How to photograph new topographic landscapes (Part two)

By Drew Hopper | 11 July 2023

This is part two of a two part series on shooting new topographic landscapes. You can see part one, from last week, here.

Use of colour

Further to the point about low contrast in last week's part, how you choose to use colour is entirely subjective, and while some people will prefer saturated colours, others won’t. That said, if you are wanting to achieve a traditional new Topographic feel to your work it’s worth considering how bright and punchy colours can change the feel of your imagery.

Here, I tried to pair the earthy tones of the sand and the soft blue of the sky against the harsh lines of the machinery. Beauty is everywhere, even in surprising places. Fujifilm X100V, 23mm fixed lens. 1/100s @ f9, ISO 160.

As an aside, it’s worth considering how the work of the great Australian artist Jeffrey Smart treats colour in an entirely different way while celebrating similar subject matter.

When I’m out shooting, I tend to look for complementary colours, and strong primary colours or tones that allow the viewers eyes to explore the entire frame. Colour can be powerful when used effectively, both in its boldness or when used with a subtler approach – although I do draw the line at selective colour.

The key, like anything, is to get out and try different things. If you have time, exploring how light interacts with your subject at different times of the day will give you a good idea of not only what showcases your subject best, but what most appeals to you visually.

Amidst the vastness of the Australian outback, the bright yellow arches of a McDonald's sign stands out as a striking symbol of commercialism in an otherwise untouched landscape. The contrast between the iconic sign and the rugged, natural surroundings creates a surreal feeling. I’m not sure if it’s deliberate or not, but I only later realised half the m seemed to be missing – I think it adds to the quirkiness! Fujifilm X100V, 23mm fixed lens. 1/640s @ f8, ISO 160.

Shapes

As well as composition, incorporating shapes into your photography is an easy way to create visually harmonious photos. Sometimes the boldest of images don't have a clear topic; instead, they take many aspects of a scene, combine them, and create a whole new image – as an example, look at how I’ve used rectangles to anchor the frame on this image below.

Beach Hotel along Gold Coast Highway, Queensland Australia. The pastel colours give the scene a nostalgic vibe as if you've stepped back in time. When I focus on a specific time or feel with my work it often takes greater shape and end up guiding the work along. Fujifilm X100V, 23mm fixed lens. 1/320s @ f10, ISO 160.

Once you start noticing and incorporating different patterns and shapes in the environment, you’ll start constructing stronger, more visually stimulating pictures.

Editing

As mentioned earlier, the New Topographic style has quite a subtle aesthetic, and as a result I find images don’t often need a lot of processing, with the exception of correcting perspective to produce that iconic flat look, which you can do via the Transform panel under the Basic panel in Lightroom.

I’m a Fujifilm digital mirrorless shooter, and I typically rely on Fujifilm’s JPEGs, with my go-to film simulation (in-camera preset) Classic Chrome. This is the setup I used for my trip in NSW, and I’ve found this is what gives me the subdued saturation that the genre is known for, whilst still having enough contrast and depth to create the mood I like.

This empty parking lot captured in high key allowed me to create a cleaner image with fewer distractions. The brighter image also feels a lot more film-like. Fujifilm X100V, 23mm fixed lens. 1/125s @ f8, ISO 160.

Of course, what works for me may not work for you, so don’t be afraid to experiment, and once you’ve settled on a formula you like, stick with it.

Visual consistency

Discovering your voice as a photographer is an ongoing journey, and it’s something I’m still working on in my own work. That said for a genre like the New Topographic style, it lends itself to a consistency of style.

Your audience only sees visual cues, which is why it’s important when shooting to a theme, and for a series, that you set the aesthetic and then shoot single images that tie into a larger body of work. You can do this through capturing consistent subject matter, composition, use of colour and of course through editing.

Fuel stops can be unexpected treasures with their combination of man-made structures and vast, open spaces. They’re also great starting points for highlighting the relationship between human intervention and the natural world. Fujifilm X100V, 23mm fixed lens. 1/640s @ f8, ISO 200.

And one more thing before you set out on your own adventure - don't be overly concerned with your style, as it is a part of who you are, and you will naturally gravitate towards it no matter what you do. Instead, focus on photographing what excites you. I hope you find it. ❂

About the author: Drew Hopper is an Australian freelance documentary photographer exploring ecological themes, landscape and place. He is committed to documenting social, cultural and environmental stories around the world. See more of his work at drewhopper.com.