Want to shoot better landscape photos? To mark the launch of the Fujifilm X Landscape Photographer of the Year competition, over the coming weeks we'll be running a series of articles with useful tips to help you improve your landscape composition, camera technique, and post production skills. In this, the first instalment, Andrew Fildes looks at some of the basics of landscape photography, from the best time of day to shoot, to depth-of-field, focus, lens choice and the advantages of shooting Raw.
01 THE 'GOLDEN HOURS'
When is the best time to shoot landscapes. Any photographer will tell you that morning and evening light is the best. If you are shooting in the morning, take a torch and get to your destination at least 30 minutes before sunrise to give yourself plenty of time to set up. Same goes for sunset, get there early and take a torch to help you pack up and get home safely.
Early morning and late afternoon often produce the best light for landscapes. Here, a telephoto lens has produced a layered effect by flattening the perspective. This can be particularly effective in hilly regions like this where the morning mist has separated and softened the distant valleys.
02 LIGHTING ANGLE
Be aware of the angle of the sun compared to the camera. Generally speaking you'll get the best results with the sun at your back or at your side. (If you are shooting into the sun it may help to shoot several identical images at different shutter speeds to create a high-dynamic-range image with detail in the foreground as well as the sky.)
03 APERTURE AND DEPTH-OF-FIELD
Aperture is something you have to consider when shooting landscapes. Mostly, you'll want the foreground and background to be in sharp focus. The standard advice is to stop down the aperture to f/16 or f/22 to extend the depth of field. But most lenses are sharpest at their mid-range, usually from f/8 to f/11. Above that, the image softens due to diffraction – that is, light bending around the edges of the small aperture. It’s why a pinhole ‘lens’ gives great depth of field, but a soft image.
The solution? Experiment with different aperture settings to see where your lenses produce the best results. And choose a lens that will maximise overall sharpness at small apertures.
04 MANUAL FOCUS
I know your new camera came with an advanced autofocus system, but sometimes it pays to switch it off. Why? So you can put the focus where you want it, not where the camera thinks it should be! It’s difficult to focus modern digital cameras through the viewfinder – most don’t have a split-screen rangefinder like older film cameras because manufacturers assume you’ll rely on autofocus. However, some camera models do offer a magnified view in Live View mode which can be a great way to get precise focus if you have time and a tripod.
Another option is to keep the camera in AF, compose the image, select single point focus and then move that point to the feature you want to be in sharpest focus. The ‘move the focus point’ feature is there especially for landscape and macro photographers, so use it.
05 SHOOT RAW
If you are serious about landscape photography, shoot Raw. Compared to JPEGs, Raw files contain more image detail and allow more flexibility when it comes to adjusting variables like tone and colour in post-production.
07 TRIPOD AND REMOTE RELEASE
I probably don’t need to tell you that a tripod can be really useful
for landscapes. If you’re stopping down the lens for sharpness, the
slower shutter speeds will make it harder to hand-hold the camera.
Tripods are also useful for bracketing several shots to create a
high-dynamic-range image. Panorama stitching is another area where
tripods can make a huge difference.
Use a remote release or the
self timer, set to two seconds, so the action of your finger on the
shutter release doesn’t shake the camera. If your SLR has mirror lock
up, use it to reduce ‘mirror slap’ vibration. Another cute little device
is one of those bubble levels which fit in the camera’s flash shoe. I
know your new camera has an artificial horizon like a flight simulator,
but a simple bubble gives you level in every direction, not just side to
side.
If you really don’t like the idea of carrying a tripod
there are several lightweight alternatives. Mini-pods like the Gorrilla
Pod are very useful to get a grip anywhere, but get one of the larger
ones. You can buy a custom photographer’s bean bag – find a wall, step
or balustrade and you can set the camera down on it and bed it down. Or a
wheat bag will do fine – the one you used for your sore back last
night!
07 WHICH LENS?
You can use any lens to shoot a landscape, but wide-angle lenses are popular because they produce a broad view and maximise depth of field. You may have a kit zoom with a wide end of 18mm, or about 27mm equivalent. That’s not bad, but it may not be as sharp as you like at f/16.
You'll get better results than you could with your kit zoom if you use a mid-range lens like the Canon 17-40mm f/4L USM ($900), Sigma 20mm f1.8 ($750), Olympus Pen 9-18mm f4-5.6 or the Fujifilm XF14mm f/2.8 R ($1000). At the next level up, popular pro-level landscape lenses include the Nikon 14-24mm f/2.8G ($2300), Canon 16-35mm f/2.8 L II USM ($1900), Canon EF 24mm f1.4 L II USM ($2000) and Carl Zeiss Vario-Sonnar T* 16-35mm F2.8 ZA SSM ($2350). 
Fujifilm XF14mm f/2.8 R (left) and Carl Zeiss Vario-Sonnar T* 16-35mm F2.8 ZA SSM.