Unlocking the Secrets of Woodland Photography
Forest photography is hard. There. I said it. A camera in the woods is something I have always enjoyed, but wow, I feel that I can often struggle to get photos I am happy with.
This won’t stop me from trying, as I feel I am starting to make progress. Now, I’ll be honest. This post is essentially a personal time stamp on my “woodland journey,” if you will. Documenting the journey not only helps provide insight into the ups and downs of taking decent forest images but also helps me capture where I am today so that future me can reflect on my progress.
Here are some discoveries I have made along the way that have significantly impacted my overall satisfaction with woodland photography.
Composition
As photographers, we face the unique challenge of capturing the depth and dimension of our three-dimensional world in the two-dimensional medium of a photograph. Our eyes naturally perceive depth, but our cameras render scenes flat. The art lies in bringing that depth to life through composition, lighting, and post-processing techniques.
The first hurdle I had to address was finding interesting compositions. When out in the woods, everything can look remarkable and horrible at the same time. A scene can look exciting in person, but doesn’t necessarily translate to an appealing photo.
We have the usual suspects at our disposal, such as leading lines, scale, reflections, and different perspectives. For me, I have found that when you are out in the woods, several of these elements are at play at the same time.
If you find yourself at a scene that looks intriguing, try to capture it through a lens—not just with your eyes. Explore various compositions, angles, and positions to establish a foundation for a good photo. Next, look for a compelling subject to frame it all up.
Subject
The lack of a subject can result in a rather boring photo. And just for the record, the “woods” is not a subject. Perhaps this is why 90% of my woodland photos don’t get a pick in Lightroom. I have a bad habit of taking many pics as part of my creative journey, but then getting a bit “distracted” in the edit with which ones actually have potential.
To help mitigate this, shooting with intent (more than usual) has helped me work hard to frame up images that have potential. Work still has to be done in the edit, but exploring potential subjects adds a layer to a hike.
So, what am I looking for? A path, a log, foliage at interesting perspectives, the way the light hits certain elements… anything that the eye can stick to when first looking at a photo. For me, that is the essential clue that an image has potential—something that first grabs your attention, then allows your eyes to decompress and explore. Finding a compelling subject could be just the thing your photo needs to grab the viewer and take them on a journey.
Lighting
Lighting is probably the most obvious factor to consider, but it truly can make or break your image. Even a seemingly dull scene can come to life with the right lighting. The challenge lies in finding the perfect time of day for your chosen location.
Golden hour is always a reliable choice, but I’ve discovered that in many forest settings, you have a larger window of opportunity. This is due to the unique way light filters through the trees.
If you’re in a beautiful spot, but the lighting isn’t quite right, don’t be discouraged. Come back earlier or later in the day and try again. I’ve often had to scout out good trails or locations, make notes on where I see potential, and then plan to return when the conditions are just right.
Equipment
Sure, a camera is required, but what about a tripod? Filters? Remote shutter? Well, there are a few additional equipment items I recommend beyond the basics that can make a drastic improvement on your shots.
Let’s start with the most obvious one.
Tripod vs. Handheld
I love shooting handheld. This approach is more active, fluid, and helps me feel less like a photographer and more like an active participant in the energy of the forest. However, I find that my keep rate goes up when I use a tripod, even when I could use a handheld and achieve similar results.
The main difference is that with a tripod, I can drop my ISO down to 100 and get the lowest amount of noise possible. Add a remote shutter trigger or a delayed shot, and there is even less shake and noise in the image.
Give it a shot. Using a tripod can be clunky and unintuitive, but if you know what you are looking for, you can typically increase your creative options in ways you might struggle with compared to handheld. Just keep in mind that this is really a personal preference—there is no wrong way, providing you are happy with the results.
Filters
If you have them, a polarizing filter will help reduce glare from leaves and water surfaces, enhance colors, and increase contrast. An ND filter (neutral density) is useful for long exposures, especially when capturing moving elements like waterfalls or streams.
Lens Choice
Maybe I should have started with this one… anyway, I typically prefer a 16-35 for capturing expansive forest scenes and tall trees. I also bring a telephoto lens, typically my 70-200. I use this for isolating subjects or if a random wildlife opportunity presents itself.
You can utilize all focal ranges in between depending on what you are going for, but I find that these two sizes are great and keep the pack weight down.
In summary, great woodland photography is a slow grind toward capturing those compelling and moody images of your local forest. Stay persistent, keep experimenting, and don’t give up! If your journey is anything like mine, the reward can be incredibly satisfying.