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If you ever get to shoot scottish landscape photography books in some truly amazing outdoor locations, like the Grand Canyon or Yosemite National Park, itís really a very humbling photographic experience. The reason why is youíre looking at scottish landscape photography books this amazing vista, and the sheer grandeur of it all, and it looks so awe inspiring youíd figure a chimp could even take a great photo of it. I mean, itís just so spectacular, how could you mess it up? Then you set up your tripod, look in your viewfinder, and it happens scottish landscape photography books; you begin to silently sop. Youíre sobbing because you bought all this expensive camera gear, with multiple camera bodies and lenses that cost more than a car, youíve got more filters than a camera store, and your camera bag weighs about 54 pounds. You saved all year, took your two-week vacation from work, bought round-trip airfare, rented a huge car big enough to haul you and your family and all of your expensive gear out into the sweltering summer heat of the canyon. Now youíre looking through your viewfinder and what you see doesnít look half as good as the postcards in the parkís gift shop that they sell for £1.20 each. Tears begin to stream down your face as you realize that youíre not going to get the shot you came for. Surely we can get photos better than the ones in the gift shop? All we can do is try.

There is a golden rule of landscape photography; as a landscape photographer, you can only shoot two times a day Ė at dawn (about 15-30 minutes before sunrise, and up to an hour afterwards), and at dusk. These are the only times of day when you get the soft, warm light and soft shadows that gift professional quality lighting for landscapes. Todayís photo editors at the big magazines feel so strongly about this that they often wonít even consider looking at any landscape work if itís not shot at dawn or dusk. The shooting mode of pro outdoor photographers is aperture priority mode. The reason why this mode is so popular is that it lets you decide how to creatively present your photo. Hereís what I mean; letís say youíre shooting a tiger with a telephoto zoom lens and you decide you want the tiger, whoís in the foreground, to be in focus, but you want the background out of focus. With the aperture priority mood, itís easy to set your aperture to the smallest number your lens will allow, and then focus on the tiger. Thatís it. The camera does the rest, you get a sharp photo of the tiger and the background is out of focus. Now, if you want the tiger and the background both to be in focus, you can move your aperture to either f/8 or f/11. These two settings work great when you just want to capture the whole scene as your eye sees it. Far away backgrounds might be a little bit out of focus, but not much. Thatís the second trick of aperture priority mode.

The next time you pick up a great travel magazine that features landscape photography, take a moment to study some of their wonderful, sweeping images. One thing youíll find that most have in common is that these landscape shots have three distinct things: a foreground, a middle ground and a background. If you are shooting a sunset, the shot doesnít start in the water; it starts on the beach. The beach is the foreground. The middle ground would either be the ocean reflecting the sun, or even the sun itself. The background would be the clouds and sky.

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