blue skies above. Maybe it’s all the smoke from fires lingering overhead, but these days I’m feeling blue and I would like to see a little of it in the sky too.
I like great light as much as the next person, but in these “Red or Dead” times of landscape photography, when some are shooting for another click on social media, then the redder the sky the better. But when I dare to be boring, it’s time to embrace the blue. Not only does blue sky photography sell pretty well to clients, it can also look good. What follows are the times I’m more apt to embrace the blue sky around me with a polarizer attached, and my white balance set to 5200 Kelvin.
1) When there is water involved.
If there is water in the scene, then blue skies generally look appealing to the eye, since the water reflects blue like the sky and it might pick up the reflections of the land pretty well too. The images below show a photo I took in 2008 from the Eagle Cap Wilderness of Oregon, and a garden I photographed for my upcoming book. I like them both, and the garden I photographed in southern California is on the cover of my new book.
2) When there are puffy clouds or dramatic skies.
Skies can make or break a landscape photo, and even during those blue sky hours they matter. I love those puffy convective clouds in the Palouse region of Washington, but any dramatic blue-sky clouds will do.
3) When there is a complementary color on land, such as yellow flowers, gold fields, or red rocks.
Need I say more?
4) When there are harmonious colors on land that blend well into the sky.
These colors work well together, so why not?
5) Sometimes the blue light is just better.
At Canada’s Peyto Lake the early light is often not good. When all that beautiful turquoise water is below it’s best to show up at 10am after a few clouds have formed, and take advantage of blue on blue.
6) At the “blue hour.”
Well, duh. The light evens everything out during the blue hour in the morning and at night.
7) When I’m in canyon country.
This is a great time to head for a slot canyon or stay in the shade to photograph bounce light.
8) When I’m in Yellowstone National Park.
This park—and other geologically active areas—have minerals and pools which show up better when there is blue sky and the sun is high.
9) When I’m shooting black and white.
I’m no Ansel Adams, but he did well on blue sky days and so can you. This is also a good time to pull out the infrared camera.
10) When I’m in a desert or in tropical climates.
If I’m on a tropical island or down in the Baja desert, then blue looks cool. Plus, I wanted to throw in this picture of Sean Bagshaw with his dorky straw hat.
“There’s just no such thing as a ‘drive-by shooting’ in landscape photography. In other words, you need to put in the time on the ground.” – Jack Dykinga
A few years ago, Jerry Seinfeld wrote a posthumous post about comedian George Carlin and his accomplishments with the line “Carlin already did it.” Seinfeld wrote: “And he didn’t just ‘do’ it. He worked over an idea like a diamond cutter with facets and angles and refractions of light. He made you sorry you ever thought you wanted to be a comedian.” You could take that line and replace comedian with photographer, and it would apply to Jack Dykinga. From his images “Saguaro in Bloom” in Saguaro National Park to “Stone Canyon” in Vermillion Cliffs National Monument– the very much alive Dykinga already did it.
In his new book, A Photographer’s Life: A Journey from Pulitzer Prize-Winning Photojournalist to Celebrated Nature Photographer (2017 Rocky Nook, Inc.) Dykinga reflects on his life after a near-death experience and a lung transplant, and shares with us stories of his successes, failures, faults, and thanks. He thanks those photographers who offered help along the way, including Chuck Scott (photo editor at the Chicago Daily News) to landscape photographers Philip Hyde and John Shaw. He also offers thanks to his comrades-in-arms at the various daily papers in his early career, his photography friends and influences such as Patricio Robles Gil, and the writers who were his friends: Chuck Bowden and Edward Abbey.
His photography is certainly an influence on mine, especially the intimate portraits of plants in the desert southwest. So in this book I enjoyed the stories of how he got the shot. Bringing us behind the scenes for images such as “Sisterhood” and “Saguaro in Bloom” is fascinating, and these photos show his dedication to his craft. I own a few books of Dykinga’s photography, but in this one I found his images from Mexico particularly inspiring. I also appreciated viewing the images which earned him the Pulitzer–their impact has not diminished over time.
A Photographer’s Life covers a lifetime of brilliant photographic work, and the images excel. (One note: the book needed a proofreader to catch a few missing words and typos.) For anyone interested in photography I recommend this book, for this is a life of a great photographer with boots on the ground and a life well-lived. Dykinga’s presentation of his life of photography is ultimately a story of his legacy—a difficult achievement in this field. From his Pulitzer Prize in 1971 to NANPA’s Lifetime Achievement Award in 2017 his body of work is of the highest caliber, and it is here through the lens that Jack Dykinga did it all.
When I started studying photography seriously, I was a slow learner when it came to light. I spent too much time photographing things instead of light—photographing birds, barns, and trees until it got boring. The result was too many average shots of things I no longer wanted in my portfolio. And then came the epiphany–these things looked a lot better, and sold a lot better when they were photographed in good light.
In the image below I am not photographing a mule deer I’m photographing the light, and the mule deer makes for a nice addition as a subject. If I wanted just another mule deer shot, I could have taken 500 subpar images, but instead I anticipated its movement and framed a shot of nice light; then I waited for the deer to walk into those bands of light. That makes for a far better image.
I also have tons of barn images from the Palouse, some in nice light and many in flat light. The barns are just “things.” I no longer want to take images of things to document the area, I want to photograph light. The barn image below works because of beautiful foreground light, the glancing light on the barn; the bands of light in the background and the speckled light in the clouds which tie the scene together for a more interesting image. I’m not photographing a barn anymore, but composing with the light that surrounds it.
A simple image like the tables and chairs below is all about light and what it’s doing. This photo was taken in 10a.m. light (not the best time for stellar rays), but the way in which the shadows were cast to create form and interest in the image was what moved me to pull out my camera. Again, I’m not photographing “things” (the tables and chairs), but light.
I’ve also included a recent image from Patagonia of light on a glacier. I was at this location for hours and studied the glacier and the light on the glacier. There was bounce light, rim lighting, back-lighting, side-lighting, and glacial calving too. I tried different things, but nothing grabbed me until I noticed the fleeting rim light along the glacier as the sun set over a distant ridge. I composed a shot I thought would work compositionally and waited for the light to work its magic. The image below is what I liked. I took another shot about three seconds later, but two-thirds of the light had already disappeared. Six seconds earlier and the light was too bright, but the image below caught the light just right.
Get your mind off of photographing “things;” photography is all about light and how it creates better images. By doing this, you will become a better photographer.
Using a Telephoto Lens to Compress Garden Scenes
Since gardens are beginning to blossom again after a long winter, I’m returning to the garden setting for this tip.
A telephoto lens is essential in garden photography for picking out pieces of a distant landscape or for macro work, and I often use one in conjunction with extension tubes or close-up filters. For landscape photography I use a zoom to pick out the garden details or to create a layering effect. On foggy days, I often look for how trees stack up with one another and how they lose detail as they recede into the mist; the layering on these days works exceptionally well.
When I spotted this field of poppies growing in the Willamette Valley of Oregon, I wanted to recreate the feeling I had of seeing such a multitude of flowers in one place. To do this, I chose a telephoto lens and crouched down a bit lower to overlap all the poppies. By using a zoom and compressing the scene, I was able to capture the feeling I had of seeing so many poppies in one place.
For this image of wallflowers in the Willamette Valley of Oregon, I used a telephoto lens to compress the scene for the multitude of flowers and also to keep the size of the tree large on the distant ridge. If I had used a wider-angle lens, the distant tree would only be a small pimple on the ridge face. A telephoto lens creates more drama in the scene.
While I was visiting Beacon Hill Park in Victoria, Canada I used my Canon 70-200mm telephoto lens to help frame the wonderfully lit tree with the yellow blossoms of the surrounding shrubs. The compression also created a layering effect for this image and compositionally a frame-within-a-frame which creates depth.
If you like this garden photography tip, I offer 99 more in my e-book “100 Tips to Improve Your Flower and Garden Photography.”
Look for my next garden book Visionary Landscapes due out this September on Tuttle Publishing.
Photography Documentaries I’ve Liked
By David Cobb
It’s been a long time since the days of the boring and staid documentary. We’re now in the “Golden Age” of this genre, and there have been a number of good photography documentaries released over the past few years. I find that sometimes it’s difficult to make a decision on a film when I love the images, but the quality of the documentary is not great. (Maybe there are poor production values, or the film needed an editor, or it’s just not that interesting. When that happens, I prefer to look at a book of the photographer’s images.)
All the films on this list are easily accessible for viewing, and for the purposes of this list I haven’t included any television series. What follows are a few photography documentaries that I’ve liked from the many I’ve watched.
- The Salt of the Earth – (2014, Director Wim Wenders) This film relives the career of Sebastiao Salgado and covers his major body of work and exhibitions. From the opening scene of images at the gold mines of Serra Pelada to his work on his most recent project Genesis, the film leaves no doubt that Salgado is one of the greatest photographers ever.
- What Remains: The Life and Work of Sally Mann – (2005, Director Steven Cantor) An exploration into the creative mind of an artist. Sally Mann discusses her work through her successes, failures, her influences, and disappointments. There is something for every photographer to relate to in this film.
- Finding Vivian Maier – (2013, Directors John Maloof, Charlie Siskel) Possibly the most famous of all films on this list, Finding Vivian Maier is a movie about a woman who blended in and surreptitiously photographed non-stop for years with no one really knowing she was amassing a large catalogue of images. After her death her work was recently discovered, and the documentary pieces together her life from clues, photographs, and conversations with (now adult) children she looked after while fulfilling her job as a nanny. Her life is a bit of a mystery, but her outstanding photographic work shines a light into her spirit.
- Ai Weiwei: Never Sorry – (2012, Director Alison Klayman) Ai Weiwei is a multi-media artist and dissident with homes in the U.S. and China. He’s known in photography for his “giving the finger” images and also his selfies. He might be described as Warhol, Picasso, Calder, and Banksy, rolled into one. This isn’t truly a photography documentary, but it’s fascinating and thought-provoking.
- Black White + Gray: A Portrait of Sam Wagstaff and Robert Mapplethorpe – (2007, Director James Crump) A thoughtful film which brings to life the professional and personal relationship between Robert Mapplethorpe and his benefactor Sam Wagstaff.
- Gregory Crewdson: Brief Encounters – (2012, Director Ben Shapiro) The incredible production value, difficulty, and creativity of Gregory Crewdson’s photographs is on display in this mesmerizing documentary. The filming follows him during his work on his Beneath the Roses concept.
- Meru – (2015, Jimmy Chin, Chai Vasarhelyi) Ok, it’s not really a photography documentary, but photographer and videographer Jimmy Chin does a spectacular job of filming this first ascent. Teamed with Conrad Anker and Renan Ozturk, the climb of the imposing shark fin of India’s Mount Meru gave me the willies just watching. There is a section of this film which showcases some of the climbing photography techniques that Jimmy Chin uses when on assignment.
- War Photographer – (2001, Director Christian Frei) A documentary of photojournalist James Nachtwey who lets his images do the talking. He’s won numerous awards and the highest honors in his profession, and this documentary captures him on assignment in Kosovo, Indonesia, Africa, and the West Bank. The film opens with an adage from Robert Capa, “If your pictures aren’t good enough, you’re not close enough,” and Nachtwey lives by these words. His photographic records of war, famine, and poverty are devastating, and his philosophy on why he’s a war photographer is fascinating.
- Bill Cunningham New York – (2010, Director Richard Press) A delightful film which follows photographer Bill Cunningham snapping fashion images on the streets of New York. Cunningham carries this documentary with his outlook on life, simple lifestyle, fashion eye, dedication, and his infectious exuberance. If you’re ever down in the dumps or want to get out of a photography rut, this film is a dandy pick-me-up.
- Annie Leibovitz: Life Through a Lens – (2008, Director Barbara Leibovitz) This study in the life and career of Annie Leibovitz from her early days at the Rolling Stone to her work for Vanity Fair, Vogue, and her more personal work shows that even someone at the top of the photography world can still make mistakes and grow from them. Her work is astounding and her creative passion is an inspiration. The film is less in-depth than I would have liked, as some major portions of her life are discussed only on the surface.
- Inside Out: The People’s Art Project – (2013, Alastair Siddons) Street photographer JR takes his TED Talks Prize and gives it back to the people to create their own art. His world photography project helps humanize the disenfranchised from Pakistan to South Dakota as they produce giant portraits to post on the streets. They can no longer be ignored and must be seen, as they create their own power through imagery. The film is truly an inspiration to witness the influence of photography changing the common man on the street.
If there are other films you think I might be leaving off this list, let me know. Fellow Photo Cascadia members Adrian Klein and Erin Babnik shared films they liked such as Salt and The Quest for Inspiration. I haven’t seen them yet, but I’m on the lookout for these two. I hope you enjoy the films I’ve listed; many are available on Netflix so they’re easy to find and most have shorter run times. Now curl up with a bowl of popcorn and learn from the masters.
American Dreamscapes – Book Review
By David Cobb
I’ve been friends with Christian Heeb for a number of years. An immigrant from Switzerland, Heeb first got his photographic start in the U.S. photographing the Native American. His wonderment in the American myth of the Wild West led him to a variety of places including the desert southwest, the Rocky Mountains, the Sierra Nevada range, and Route 66 among others. During his career—which includes over 200 published books—his assignments have taken him to every corner of the states and also around the world. His newest venture isn’t for a U.S. or German publisher however, but a personal project titled American Dreamscapes.
American Dreamscapes is the American dream not as interpreted by Horatio Alger, but maybe one closer to the vision of film director Quentin Tarantino. Coming of age in Switzerland, Heeb’s photography has certainly been influenced by fellow countryman Robert Frank; but Heeb also has influences in the surreal imagery of Gregory Crewdson, and the more voyeuristic photos of David Drebin. His settings also remind me of the more banal locations of photographer Stephen Shore.
Many photographers of the lost America like Anthony Hernandez, Lewis Baltz, and Robert Adams show the blight of American expansion and decay, and those who have been left behind or forgotten. Heeb photographs the edge of American life in a Hopperesque way: from the wayward hotel to the diner, with guns, girls, cars, and sex being common themes. This is the dark side of “when America was great again,” and this is the America that would give Dorothea Lange nightmares.
These people are not only on the fringe of society, but also on the fringe of daybreak. These are the hours when the neon glows brightly, and the hours when folks are desperate enough to commit a crime as seen in his images “The Hold Up” or “Stolen Car.” His models pose with cold distant looks, disconnected from each other and reality. In the photo “The Fun Center,” they’re having anything but fun. These people inhabit a lurid world, and they’re all trying to hang on to make it through another day.
American Dreamscapes is a limited-edition book which may be purchased in both print and digital versions from the Christian Heeb website. The book is in the dual languages of English and German.
Here is a link to download your digital copy here at his web site.
There are a number of reasons I’m drawn to photographing ghost towns. Perhaps it’s something to do for a change of pace, maybe it’s photographing the history of a bygone era, or possibly it’s my fascination with dystopian literature. But mostly it’s just fun. I’ve photographed ghost towns from Alaska to Mexico. Most of them exist from the boom-and-bust of the mining era, while others are from the days of Manifest Destiny gone awry; leftovers from a time when Americans thought if we moved to arid lands for cultivation then the rain would follow.
The ruins these people left behind are in different states of disrepair. Some are preserved as parks, some are not and are left to crumble, and others are resurrected as artist colonies for an affordable place to work and live. Whatever their state, there is always something to explore and photograph.
I’ve explored and photographed the well-known ghost towns (i.e. Bodie) to the little-known towns (i.e.) Farlin. Hell, I even did a ghost town long-distance walk across the Yukon and Northwest Territories on the 221 mile (355km) Canol Heritage Trail, and followed a World War II oil pipeline through the wilderness. The walk past little-used and abandoned autos, pump-house towns, and work stations was fascinating. Additionally, I walked the 33-mile (53km) Chilkoot Trail from Dyea, Alaska to Bennett, British Columbia that follows a land of artifacts and relics from the Klondike Gold Rush. But you don’t need to walk long distances for most ghost towns; they’re on maps and a good AWD vehicle will get you to most of them. Just remember that the majority of ghost towns are at a higher elevation and not lowland valleys, so you might need to wait until summer for access.
Upon arriving for the first time, I like to get that establishing shot. Maybe it’s an overview of the entire town from a nearby highpoint, or possibly it’s a shot of one of the more prominent buildings in town like the mine itself. If the light is not right, I’ll come back to that establishing image as the light improves, but at least I’ve found what represents the town as a whole. Once I have the establishing shot, I begin to look for the intimate. Ghost towns are known for what’s left behind. It could be a table setting, an old poster still on the wall, or implements hanging from the ceiling, but I look for those things that might tell more of the story of the place I’m photographing.
Ghost towns usually have plenty of texture and plenty of rust that can create interesting patterns of shape and color. I look at the old boards for details of pattern and rusted old cars with peeling paint can offer a myriad of abstract compositions too. If artists are moving into the area, look for the weird. Near a Nevada ghost town I photographed, there was a whole field of cars planted in the ground grill first. The exposed sections of the autos were covered with graffiti art exploring life, politics, and the exotic.
Since this is a ghost town, also look for the creepy. I had one ghost town all to myself in the middle of Montana. I walked into an old abandoned hotel to look around and then heard something upstairs. When I walked upstairs I just saw a long hallway of light and dark, and thought to myself, “I’m not going down there.” But I did try to capture in a photo the way I felt at the time.
Also when you’re visiting a ghost town look for the cemetery; there is always one nearby. Some can be quaint, others historic, and still others a bit spooky. Any way you capture them, the images can be interesting and will also help tell the story of place. Ghost towns are also a great place for night photography, and light painting the old buildings while photographing the stars overhead can make for a fun evening shoot. If you’re photographing at night, use common sense and leave the steel wool at home. Sparks from these efforts can level a whole town, and enough historic relics from California to Florida have already been lost to photographer’s fire.
In 2017 I’ll be returning to Montana to conduct a photographic loop of the western ghost town locales. I hope you can join me. You can click here for more information.
Book Review by David Cobb
“Unless you photograph what you love, you are not going to make good art.” Sally Mann
Sally Mann photographed what she loved: her land, her husband, her children, herself; but where does her creativity come from? In her new memoir Hold Still: A Memoir with Photographs (2015 Little, Brown, and Company) Mann gives us insights into this world by exploring her life, family, friends, death, and sense of place. She never writes directly about her creativity in this memoir, but it exudes from the pages; like the oppressive humidity from one of her summer Virginia landscapes.
In the chapter ‘Hold Still,” Mann goes through the process by which she photographed her children, from the mundane to the disturbing. Her likes, dislikes, successes, and failures are all there to see. The images from this time period brought her celebrity status and with it controversy, and that fame and contention added a creative temperance to her psych. She sums up this thinking with a quote from writer Adam Gopnik, “When we hit pay dirt, we often find quicksand beneath it.”
Mann seems to credit her mother’s side of the family for not only her work ethic, but also her romanticism of the land, her love of place, and the land which she inhabits. If it’s her family and her own life on the land which built a foundation for her landscape images, perhaps it’s photographer Michael Miley and her artist friend Cy Twombly who helped shape and inspire her landscapes. She photographed Cy Twombly’s art studio in her early years and noticed by doing so her work “changed from documentary to evocative.” Mann’s landscapes aren’t the usual fare you might be used to seeing on the internet—they can be dark, moody, and claustrophobic, while also being timeless or by hearkening back to a bygone era.
Maybe her landscape images changed because of her father’s influence. His life-long fascination with death and his own stoic demise appears to influence her last chapter of creative energy. After a death on her land, she wondered how the land had changed for her with that incident and set about capturing it with images. She writes that “It’s not that we southerners are exactly in love with death, but there is no question that, given our history, we’re on a first-name basis with it.” For me, her photography at this time goes to another level. Before my workshop in Florida this year at the Morikami Museum and Japanese Garden, a professor sent me an email question about “how to capture kami (spirits) of the garden?” I could now point him to the ending chapters of this book as a guideline.
From the death on her own land, she travels to Civil War battlefields such as Antietam to represent the landscape and death that took place there over 150 years earlier. These chapters are well-covered in the documentary What Remains: The Life and Work of Sally Mann. The film also mentions the irony of her collodion process in the creation of these prints, and that collodion was also used to hold wounds together for the injured on the Civil War battlefield.
Her work changes from the metaphorical to the literal, as she photographs at the University of Tennessee’s Anthropology Research Facility known as the Body Farm. The program records decomposition and decay of the human corpse. Her work here for the New York Times Magazine added to her closing chapters and furthered her creative exploration of death.
Overall, Sally Mann’s Hold Still is an outstanding book on many levels. Intellectually interesting, whimsical, and humorous; and at times it carries the shock value of a who-done-it novel. Ultimately for me this memoir is about creativity, and it’s a look into the soul of an artist. By taking a page from Sally Mann, I wondered how those around me and the land I hold dear influences me and contribute to my artistic process–and that’s the kind of thinking that can help artistic creativity and growth.
I don’t pretend to be a wildlife photographer; I do enjoy photographing wildlife and observing the behavior of animals in their habitat. If wildlife wanders into my landscape image I enjoy including it, and when I photograph wildlife I prefer to include it as part of the environment as opposed to creating a portrait image. Including an animal in the scene gives the viewer a gauge by which to measure the grandeur of a landscape; creating a sense of scale. It also tells the story of their habitat and under what conditions they live, which is far more interesting to me than a portrait. Of course, some wildlife is small, so the landscape adjusts accordingly to maybe a handful of leaves or the grasses of a prairie and entry to the den.
If I plan on photographing wildlife in a landscape, I first increase the ISO of my camera to 400 at a minimum. In addition, consider opening the f-stop up to f11 or even f5.6 for more shutter speed. Obviously this will create a shallower depth-of-field, but photography is always about trade-offs so consider what’s best for the image before you shoot. By increasing the shutter speed, the animal’s movement won’t be blurred. Of course, if you want to capture the motion of an animal with image blur, then keep your ISO on a slow setting and just pan your camera with the animal to capture the sense of movement. (I find this works best between 1/15th of a second and 1/40th, depending on the animal’s speed.) Be careful when approaching an animal, since it is wild, unpredictable, and there is no need to cause it undo stress–all good reasons to keep your distance and capture it in its environment.
As a general rule it’s best to have the animal walking into the scene in order to create a suggested line of site, and to lead the viewer’s eye through the composition. A catch-light in the animal’s eye is also important since it suggests life. Keeping the eye sharp is key, so focus here first and then recompose if necessary. I also try and separate the elements; I may wait for the animals to spread out a bit or shoot before and after my subject is behind that tree and not while the tree overlaps my subject. I also wait until the animal has a clean background. I don’t need branches or sticks protruding from the back of my subject’s head, so I keep it clean and I keep it simple.
When it comes to wildlife photography ethics automatically come into play, and for me I think it’s best to be an observer and not a participator in the scene. I don’t want to stress an animal, I’ll never bait it, and I won’t call out to it for better eye contact. I figure wildlife already has it hard, and I’m not there to make it any harder on them. If an animal changes its course or behavior because of me, then I’ve failed in my approach. If you’re photographing in a group, keep your distance and don’t surround your subject. Always give it an outlet for escape, which will create less stress in the animal, better photographs, and probably more time with your subject. There are enough stupid photographer videos online already, and we don’t need to add to the collection.
Hopefully these handful of tips will better help your photography and also the wildlife you’re there to photograph-enjoy and observe.
Most landscape photography is shot with a wide-angle lens to accent that leading line or capture that vibrant red sunrise. Using a telephoto lens to capture a landscape offers a different challenge and a different way of thinking. The goal now is less about distortion and more about compression to help create patterns or an interesting layering effect. Currently, about one-third of my landscape images are photographed with a telephoto lens.
A few tips to help create telephoto landscape images:
• If it’s windy stay low or find a wind break. As you zoom-in camera shake is accentuated, so to keep things steady cut down on your surface area and get low to create less wind resistance on your tripod and camera–wait for a lull in the wind before taking the shot. If that doesn’t work, use a wall, structure, tree, or something for a wind break. Hanging your pack or a weight from your tripod may help create stability.
• Use the zoom function and live view together for sharpness. If you have a live-view function on your camera it comes in handy for telephoto landscape photography. I check out my scene through the live view and then press the zoom feature to get a closer look and to manually adjust the sharpness. The live-view feature can also offer mirror lock-up which will help with camera shake. If your camera doesn’t automatically offer this feature, turn on the mirror lock-up function when photographing with a telephoto lens to avoid camera shake.
• Use a polarizer. Compressing a landscape image over a great distance will also compress all the dust, haze, or fog in the scene. This can produce atmosphere in your image and help to create mood, but chances are more likely it will just generate blur. To cut through this mass of miasma use a polarizer, this will also cut down on glare.
• Use a lens hood. When I’m using a telephoto lens for landscape photography, I’m often shooting into the light for a backlighting effect. Using a lens hood can go a long way towards cutting down on lens flare and unwanted glare.
• Use a tripod. This may be a no-brainer, but I’ll state the obvious. Handholding to take a telephoto image only accentuates camera shake, for the best and sharpest landscape photo use a tripod.
When using a telephoto lens, it’s our job as photographers to simplify an image down to its prime elements—and to pick out order from the chaos. I pay attention to the light, patterns, key features, and leading lines to help me look for subject matter. Overlap and layering helps create depth, and the compression of these features helps create form from this flatter telephoto perspective. When practicing telephoto landscape photography, it’s usually best to take the high ground. By looking across or down on the landscape you’ll be offered a better view from which to pick out your subjects and shoot. If my subject matter is without much depth, I’ll usually use an aperture setting around f8 or f11; but if there is depth to my landscape, then I’ll shoot from f16 to f32.
I hope these tips prove useful and inspire you to take out that “longer” lens when photographing a landscape.