Mastering Light in the Landscape:

A Photographer’s Guide
By Canon Explorer of Light Erin Babnik
ABOUT
THE
AUTHOR
Erin Babnik is known internationally as a leading photographic artist, educator,
author, and speaker, specializing in wilderness landscape photography. She is a
Canon Explorer of Light and a member of the venerable nature photography team
Photo Cascadia. Her expressive style of landscape photography springs from an
unusual integration of wilderness exploration, progressive techniques, and a classical
education in the arts. Erin’s images appear in a wide range of books, magazines,
and commercial products, and her name frequently tops industry lists of the world’s
most notable landscape photographers. Her publications and presentations blend a
wide range of insights with a flair for inspiration, making her one of the most highly
requested speakers of her generation. With offices on two continents, Erin travels
extensively to teach photography workshops and for appearances at industry events.

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 1

INTRODUCTION
Light is the most essential ingredient in any photograph, yet working outdoors generally means
having limited control over it. We can plan ahead and hope for the best, but ultimately the
surest strategy for photographing nature is to work creatively with whatever light ends up being
available. In order to make the most of natural light, it is important to understand its qualities, how
it evolves and transforms, and how different outdoor features will interact with it. In addition, it is
crucial to appreciate how light directs attention in a scene because it always plays a fundamental
role in supporting a composition. Although luck plays a large role when shooting outdoors, your
odds of creating truly special images will improve with a good understanding of light and a keen
awareness of your options to make it work for you.

EOS 5D Mark III, EF 16-35mm f/2.8L USM | Olympic National Park, Washington

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 2

TIMING FOR LIGHT For good reasons, photographing while the sun
is low is the most recommended approach to
Position of the Sun or Moon: Because the finding photogenic light, but any time of day
position of your light source will determine both can have potential in the right scenario. For
the direction and the quality of light illuminating example, only a high sun can shine down into
a landscape, timing is crucial. Fortunately, the a slot canyon, where light can then bounce
movement of celestial bodies is among the off one wall to illuminate another in very
most predictable realities of the universe, so photogenic displays. Similarly, crepuscular
it is always possible to know where in the sky rays (also called sun rays and sunbeams) are
your source of light will be located at any given most dramatic when the sun is well above
time. This knowledge can help when trying to the horizon, giving light beams some room to
get light to work well with a particular intention, spread out. Even periods when both the sun
such as photographing a mountain peak with and the moon are below the horizon can be
alpenglow (which is a reddish glow seen near photogenic, sometimes even more so than
sunset or sunrise on the summits of mountains). any other time of day. Environments with a
lot of color, such as some Badlands areas, do
The sun’s position is especially easy to predict, not necessarily benefit from direct light which
as its path changes very slowly throughout the can complicate forms with dark shadows and
year, resulting in seasonal tendencies. In most washed-out colors with its temperature or tint.
of the Northern Hemisphere, the sun arcs high In the right situation, the soft ambient glow of
into the northern sky during summer and travels twilight can rake across a colorful area and
closer to the southern horizon during winter. The make its hues more vivid.
Southern Hemisphere and the Earth’s two poles
have different celestial orientations, but they The old adage “right place, right time” was
are equally predictable. There are numerous born out of a recognition that no location and
apps available that can help you to determine in no period of time will be photogenic in every
advance — and with great specificity — what to scenario — resourceful photographers will find a
expect with regard to the position of the sun or good time for the place or a good place for the
moon, but having even a basic understanding of time. One way or another, the goal is always to
their paths can be very useful. make a happy pairing between landscape and
light.
Quality & Color of Light: In general, most
landscapes photograph especially well within
about an hour of sunrise or sunset, when the
sun is not far from the horizon. During this time,
often referred to as Golden Hour, sunlight is
traveling through a longer swath of the Earth’s
atmosphere, which acts as a filter of sorts. This
process has a flattering effect, removing some
of the blue from the spectrum and softening
the light’s intensity. Consequently, colors will
appear warmer and more vibrant, and shadows
will be relatively soft. A low angle of incidence
also lengthens shadows, making textures pop
and causing forms to appear especially three-
dimensional.

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 3

EOS R5, RF14-35mm F4 L IS USM | Dolomites, Italy

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 4

EOS R5, RF24-105mm F4 L IS USM | Hautes Alpes, France

DIRECTION OF LIGHT
The position of the sun or moon is only one-third of the equation when calculating the appearance of
light in a photograph. It is equally important to note how features are oriented in relation to a source
of light and how your vantage point allows you to photograph that orientation. Your approach can be
to plan light for features or to find features for the available light, but regardless, your own position
on the ground is the third leg of the stool. If you are looking at the south face of a mountain while the
sun is setting further north, you are likely to see only slivers of light on the peak or no direct light at all.
Therefore, you might want to position yourself north of the peak, where you will see more sidelight. On
the other hand, it may be the case that a vantage point on the south side gives you other photogenic
options, such as highlighting the peak with a sunstar cresting its edge or with low clouds bouncing
light onto it. Landscape photography is always a process of negotiating between various interactions
of form and light to find a compelling solution. In general, forms will appear most dimensional and
defined when viewed with sidelight, whereas backlight renders forms as silhouettes, and front light has
a flattening effect. All three types of light can be photogenic in the right situations.
MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 5
Sidelight: Most features with sculptural qualities common use of front light, as the rainbow’s
(which are often found in nature) will appear center will always be front-lit. Whereas, if you
attractive in sidelight, as it will show off their compose the photo to include only one end
forms well. It is the easiest type of light to of the rainbow, then you will have a side-lit
photograph, especially if the source of light is scene instead. Another workable scenario for
low in the sky. front light is when broken cloud cover provides
dappled light which produces layers of light in
Backlight: Features that are translucent can be the landscape. In such cases, it is possible to
very photogenic in backlight. Autumn leaves, have a brightly lit subject pop out against a dark
flowers, fog, and mist all become especially background, rendering the subject as a sort of
luminous when backlit. The cholla cactus in bright and vibrant silhouette that can be very
particular is beloved by photographers as a striking. Dappled light can also make it possible
subject for backlight because of the way that its to avoid seeing your own shadow by covering
translucent needles seem to glow when lit from it in a larger shadow, or alternatively, you can
behind. Backlight also works well for producing compose further out with a long focal length.
sunstars against hard edges, for showing off
interesting silhouettes, or for composing with Bounce Light: Bounce light is essentially a
long shadows as leading lines. variation on any direction of light, whereby
light indirectly strikes a feature after bouncing
Front Light: Front light is the most difficult type off of another surface. Slot canyons are the
of light to work with in nature because it tends quintessential environment for bounce light, but
to rob a landscape of its depth. Also, when you any narrow canyon or closely situated mountain
are photographing in the same direction that crags can bounce light around to areas that
the light is shining, you run the risk of seeing receive no direct light. Low clouds are also great
your own shadow in the frame. Photographing for producing bounce light.
the full arc of a rainbow is probably the most

EOS 5D Mark III, EF 16-35mm f/2.8L IS USM | Lake Powell Navajo Tribal Park, Arizona

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 6

ATMOSPHERIC LIGHT
Timing an image to coincide with atmospheric conditions can be just as fruitful as any other kind of
timing. Atmosphere influences light in a scene just like light modifiers do in a studio, so it can be very
rewarding to become a student of the weather, learning all that you can about weather patterns and
effects. For example, what if you find a fascinating cactus in a gulch that never receives direct light
during Golden Hour? If the only option is to photograph the cactus with a high sun, you might be
inclined to give up on it. Alternatively, you could time your photo on a day when low clouds will be
lingering, thereby enjoying flattering midday light when the softening effects of cloud diffusion pass
over your subject.

Cloud Height & Color: Because weather can have such a profound effect on light both in the sky and
on the ground, most experienced landscape photographers develop a keen awareness of different
cloud formations. High clouds, such as cirrus formations, are the ones most likely to change color when
the sun has a clear path to shine underneath them at sunrise or sunset, often resulting in the most
vivid red skies. Clouds at medium altitudes, such as cumulus formations, also have the potential to turn
beautiful hues, with orange, pink, and purple being most common. Vibrant clouds are very dramatic
when they add light to dark skies, but they can also reflect attractive light onto the ground, thereby
benefiting even more intimate compositions that omit the sky entirely. Naturally, more reflective
surfaces, such as water or snow, will be most affected by light in the sky, and these environments can
transform from monotone to varicolored at sunrise or sunset.

EOS 5D Mark IV, EF 24-105mm f/4L IS USM | Dolomites, Italy

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 7

Atmospheric Conditions: While high and medium clouds tend to be especially colorful, any
atmosphere that can get in the path of the sun can affect its light favorably. Bounce light, dappled
light, diffused light, rainbows, and light beams are all highly photogenic spectacles that atmosphere
can create, even when clouds are especially dense or low. Low clouds are notorious for snuffing
out light during Golden Hour, but they have great potential to shape light in a scene by bouncing it
onto surfaces that otherwise would receive no light at all. Fog and mist, being lowest to the ground,
often provide some of the most emphatic changes in illumination. The key is to be aware of what
opportunities might present themselves and to be willing to adjust your efforts accordingly. If you
experiment with photographing in different types of weather, you will eventually learn how to make
atmospheric light work for you more often.

Light & Mood: Atmospheric conditions can impart a variety of moods to a scene, so keep in mind that
not all landscapes images need to feature strong, warm light. Sometimes a soft, cool quality of light
makes for a highly evocative image.

EOS 5D Mark III, EF 16-35mm f/2.8L USM | Dolomites, Italy

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 8

COMPOSING WITH LIGHT Alternatively, it may be possible to subdue
areas of unwanted light in post-processing
Being aware of the angle, direction, and color with selective dodging, but very strong light
of light in a scene is only the beginning when is especially difficult to overcome through any
creating a compelling landscape photograph. editing other than cropping.
It is just as important to recognize how your
composition works with the available light. For 2. Light & Depth: A common goal of landscape
example, imagine a moment where you have composition is to create a sense of depth by
soft, flattering light on your subject, but at the drawing the eye deeper into a scene. Typical
same time there is very strong light blasting compositional schemes that help to suggest
some random corner of the frame. In that case, depth include leading lines, diminution, and
the light is working against your composition, layering, but light can play a significant role
pulling the eye away from your subject and too. When light is located deeper in a scene, it
toward that bright, unimportant corner. The will draw attention through the frame and into
placement and distribution of light in a frame will that more distant zone. Conversely, light that is
be much more appealing if your composition is mostly in the foreground tends to trap attention
coordinated with it. closer to the picture plane, thereby reducing the
overall appearance of depth.
Below are three general tips for composing with
light: 3. Alignment with Light: If you have a light
source or bright patch of light in the frame, that
1. Distribution of Light: Be aware of what area will draw the eye more than any other. In
appears illuminated in your composition. You these cases, you can try to position the camera
may need to be patient while clouds and light so that something interesting aligns with the
move in order to get light where you want it, light. It might be a vertical feature, an arch,
along with shadows over less important areas. If a translucent plant, or a patch of fog, but an
the light is not moving much, then you may need interesting element aligned with bright light will
to recompose your frame in order to control help a composition to look more intentional and
the distribution of light from edge to edge. convincing.

EOS 5D Mark IV, EF 100-400mm f/4.5-5.6L IS USM | Kamnik Alps, Slovenia

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 9

EOS R5, RF10-20mm F4 L IS STM | Organ Pipe Cactus National Monument, Arizona

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 1 0

GEAR CONSIDERATIONS
There are some scenarios where gear can make a huge difference in capturing and controlling
light. Besides taking into account the necessities of portability and weather resistance, landscape
photographers generally place a high value on gear with features that regard light specifically. It is
certainly possible to photograph compelling landscapes with any camera and even any lens, but more
capable gear will open up more options to pursue extreme scenarios, to control flare, to render elegant
sunstars, to polarize reflected light, and to support a camera while bracketing or waiting for light.

EOS R5, RF24-105mm F4 L IS USM | Organ Pipe Cactus National Monument, Arizona

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 1 1

Cameras: Scenes with a light source in the higher quality lenses will have aperture blades
frame are typically the most demanding, that are more numerous and rounded, making
presenting “high dynamic range” scenarios them capable of rendering sunstars that are
that some cameras struggle to capture fully. especially clean and elegant. Canon RF wide-
When the range of tones in a scene exceeds angle lenses with the L designation tend to
what your sensor can capture, you will be make extraordinary sunstars in my opinion,
forced to ‘clip’ either the highlights or the rendering them with especially clean, long,
shadows. Usually the latter is the better choice, slender spikes.
as losing detail in plugged-up shadows is less
noticeable than blown-out brights. Choosing to Filters: Reflected light sometimes obscures
photograph in the RAW file format will help a lot desirable color or detail. If the source of that
in these cases as it will provide more latitude for reflected light is entering from the side, a
recovering details in post, but the recovery will polarizing filter may work to reduce reflections
still be limited to the range of a camera’s sensor. and allow more color and detail to be visible.
My personal camera of choice is the Canon EOS
R5, which delivers outstanding dynamic range Tripods: Tripods can help maximize your ability
while also ticking all of my boxes for portability, to capture light in a number of ways. Firstly,
weather sealing, and a long list of features that they can be used in low-light situations where
make it easier to achieve the effects and quality exposures are so long that stabilization in your
that I desire. lens and camera is not sufficient to produce
shake-free images. Secondly, in extreme
Lenses: With regards to handling light, the best scenarios with a high dynamic range, tripods
lenses for landscape photography will be the can be helpful to keep perfect registration
ones that do a great job of controlling flare and between exposures for blending them together
that render attractive sunstars. Lenses with in post. Lastly, tripods are fantastic for holding
higher quality coatings and elements are less a composition in place until the light in a
likely to introduce unsightly aberrations when scene improves. Choosing a tripod is always a
a strong light source is visible in the frame compromise between stability, portability, and
or is near one of the frame’s edges. Similarly, price, but having any tripod is usually better
than having none.
EOS 5D Mark IV, EF 11-24mm f/4L USM | Dolomites Italy

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 1 2

CONCLUSION
Making the most of available light is not the only important skill in landscape photography,
but it may be the primary one. A photograph rarely appeals solely on the strength of its
subject, concept, or composition, any of which can stand or fall depending on the light in a
scene. Similarly, even images of extraordinary light are missed opportunities if they do not
make compelling use of features and composition. When light works together with all creative
decisions, then the resulting image is likely to be highly satisfying. Some great uses of light result
from careful planning, while others owe a lot to quick thinking, but very often an idea begins with
one approach and pivots to the other. Above all, it is essential to remember that natural light is
fleeting and frequently unpredictable, so you will do yourself a lot of favors while you’re out in the
field if you keep your eyes moving and your mind running.

EOS R5, RF24-105mm F4 L IS USM | San Rafael Reef, Utah

MASTE R IN G L IG H T I N TH E L A NDS CAPE: A PHOTOGRAP HER’S GUIDE 1 3

©2024 Canon is a registered trademark of Canon Inc. in the United States and may also be a registered trademark or trademark in other countries.
All other product names, brand names and logos are trademarks or service marks of their respective owners.