Landscape through photography; A Reflection from a Contemplative Gaze

What is presented here is not intended to be a standard, nor to diminish other styles of photography that explore different paths. Every gaze holds value insofar as it arises from a sincere search. This text emerges from a personal practice: a way of seeing, of experiencing the landscape, of pausing before light, shadow, and color, influenced by a sensitivity closer to certain Eastern philosophies.

This is not merely an aesthetic choice, but an attempt to find coherence between the observer and the observed. These reflections on nature are not absolute truths, but an invitation to look from another angle and allow the image to emerge without needing to be forced.

This is not merely an aesthetic choice, but an attempt to find coherence between the observer and the observed. These reflections on nature are not absolute truths, but an invitation to look from another angle and allow the image to emerge without needing to be forced.

Nature is a living organism. It is dynamic and ever-changing. Understanding it requires attention, time, and consistency. Returning to the same place again and again allows for a deeper appreciation of its details, the formation of connections, and the nurturing of the creative process.

Fotografía / Photography: Ana Paula Álvarez

Returning doesn’t always mean going back to the same physical place, but rather to any space where the eye can continue to be refined, especially to anticipate lighting conditions, which can completely transform an image. It’s about observing how surfaces, volumes, colors, and textures change throughout the day, and how light and shadow interact with that environment.

The way we inhabit and represent a landscape also speaks to our relationship with it. This practice invites us to observe our everyday surroundings more attentively and to recognize a connection with broader systems, such as the cosmos.

Beyond technical parameters (aperture, shutter speed, ISO, etc.), landscape photography is, above all, emotional interpretation. Our experience, memory, and way of understanding the world inevitably express themselves and filter through the image. The photograph becomes a personal interpretation, almost a self-portrait of the one who takes it. From my perspective, this is what truly makes the difference. And through this interpretation, technique can never be considered the true language.

Beyond technical parameters, landscape photography is, above all, emotional interpretation. 

Fotografía / Photography: Ana Paula Álvarez

Analog photography adds to this a manual and artisanal dimension. The slower process and limited number of exposures foster a more conscious relationship with the moment. The grain, imperfections, and unpredictability of development contribute a texture that also communicates, creating a harmony between the organic qualities of the developing process and the landscape itself. These methods invite us to work with greater calm and attention.

Understanding how light and color change allows us to anticipate key moments. The light at sunrise or sunset often offers warmer, softer tones and can turn the ordinary into something extraordinary, while midday light creates strong contrasts and highlights with intensity and drama. Both options have expressive potential, depending on the intention.

Shadow is not an absence, but an integral part of the composition: it gives shape and depth. Its presence helps define the light. Likewise, color can be used not only as an aesthetic element but as a tool to faithfully represent an atmosphere. Landscape photography, then, can be understood as both a practice and a philosophy of balance—one that reveals the wholeness of a scene.

Fotografía / Photography: Ana Paula Álvarez

There are preferences that tend to saturate tones and enhance contrast and sharpness to achieve striking and artificially intense images, but from my point of view, more is lost than gained.

Imprecisions can be more appropriate than excessive sharpness and oversaturated colors, which often disrupt the harmony of the landscape and distance it from its essence. From a sensitivity closer to Eastern thought, it makes sense to focus on documentation that neither adds nor subtracts to beautify. As Tanizaki writes in In Praise of Shadows, “…we delight in sinking into darkness,” valuing the opaque, the imperfect, and the undefined as a more intimate and respectful way of contemplating. This philosophy invites us to appreciate shadow not as an absence of light, but as a space full of mystery.

Shadow, far from being a flaw to correct, becomes a value to highlight; it is there that much of the visual poetry of the landscape is found. Instead of eliminating the dark areas to “improve” the image, one can learn to coexist with them, allowing them to speak from their depth.

Fotografía / Photography: Ana Paula Álvarez

It is also important to consider the context in which the landscape is connected. It is not always necessary to remove elements such as architecture or the presence of people. These components do not necessarily have to be seen as interference; on the contrary, they can provide relevant information, establish visual relationships, and offer contrasts that enrich the narrative.

Including elements that naturally exist in the scene allows the landscape to be placed within a comprehensible scale and can provide spatial or narrative references that facilitate its interpretation. In the case of architecture, for example, its presence shows how people inhabit and intervene in the territory, providing indirect visual information about the transformation of an environment. It functions as an observation tool that captures this interaction, focusing attention on what is actually there, whether in the foreground, background, or space, without the need to idealize or simplify the scene. This allows the landscape to be represented as an active system in which the natural and the constructed coexist. Nature and culture are not opposed to each other, but rather are part of the same reality.

Fotografía / Photography: Ana Paula Álvarez

My intention as a photographer is to achieve a documentary approach where the landscape ceases to be a postcard and becomes an experience, where the image is not imposed, but rather revealed. Photographing the landscape can be a way to practice attention and respect for that which lies beyond us.

General technical considerations

The lens is more important than the camera body: A quality lens offers better sharpness, contrast, and color management. Beyond the body, good optics allow for a greater scanning range without losing information, whether in analog or digital format.

Polarizing filters (recommended: Urth): Help reduce unwanted reflections on surfaces such as water and leaves, naturally saturate colors, and soften the overall atmosphere of the image. Ideal for bright lighting conditions.

Diaphragm (Aperture): For landscapes, we recommend working with apertures (f/8 to f/16), which allow for greater depth of field and sharpness throughout the scene.

Fotografía / Photography: Ana Paula Álvarez

Low ISO: Using low ISO values ​​(100–400) minimizes digital noise and preserves the dynamic range of highlights and shadows, especially in brightly lit conditions.

Shooting in RAW (digital): To preserve as much highlight and shadow information as possible, allowing for more precise post-editing without loss of quality.

Using a tripod: Essential for maintaining precise framing in low-light conditions. It also helps you work more calmly and attentively.

Fotografía / Photography: Ana Paula Álvarez