Insights from

Beyond the Lens

Inside the art and craft of
landscape photography

by Robert Rodriguez Jr

Dedication

To my loving and supportive wife and son, Brenda and Bryce,

without whom I would not be doing what I love. Thank you.
July 24, 2012

Hidden Path, Rockefeller State Park, NY

page ii

Foreword
Success is not counted by how high you have climbed but by
how many people you brought with you. - Wil Rose

For me photography is much more than just searching for images

in the field, but a way of thinking about my place in nature and
how best to convey my feelings and emotions about the world
around me. A simple gesture of a tree, a fantastic color in the sky,
a ray of light reflecting on the surface of a pristine lake - these are
things that can stir deep emotions in all of us, and conveying those
emotions through photography is worthwhile and significant.
I hope this ebook serves not as a step by step how-to, but rather
as inspiration and motivation for you to get out and shoot more,
share your vision, and show us how you feel about the world in
your own unique and creative way.

The story of how I became a landscape photographer follows a

long and winding road (and part of a future book.) Yet from the
beginning of my creative life, I always valued the experience over
the outcome, the excitement of taking the road less traveled.

Finally, if you enjoy this ebook, please share it with others - thanks!

In these pages my goal was to take the best of what I have shared
on the Beyond the Lens blog over the past few years and present
it in an easier to read format. In addition, I've tried to take
advantage of the latest technologies in ebooks to give you a richer
and more interactive experience.
I talk about the aesthetic and the technical aspects of landscape
photography, and try to provide ideas and techniques for you to
start using in your own work right away.
page iii

CHAPTER 1

Insights

The thing to remember when

traveling is that the trail is the
thing, not the end of the trail.
Travel too fast and you will miss
all that you are traveling for.
Louis L Amour

Section 1

Fear & Resistance

First, lets get something out of the way - fear and artificial
limitations, otherwise known and thoroughly described by Steven
Pressfield in his great book The War of Art, as resistance.
Becoming a professional photographer is not a pre-requisite for
making successful images. Being passionate about your subject
matter is. Having said that, photographers often ask me for career
advice and guidance about going full-time and the rewards and
challenges involved. Questions about making a living as a
photographer rank at the top of the most requested information
well maybe after what kind of camera do you use.
One of the common pieces of advice I hear often from seasoned
professionals is dont quit your day job if you have thoughts
about becoming a pro. I understand the underlying reason for this
response, yet I have always felt it is a negative and fear based
position that Ive never agreed with. Who am I to tell anyone what
they can or cant do, or for that matter place a limit on their
determination? Is this perhaps a sign of insecurity, after all they
themselves had to make the very same decision at some point in
their lives.

It reminds me of my ankle injury three years ago when I had 5

screws and a metal plate inserted to get me back to normal.
From the day I broke it, I was determined to recover and return
to the very physical activities I was so accustomed to doing. When
my doctor finally told me to start walking again, I was anxious to
start therapy, but he recommended I wait a month before my first
visit to the rehab center. I couldnt wait! Yet to my utter dismay, on
the first visit the physical therapist proceeded to explain the
limitations I would face because of the injury and hardware now
in my ankle.
To this day, I will never forget how I felt on the drive home, and I
decided right then only I would decide my limitations. Im a pretty
humble person, but how could someone tell me what I was or
was not capable of doing? I had just finished reading Its Not
About The Bike by Lance Armstrong, and we all know what he
went on to achieve after being given a death sentence with
massive cancer. I was inspired and motivated, and started my own
intense therapy regiment of daily yoga, weight training, and hiking
which lasted almost a year. Today, I am 95% of where I was before
the injury, and the last 5% I make up by being wiser and smarter
about the types of physical activities Im willing to engage in.
Experience and wisdom do come with age!

Success is going from failure to failure without losing

enthusiasm Winston Churchill

page 5

My core belief is only you can determine what you are capable of,
and no one can or should tell you otherwise. IF you have the
determination and stamina, then yes you can become a
professional in whatever field you choose, including photography.
Will it be difficult and challenging? I can tell you it is the hardest
thing I have ever done. But so what I am having a blast and I am
doing what I love. I wake up every morning before dawn eager
and excited about challenges and opportunities that lie ahead. If

you are not clear and focused mentally, then you will find it
exceedingly difficult to succeed no matter what your goals are.

Ive missed more than 9000 shots in my career. Ive

lost almost 3000 gamesIve failed over and over and
over again in my life. And that is why I succeed. Michael Jordan
Am I afraid or worried that others will
crowd this extremely competitive field?
Sure, Im human just like everyone else
but that doesnt stop me working day
and night at creating my own path. The
fact is no one can be me just as I can
not be you. You will know if and when it
is the right time to quit your day job, but
if it is, then dont look back, and never
listen to the voice of fear it will never
help you achieve anything.
Now that we have that out of the way,
let me offer some advice on how to
become a better nature photographer.

Clingmans Dome, Smoky Mountain National Park

Canon 1DS Mk III, 175mm, f14@ 0.3 sec, ISO 100

page 6

Section 2

Top Investments
No matter where you turn these days in the world of nature and
landscape photography, there seems to be an ever increasing
amount of gear and equipment tempting our wallets regularly. Not
to mention the constant marketing and emphasis from
manufacturers on acquiring more stuff in order to improve our
images. For sure there are many essential items to any photo kit,
but Im constantly asked what makes a good investment, and
where can you skimp in terms of your photography purchases. So
after some careful thinking about my own experiences, I came up
with 10 things I think are crucial when it comes to serious
landscape photography.
I approach and practice photography from a holistic perspective,
so this list is not specific to camera gear, or technology in general.
Many years of experience have taught me that there is much,
much more to capturing successful photographs than a heavy
backpack filled with great gear.
Some of these items dont require any money, but something
more valuable, your time. Decide if youre using your time wisely,
and how you might get better use of it in your photographic
endeavors.

Top 9 Things to Invest In

Tripod: I see so many students try to save money with cheaper
tripods, only to regret the decision once they get frustrated in the
field. Sloppy movement and lack of precision and adjustability,
unstable in rough weather, heavy and unwieldy- these are just
some of the reasons to purchase a top quality tripod. Choose a
carbon model from Manfrotto or Gitzo and you cant go wrong.
Also, dont forget a good ball head. There are many to choose
from, but Really Right Stuff and Kirk Photo make some of the
best.
Lenses: In my opinion a lens is much more important than a
camera body. Over the course of a
decade, you may own multiple camera
bodies, but you will probably use the
same 3 or 4 high quality lenses. Great
optics will always trump a great sensor, so
always buy great glass first. Plus they are
really investments since their resale value
will always remain high.
Filters: It goes without saying that if you
spend a few thousand dollars on lenses,
you dont want to use a cheap $35 filter
from Best Buy. The glass in the filter needs
to complement the lens, otherwise your
page 7

image quality will suffer. I use filters

from B+W and Singh-Ray, mostly
polarizers, ND filters (for long
exposures), and graduated ND filters.
Worth every penny.
Hiking Boots: I hike for most of my
photographs, and so my feet are an
essential part of my kit. Being comfortable and sure footed is
critical to my safety and good hiking shoes help avoid any number
of ailments such as blisters, plantar fascia,
or inflamed arches. Good boots will
keep your feet dry, comfortable, and
provide the support you need day after
day, week after week, and mile after
mile.

Lowa Renegade GTX

Camera Backpack: While there are

many type of camera bags, I like a
backpack that is comfortable, gives you
easy access to all of your gear, is
lightweight, and can hold everything you GuraGear Kiboko 30L
need for a photo hike. I use Gura Gear
backpacks for normal hiking, and a ThinkTankPhoto Streetwalker
when I need a lightweight pack for cycling, other athletic activities,
or just want to be inconspicuous on the street.

Learning and Motivation: Inspiration comes to us from

learning more about the art of photography, and staying fresh to
new ideas. Put in the time to read about things that inspire you,
and it will pay you back in your creativity. I try to stay up to date
on all the new techniques out there today, as well as studying
those who came before us, both photographers and painters. This
balance is necessary in my opinion to create work that is both
relevant, yet grounded in principles that are universal, such as
beauty, emotion, and mystery. Time spent in study, whether days,
weeks, or years, will payoff during the split second press of the
shutter when you know youve captured something special. Turn
the TV off and read
an inspiring book, it
will make a
difference behind
the camera.
Printing Paper:
As Ansel Adams said
many times, the
print is the
performance, and
for me my work is not finished until I make prints of my
photographs. Choosing a paper that best interprets your
photograph is crucial to the success of the image when viewed by
others. Right now I use Canson Infinity exclusively, my favorites
being Platine Fibre Rag and Rag Photographique 310. Try a few
page 8

high quality papers, then settle on one or two and learn how print
your images on them it will help
you grow as a photographer.
Computer Monitor: After all the
money and time you invest in all of
the above, why skimp on the single
piece of equipment which shows you
the fruits of your labor? Similar to
camera bodies, Ive gone through
several computers over the last few
years, but still depend on my monitor
to deliver true, accurate colors and
tones. I use the NEC PA series
monitors which offer a wider color
gamut than most monitors. This
allows you to see the colors in your
images more accurately, improving
post processing and helping to create
better prints. Save on the computer,
spend on the monitor.
Time: Finally we come to the most
important investment of all, and that
is time and dedication. Nothing will
improve your work more than
spending time practicing the craft.
Many think that practice is only valid

when you are in a situation to capture a beautiful scene, but in

fact anytime you use your camera,
whether in your backyard or snapping
photos of family is a chance to learn
about light, composition, technique,
and many other aspects of image
making.
For sure, the nature photographer
makes his own luck, which means you
put in the time in the field day in and
day out in order to be prepared for
mother natures gifts. Visit the same
locations year round and learn how
the light interacts with the landscape,
and you will improve your work and
make better images.
Spray and pray may get you quick
results, but time and dedication will
provide the ingredients to make
images that convey your vision,
experience, and sensitivity about
nature.

Connery Pond, Adirondack State Park, NY

Canon 1DS Mk III, 24mm, f11@ 1/25, ISO 200

page 9

Section 3

Knowledge & Practice

The true gestation period of a

photograph is not the seconds, or
fractions
seconds,period
of exposure,
The trueof
gestation
of a but
rather
the years
the
photographer
photograph
is not
the
seconds, or has
spent
on aofjourney
that
both physical
fractions
seconds,
of is
exposure,
but
and
intellectual
reaching the
point
rather
the years before
the photographer
has
when
was
opened.
spent the
on ashutter
journey
that
is both physical
and intellectual before reaching the point
-David
when Ward
the shutter was opened.

When I first became serious about landscape photography, I read

all kinds of books on the subject, both technical and aesthetic. I
wanted to learn as much as I could, including the history of the
early landscape photographers, and how they practiced their craft.
Of course who would not be inspired by Ansel Adams and his
great photography, as well as his generosity about sharing his
knowledge and expertise through many books. I also read about
and looked at the work of other important landscape
photographers including greats such as David Muench, Art Wolfe,
Galen Rowell, Philip Hyde, and others.
I wanted to know how they got started, what equipment they
used, and how they were able to sustain a career as landscape
photographers. I was both intimidated and inspired by what I read,
and still continue to re-read many of these books today for
inspiration and motivation. Learning is a passion for me, and the
more I learned about landscape photography, the more I realized I
didnt know.
Yet, the only way to really get good at something is to practice,
preferably on a daily basis. Malcolm Gladwell repeatedly mentions
the "10,000-Hour Rule" in his great book Outliers, claiming that
the key to success in any field is, to a large extent, a matter of
practicing a specific task for a total of around 10,000 hours. I
made a commitment to learn my gear until it became second
nature and an extension of my mind. As an example, I became

page 10

intimately familiar with my lenses, their strengths and weaknesses,

and which would be best for the image I wanted to make.
In order to achieve my goal, which was to capture and convey my
feelings or thoughts about a landscape, much depended on not
letting the equipment get in the way. Only then did I really start to
see more, and the camera took on less of a role in the overall
mental process of making expressive photographs.
The digital camera is a fantastic tool, and I continue to learn as
much as I can about the technology and what it can offer. But
getting out there and experimenting with its features, having fun,
and making it a regular practice is the only way to really become
fluent in the language of photography.

Knowledge is great, but practical knowledge is even

greater.
Once the gear is no longer an obstacle, then the real work (and
fun) begins - the study of light, composition, and visual story
telling.

page 11

Groups of three are always strong compositional elements. Can you identify the three groups in this image?

page 12

Mist and fog often create the conditions for surreal lighting effects, but you have to stay alert.

page 13

Backlighting makes vegetation come alive and adds a nice rim light to the trunks.

page 14

Reflections are limitless in their potential to transform the scene into something more abstract and personal.

page 15

A simple image of the late fleeting light on a summers day in the Adirondacks of New York.

page 16

Section 4

Working with Light

Nothing has influenced the way I see in nature more than learning
to see and appreciate light, and its many qualities. This seems to
me like an endless process, one that I will never be able to
complete in my lifetime. Yet each experience I have teaches me
something profound, both mentally and emotionally.
Working with light is photography at its essence, where
everything else is stripped away and all that is left is your vision
and intuition about how to convey what you think or feel. We are
so distracted by the technology and complexity of digital
photography these days, that the opportunity to be still and just
notice can become a rare occurrence.

does to the landscape around you, but how it affects you and your
emotions. Notice how the same tree can evoke different feelings,
and symbolize different ideas based on your own perceptions and
experiences. This level of thinking requires passion, study, time, and
more time. Is it worthwhile? Only you can answer that for
yourself. What does photography mean to you, and most
important, why do you photograph? Ask yourself this question
repeatedly, and make it a regular ritual.
Remember the tools are here to serve us, and not the other way
around. Knowing and understanding this is not enough, you must
apply it in real lifemaybe the next time you go out to make
photographs.

So heres a useful exerciseput the magazines down, shut the

computer off, put a camera around your neck with one lens (yes,
leave the backpack home), and find your favorite spot in nature
close to your home.
Then just look. (Feel free to substitute look with watch, see,
feel, and breathe)
Over a period of time, observe how the light changes throughout
the day, or in different weather conditions. Study not only what it

Valley Light, Utah

page 17

IMAGE 1.1 Zen Trees

Field Notes
Zen Trees is an image I made while hiking in
heavy fog. Working in fog is difficult, since the
direction of light, the little that there is, is crucial
to the success of the image. The same ideas
apply as in direct light, but here they are so
subtle, and the light so soft that you really have
to watch how it changes carefully.
Also, the drama that we normally have with
direct light is not quite the same, so composition
is crucial. I was just trying to emulate many of
my favorite landscape paintings, where the light
is soft and ethereal, yet directional as well. Using
color I tried to frame the different shades of
green to greatest effect.

Canon 1DS Mk III, 32mm, f/4 @1/40 sec, ISO 800

It was relatively dark, so I wanted as fast a

shutter speed as possible to minimize leaf
movement. A forest scene is more forgiving with
higher ISOs, so I wasnt worried about using 800
on this camera, which I know has great high ISO
performance. (Knowing every aspect of your
gear is important here). The rest is just working
with the composition until it feels cohesive, but
also with some tension created by the strong
pull of light in the top left, balanced with the
rocks lower right.
Failure is a great teacher!
page 18

Section 5

Failure & Success

Anyone who has never made a mistake

has never tried anything new
- Albert Einstein

Inspired by a Seth Godin blog post titled the difference between

a failure and a mistake, I wondered how I might apply it to nature
photography and the issues we all struggle with in our attempt to
make successful images. While this idea can apply to life in general,
I think it provides many paths of exploration for those of us trying
to be more creative with our photography.
As a workshop instructor, I work hard on trying to help students
get beyond whatever is limiting their potential. In my experience
the majority of reasons are due to mistakes and less often to
failures. My goal is to reverse this and promote failure as a way to
learning. Certainly I dont want students strictly to fail as that
would be rather frustrating and demoralizing in the long run. Who
wants to come away from a workshop with mostly failures to
show for it?
What I mean is that by promoting failure as part of the process of
succeeding, I can inspire students to take chances, try new things,
and hopefully help them become more creative, successful
photographers. It is so easy these days to stick to the tried and
true, and get the predictable approval of those who view our
images. But approval is not necessarily what we want as
photographers. What you want is an emotional response,
something that shows who YOU are, and not what you saw.

Trusting your instincts and taking risks will reward you

with valuable skills that are hard to come by any other
way.
page 19

Many of the issues I see students struggling with usually have more to
do with mistakes than with failures. Here are some common ones

frequent, and the failures become a way of improving your technique

and vision.

Lack of sharpness due to

Heres the thing, the best part of all of this hard and laborious work is
that you will experience successes, more than you will remember the
failures. Each success outweighs the many failures by an exponential
factor. I see them not only as positive rewards, but together with the
failures as part of the journey we call creative photography. So go ahead
and fail, because it will lead to insights you will not gain any other way.

improper focusing

wrong use of hyper-focal distance

improper aperture setting

Other common issues

not eliminating distractions

not being aware of contrast limits

wrong lens choices.

Those who view and enjoy your work will only remember the
successes.

These can all be corrected in so far as they do not become mistakes

that are repeated. Failures however involve an understanding of these
mistakes, and then breaking the rules in order to attempt something new
and interesting. For example, using a narrow depth of field in order to
eliminate distractions, using extreme contrast as a way to lead the
viewers eye, or using blur as a way to convey motion and rhythm in an
otherwise static image.
Sometimes it is not so easy to differentiate between a failure and a
mistake when were trying to be creative. Thats where practice becomes
a mandatory part of the process. Over time, the mistakes become less
page 20

Here I failed on several levels, but mostly for me it lacks a clear path for the viewers eye to
travel, which translates to a weak story. A lack of textural contrast makes the image rather
busy, and the light in the background competes with the details in the foreground. I was
experimenting with trying to omit the sky and horizon in order to create a lack of perspective,
but it didnt quite work out as envisioned.

page 21

This image of Partition Arch, Arches National

Park was an attempt to bring together several
elements in a harmonious composition, but
doesnt quite succeed. I was attracted to all of
the various lines and how I would get them all
to work together.
Trying to balance the small trees in the
foreground with the rest of the scene proved
difficult once I started to work with my camera,
and that is a good sign that what Im feeling
isnt going to translate well to a photograph. I
also couldnt quite get the sky under control,
and I feel it dominates the overall balance of
the image.

page 22

This image tries to blend both a strong foreground and depth in the background to convey the sense of
surprise and mystery I felt on this summer day while hiking along the Hudson River. I like strong and bold
foreground elements, and Im constantly trying to find ways to create both visually compelling compositions that
also feel fresh and different on some level almost like using different instruments in an orchestra to play the
same melody. Somehow the tree in this foreground dominates in a way that does not complement the image
overall, as the tension created is too great for the feeling I wanted to convey. I tried several different
compositions, but it never felt quite right when I reviewed the images later. The small trees in the foreground
disrupt the rhythm I was after, even though the attempt was to minimize them by trying to emphasize the
larger trees on the left.
page 23

Beacon Light, Hudson Valley

As I mentioned above, Im constantly trying to find variations on similar compositional themes, and here it works to my liking. Balance between the two dominant trees and the rest of
the trees feels rhythmic and harmonious, the strong green color in the foreground is contrasted by the subtle blue of the sky in the distance and creates a pleasing diagonal, and the light
adds the drama in a controlled manner that doesnt over power the details. I cant help describing these elements in musical terms, perhaps because they are ingrained in my psyche
page 24
and influence the way I see the world. Hopefully you can appreciate these ideas and incorporate them into your views and feelings about your favorite subjects.

Section 6

Mindfulness
As a landscape photographer,
you are always at the mercy of
nature and its unpredictability,
especially when it comes to
weather. It is able to completely
transform the mood and feel of
a place, even when you think
you have seen it all. I enjoy this
challenge as it reminds me of my
days as a performing musician,
and improvising was a skill I
practiced regularly in order to gain confidence and improve my
musical abilities.
I do the same in photography, trying to adapt my way of seeing so
that Im not looking for the same types of images, but instead
allowing myself to be open to new ideas. So often its easy to fall
into a routine in terms of composition, color choices, or favoring
certain techniques or visual cues. I try to focus on how a place
feels, what intrigues me , and what I want to say or convey in the
image to others. You may prefer high contrast, skies with lots of
interesting clouds, and exciting colors. But working with what you

have at any given moment, and adapting the right mental attitude
about the situation is key to growth and success.
When I first started I fell into the trap of thinking I could only
make images during the so called magic hour, sunrise and sunset.
But over time I started to copy myself, and my photographs
started to look similar and predictable. I realized that any time of
day or any weather condition was ripe with potential for a good
image, I just had to adapt and learn to see better - and
experience the moment.
Ive been asked what is my favorite lens, and I honestly dont have
one. First, it depends on the situation and what Im trying to
accomplish, and second, my favorite is the one I have on the
camera the moment something exciting and dramatic is
happening in front of me. I could say my standard lens is my
Canon 17-40mm wide angle, but I often find myself improvising
when either I dont have time to change the lens, or only brought
one with me.
One of the phrases I repeat to students in my workshops is if
you cant state what an image is about in a single phrase or
sentence, then its too busy. It was certainly on my mind this
particular morning, and I tried to apply it as I worked to get just
the right balance of trees, ground, and fog.
Always stay open to the moment, and let your passion guide you.
Sometimes youll find a photograph where you least expect it.

page 25

IMAGE 1.2 Dream Light, Hudson Valley

Field Notes
Often I carry only one lens , and
this day I only brought my
70-200mm zoom lens on a hike
up to the summit of Mt Beacon
on a rainy, foggy morning. I do
this as an exercise in order to
really get to know a particular
lens, and also to focus more on
seeing and less on the gear
and its tendency to get in the
way sometimes..

Canon 1DS Mk III, f8 @ 1/500 sec, ISO 800, 148mm

When I found this scene, I

wished I had brought a wider
lens, but realized I would have
to improvise and compose a
much tighter view of the trees,
which I think is what makes the
image stronger. Had I used a
wider lens, perhaps it would
have been too ambiguous, often
a sign of a weak image.

page 26

Section 7

Motivation

Though we travel the world over to find

the beautiful, we must carry it with us or
we find it not.
- Ralph Waldo Emerson

Motivation for me seems to come in waves, and when Im inspired

its a great feeling that gets me out with my camera regardless of
the time, weather, or any other distraction that may arise.
Sometimes however, that motivation can fade ever so gradually,
perhaps because of other responsibilities in life, the demands of
paying bills on time, or a creative road block. Ive struggled with all
of these, but I use these times as an opportunity to take stock of
where I am in my artistic journey, and re-charge my batteries so
to speak for the future.
Ive always believed that having a lifestyle that supports your
passion is a sure way to keep motivated even when things get a
little dry. Im extremely fortunate to have a family that shares and
enjoys this lifestyle. While many think I have a dream career, it is
hard work, with long solitary hours both in the field and at home
in the studio. Often we complain of not having enough time to
achieve our personal goals, and when we get off track we can get
discouraged and unmotivated. But finding time is often just a reexamining of your priorities, and deciding what really matters to
you.
Here are a few of the ways I stay focused:
Reading is also a favorite way for me to find motivation, and this
includes art and non-art books as well. I am an avid reader, and
never leave home without my iPad which is loaded with all sorts
of books. The War of Art by Steven Pressfield, which I mentioned
earlier, is a great motivational book I highly recommend to anyone
page 27

who really wants to take their creative passion to the next level.
Heres a favorite quote:
The professional
dedicates himself to
mastering technique
not because he
believes technique is a
substitute for
inspiration but
because he wants to
be in possession of the
full arsenal of skills
when inspiration does
come.

students, seeing is often more mental than physical, and being

open to the moment is where true creativity comes from.
Focusing on how I can grow today, and not worrying about past
failures or regrets is
another benefit.

Canceling my cable
TV service has provided
many extra hours a week
that I use for study, reading
and learning new skills, and
working in my studio, all
things that keep me
motivated creatively. Sure
we still watch television,
but that content comes
Yoga and
from internet services
meditation
such as NetFlix, and DVDs
practice helps me
where we control when
both physically and
we watch. Most
mentally to stay
importantly, I have more
Tundra,
Rocky
Mtn
National
Park
Panasonic
GH2
f/6.3
@1/1000
sec,
ISO
160,
70mm
sharp and focused on
time to spend with my
and off the trails.
family , read more books,
Where as in the past I might have let the weather become a
and get out in nature, which is so key to a balanced life in general.
mental distraction, now I am better at accepting nature as it
And best of all, I feel Im making better use of my time on day to
comes and making the best out of every situation. A mind that is
day basis.
negatively biased is a sure way to lose motivation even before the
camera gets out of the bag. Like Ive told many workshop
page 28

The study of painting, and specifically landscape painting by

the Hudson River School has been extremely enjoyable and a
rich creative leaning experience for me. A recent visit to the
National Art Gallery in Washington DC to see spectacular
masterpieces up close by Thomas Cole and Frederic Church left
me in complete awe. The mastery of light and shadow, texture,
and perspective by these 19th century artists reminded me of
how much I need to continue to learn and grow as a
photographer. Studying other mediums is a practice I recommend
highly as you develop, and nothing has improved my photography
more than the study of painting. There is always something to
learn from other visual art forms, and often the seed of
motivation and inspiration will come from these experiences.

On the following pages, explore some of the greatest

masterpieces from the Hudson River School of
painters. They celebrated the awe and beauty of nature
through masterful use of light, detail and allegory to
convey how they felt about the landscape.
There is much to learn about composition, mood, and
artistry from the study of these paintings, and all
nature and landscape photographers should add them
to their resource of knowledge.

I hope you can use some of these ideas to help you overcome
those times when nothing seems to be working for you. I know
the feelings all too well. With the right attitude and mindset, they
can become pathways to search for and find those sparks which
can turn into a flood of great ideas.

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Merced River, Yosemite Valley - Albert Bierstadt

Light is the main character of this painting, and its use conveys a deep sense of depth and dimension.

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In The Woods - Asher B Durand

Intimate, introspective, yet positive and uplifting are words
to come to mind as enjoy this classic woods setting.
page 31

The Oxbow - Thomas Cole

Note the juxtaposition of dark, moody, and wild on the left and domesticated and bright on the right. Allegory at its best.

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CHAPTER 2

The Making Of

They are able who think they

are able
Virgil (Roman Poet)

Section 1

River of Ice, New York

The place where I made River of Ice is very close to my home in
the Hudson Valley. I am very inspired by painting, and specifically
the Hudson River School of painters who celebrated nature over
150 years ago. The way in which they were able to use allegory
and symbolism in their work is something I try to learn from each
time I make an image.
Blocks of ice on the Hudson River are nothing unusual for anyone
who lives in the area, so the challenge for me is how to capture
something that goes beyond the ordinary and inspires someone
to see winter differently, even if just for a moment.
Anyone who has been very cold knows how that first ray of light
at sunrise feels on their face, and what it does to their mood and
spirit, and that's what I wanted to convey in this image. When I
first saw the ice, I was attracted to the strong shapes and how I
might be able to use them as a strong foreground element.
However, there really wasn't anything in the background that
appealed to me, and so I thought the image might not be strong
enough.
But I figured I would give it a try, so I setup my Canon 1DS Mk III
with a Zeiss 21mm prime lens, and my usual settings: ISO 100, f/

16 (to keep the image sharp from about 18" in front of the lens
to infinity), and a low perspective close to the ground to
emphasize the size of the ice. Wide angle lenses expand the
landscape and create a greater sense of depth, which I figured
would help with this particular scene. As I made a few images, I
was not exactly inspired by my attempts, but suddenly the sun
started to appear above the horizon. I wasn't exactly sure where
the light would shine, so I waited a few moments to see what
would happen.
Once the light became strong enough, the scene was totally
transformed in front of me, and I realized I had a great
opportunity to make a really special image. The backlighting really
brought the blocks of ice to life in a way that was totally
unexpected, so I adjusted my approach and carefully positioned
and repositioned my tripod in order to get the light to "flow" from
left to right, down from the sun and through the pieces of ice,
finally resting on the last piece in the lower right.
This was different for me since I usually start from foreground to
background, but in this case, it was reverse. I think this pushed me
to "read" the elements differently, and pay more attention to the
overall composition as a whole. At the last moment I thought
about creating a star burst effect, so decreased my aperture to f/
18 and tried another exposure.
That's the one that I chose as a keeper.

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River of Ice, Hudson River, New York - Canon 1DS Mk III, 21mm, 1/40 sec @ f/18, ISO 200
Strong backlighting is the key to creating a strong visual sense of rhythm, and telling a story about winter on the Hudson River.

page 35

Section 2

Mt Beacon Sunset, New York

Mt Beacon is the northern most peak of the Hudson Highlands, a

part of the Appalachian Mtn range that crosses the Hudson River
about 50 miles north of NYC. This creates a very dramatic and
unique landscape, and combined with the history and culture of
the area, provides great opportunities for landscape photography.
I happen to live at the foot of Mt Beacon, so it is literally in my
back yard. I'm a big believer in familiarity when it comes to
landscape photography, the idea that you need to be intimately
familiar and passionate about your subject in order to discover
those rare moments of light and mood that are so elusive. In
essence the work becomes less about the actual location, and
more about the mood and feel I want to capture and convey. I'm
often reminded of a quote I often repeat to my students- "the
true journey of discovery consists not in seeking new landscapes,
but in having fresh eyes" by Marcel Proust.
While I do enjoy traveling and exploring new landscapes, I gain
the most gratification when I can capture something new and
unique in my most visited locations. Difficult? Extremely, but worth
it for me in the long run, both creatively and commercially.

"Mt Beacon Sunset" was made on a rather dramatic summer

evening while hiking to the summit of Mt Beacon with my wife.
The views are amazing, and you can actually see NYC on clear
day even though you're almost 60 miles away. While the normal
temptation is to look out over the Hudson River, I've learned over
the years to look in all directions when youre out in nature. On a
glance away from the Hudson, I noticed this amazing cloud
formation highlighted with spectacular light. I had just enough time
to expose 2 frames, and then as so often happens, it was gone.
Serendipity was on my side for sure, but as they say the harder
you work, the luckier you get. I've been up there hundreds of
times and never experienced that particular moment. When it did
happen, it felt really special, like a gift from nature, and when
you're inspired that way the camera just becomes an extension of
your vision. That takes practice and lots of failuresomething I'm
very familiar with!
Ultimately nature inspires me to feel gratitude for the magic it
creates, and sharing that is really a passion that exceeds all others.
I want others to appreciate what truly extraordinary moments
happen around us each day, and how if we just stop and look it
can have a positive effect on our lives.

page 36

Mt Beacon Sunset, New York

Canon 1DS Mk III, 17mm, 1/50 sec @ f/11, ISO 400

page 37

Section 3

Ingonish Harbor, Nova Scotia

composition - Strike 1. With 5 days left in my trip, I would need

to return when the tides were in sync with sunset, and that would
only happen once more during my stay. But there was a sunrise
opportunity during low tide, so I planned to come back two days
later.

Visual balance is an important part of creating images with

simplicity and clarity. By clarity I don't mean "in focus" but rather a
clear intention or idea. This comes about through careful
composition and use of light. "Ingonish Harbor" is an image that I
scouted days before I actually made it, and I immediately formed a
mental picture of what I wanted to capture.

Upon arriving at sunrise on my 2nd attempt (5:10am), the sky was

very overcast and there was little to no light for making a
compelling image. Strike 2. At this point I wasn't frustrated but
was starting to wonder if I might have to leave this location for a
future visit or give another location more priority. But holding to
my instincts, I decided to give it one last try during sunset and low
tide.

On a photo trip in Cape Breton Island a few years ago, I had to

drive past the shallow end of this harbor daily, and I couldn't help
but notice the incredible detail and color of the grasses there. The
water was so shallow I was able to walk out 15 to 20 feet in
knee deep water - great for really getting into the scene (and
cooling off the tired feet)! I made a few reference shots (it was
mid-day), and took note of where the light would be in morning
and evening. Because the harbor faces east, I decided I would revisit during the evening hours initially and see how things looked
and felt.
On my return a day later, I realized I made my first mistake. I had
failed to take into account the changing of the tides which are
quite dramatic in this part of the world, and most of the grasses
had disappeared underwater. The light was amazing...but not the

On my final and 3rd attempt, conditions seemed very favorable,

but there was some wind -not good for foreground grass. Also
the water wasn't as shallow as I would have liked (tides are not
always the same), but I still managed to get out about 10' from
shore, and setup my tripod and camera - Canon 1DS Mk III,
24-105mm lens, ISO 100, and a 2 stop graduated ND filter. This
particular type of image is very fluid and improvisational since I
was working with both static objects (grasses, water, mountains)
and the ever changing shadows, colors, and clouds. In other words,
many things are happening that I need to stay aware of if Im going
to be successful.
There are 3 major elements to this image: the foreground
grasses, the middle mountains, and the broad painterly sky with
page 38

beautiful clouds. As I waited and the light fell below the horizon, the
colors became softer and more muted, and the lower contrast gave
more depth to the foreground grasses. I imagined this image to be
very painterly with subdued colors, and as I adjusted and readjusted my composition, the soft light created the effect I wanted.
I decided not to go super wide, but instead settled in around 40mm
in order to remove as many distractions as possible and simplify the
image. As the light fell more and more, I found the leading lines I
wanted both bottom right and left, together with the blue tones
that would complement the green in the foreground - the way in
which to get a viewer out of the detail rich grass and into the
expanse of the color and shapes of the sky.

Original scouting shot

I made about 8 to 10 images, then the color was gone. I felt good
about it, and it was a really nice evening to be out, but I wasn't really
sure about the success of the shoot.
A few days later when I got a chance to really evaluate the images
back home and make a few prints, I knew I had what I wanted detail, color, balance, and the feeling of summer in Cape Breton
Island

Unsuccessful attempt
page 39

Ingonish Harbor, Nova Scotia

Canon 1DS Mk III, 40mm, 1/6 sec @ f/10, ISO 200

page 40

CHAPTER 3

Resources

Education is not preparation

for life; education is life itself.
John Dewey

Section 1

Further Reading

Waiting For The Light - David Noton

Mastery - George Leonard

Websites and Blogs

Luminous Landscape
Digital Photography School
Photofocus
The Digital Picture
Lightroom Solutions
Landscape Photography Magazine
Photograph America

Fine Art Paper

Landscape Beyond - David Ward

Inner Game of Outdoor Photography - Galen Rowell
Worlds Top Photographers: Landscape - Terry Hope
Creative Outdoor & Nature Photography - Brenda Tharp
Mountain Light - Galen Rowell
The Art of Photography - Bruce Barnbaum
Visual Poetry - Chris Orwig
Examples; The Making of 40 Photographs - Ansel Adams

Hudson River School of Painters

Thomas Cole

Canson Infinity

Recommended Books

Albert Bierstadt
Frederic Church / Olana

Mastering Landscape Photography - Alain Briot

page 42

Join us for a photography adventure

Photography is the language of light, color, shape, texture, and emotion. Your ability to learn and use this language effectively is the
basis of how I approach each Beyond the Lens workshop.
Any camera today can make perfect pictures, but only by seeing photographically can you convey an emotion, express your style,
and create images that rise above the mere snapshot. If you are serious about your photographic potential, then our workshops
are designed to provide you with the ideas, concepts, and personal attention that can dramatically improve your photography.
Join me as we travel to Acadia NP, Arches NP, Great Smoky Mountains, Rocky Mtn NP, and many other fantastic locations.

Please visit the website for availability, dates, fees, and free resources.

robertrodriguezjr.com/workshops (845) 531-4961

Beyond the Lens Photo Workshops
Inspiring the Creative Spirit

page 43

L I F B L

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page xliv

Published by Robert Rodriguez Jr Photography Inc.

Copyright 2012 Robert Rodriguez Jr Photography
Beacon, New York
Published in the United States, United Kingdom, and Canada
ISBN:
Version 1.0
All trademarks are property of their respective owners including the following:
The terms Apple, Mac, iMac, iPad, iPhone are registered trademarks of Apple Inc.
Other company and product names may be trademarks of their respective owners.
Requests to the publisher for permission to reproduce or use in any transmitted form should be addressed to
Robert Rodriguez Jr at [email protected]

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