Harsh light is often seen as a photographer's nemesis, washing out colors and flattening textures. But what if you could turn that challenging light into a creative advantage? That's exactly what this video explores.
Coming to you from Adam Gibbs, this captivating video takes you on a journey along the coast of Gabriola Island, where Gibbs and fellow photographer Brian Barnham immerse themselves in the art of close-up photography. The video is a study in how to work with less-than-ideal conditions. Instead of grand vistas, Gibbs focuses on the textures and patterns in weathered logs, rocks, and other small details that the tide has revealed. The challenge of shooting in harsh light becomes an opportunity to explore new compositions, and that’s where the true value lies. The video demonstrates that there is always something to photograph, even when the light isn’t perfect.
Gibbs and Barnham share their experiences of finding the same compositions independently, a reminder that great minds often see the same potential in a scene. This synchronicity highlights the importance of being present and aware of your surroundings. It’s not just about snapping the shot; it’s about recognizing when a seemingly ordinary scene has something extraordinary to offer. For instance, Gibbs describes a moment when he almost overlooked a pattern in a log, only to realize later that it held a captivating story of texture and contrast. This emphasizes the importance of patience and a keen eye, skills that every photographer should cultivate.
The video also touches on the practical aspects of working in the field. Gibbs casually mentions using a polarizer sparingly to maintain the natural reflections in the wet rocks, a small but crucial tip for enhancing texture without losing the scene’s authenticity. He also discusses the importance of working with the conditions you have rather than wishing for different ones. The tide, the light, the surroundings—these are all elements that can either limit or enhance your creativity, depending on how you choose to approach them. Check out the video above for the full rundown from Gibbs and Barnham.
And if you really want to dive into landscape photography, check out our latest tutorial, "Photographing the World: Japan With Elia Locardi!"
Very, VERY Good and GREAT. We all learn new things. It is kind of like going to an area in fall for foliage and Cloudy days are best but with the clouds you rarely see clouds in images and the reason is everyone is one is afraid of turning the EV dial down most can only do 2EV and some lucky with 3EV to reduce highlights like you do for birds. But in post just bring up shadows top normal.
One thing i always do is get out before the blue hour (but scope out the night before) for landscapes with stars as well as the very early of sun glow the eye does not see is a great 3D look. Then comes Golden Hour each about an hour long. Both also good for patterns.
Something I learned without knowing but thinking F/22 was the sharpest and I used on a beach a sunrise but in post saw what looked like a pirate face with a knife in his mouth. Sometimes different setting also give different results.
From this using an extension tube to get that micro like image, Yea a new learn.
"Harsh light" was always beautiful when recorded on SLOW film. Kodachrome was the benchmark.
Kodak Technical Pan B&W film was awesome when processed with HC-110, properly diluted. It surpassed every B&W film with outstanding details in both the highlights AND deep shadows.
Sad, but digital will NEVER give those results, but remember, SCANNED negatives yield fantastic digital images.
Pixurman.