essential*

*pro secrets for UNLEASHING your creativity

IAN PLANT

y mission is to educate, inspire, and entertain others in the art and craft of

photography. So I make my books practical, informative, fun to read—and

packed with plenty of delicious eye candy. MThis eBook introduces you to many important concepts in photography. These ideas are covered in

greater depth on my blog and in other books and video tutorials for sale on my website; to delve

deeper into how to improve your photography, visit me at www.ianplant.com.

Enjoy this free book—you'll be taking better photos in no time!

Ian Plant*Author of Chasing the Light and Visual Flow: Mastering the Art of Composition

All rights reserved. This book, and all of the photographs and written text contained therein, are protected by U.S. and international copyright laws. No part

of this book may be reproduced or transmitted in any form without the prior written permission of the author.

Marrakech, Morocco. Canon 70D, 50mm, ISO 400, f/8, 1/15 second.

es·sen·tial

1. Constituting or being part of the essence of something; inherent.

2. Something fundamental.

3. Something necessary or indispensable.

Learn to take the photos you’ve always dreamed of making!

love photography!—I bet you do as well—but for a long

time my photographs just didn’t seem to match the depth of Imy passion. I struggled, desperately searching for a way to

reach my full potential as an artist.

And then I came to a profound realization: great photography

doesn’t come from gear or Photoshop. Rather, it comes from

showing people something they haven’t seen before. It was with

this insight that my career really took off. Now, I travel the world

creating the photos I’ve always wanted to make, and I regularly

sell my work to top photo magazines including Popular

Photography and Outdoor Photographer. And you can too!

What follows are creative lessons and techniques that I consider

to be essential to my success. These techniques really amount to

one thing: teaching you how to see the world with fresh eyes. If

you can do that, you’ll grab the attention of viewers, and never let

go! Arctic National Wildlife Refuge, USA. Canon 5DIII, 362mm, ISO

500, f/4, 1/500 second.

rt is the act of uncovering the hidden essence, stripping away all artifice,

baring truth to the world. Only when the non-essential has been removed

can the artist reveal the secret side of things, and truly express what the Aheart sees but the eyes do not. Only the essential can survive. Grand Teton National

Park, USA. Canon 5DII, 190mm, ISO 100, f/13, 1/500 second.

essential*

unrise and sunset light can create stunning color, contrast, and shadows—so

get up early and stay out late. Make sure you’re out there even if conditions

look bleak; the unexpected light shows are often the best. Sleep is overrated! SLos Glaciares National Park, Argentina. Canon 5DII, 82mm, ISO 100, f/16, 1/125 second.

*trade sleep for light

ait for the moment when

your subject does some-Wthing interesting;

stretching its head, yawning, bit-

ing—or as is the case with this sea

turtle, surfacing for air. Becoming a

master of the moment will greatly

improve your photos. Ideally, the

moment will tell a story about your

subject. It may take some waiting, but

when the right moment comes, you’ll

be glad you were patient. Gladden Spit

and Silk Cayes Marine Reserve, Belize.

Canon Powershot S100 with Fisheye Fix

Underwater Housing and Fix UWL-28

Fisheye Wet Mount Conversion Lens, ISO

200, f/4, 1/320 second.

*wait for the decisive moment

othing demands attention more

than leading elements.N Leading

lines in particular can be very

powerful, but leading elements can include

other shapes, or even a progression of objects

from foreground to background. Leading

elements encourage the viewer to explore the

composition, creating a high level of visual

engagement. For the image to the right, I

used a strong leading line—formed by the

reflection of the sky in the water within a

flooded slot canyon—to direct the viewer’s

eye from foreground to background. Glen

Canyon National Recreation Area, USA. Canon

5DIII, 14mm, ISO 100, f/11, 2.5 seconds.

*lead the eye

*essential equipment

ear can never replace artistic vision.G Nonetheless, having the right tools for the job is vitally important. I

find the following accessories to be essential to my work:

2A sturdy yet light-

weight tripod, to

keep the camera

steady during long expo-

sures. Carbon fiber

tripods are more expen-

sive but weigh less than

metal tripods, while

offering comparable

rigidity and stability.

1A remote elec-

tronic shutter

release to prevent

vibrations when trigger-

ing the shutter.

5Polarizing filters

remove unwanted

glare from sur-

faces such as water, wet

rocks, foliage, and other

shiny objects, and also

increase the saturation of

their colors.

3Neutral density

(ND) filters

reduce the

amount of light coming

in through the lens,

allowing for slower

shutter speeds. ND

filters can be used when

trying to achieve a silky

smooth look to flowing

water, or when experi-

menting with other long

exposure effects. ND

filters come in a range of

strengths, allowing for

completely customized

exposure times.

4Graduated

neutral density

(GND) filters are

used to balance the expo-

sure for scenes where the

sky is considerably

brighter than the fore-

ground, such as at

sunrise or sunset. By

placing the dark section

of the GND filter over

the sky and the clear

section over the fore-

ground, the exposure is

balanced, and the camera

can record sufficient

detail in both areas.

I opted for a simple presentation here—just the

lioness and a colorful blur of sunrise-lit grasses

(created by using a wide-open aperture with a

telephoto lens). Etosha National Park, Namibia.

Canon 5DIII, 386mm, ISO 250, f/4.5, 1/320 second.

A person who is gifted sees the essential

point and leaves the rest as surplus.

A person who is gifted sees the essential

point and leaves the rest as surplus.

—Thomas Carlyle

se fog and mist to add mystery to your pho-

tos. Here, mist diffuses the harsh light of Umidday, and reveals a lost world briefly

emerging from the clouds. Canaima National Park,

Venezuela. Canon 70D, 35mm, ISO 100, f/10, 1/100 second.

*add mood with atmospherics

eflections are a great way to add some extra style to your photos. Still water usually works

best, although rippled or moving water can create abstract reflections. Reflection images Roften work well with a 50/50 split between the subject and its reflection; sometimes, how-

ever, other variations make more sense. Consider photographing only the reflection itself and add a

hint of mystery. For this image of elephants crossing in front of a water hole at sunset, I chose a dark

exposure, obscuring the elephants, focusing the composition on the sunset sky and the elephants'

reflections. Etosha National Park, Namibia. Canon 7D, 117mm, ISO 100, f/3.5, 1/320 second.

*make a statement with reflections

*shoot the edge of light

hotography is an exercise in finding the

razor’s edge. Photographic power is found P at the verge, such as at the boundary

between light and shadow, or when the sun peeks

out over the shoulder of a distant mountain. Drama

is found at the brink of a storm, where rain, wind,

and clouds collide with all the intensity and fury that

nature can muster. Color is found at the break of

dawn, or in the last faint glimmers of twilight quietly

defying the black of night. Mystery abounds where a

shaft of light penetrates the gloomy interior of an

ancient city, revealing a brooding figure in the deep

shadows of forgotten time. So above all, learn to find

the borderlines of light—and immerse yourself in the

spaces in between. Fes, Morocco. Canon 70D, 44mm,

ISO 400, f/8, 1/8 second.

polarizer filter is your “secret

weapon” when photographing Awater, wet surfaces, and reflec-

tions. Most waterfall scenes benefit from

polarization, as it removes unwanted glare

and reflections from the scene. Some scenes

with colorful reflections, however—such as

the one to the right—benefit from creative

polarization. Avoiding full polarization

(which would have removed the reflections),

I instead spun the filter until I found a setting

which brought out the best colors in this

image. Zion National Park, USA. Canon 5DII,

14mm, polarizer filter, ISO 200, f/16, 8 seconds.

*get polarized

ometimes you’ll be stuck with “bad

light”—but a good photographer finds a

way to make it work. Even though this Sjaguar was resting in deep shade beneath a can-

opy of sunlit leaves, I balanced the exposure by

using fill flash to illuminate the cat, turning bad

light into a successful photo! Pantanal, Brazil.

Canon 5DIII, 560mm, ISO 1000, f/5.6, 1/250 second.

*work the light

I used a neutral density filter to lengthen the exposure, blurring the motion of the fast-moving

clouds and painting sunrise colors across the entire sky. Torres del Paine National Park, Chile.

Canon 5DII, 24mm, polarizer filter, 3-stop neutral density filter, ISO 100, f/11, 30 seconds.

You don’t take a photograph,

you make it.

You don’t take a photograph,

you make it.

—Ansel Adams

*shoot twilighthe colors of twilight can be otherworldly.

Twilight photography means shooting on the Tedge of light, requiring long exposures. Moving

elements (such as clouds and water) blur during long

exposures and a colorful, soft light bathes the landscape.

Jökulsárlón, Iceland. Canon 5DIII, 16mm, polarizer filter, 1-

stop graduated neutral density filter, ISO 400, f/8, 82 seconds.

here’s a popular expression that goes

like this: “the eyes are the window to Tthe soul.” For people and wildlife

images, the eyes are often the most important

part of the picture—the eyes tell the story.

Above all, make sure the eyes are in focus.

Beyond that, pay close attention to what the

eyes are doing and the direction they are

pointing. For the image to the right, eye con-

tact gives the viewer a sense of being there,

right in front of the bear. One can’t help but

feel like they are being stalked when con-

fronted with such hungry eyes! Lake Clark

National Park, USA. Canon 5DII, 400mm, ISO

1600, f/5.6, 1/400 second.

focus on the eyes

Finding the right place to stand was critical

to the success of this composition, as I

needed a dynamic spacing of the

dead trees to make the shot

work. Namib-Naukluft

National Park,

Namibia. Canon

5DIII, 134mm,

ISO 100, f/18,

0.5 seconds.

A good photograph is

knowing where to stand.

A good photograph is

knowing where to stand.

A good photograph is

knowing where to stand.

—Ansel Adams

he best photographs tell a

story about their sub-Tject—such as a well-

earned nap after a hard day of

monkey business. Tambopata

National Reserve, Peru. Canon 5DIII,

700mm, ISO 800, f/5.6, 1/200 second.

*tell a story

*embrace spontaneity

hile leading a photo tour in

Namibia, I was looking for some-Wthing creative to shoot with a

group of clients. While demonstrating a poten-

tial composition including this unusual boulder

lit by the light of the setting sun, I noticed the

shadows formed by my clients who were

watching. I was struck by a moment of inspira-

tion, and within minutes I had everyone pose

with me in front of the rock, creating a

“shadow puppet” effect. We all took turns tak-

ing photos and posing for each other. This

moment of creative spontaneity was an impor-

tant and fun lesson for all of us! Spitzkoppe

Mountains, Namibia. Canon 5DIII, 16mm, ISO

100, f/13, 1/100 second.

It is only with the heart that one can see rightly;

what is essential is invisible to the eye.

It is only with the heart that one can see rightly;

what is essential is invisible to the eye.

—Antoine de Saint-Exupery

I used the foreground rocks to lead the

eye towards the massive sea arch in the

background. Isle of Lewis, Scotland.

Canon 5DIII, 17mm, polarizer filter,

ISO 100, f/11, 30 seconds.

on’t just always shoot from eye level.

Sometimes, getting higher or lower can Dchange your point of view—for the better.

For this portrait of an African wild dog, I used a

ground-level camera position and a long lens for a

bold perspective. Nxai Pan National Park, Botswana.

Canon 70D, 506mm, ISO 400, f/6.3, 1/1000 second.

*change your perspective

*get creative with clouds

ay close attention to what is going on

in the sky, and make sure it relates to Pwhat is going on in your foreground.

Clouds have shapes and colors, and they

should be used creatively to complement

other shapes and colors in your composition.

Here, I included the radiating pattern of

clouds lit by the setting sun. I waited for an

outgoing wave to create a leading element in

the foreground. Olympic National Park, USA.

Canon 5DIII, 16mm, 2-stop graduated neutral

density filter, ISO 100, f/9, 0.5 seconds.

*shoot backlight

lthough some

photographers live Aby the maxim

“shoot with the sun at your

back,” I’m often looking to do

the exact opposite.

Backlighting creates striking

and graphic images which

attract attention from view-

ers. Etosha National Park,

Namibia. Canon 5DIII, 307mm,

ISO 400, f/5.6, 1/640 second.

*get creative with bad weather

oo often, photographers pack it up when the nasty stuff

heads their way. Tough it out! Although bad weather Tcan wreak havoc on human bodies and equipment if

you are not adequately prepared, it can also mean photo magic.

For this image of two polar bears fighting, heavy blowing snow

creates an ethereal mood. Arctic National Wildlife Refuge, USA.

Canon 70D, 560mm, ISO 1250, f/5.6, 1/800 second.

ur world has an infinite variety of cool and interest-

ing shapes—use them to your advantage! Look for Oswirls, circles, triangles, curves, and other simple,

powerful shapes to create boldly graphic and visually engag-

ing images—such as this curve created by the interaction of

shadow and light on a sand dune. Death Valley National Park,

USA. Canon 5DII, 50mm, ISO 50, f/11, 1/15 second.

*get creative with shapes

*include the sun

hen including a bright source

point of light such as the sun, it Wis possible to create an attrac-

tive and eye catching “star burst” effect. This

is most easily accomplished using a wide-

angle lens and a small aperture. Typically, a

small aperture such as f/11, f/16, or f/22 is

necessary to produce an attractive burst; the

smaller the aperture the better the effect,

although you may want to avoid extreme

apertures such as f/22 because of diffraction,

which reduces overall image sharpness.

Partially block the sun with something (such

as a tree trunk or a distant mountain) for best

results. Kofa National Wildlife Refuge, USA.

Canon 5DII, 14mm, ISO 100, f/14, 1/10 second.

on’t always go for an exposure that shows your subject the way your eyes see it. For this

image of a yacare caiman, brightly lit from behind by the midday sun, I intentionally Dunderexposed the photo to reveal only the rimlit outline of the animal, adding a dash of

creative mystery to the photo. Pantanal, Brazil. Canon 5DIII, 376mm, ISO 100, f/9, 1/400 second.

*get creative with exposure

*shooting through has its rewards

on’t always try to get a clean shot. Use “screens” (translucent obstructions

between your lens and your subject) to add color and mystery. I photo-Dgraphed this mountain gorilla through a screen of leaves. By shooting wide

open with a telephoto lens, the leaves were rendered as out-of-focus blurs of color.

Volcanoes National Park, Rwanda. Canon 70D, 109mm, ISO 200, f/2.8, 1/500 second.

Photography takes an instant out of

time, altering life by holding it still.

—Dorothea Lange

The magic of the moment is absolutely critical to

photography. Serengeti National Park, Tanzania.

Canon 70D, 560mm, ISO 320, f/8, 1/400 second.

ong exposures can help you capture

a new perspective on reality, and Lshow the world in an unexpected

way. Moving elements gradually lose dis-

tinctness and form, becoming abstract and

artistic blurs and brush strokes. Neutral den-

sity filters can help lengthen your exposure

times; using smaller apertures and low ISOs

can help as well. During this thirty second

night exposure, fast moving clouds (backlit

by the full moon) streaked across the image

frame, creating a dynamic radiating pattern

of lines. Lights from a nearby campground

illuminated the trees, creating color contrast

and adding a spooky mood. Quiver Tree For-

est, Namibia. Canon 5DIII, 14mm, ISO 800,

f/5.6, 30 seconds.

*go with the flow with long exposures

*provide context

nstead of trying to zoom in tight on the flying snowy owl, I decided to take

in more of the scene. By including the curving shape of the background Icloud and the surrounding blue sky, I ended up with a more interesting

composition. Quebec, Canada. Canon 1DIII, 400mm, ISO 800, f/5.6, 1/2500 second.

*use visual anchors

isual anchors are bold, eye-catching

elements which help simplify an Votherwise busy composition by

attracting the viewer’s attention. The visual

anchor provides an obvious reference point,

and a place for the viewer to start their visual

journey. Other elements of the scene may

attract the eye, but the visual anchor will

always command attention. The effect is a com-

position which captivates the viewer, making

it hard to tear their eyes away. For this image,

I anchored my composition with the interest-

ing rock formation in the foreground. Joshua

Tree National Park, USA. Canon 5DII, 14mm,

ISO 400, f/14, 30 seconds.

Which of my photographs is my favorite?

The one I’m going to take tomorrow.

Which of my photographs is my favorite?

The one I’m going to take tomorrow.

—Imogen Cunningham

I selected an exposure that was long enough to blur the

motion of pedestrians, but short enough to sharply render

the old woman in the lower left corner. Marrakech,

Morocco. Canon 70D, 16mm, ISO 800, f/6.3, 1/6 second.

f you really want to wow viewers, get

low and close to interesting foreground Ielements. For the shot to the right, I got

very close to the foreground ferns with a

wide angle lens. I wanted to exaggerate their

relative size and importance, making them

more prominent in the composition. I used a

polarizer filter to remove glare from the wet

leaves, thereby enhancing color saturation.

Then I waited for the overcast skies to part

just a little bit, letting in a hint of soft, filtered

light which improved overall contrast and

color in the scene. Olympic National Park,

USA. Canon 5DIII, 16mm, polarizer filter, ISO

400, f/16, 1 second.

*get low, get close, get in your face!

*frame for emphasis

raming is an effective tool for creating depth in a pho-

tograph, simplifying a composition, and focusing Fattention on important elements of the scene. Exam-

ples of commonly used frames include trees, natural arches,

and old barn windows. Arches National Park, USA. Canon 5DII,

17mm, 10-stop neutral density filter, ISO 200, f/18, 30 seconds.

person in the landscape can introduce a sense of scale to an image, becoming an obvious and eye-

catching reference point. People can also add to the composition, as their posture, line of sight, and Adirection of movement can all be used creatively—in ways that static landscape features sometimes

cannot. Last but not least, a person can help tell the story of a place. So next time you are impatiently waiting for

some tourist to walk out of your shot, consider instead some creative ways to use the human presence to your

advantage. Jökulsárlón, Iceand. Canon 5DIII, 16mm lens, ISO 100, f/13, 0.6 seconds.

*add a human element

If your pictures aren’t good enough,

you aren’t close enough.

If your pictures aren’t good enough,

you aren’t close enough.

—Robert Capa

My strategy was simple here: get low, close, and wide!

National Park, Namibia. Canon 5DIII, 14mm, ISO 100, f/16, 1/10 second.

Namib-Naukluft

*balance your exposure

ometimes, the range of light and dark in a given scene will

exceed the dynamic range of your camera sensor. A two- or three-

stop graduated neutral density filter can come in handy when Sshooting sunrise or sunset, helping to balance bright skies with

relatively dark foregrounds. Los Glaciares National Park, Argentina. Canon

5DIII, 28mm, 2-stop graduated neutral density filter, ISO 100, f/9, 0.8 seconds.

trong backlighting of water droplets during the middle of the day resulted in a scene with excessive con-

trast. I let the charging brown bear go into silhouette, retaining detail only in the fringe of its fur and the

backlit water drops, resulting in a graphic, simplified, and mysterious presentation. Lake Clark National SPark and Preserve, USA. Canon 5DII, 400mm, ISO 800, f/5.6, 1/2500 second.

*shoot silhouette for drama

hadows add detail and texture to an

image, and can be used to provide

three dimensional relief. But they do Sso much more than that. Shadows can also be

used in creative—and sometimes even

fun—ways. Without the shape formed by the

shadowed dune crest, this image wouldn’t

have worked. The interplay of shadow and

light reveals an energetic, zigzagging shape

which brings the composition to life. Namib-

Naukluft National Park, Namibia. Canon 5DIII,

560mm, ISO 800, f/11, 1/250 second.

*get creative with shadows

igital cameras are perfect tools for capturing the beauty of the night sky. For this image of a

glacier-capped mountain lit by the moon, I did a 30 second exposure with a wide angle Dlens to capture the stars as pinpoints of light. Longer exposures (using your camera’s

“bulb” setting) will reveal the stars as streaks across the image frame, caused by the rotation of the

Earth. A sturdy tripod is absolutely necessary for long night exposures! Cotopaxi National Park,

Ecuador. Canon 5DIII, 15mm, ISO 400, f/2.8, 30 seconds.

*shoot the night sky

xclude extraneous elements that confuse your

composition. Boil each subject down to its Eessence. If something doesn’t add to an

image, exclude it. For this photo, I zoomed in

on the most important elements—the

caiman’s eye and its reflection. Osa

Peninsula, Costa Rica. Canon

5DIII, 560mm, ISO 1600,

f/5.6, 1/200 second.

*keep it simple

lash is a vital, although often ignored,

photography accessory. Flash has Fmultiple uses: it can be used at low

power to add an attractive “catch light” to a

wildlife subject’s eyes, it can provide fill light

for a subject in shadow, or it can be used at

night and during twilight to create surreal

images (such as the one to the right). Start

experimenting with flash, and look for inter-

esting ways to incorporate flash into your

work flow—it can open up many bold cre-

ative opportunities. Blackwater National

Wildlife Refuge, USA. Canon 20D, 500mm, flash,

ISO 400, f/5.6, 1/4 second.

*light up the world with flash

*revel in the storm

love photographing stormy weather. Storms

always seem to bring drama and mood to my Iphotographs. So when menacing clouds head

your way, shout at the tempest—and revel in the

magnificent glory of storm light! Los Glaciares

National Park, Argentina. Canon 5DIII, 70mm, ISO

100, f/8, 1/320 second.

ature throws a lot of obstacles in our flare framing the lone tree in the meadow. By

way: nasty weather, hordes of biting remaining open to the possibilities, and by cre-

insects, and bad light are just a few atively turning an obstacle into an opportunity, Nthat immediately spring to mind. Good photog- I was able to come up with an uncommon per-

raphers, however, doesn’t let such hurdles stand spective and to present my subject in an inter-

in their way. Instead, they look for ways to turn esting way. So the next time an obstacle is

obstacles into artistic opportunities. For this thrown in your path, think critically about how

image, I was getting nasty lens flare from the you might turn it to your advantage. You may

setting sun just outside the image frame. My not always be able to come up with something

solution? Use the flare creatively. Selecting a that works, but sometimes you may surprise

small aperture, I created a radiating burst of even yourself with the results!

Mt. Rainier National Park, USA. Canon 5DII,

37mm, ISO 100, f/16, 0.4 seconds.

*turn obstacles into opportunities

*express your passion

with colorixing opposite colors

(known as “complemen-Mtary colors”) can be used

to bold artistic effect, such as the mix of

cool and warm tones in this photo.

Kolmanskop, Namibia. Canon 5III, 16mm,

ISO 100, f/11, 1 second.

*practice, practice, practice

amous street photographer Henri Cartier-Bresson once said “your first 10,000 photographs

are your worst.” Get behind the lens as much as possible, and always be willing to try new Fthings! Serengeti National Park, Tanzania. Canon 70D, 560mm, ISO 320, f/5.6, 1/500 second.

Every successful photo tells a story. What stories do your

photos tell? Volcanoes National Park, Rwanda. Canon

70D, 200mm, ISO 200, f/3.2, 1/400 second.

The whole point of taking pictures is so that

you don’t have to explain things with words.

The whole point of taking pictures is so that

you don’t have to explain things with words.

—Elliott Erwitt

ou don’t need to trek deep into the wild

to make great images (although there is Ycertainly nothing wrong with doing

so)—you just need the courage to try something

different. Don’t merely follow in the tripod holes

of the photographers who have come before you.

Strive to develop a style which is your very own,

and never be afraid to try new places and sub-

jects. Dare to dream big, and big things will come

to you. Los Glaciares National Park, Argentina.

Canon 5DIII, 24mm, ISO 400, f/6.3, 1/640 second.

*get off the beaten path

orld-renowned professional

photographer, writer, and Wadventurer Ian Plant is a fre-

quent contributor to and blogger for Outdoor

Photographer Magazine, a Contributing Editor

to Popular Photography Magazine, a monthly

columnist for Landscape Photography

Magazine, and a Tamron Image Master. His

personal photographic project, Dreamscapes,

moves beyond the literal to transform sub-

jects into something unexpected through the

photographic process, bridging the line

between the real and surreal. Ian travels the

world, seeking out the hidden spaces in

between the familiar, in his never-ending

quest to inspire, entertain, and educate others

in the art of photography. See more of his

work at www.ianplant.com.

about the author

View Ian’s collection of

landscape, wildlife, and travel

images from around the world.

Informative and educational

ebooks and video tutorials by

Ian and other top pros.

Read Ian’s photo blog for

photography insights,

techniques, and inspirations.

explore createinspire

reamscaped sian plant photography

www.epicphotodestinations.com

Inspirational photo tours for creative photographers.