[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” css_animation=””][vc_column][vc_column_text]Charlie Waite, world-renowned landscape photographer and CAS Member 39,333, tells us why the sky is one of the most important things to consider when creating a successful landscape photograph.[/vc_column_text][vc_column_text]Any landscape photographer who takes their photography seriously has to consider the sky. If the sky seems to be lacking in interest and appears to have little character then it may be better to wait until it does or possibly leave the sky out of the image altogether. The sky should be in keeping with the photographer’s objective and should be integral to the overall composition. It is a mistake to simply accept the prevailing sky as it is found; no painter would, so why would a landscape photographer?

I have often found that it is of benefit to establish the wind direction before setting up the tripod and beginning the whole business of making an image. There have been many an occasion when the sky on offer is dull and having no relationship with the land beneath and yet a glance over my shoulder reveals that in perhaps in as little as thirty minutes, there will be ravishing sky on offer; waiting is often the key and if you are serious, it matters not how long you have to wait.[/vc_column_text][vc_empty_space][/vc_column][/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” css_animation=””][vc_column width=”1/2″][vc_single_image image=”84589″ img_size=”large” add_caption=”yes” alignment=”center” onclick=”link_image” qode_css_animation=””][/vc_column][vc_column width=”1/2″][vc_single_image image=”84590″ img_size=”large” add_caption=”yes” alignment=”center” onclick=”link_image” qode_css_animation=””][/vc_column][/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” css_animation=””][vc_column][vc_empty_space][vc_column_text]How is a ‘good sky’ defined? Puffy white continents of cumulus clouds, or the high cirrus that I particularly favour. One thing is sure, the sky will never be the same twice unless it is monotonous blue – as uninteresting, at least to landscape photographers, as a low pressure ‘grey duvet’ sky.Many years ago, I remember finding some cylindrical bales, which then were still an unusual sight. They had taken over from the rectangular blocks that one rarely sees these days. I had seen a collection of building cumulous cloud across to the west, which was uncannily similar in shape to the bales in front of me. Within fifteen minutes and barely changing shape, they had miraculously arrived and placed themselves directly above the bales echoing them so precisely that I could have wept with joy.

If clouds are your thing (and as you are reading this, I expect they are) then perhaps the following thoughts on making the most of clouds in a landscape photograph will be of interest.

1. The polarising filter is mandatory for pronouncing clouds against a background sky but have a look through the filter first to see the effect that it may have on the sky prior to fitting it to the camera. Depending on the angle of reflection, the polararising filter removes some ‘white light reflection’ from surfaces and is not advised if the sky is plain blue with no clouds, as the blue sky may appear too violet or indigo. People who like to fish may often use polarising sunglasses as they remove reflection from the surface of the water. Reflections of sky and clouds should always be darker than the sky itself.

2. If the sky appears too bright, consider acquiring a neutral density graduated filter, which will reduce exposure in the sky area. They can be used in conjunction with a polarizer. Beware using a graduated filter in a mountain scene as the peaks of the mountains may receive underexposure and this will be noticeable.[/vc_column_text][/vc_column][/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” css_animation=””][vc_column width=”1/2″][vc_column_text]3. Remember clouds have characters. See them as living things and think carefully about where you crop them in your frame and if clouds are reflected in water, try and include them in their entirety.

4. Have a look at the landscape beneath and see if there is a possibility of a link between the shape of the clouds and the land beneath. A beach is good for this where you may find some patterns presented in the sand by a retreating tide and possibly cirrus cloud making a good relationship between the above and the below.

5. Always look up to see what the clouds are doing so that you can make decisions as to what clouds you would like to include in your photograph.[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_single_image image=”84591″ img_size=”large” add_caption=”yes” alignment=”center” onclick=”link_image” qode_css_animation=””][/vc_column][/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” css_animation=””][vc_column][vc_empty_space][vc_separator type=”normal” border_style=””][/vc_column][/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” css_animation=””][vc_column width=”5/6″][vc_column_text]Charlie Waite is one of the most celebrated English landscape photographers. He is the owner and founder of Light and Land, Europe’s leading photographic workshop and tour company and has launched two photography competitions: UK Landscape Photographer of the Year (now in its ninth year) and American Photographer of the Year (in its second year). In 2014 Charlie was awarded Fellowship of the Royal Photographic Society.

www.charliewaite.com
https://www.facebook.com/Charlie-Waite-Photography-519101258116541/[/vc_column_text][/vc_column][vc_column width=”1/6″][vc_single_image image=”84593″ img_size=”full” alignment=”center” qode_css_animation=””][/vc_column][/vc_row]