WORK IN MINIMALIST LANDSCAPES
Control your composition for effective shots in detail-sparse locations
Many photographers look for and appreciate painterly lighting in their images. However, in many respects, this is where the similarities between photography and other types of art end. There are some key differences between the compositional approaches for a photograph and a painting. For example, a photographer is accustomed to starting with lots of detail in the world around them, which they must cut back and order into a clean frame. A painter, meanwhile, starts with a blank canvas on which they must build up the detail. Therefore, while busy landscapes are certainly a challenge to get right, it’s often the less populated scenes that cause the most confusion.
This confusion is often introduced by the shape and direction of the landscape. Scenics are usually quite long, with the majority of detail arranged laterally. Where all of the detail is bunched up towards the horizon, it can produce ugly, empty foregrounds that do not serve to improve the overall composition and create a disconnect with the viewer – giving a feeling that the ‘main event’ is hidden at the back of the picture. Meanwhile, if the horizon is broken by a sudden tall object, controlling negative space either side becomes the biggest consideration.
If you’re in doubt as to the best approach to tackle this issue, use a longer focal length. Any problems arising from an imbalance of the interest in a scene will be exacerbated by using a wide lens. A setting of 100mm or greater has a better chance of bringing scene elements together, minimising negative space and isolating the intended subject. You will then have better control over aspects like symmetry, which can be used to hide the detail weighting in the frame by making any empty areas feel natural and intentional.