Since its inception, there has been debate about whether or not

photography qualifi es as art. It is a debate that continues to this

day. Those who reject its status as art do so on the basis that it is
representational and relies on technology. However, if we accept
the above dictionary defi nition, it clearly meets many of the
criteria: it is a visual medium through which people express their
creativity; there is skill involved in the process of its creation; viewers
appreciate its beauty, and done well, it is capable of evoking
powerful emotional responses.
Skill is involved on two levels: in controlling the equipment
necessary to make photographs and in creating powerful
compositions. In our fi rst book on landscape photography,
The Landscape Photography Workshop, we took an overview of the
topic, covering everything from choosing equipment, the specifi c
techniques you need to master in order to create a technically sound
landscape photograph, and the basics of composition, through to
producing a digital print. In this book we assume a basic familiarity
with the technical elements and focus much more deeply on
aesthetics on the art of landscape photography. This is not to say
that we are ignoring equipment and technique, but it is discussed
mostly with regard to how it impacts upon composition.
Of course, teaching and learning the technical aspects of
photography is relatively straightforward compared to teaching
and learning the creative side. Creativity is intensely personal,
and because it depends on what the individual wishes to express,
arguably it cannot be taught. That said, art has been practised and
analysed for centuries, so there are many widely accepted theories
on which elements work in a composition, which dont, and what
innately appeals to the human sense of beauty. In this book we will
examine the theory and practice of these principles, using our own
images to illustrate the points.
However, simply following established compositional guidelines
isnt enough to guarantee good results. Done without consideration
it can produce images that are predictable, sterile and (ironically)
lacking in creativity. Once you have understood the theories of
composition you should be able to use them as a framework
for your own creative expression, so that composition ultimately
becomes an unconscious, instinctive, but considered process.
To be truly creative, an artist needs to establish a recognisable
personal style. This can be a long and challenging process, and while
no one else can do it for you, we have tried to give some pointers to
help you on your way. Establishing a personal style is not the end of
the journey, however, as your photography and style should evolve
and change over time.
We hope that this book will provide the inspiration for you to
begin your