I HAVE shot primarily nature, landscape and other outdoor venues for all the years I have been at this. And for many of those years, I worked hard to get people-free images. Still do some of the time. In popular places, it was not uncommon to sit patiently (or sometimes not so patiently 🙂 ) waiting for people to clear a scene. Later, the ability to “remove” things from images digitally softened some of the angst. But that doesn’t always work. I found myself still waiting for opportunities where the “offending” body was in a spot that would be easy to remove. And then, of course, that brings on all the “isn’t that cheating?” stuff.
not every national park, scenic view, or iconic location was put there for me and my camera
THERE ARE, of course, still going to be times when you want a pristine landscape shot. Often the best time to do that is very early in the morning, before tourists and even workers are out. Getting up early takes a certain discipline, but every time I do so, I am rewarded. Often with complete solitude. Sometimes with just a lot fewer people around. Another way to get that kind of shot is to shoot scenes and places where there aren’t a lot of people. Places that haven’t been discovered yet. Or places that don’t have tourist appeal. I have found some of my best farm scenes to be places that haven’t been “discovered” yet. I have also learned – unfortunately – that it isn’t a good idea to identify those locations in this day and age. There are a couple now famous scenes in Vermont, for example, that used to see the occasional photographer in the road near them – usually during the fall foliage season. But today, everybody and their smartphone wants to photograph these places, and in addition to large numbers of people, many of them have zero respect for other’s property. Indeed in recent years, some of these once quiet, bucolic scenes have taken on a “carnival” atmosphere that is totally at odds with what drew us to them in the first place.
PEOPLE IN the scene can often be perceived as a negative. But I also have to remind myself sometimes that not every national park, scenic view, or iconic location was put there for me and my camera. Indeed, (at least before the advent of the smartphone), the vast majority of visitors to these locations are/were probably there just to see the place. And they certainly have every bit as much of a right to do that (even if they are standing in my photo 🙂 ). Tolerance does not seem to be a popular thing these days, but I still try to practice it.
IN RECENT years, though, something that I have learned is – especially in my travel photography – putting people (or using the people that are there) in your photos sometimes creates added interest. In addition to scale, they can give perspective, and sometimes create questions. Like what is she looking at? What is he thinking? Or they can help express the pure joy of experiencing one of our worldwide wonders. So, for me the trick has now become how to best position the people that are inevitably there in the image. I have begun to look for those moments. I know I am probably late to the game (but suspect I am still with, or ahead of many of my fellow “nature” photographers). Street photographers often purposely seek out people in their imagery. I have never felt really comfortable engaging people, but I am slowly coming to grips with it. In the meantime, I often try to portray people in the image in a basically incognito way (looking away, or so distant as to not have recognizable face). But other times that is just not possible. And when people are in public, they have a reduced expectation of privacy, so I feel that as long as I am not portraying them in a negative way, it is probably o.k.
WHILE INCLUDING people in photographs can be an enhancing factor, I also believe there is a tipping point. I have had times where the venue has been so crowded with people that I have decided not to even shoot it. Sometimes crowds can detract from a shot. Unless, of course, you are trying to depict crowds.
I DON’T think I have used people in images anywhere more than my recent trip to Portugal. We were in two of the most populous cities in the country and let’s face it: there were bound to be people everywhere. Even early in the season. I think this year is perhaps unusual, as people were pent up from the pandemic, and ready to get out and travel again. For whatever reason, there were a lot of people in Lisbon and Porto in late May and early June.
SOMETIMES PEOPLE and their behavior make an otherwise uninteresting image worth a second look. I was walking around St. Kitt during one of our Caribbean Cruise stops and looking for color and interest. The obviously attractive young woman in this shot caught my eye. If the shot were about her, though, having her walking out of the frame is just not very good composition. As much as it may seem so, she is not the true subject of the image. I had all I could do with the fast moving action and my widest zoom to catch the entire important parts of the scene. But mine were not the only eyes she caught. Do you see it? 🙂 I couldn’t resist making this one.
THE “SELFIE” has become (for better or worse) a common occurrence in these times. There are times when people compromise privacy, safety, and property in there unending quest to produce the best Instagram selfie. But sometimes it is just people trying to capture a memory It certainly speaks of behavior. The gondola scene at Piazza San Marco on Venice is iconic. Most of us shoot it trying to exclude outside elements. I was doing that one early morning – making a motion-blur image of the rocking gondolas. When I arrived, I saw this young woman who I believe was making a selfie with the piazza and St. Mark’s in her background. It gives great human interest to the image, in my opinion.
I HAVE made numerous cruise ship pictures over our years of cruising. I am usually shooting either the landscape, or action on the ship. I am never the only one doing so, though most often it is folks with their smart phones (or even tablets sometimes). I love to make images of a harbor as we enter it and dock. As I was doing so in the very picturesque Cobh, Ireland, I noticed the gentleman below doing likewise. I have gotten smarter about my photography over recent years, and was glad I had the presence of mind to capture the scene, which certainly tells a better story than my “solo” images do.
OF ALL the imagery I have made over the years, a substantial majority has been landscape – and of that, more than anything, fall foliage. Mountains, reflections, closeups, barns and farms all make wonderful context. Occasionally, people in the image add color, or interest, or even scale and perspective. I shamelessly confess that I totally “copycatted” the following silhouette image, after seeing a colleague framing it up. But what a great storytelling idea. The photo is another “ho hum” fall foliage image without them.
SOMETIMES STAGING people in an image works. During my trip to Vermont in October, 2021, we were composing and contemplating shooting an uphill Vermont back road, framed with colorful foliage. I made the point that this one needed some interest – a person walking up the road. On of our friends offered to “model,” wearing a bright yellow raincoat I had (which was the brightest “prop” we could find). I think the photo worked well. But when I got home, and reviewed the image on my screen, it occurred to me that red would have more impact. So I made it red. I know. That “cheating” thing again. 🙂
I AM certain that I miss many opportunities to use “models” in my images. I am, by nature, not an outgoing person when around strangers. Again, sometimes, I just get lucky. I was walking in the St. Kitt Cruise port area shooting some of the colorful buildings. This young shop employee asked me out of the blue if I would like her to pose for me. I am no portrait photographer, but I thought this was a kind of fun image that would not have been the same without her in it.
AS OFTEN as I get “unlucky” or even annoyed with the people in a scene, sometimes I get lucky. The scene in Rome was interesting enough to capture my attention. But when the young man walked into the shot, it seemed like a case of “right time; right place” for me.
LOOKING FOR opportunities often begets opportunities. In case of the photo below, we were on a street art walking tour in Cape Town South Africa in January. While mostly shooting the street art imagery, I am always on the lookout for colorful subjects. And – lately – also for human subjects of interest. Here I found both and couldn’t help but wonder if the conversation was about our group?
WHILE SOMETIMES, a photo leaves you wondering about the people in the photo, other times it’s just obvious what the person is doing in the photo – and yet still adds interest. This young woman was one of another couple that joined us on the street art walk recently in Cape Town. The focus of the day, of course was the street art itself. Usually in context. But this opportunity presented itself and I liked the symmetry (physical and figurative). There is little doubt in my mind that the inclusion of the photographer adds interest to the already visually compelling subject.
VERALL, I think there is always going to be room in my portfolio and shooting style for both. I will always want to at least try to make “clean” images. Sometimes that means waiting. Sometimes using content-aware processing. But what I have learned is to look for both opportunities. I think both views, for example, of the Pink Street below are interesting. I had to go very early in the morning to get the empty street. But the people in the second image are always there, beginning in the early evening, and by nighttime, the place is packed. That’s reality and if you are going to portray reality, you are going to have people in the picture. 🙂
[Tomorrow, I head to Ft. Lauderdale to board a cruise ship bound for the Caribbean for a few days. When I return, I am going to take the blog in a slightly different direction – temporarily. See you in a couple weeks]
6 thoughts on “People in Your Landscape Photos?”
Nice to see you grow in photography to appreciate added elements to help tell the story. I spent several hours with you in the early years doing that waiting game.
In this article, the photos tell it all. Most would be nice scenes but just that. Nice scenes.
Favorites for me
Two guys at Westminster Abbey
Lady sitting in Venice with the gondolas
Pudding Hill Road
One your best articles yet IMO
Thanks buddy. Nice scenes yes, but as you note, the human element adds interest. But . . . LOL, don’t worry. I STILL do the waiting game, and still try to get images without the people, too. I have just learned over the years that sometimes that just isn’t going to happen – so make it work for me. And sometimes, take it even a step further (like Pudding Hill) and stage the scene 🙂
I like the added “people” to your photos.
Shows interest and a little different feel to the photos. You once mentioned ..added architecture 😊
Good stuff !
LOL. Thanks “Stella” – took me a minute to get the reference! Your friend, “Art.” 🙂
Great post, Andy; really a terrific, thought-provoking read.
You know what kept running through my mind as I encountered each example? Form follows function. Being pretty close to a straight landscape photographer myself, one of the reasons that I rarely include people in my images is that I’m frequently trying to convey a sense of solitude, which is generally palpable at most of the places I go.
Of course, that’s not to say that compelling images can’t be made of these places that include people. They certainly can. But they’d be very different kinds of images, much as the Pink Street diptych you very poignantly included at the end of the post illustrates.
In the end, it seems to me, including or excluding people from any image is a lot like the decision to include or exclude any other element from a scene: what are you trying to convey?
Thanks Kerry. Great insight. I agree