Over the last few projects I have tacitly assumed a fairly simple type of image, in which most or all of the subject is at a distance. A number of landscapes are, of course, just like this, especially those seen from high JXUwMDM3JXUwMDE5JXUwMDEzJXUwMDE3JXUwMDFlJXUwMDAzJXUwMDAwJXUwMDA0JXUwMDE4 . Such scenes, like the one below are uncomplicated - they exist by virtue of the JXUwMDJlJXUwMDFmJXUwMDBjJXUwMDEyJXUwMDA3JXUwMDFmJXUwMDA2JXUwMDA3JXUwMDFh which is relatively fixed. Later in the course we will look at ways of wringing as much variety as possible out of them, by changing the focal length of the lens, but in a standard angle of view, similar to that of your own eyes, the most important design decision is usually to arrange the proportion of land to sky.

Nevertheless, in the general run of landscapes there is much more choice.There are also many more potential subjects: trees, rocks, water, stone walls, farmhouses, and so on. It may sound too obvious to mention, but the more that you involve the foreground in a landscape image, the greater possible variety you will have in composition. From 100 feet a cairn is likely to be a barely noticeable pile of rocks; from 10 feet it can dominate the landscape seen through the viewfinder. With a sufficiently wide-angled lens stopped down to its smallest aperture for the maximum depth of field, and the camera close to the ground, even a flower can have more visual importance than the hills JXUwMDNhJXUwMDA3JXUwMDFjJXUwMDE2JXUwMDAxJXUwMDBh . [Unit]4: Viewpoint and lens looks at camera position in relation to lens focal length in more detail, but for now you should begin to look at a landscape as an JXUwMDM5JXUwMDEyJXUwMDAwJXUwMDE2JXUwMDA4JXUwMDBmJXUwMDBlJXUwMDE1 of potential picture elements that you can rearrange by moving the camera and so changing the view. Climb a little higher up a slope and a stone farmhouse may appear separated from the wall behind it, and so become more prominent. Move a little to the left of where you are standing and the overhanging limb of a tree close to you JXUwMDNlJXUwMDE0JXUwMDEzJXUwMDBjJXUwMDA4JXUwMDE2 the view. The photographs of the windmill below show a sequence of frames taken in the same location, all using the same wide-angle lens. The relatively small change in position between the last 2 pictures JXUwMDNhJXUwMDEwJXUwMDFiJXUwMDA3JXUwMDA5JXUwMDE0 into view the foreground vegetation, and alters the composition noticeably.


Changing the viewpoint on a subject.

a) Subject centred laterally for symmetry – surroundings cropped at bottom to simplify colours and shapes.
b) Subject JXUwMDJiJXUwMDFiJXUwMDAxJXUwMDBmJXUwMDEyJXUwMDExJXUwMDAx to left for more balanced composition – frame kept high to limit trees – JXUwMDJiJXUwMDFiJXUwMDA3JXUwMDFi timed so that clouds are clear of the windmills sails.
c) Viewpoint and framing accurate for symmetry – exaggeration of perspective makes the curve of the platform dominant.
d) Low viewpoint and high horizon give prominence to the surroundings –subject small but recognisable.
e) Including more vegetation to create depth – maximum depth of field for clear detail.

In looking at this example, it may have occurred to you how specific the details are. It is indeed difficult to generalise about landscape composition without it becoming meaningless. The reason why this applies to landscape more than to most other topics of photography is because landscapes are often amorphous and complex. Only occasionally will you find a single, JXUwMDNjJXUwMDBkJXUwMDFhJXUwMDEwJXUwMDExJXUwMDE3JXUwMDExJXUwMDEx subject, such as an isolated mountain. More commonly, landscapes are visually disorganised and JXUwMDJkJXUwMDFiJXUwMDFhJXUwMDFkJXUwMDBkJXUwMDFk . Let's now go straight on to a practical project in which you can explore for yourself the multiple choices.