What if you were told of one simple way to dramatically improve your photography overnight, and do it for less than $50? Would that capture your attention? There is a simple way, as simple as a trip to your nearby bookstore.

I’ve read literally hundreds of photography books over the years, some good and some bad, and along the way gathered a good selection of photography books for my bookshelf; books that I return to over and over again, either for inspiration or a mental refresher of some valuable technique. Even with a large selection of books to choose from, there are three books that I return to frequently. I have found these three books to be of such value to my work, that I often carry one of these books whenever I travel.  

Of the three books I recommend, this is the best one for the new photographer who is just learning about landscape photography. However, the advanced photographer will find value in this book as well, since it delves into topics that are not often addressed in the photography literature normally available. Later editions of this book has been updated with the digital photographer in mind, however, I’ve found very few differences between the editions.

John Fielder is a fine art large format landscape photographer specializing in the landscapes of Colorado. In addition to being one of the most highly rated photographers in Colorado, his writing is very clear and well laid out. As a teacher, John has a way of communicating the photographic process in a manner which seems relevant to all photographers.

In the first chapter, John makes effective use of metaphor by comparing the photographic process with preparing a pizza. The seven topping on John’s photographic pizza are: color, form, moment, perspective and the cheese is the view. The oven is the analogous to composition, and the kitchen is light. John then goes on to discuss these element, starting with theory of color, including color relationships, the various elements of form (line, shape, pattern, texture, volume contrast and form), through moment (seasons, time of day, quality of light, and other type of natural phenomena), into perspective (depth of focus, scale) and finally view (the grand scenic, microcosm, and the intimate landscape). Finally, all these elements are put together in the form of composition; including the use of dominant features, balance, proportion and rhythm.

In the second chapter, John goes into the mechanics of photography; how to use the camera, understanding depth of field and exposure, and the various types of photography equipment available.

The final chapter of the book, chapter three, John delves into the mechanics of taking photographs in a natural setting, such as how to be comfortable in nature (the mechanics of hiking and camping), tips for preparing for a photographic trip (what type of equipment to take, what kind of film, etc), how to seize the moment (scouting, patience and spontaneity). Finally, John presents us with a case history of one of his photographic excursions. 

As its title implies this book is geared towards the Large Format photographer. Photographers using other types of cameras can benefit from Jack Dykinga’s insight into landscape photography as well, but may seem overwhelmed at times with the book’s emphasis on the Large Format camera. Throughout this book it’s assumed that the photographer has at least a basic understanding of the large format camera.

Jack Dykinga, a former Pulitzer Prize winning photojournalist, is now considered to be one of the top landscape photographers in the United States. His work focuses on environmental issues within the United States and Mexico, and he was instrumental in the establishment of the Grand Staircase-Escalante National Monument in Utah, as well as Sierra Alamos National Park in Mexico.

This book is traditional in its approach to teaching photographic technique; focusing on composition, light, focusing the camera, lenses and filters, exposure, gear and weather, finishing with a chapter on making landscape photography into a career.

The one theme this book follows throughout is one of a thoughtful, patient approach towards the craft of photography. This approach can be seen in his description of how Jack chooses a filter or the way that he marks his lens boards to annotate the amount of rise or fall that can be used with that particular lens. In the chapter on focusing the camera, we learn about using various camera movements to achieve sharp, in focus images. This section alone has made the purchase of this book invaluable to me; I admit that I didn’t truly understand how to properly use back tilt to it’s fullest until I read this book.

The book concludes with a discussion on developing personal vision. Jack sums the book quite nicely in this section with “What we photograph, how we frame it, and our choice of lens defines our unique vision. It’s how we see. We see a composition, plan for optimum light, and record that vision on film.”

Too often landscape photographers concentrate on the minute details of composition, while ignoring the role that light plays on the emotional impact that an image should convey. This book, whose primary goal is to remind us of the role light plays, and its emotional impact, does not overwhelm us with the technical details; instead it relies on a series of narratives by master landscape photographer Joe Cornish. Technical concepts are discussed where necessary to complement the narrative, but the images themselves are the primary purpose of this book.

Joe Cornish is one of the top landscape photographers in the United Kingdom today. His work graces many galleries, but it is his images of nature for the National Trust that sets Joe Cornish apart from other landscape photographers. His work has been instrumental in saving many of the UKs finest natural areas from overdevelopment.

The first chapter of this book can be considered the signature chapter. It introduces the reader to the concept of “TLC: Timing, Lighting and Composition.” This concept that carries throughout the remainder of the book, and as Joe’s essays show, these elements, in the right mix, can impart emotional impact to an image.

Building upon the foundation of TLC, the reader is introduced to the concept of “Foreground Background” in the following chapter. This concept can be thought of simply as visual depth, and is the basis for what is commonly referred to as the “grand landscape”, as popularized by master landscape photographers like Ansel Adams and others.

Next, the reader is introduced to the effect that color has upon the landscape in the chapter titled “Out of the Blue.” While our eyes have an amazing ability to filter out and correct distortions and color casts, this is not true of film. There are numerous ways to work with this limitation; this book discusses using different temperature balanced films (like tungsten film), corrective filtration, or simply accepting the casts as an artistic compositional element. A good example of how color affects the final image and its emotional impact can be seen in the essay titled “Contours in blue.”

A line from a poem by T.S. Eliot’s “Little Gidding” leads us into the next concept in the chapter title “The Point of Return.” This concept revolves around getting to know our own backyards, through exploration and through a process of learning to see the familiar in a new light.

In the next chapter, “On the Rocks”, we take a step inwards, to see how a single, reoccurring subject, rock, can be used as a theme point for our images.

In “Days of Wonder”, we are given an opportunity to pause and reflect upon those places and times that caused us to wonder, and to contemplate the beauty of the natural world.

Finally, in “Friends and Heroes” we are introduced to those who have influenced landscape photography, both as an art form and as a means of protecting our natural environment. Some of the names are very familiar to most; Ansel Adams, David Muench, Charlie Waite and Michael Fatali. Some, like Peter Dumbrovskis are less well known, but each has made his own impact as a landscape photographer. 

In each of these books, the photographer has explained his craft in their own individual and unique way; John Fielder’s thorough and precise discussion of the philosophy of photography, Jack Dykinga’s hands on approach to large format photography, finally to Joe Cornish’s learn by example method.

A good photography book should not only to inspire the creative juices within you, but help give direction to your creativity. Use them as a guide, absorb the knowledge they contain, but ultimately, you need to find your own voice, and create your own images.