Minimalist Landscape Photography

[Music] [Music] well today it’s going to be a little bit of a different vlog it’s going to be simplicity with a nifty 50 so I’ve only come out with the Canon and a 50 mil lens the nifty 50 which is a I don’t tend to use this lens much but it’s a great little lens so I’m gonna make use to that today at the moment I’m in the graveyard I’m not shooting in the graveyard I’m gonna go for a little walk down this road and I’m just looking at walls bushes you know just things like that that I catch my eye and train makes some sort of form of shapes to make an image out of that so yeah so today it’s all about simplicity now the weather’s pretty bad like it’s been all week so it’s probably a little gap here a few hours it’s drizzling a bit so I’m gonna try and work with it so yeah I’ve got another storm do on the weekend again which is a bit of pain so hopefully some point next week and go out and shoot the big vistas again still got no car still broken but bear with me I am trying to get vlogs done so I’m trying to be a bit different with this one just working on more simplicity stuff so we’re gonna head for a little walk and see what catches the eye [Music] [Music] so this has calmed me I hear this wall I like the way the posts are really like sort of off they’re not straight you got this old gate here that’s run down and what I like about it is the way the wall just sort of goes around in a curve and that like green moss really sticks out plus I like the tree in the background there that sort of comes out now where I’m going to try and do a shot here with the nifty 50 usually you probably need a wide angle lens for your 24 mill but I’m going to see what I can do here with a 50 I want to catch the tops of the wall the rock The Rock’s the top of the wall in the foreground got some nice green moss on it I like the post sticking out while wobbly I want to catch that curve with the old gate going in around side there and the the tree sort of filling the top of the frame there up 50 mils so I’m going to set up and see how this goes [Music] so with a 50 here I’ve gone quite really tighten it’s the shot I want really I’ve tried one at f/16 to see what it’s like with all in sort of focus I’ve gone down to F 2.8 and F 1.8 where I focused on the rock and the foreground to blur everything out and softly in the background so I’ve got to trace their what which one I prefer when I go back in pause but yeah I think I’ve got the shot here like I said before I got the rock in the foreground with the moss on it I like the pulse all that out of formation if you know what I mean they’re not straight it sort of goes around in a curl cover nice rusty old gate sticking out you’ve got the moss on the green wall that greeny moss that sticks out and the trees just a frame in the top of the image for me so we’re yeah that’s my first sure so where I put the image up now one there I’m gonna head off and see what else we could find [Music] [Music] so I I think this is a private property like that all the Cooney swamp over here I know it’s some woodlands just on the side of me here if I can’t find anything down here I’m gonna go into these woods and explore them I’ve never been on this walk before so we’re yeah I’m gonna head down another path and see if I can find something down there if not then I’m gonna head up into the woodlands [Music] [Music] [Music] it’s gotta be a bit of a challenge trying to find a composition in this thick dense woodlands but we’ll move on and try and find something it’s very chaotic here all these branches just crossing each other there’s hardly anywhere to walk so we’re finding a composition amongst this chaos finding something really simple it’s gonna be a bit difficult so yeah I’m going to move into somewhere you know when you get the feeling you’re going to get a composition I’m going to stay there I’m going to look around and see if I can come up with something [Music] so this image of front of me here’s caught my eye whether it works or not I don’t know now I’m thinking about a vertical shot on this now if look at the bottom of the frame you’ve got this twisted tree that that works on the bottom here you’ve got four sort of really sort of whitish soft you know sort of thick branches sticking up sort of like four in a row and the background is quite messy but there’s something about it I like the dark tree branch that’s going across there with a green moss on it it all sort of combines into one sort of mass if you know what I mean so I’m thinking about going F to point eight trying one point eight I’m going to focus on the center branch because that’s really where they eye needs to go so yeah because all these branches are also connected in a twisted weird way it’s something that caught my eye and by softening the background that actually might work with a bit of luck I’ll be bracketing this shot simply because it’s very dark so I’ll be half F one point eight maybe two point eight I saw one hundred so well give this a go and see what else catches me I hear [Music] [Music] [Music] like this little air sort of branch here with leaves have really caught my eye I think it’s the variety of colors within that shot now I’m thinking about one by one shot here looking at that I like the back of the tree you’ve got another old back of a tree with the end worn off which gives you that lighter color within it the texture on the dead tree behind it would be quite nice if I get that in focus plus the leaves on the floor is another orangey color so yeah I think this could be a nice one to one square shot I’m gonna go quite low to the ground here just so that I can get it within a square frame as low as possible and yeah on the bottom of the frame getting them orangey ready sort of old autumn leaves that are dead on the floor then you’ve got that tree just sticking up there the way the plant just sort of comes out of that and the green that just sticks out on the DAK textured background of the trunk of the tree in the background would make quite a nice image so we’re yeah I’m going to go low on the floor with a tripod with this one or one by one crop bracketing obviously because of the so much dark areas within the image so if this works I’ll pop it up now [Music] so I’m going to just have a quick look around for the final shot today see if we can find anything else no I’m coming up it’s a very small sort of woodland so we’re yeah really putting myself to the test today to be creative which is cool it’s always good to do that so I’m going to go more closer to the wall and try and find something there whether I do or whether I don’t I don’t know but yeah we’ll just look for the last shot for today [Music] [Music] [Music] now I like this tree here thinking it gone really tight on this I just love these little branches that are stuck on the actual big part of the tree the way they all interconnect the different shades of color there the like hairs on them where they look like hairs got the green moss on it looks really nice so what I think I’m gonna do with the 50 here is get really close into this probably one by one shot I want to catch all the I’m going to call them the veins of the tree on the outside with the spiky bristles coming out of them the green moss and yeah try and really get a textured sort of feel to this to this image so I gone one by one on this one using the lines to create shapes and yeah this should be quite interesting [Music] [Music] so uh that’s it for this little blog better simplicity photography with a nifty 50 so yeah it’s always good sometimes just to get out if you’ve got a 50 million ever user why don’t you just take it out one day and then challenge yourself because that’s the only focal length you got so what that does it makes you help yourself being creative we’ve got to move about really in position the shot weather where as you zoom in and all that otherwise but yeah go out with a 50 mil and challenge yourself and there yeah it’s fun it keeps the keeps you thinking and looking which is important if you haven’t got a 50 ml lens and I reckon you should get a nifty 50 I mean the less than a hundred quid and you can go all the way down to F 1.8 and get some really good shots cheap and cheerful glass if you haven’t got one get one I’ll leave a link below for a if you were after a nifty 50 but I do recommend getting one so yeah I’ve been a bit of fun today in the woods like I said when it came out and got a clue what I was going to bump into and I liked them sort of challenges where you go out haven’t got clue what I’m gonna shoot I got a 50 ml lens but I’ve got to find something so hopefully there’s a couple of decent shots that I’ve got out of this afternoon so yeah and there you go so if you’re interested in any one to one sort of coming workshops I’ve got one big Snowdonia weekend coming up in April if you want more details go on my website and there’s some details there if you want to want to one any time just let me know so once again thanks for watching and don’t forget to subscribe hit the BAL button to be notified ain’t that a rhyme rhymes done it whatever so anyway until next week thanks for watching bye [Music] [Music] [Music] you

13 Replies to “Minimalist Landscape Photography

  1. Hi Jason, off topic question – you know that bum bag you showed recently for your Faroe trip – how big is it inside ? e.g. would it hold your cannon & nifty ? Photos on Amazon make it look quite a decent size but that might not be the same in reality.. Nice vid tho, and a good idea for just 1 lens but you do manage to get into some tight woods !!! lol

  2. Nice work Jason. As they say simple things in life are the best. Beautiful images mate. Thanks for sharing the video.

  3. I've lost count of how many 'nifty fifties' I've got…to fit different cameras (mainly film), although I think something just a wee bit wider, 42mm maybe, is the perfect prime for both close shots as well as landscapes.
    A bit of advice to anyone thinking of investing in a few primes is to check what focal length they are normally shooting at on kit zoom lenses (check your metadata on PS or any 'good 'photo editor) and invest in a prime of around that focal length, just to increase the quality of your captures in camera. Don't be scared of buying old lenses with a converter if you've gone mirrorless. Old primes are as good as modern ones, sometimes better.
    Sympathy at your car problems, my old jalopy has continuous issues but is a necessity living beyond effective public transport. I don't think they make cars for Celtic climates 😉

  4. 50mm is not mine, buy and sell it, try it over and over and came to the same result: my niftyfity is the 35mm.
    But the challenge you bring us near is nice and useful: Just go with a prime (maybe 24, 28, 35, 50, 85 or 105) and try, what it can give to you. It's good for training composition and get a deeper feeling to the focal length you use that way.
    It's good to remember and give it anther try!
    Greetings, Andreas

  5. un video inutile e fatto male, con pochissime e pessime foto di esempio, per altro una traduzione sotto titolata lontanissima dal capirci qualcosa.

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