In the field, consider recomposing to remove the green seaweed from view or block the harsh yellow reflections.

Consider an example familiar to Australian landscape photographers on the coast: a sunrise by the sea with orange clouds, blue water, green seaweed and flecks of yellow from the rising run.

Kraftkolour sells the full range of 66 colours of Landscapes dyes online. But the collection of 36 enormous boulders known as Kata Tjuta is no less spectacular. Australia - Australia - Land: Australia is both the flattest continent and, except for Antarctica, the driest. Likewise, if you want to create digital imagery of ethereal worlds, follow your bold ideas. When an image has many saturated areas, our eyes jump around and don’t ease into the image towards our key subject.

They don’t just crank up Lightroom’s saturation slider and call it a day.Of course it goes without saying, but our taste for art and style is often subjective and personal. Consider an example familiar to Australian landscape photographers on the coast: a sunrise by the sea with orange clouds, blue water, green seaweed and flecks of yellow from the rising run. Sony A7R Mark III, FE 16-35mm F2.8 GM lens @ 35mm. 1/8s @ f8, ISO 1000.Last light falling on The Remarkables in New Zealand. Check it out now. 1/5s @ f4.5, ISO 100.Daybreak at the striking Sugar Pine Walk in country NSW, which was sadly lost in the 2020 bushfires.

Then when you get back to the computer, you can correct without degrading the image file.The simplest approach here is to slowly drag the white balance sliders to their extremes and observe the effect on the photo. 1/250s @ f9, ISO 320.Having an understanding of colours can make a huge difference to your images. Our eyes are drawn to areas of high saturation so a kaleidoscope of colours is often distracting for the viewer, diminishing the impact of form and light. Then I cooled down the shadows and added further warmth (and light) through a radial filter to the top right corner, helping to guide the viewer’s eye towards the glow of the rising sun.

I reigned in the reds and oranges of the undergrowth, shifting them to more yellow/green tones to simplify the range of colours present and accentuate the lush, fantasy forest feel. Be careful not to drag the sliders to the very extremes as this can appear unnatural and can create lines of colour banding, yet minor tweaks in HSL can minimise distracting elements.Likewise, when looking to achieve a complementary colour harmony, try using Photoshop’s selective colour layer to alter the hues of a third or fourth colour that is falling out of line. Sony A7R Mark II,FE 16-35mm F4 ZA OSS lens @ 21mm. In this image from Phillip Island, I boosted saturation and vibrancy to help the more abstract image pop. The national colours, green and gold, hold a treasured place in the Australian imagination. Yet it can make or break an image. Take time to observe the range of hues present, consider how they support – or clash – with each other and how you might better control them.Like most things in landscape photography, using techniques locally and subtly is more impactful than using them globally and strongly. When applying the theory and concepts explored here, start small. Dotted across the terrain like tombstones, The Pinnacles are limestone pillars made of seashells dating back millions of years ago when the ocean covered the land, before extensive weathering forged this otherworldly landscape.These towering limestone stacks emerge from the Southern Ocean like statues, providing the highlight of the This West Australian landmark looks like something from another planet, with erosion carving out a 15-metre-high (49 feet), 110-metre-long (360 feet) granite cliff that looks like something Kelly Slater or Mick Fanning should be riding on a surfboard. Shifting the alpenglow away from warmer reds to more of a magenta helped to complement the cool twilight lighting. Natural sunlight is warm, both in temperature and in white balance.

In post-processing, we could darken and desaturate the greens or shift the hue of yellow flecks to fall more in line with the clouds.There’s no one trick or technique that can be applied to better control the colours present in our images. Consider using Lightroom’s HSL slider to cool down the warmer tones or reduce their saturation (and impact). Forest scenes look unnatural if there’s too much magenta, while bold sunrises may be rendered too cool, particularly in phone photography when the extreme colours often don’t match what our eyes see.The easiest (and my preferred) approach is to shoot all your images in RAW using auto white balance.


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