Mastering Film for Landscape Photographers by Drew Evans

Written by Drew Evans

The first nearly 15 years of my photography career were spent shooting with an incredible lineup of digital cameras, from Nikon DSLRs to Sony mirrorless. I experimented with a number of different subjects, but always felt myself most attracted to landscapes. I was, after all, living in Seattle then in San Francisco—two of the most photogenic environments in the country.

When I started toying around with the idea of shooting film, I was a bit concerned. Would the quality be as good? Could I dial in the colors and contrast the way I liked? What about editing? Plus I only have 36 shots? (Forgive me: I knew next to nothing about analog photography at the time.)

But after years of doing it, shooting landscapes on film is far more enjoyable once you learn some of the most important, foundational basics. Here are a few of the things I wish I knew when I started.

(Note: if you have a stylistic preference or a specific style you like, you can probably just ignore a lot of this).

Choose the Right Film Stock

Yeah, this is a no-brainer.

But it’s also one of the most important decisions you can make, and it happens before you even walk out the door to shoot. There are a few things I think most about when choosing what film to shoot: grain, contrast, and color.

For many landscape photographers, detail is incredibly valuable, which is why low-ISO films (usually between 50-100) are often preferred for landscapes. The less perceptible noise, the more detail you’ll retain. Whether you’re shooting color or black and white, aim for low-ISO film if you’re shoot more traditional landscapes.

But where the right film stock *really* makes a difference is in the color and contrast. I think it all depends on the subjects you plan on shooting.

If you care about the color rendition of your film, warm-toned films (e.g., Kodak Ektar and Kodak Portra) are excellent for things like sunset/sunrise scenes, fall landscapes with warm foliage, or desert landscapes with red rocks.

Cool-toned films (e.g., Fuji Provia and Fuji Pro 400H (find on eBay)) work well for winter scenes, coastal landscapes with blue water, or forest scenes. It’s also important to think about saturation—Fujifilm Velvia and Ektar will be much more vibrant and bright than a Kodak Portra 160 or Fuji C200.

If you’re thinking more about lighting and contrast, high-contrast films are great for super dramatic landscapes with strong light/dark shadow interplay or clear, sunny days (this applies for both color and B&W). Lower contrast films are better for overcast, foggy conditions or scenes with subtle tonal variation.

Focus More on Composition

This was a tough change for me from the digital world. I was so used to finding a beautiful scene, then taking anywhere from 20-30 shots, slightly changing my framing each time. I always figured I’d be able to pick the best in post.

Unless you’re planning on burning multiple rolls of film (and tons of money), I wouldn’t say that’s the best approach for film. Careful composition matters. And while that might feel like tons of pressure, it’s a good forcing function to make you think harder about your shots before you press down on the shutter.

Consider the traditional composition tips, like leading lines, creating depth, and the rule of thirds (if you follow it). Take your time when you’re lining up your shots. This was a *huge* concern of mine early on. Though it felt like cheating, I would sometimes use my phone as a way to test shots before using my camera.

Regardless, expect to make mistakes! It’s a natural part of the process. You’ll inevitably get scans back and see you messed up your composition a bit—doesn’t matter whether it’s your first roll or your thousandth.

Timing Can Be Make or Break

The *right* timing matters a whole lot more than you might think. It’s not always enough to find a beautiful location or research exact spots to shoot. You have to make sure the timing and lighting are right.

I remember finding this beautiful shot from a photographer I admire. I did tons of research to find a similar location, one that would allow me to try out my skills and mimic her image. I drove about 90 minutes north of San Francisco, found the intersection of the road, and pulled out my tripod.

It was going perfectly, until I realized I didn’t stop to think that my timing was off. Her original shot was done in blue hour. I got to the location at about 11am. I was so focused on beating traffic, waiting for a nice day with clear skies, and finding the spot that I didn’t consider how lighting would affect my final image.

Think about the *when* just as much as the *what.* If your scene relies on beautiful color and soft light, consider going early for sunrise or late for golden hour. If you’re looking for harsh shadows and tons of contrast, wait for the sun to be overhead on a clear day. Or if you’re looking for moody shots, hold onto your location for an overcast, foggy day.

Final Thoughts

Part of what makes film fun is how deliberate it is. To create a compelling landscape, your timing and focus on details can really be the difference between an average landscape image and something that’s unique and special.

Oh, and expose for the shadows. Film is forgiving—your underexposed negatives are not.

Thank you so much, Drew! Drew is a regular contributor here at Shoot It With Film, and you can check out his other articles here, such as 3 Film Photography Struggles (And How You Can Overcome Them) and Why Fuji Pro 400H Might Be My Favorite Color Film.

You can also check out more of Drew’s work on his Instagram.

Leave your questions about shooting landscapes on film below in the comments!

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Drew Evans

Drew Evans is a cityscape and landscape film photographer and a regular contributor for Shoot It With Film. Find his other articles here, such as Lecia M6 35mm Camera Review and 6 Tips for Buying and Shooting the Leica M6.

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