Understanding Light
IN LANDSCAPE PHOTOGRAPHY
Light is the essence of photography. It defines mood, enhances textures, and transforms an ordinary scene into something spectacular. As a landscape photographer, I’ve learned that understanding how to harness natural light is the key to capturing breath-taking images.
But how do you know what the right light is for your scene? How can you adapt to changing conditions?
I’ll share my experiences working with different types of light, how I make the most of each situation, and how you can too. By the end of this article, you’ll have a better understanding of how to work with light in various conditions to create stunning landscapes.
The Role of Light in Landscape Photography
Have you ever taken a shot that looked flat and uninspiring? Or perhaps one where the contrast was so strong that the details were lost?
There was a time when I’d look at my own images and wonder why they felt flat—like something was missing. It will come as no surprise to you that light is one of the biggest influences on how a landscape photo turns out. But it’s not just about how much light you have, it’s about knowing when and how to use it to bring out the best in a scene. Light is what gives a landscape its depth, contrast, and character, and mastering it means you have a good understanding of when and how to shoot to bring out the best in a subject.
One moment that stands out for me is standing at the top of Cissbury Ring just before sunrise. I remember watching the morning light slowly sweep across the hills, revealing all the subtle shapes and textures that just aren’t there in the dark. When the light shifts, it changes everything.
The colour temperature plays a huge part too. Sunrise and sunset bring those rich, golden tones that feel warm and welcoming, while blue hour or shaded spots create a softer, more peaceful atmosphere. Getting to grips with how these variations work together helps me to create more balanced, thoughtful compositions.
Over my time taking photos I’ve had my fair share of struggles working with light, especially times like the middle of the day when the sun can be particularly harsh. The shadows go deep, and the contrast can overwhelm the image. It’s safe to say that it can be pretty unforgiving. And then there are those overcast days when the contrast is low. While it can prove to be as tricky it can be used in your favour, for example it’s brilliant for drawing out detail without the distraction of strong shadows. With time, patience, a lot of learning and practice I’ve learned how to use my camera more effectively to create better exposures, and use all kinds of light creatively.
I know, it’s a lot of technical things to remember but it all becomes muscle memory the more you shoot, and the more you do the more you start to apprecite the emotional side. A soft, misty morning can feel gentle and quiet, while a vibrant sunset stirs up a sense of warmth or nostalgia. Once you start thinking about light in terms of mood as well as exposure, it can change how you approached every scene.
The colour temperature of light plays a huge role in how a scene feels.
Letna Hill, Prague
ISO-1250, f/2.8, 3.2 seconds
Golden Hour vs. Blue Hour: The Best Times to Shoot
Golden Hour (Sunrise & Sunset)
If you’ve ever wondered why so many landscape photographers swear by golden hour, just try shooting at this time, and you’ll see why. The golden hour is one of my absolute favourite times to shoot because the light is soft, warm, and incredibly flattering. I’ve taken some of my favourite shots in that soft light just before sunrise or just after sunset—when the whole landscape is bathed in warm tones and the long shadows give everything more depth.
Patience is a virtue with landscape photography.
Worthing, West Sussex
ISO-100, f/14, 8 seconds
One particular moment stands out to me. I was photographing Worthing Pier at sunset, and the sky was completely overcast. It felt flat and uninspiring, and I’d resigned myself to packing up. In fact, I had already started to put my camera in my bag when I noticed a sliver of a gap between the clouds and the horizon. Once upon a time I would have still written this off and headed home, but on that day something told me to wait it out. What followed was one of the most vibrant sunsets I’ve ever seen, and you can see that from the 2 photos. Fiery oranges and deep reds lit up the sky as far and as wide as you could see. It was a bit of a double edged lesson that sometimes you need to listen to your gut, and that patience often pays off.
This was one of the most vibrant sunsets I’ve ever seen.
Worthing, West Sussex
ISO-100, f/10, 25 seconds
One thing is for certain though. Be it sunrise or sunset, arriving early is crucial. It’s also worth sticking around after the sun has dropped below the horizon because sometimes that’s when the best moments come about, and can be sudden and short lived. It’s frustrating to miss that perfect light because you either weren’t set up in time or you left a little too early, trust me I’ve done it too many times. Now I always try to get to my location at least 30 to 60 minutes before sunrise or sunset to find the right composition and be ready when the magic happens.
Blue Hour (Before Sunrise & After Sunset)
When blue hour sets in, it brings a completely different atmosphere. The tones are much cooler, more subdued, and lends itself really well to peaceful, reflective scenes. The lower light means you can work to get smooth waters without the need for filters, and urban environments can become a playground for cool blues contrasting with the warmth of streetlights.
Because the light can drop off quite fast, a tripod becomes an essential tool to keep everything sharp. A lot of modern cameras have some form of built in stability that can help with slower shutter speeds, but I a tripod will only benefit you. I’ve found that longer exposures during this time can really highlight the quiet beauty of the moment, all while keeping the image clean and free from too much noise.
Blue hour is cooler, and works especially well for capturing serene scenes.
Brighton, East Sussex
ISO-100, f/4.5, 8 seconds
Working with Different Lighting Conditions
Shooting in Harsh Sunlight
Midday light can be brutal, can’t it? I used to really struggle with midday light, in fact there are times when I still do. Sometimes you find yourself in situations where it’s the only light available. You could be on holiday or happen to visiting a particular location at that time. Instead of avoiding it I’ve learned to work with it. Midday sunlight can actually enhance certain types of landscapes, like coastal cliffs, where strong light brings out textures. Shadows can also be used creatively, adding contrast and leading lines to an image. If you don’t mind using extra tools to enhance you photos, using a polarizing filter will help to reduce glare and deepen colours, making a huge difference when shooting in bright conditions.
Use harsh sunlight to your advantage.
Mixta Cave, Malta
ISO-100, f/11, 1/1250 seconds
Maximizing Overcast Light
Let’s be real—not every day’s going to give you golden light. I’ll be the first to admit that there have been many days where I’ve looked out of my window and felt deflated by the conditions – flat and thick grey cloud. But sometimes, those overcast conditions can offer a bit of value.
Soft, diffused light is brilliant for capturing detail and texture, especially in woodlands, around waterfalls, or when shooting intimate nature scenes. Without the distraction of harsh shadows, it’s much easier to achieve a clean, balanced exposure. And if the image feels a little flat straight out of camera, a lift in contrast during post-processing can add just enough depth without pushing it too far.
Use overcast skies to help balance exposures.
Ladybower Reservoir, Peak District
ISO-320, f/7.1, 1/100 seconds
Making the Most of Fog and Mist
Fog and mist have become some of my absolute favourite lighting conditions to work with. There’s something about the way they simplify a scene—stripping out the clutter and softening the edges—that creates a calm, almost dreamlike atmosphere.
When you’re shooting in those conditions, try to focus on finding strong shapes or leading lines—things like trees fading into the distance or a structure just peeking out above the mist. Those elements help give the image direction and make it more visually engaging. One technical tip I’ve picked up: if you’re up to it, switch to manual exposure. It’s not completely essential but fog can easily fool your camera’s metering system, and you don’t want to end up with too many underexposed shots because of it. Pay attention to your cameras screen or viewfinder to make sure you get the most out of your scene.
Mist and fog can strip away distractions and simplify compositions.
Arundel, West Sussex
ISO-100, f/11, 13 seconds
The Role of Weather in Light
The weather plays a huge role in shaping the quality and feel of light in a landscape. Let’s take a stormy sky as an example. The way the dark clouds and the light trying to break through create a powerful contrast. It creates tension, drama, and a real sense of energy.
Some of my favourite moments to shoot are just before or right after a storm. That interplay of shifting light and heavy shadow adds so much depth and emotion to a scene. Rainy days, too, can surprise you—wet ground reflects colour beautifully, and brings out textures that often go unnoticed. And then there’s snow—on a clear, bright day it can light up a landscape in the most magical way.
Learning to read the weather and predict how it’ll affect the light is a skill that’s become second nature over time. It’s something I’ve come to really value in my landscape work.
Reflecting on Light Over Time
When I first got into landscape photography, I honestly didn’t realise just how much light could change a scene. It took a lot of trial and error – many successes even more failures – but over time I’ve come to see light as the real storyteller in my images. It doesn’t just “light things up”, it sets the whole mood, creates movement, produces energy.
Something I would recommend doing is picking a location and going back time and time again under different lighting conditions. Try and see if you notice something new. Maybe the light filters through the trees differently at 10 am as it does at 2pm. Maybe shadows stretch out in the evening, or mist has fallen and totally transformed the feel of a place. Being present and watching those shifts has helped me fine-tune how I shoot and given me a much better understanding of how to work with light, not against it.
How to Determine the Right Light for Your Scene
I guess the over arching question is, how do you know when the light is right?
The answer depends on what you’re trying to achieve. If you want warmth and depth, go for golden hour. If you’re aiming for tranquillity, try waiting for the very end of golden hour into blue hour. For high contrast and bold textures, midday sun can work. Over time, you’ll developed an instinct for how different lighting conditions affect the mood of an image.
As I just mentioned, one of the best exercises you can do is to revisit the same location under different lighting conditions. Seeing first-hand how light changes a scene is valuable to becoming a better photographer. Make sure to pay attention to shadows, reflections, and the way light falls across the landscape. The more you observe, the better you’ll get at predicting and using light effectively.
Also, find tools that can help you to plan your shoots effectively. I use apps and websites like PhotoPills, Ventusky, and Clear Outside. They can provide me with a wealth of extra information about light direction, weather, and even cloud cover, helping me predict how a scene will look before I even arrive.
Post-Processing for Light
Editing is where it all comes together for me. I use a combination of the tools available in Lightroom and Photoshop to I shape the photo into what I felt when I took it. I usually start by balancing the light across the image—tweaking highlights, shadows, and contrast to even everything out.
Then I’ll start building depth with some dodging and burning, picking out the bits I want people’s eyes to land on. For more detailed edits, I’ll use masks to work on specific parts—bringing out colour or texture just where it’s needed. People have told me my photos have a bit of a painterly vibe, and that’s something I actively try to lean into.
Remember that every time you sit down to edit, have a think about the story you want to be told in your photo, about the connection, and the emotion you want the viewer to have with it.
Post processing can really bring your vision to life.
Mam Tor, Peak District
ISO-200, f/11, 1/1250 seconds
Final Thoughts
If there’s one thing I’ve learned from landscape photography, it’s this—light is everything. It’s not just about timing your shots, it’s about understanding how light behaves, how it changes a scene, and how it helps you tell a story.
Golden hour has its magic, sure. But fog, overcast days, blue hour, bright midday light—they all have their own characteristics to offer if you know how to work with them. Every kind of light has a mood, a message, a feel.
My best advice is that there is no such thing as the “perfect” conditions. There will always be something that you can and will critique yourself, the scene or the conditions over. Landscape photography isn’t about perfection.
And most of all—enjoy it. Try different times of day, play with shadows, experiment with exposure. Learn by doing. The more you shoot, the more you start to feel the light and understand what works. Every outing, every shot, every bit of light you chase—it’s all part of the process. So next time you’re out, stop and really notice the light. What’s it saying? What mood does it bring? Let it guide your shot, and see where it takes you.