How to photograph iconic images

Sydney Harbour Bridge and CBD. (David Wall)

By Richard I’Anson

Following on from our previous article on getting the best image from an icon, here are some ideas to help you before you embark on your next trip.

THE CLASSIC VIEW
Spend five minutes looking at postcards or pictorial books of the country you’re in and you’ll soon get a feel for what are considered the classic views of its most famous places. The classic view is absolutely worth taking, but the challenge is to do it as well as – or better than – it’s been done before. In many places it’s easy to get to the vantage points and replicate well-known pictures. That’s no problem – it’s a famous view because it’s a great view – but it’s better to treat it is a starting point for your own interpretation. Do this through your choice of viewpoint, lens and, of course, the light you shoot in.

A DIFFERENT VIEW
Once you’ve got your own take on the classic view, think about how you can photograph the subject in a different way. This is often easier said than done, particularly with really famous places, as photographers have been trying to do this for years. This includes the locals, who obviously have more opportunity to do so and the advantage of local knowledge. It’s still possible, but it takes a bit more effort than following the path to the classic view. These shots require a combination of time, clever composition and great light. Apart from those rare moments when everything comes together on your very first visit, you’ll need to invest some time to achieve a different view. Walk around the area, check out various viewpoints, get up close if you can and then move further away. Compose as you go with a variety of focal lengths. Most importantly, make sure you’re there when the sun is low in the sky and the colour of daylight is at its most intense, as the colour and quality of the light is the magic ingredient.

THE DETAIL VIEW
Famous buildings and natural landforms don’t have to be shown in their entirety to be recognised so, for a third shot in your series of images, consider filling the frame with only a portion of the landform or structure. Apart from creating an interesting photographic challenge, the images are often of more interest to viewers than the classic shot, which they are already familiar with.

Uluru, Uluru-Kata Tjuta National Park, Australia; 6 x 7cm Rangefinder, 50mm lens, 1/8 f16, Ektachrome E100VS, tripod

0Kantju Gorge, Uluru-Kata Tjuta National Park, Australia; 6 x 4.5cm SLR, 150mm lens, 1/30 f11, Ektachrome 50STX, tripod

Mutitjulu, Uluru-Kata Tjuta National Park, Australia; 6 x 7cm Rangefi nder, 50mm lens, 1/4 f11, Ektachrome E100VS, tripod

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