Landscape photography has been the focus of my professional work for more than 4 decades. As fine art, it is more about interpreting the scene in front of the camera than documenting a moment in time.  Each of us may read the gesture and “personality” of the scene differently, but filtered through the mind and eye of the photographer, an emotional tone can be established and the landscape photograph can tell its own story.

When I began photographing professionally,I was inspired by the creative works of photographic greats like Minor White, Frederick Sommer and others. Their photography introduced me to a more exciting genre of landscape imagery, one capable of transforming the “fact” of what the camera lens saw into metaphor and suggestion, adding an additional layer of interest to the viewer’s experience.  Their work illuminated the mysterious in the familiar, helping to shape a way of seeing the world that I try to incorporate in my own photographic approach.

Landscape photography connects me with my childhood love of nature and the excitement of discovery. With my head bent towards the ground, my eyes were often scanning this way and that for lizards, toads and all manner of creatures to be found in the ponds or dry brush of my childhood haunts in the Southern California chaparral.  I continue looking for the unexpected. Lately the unexpected came to me with a springtime visit from a hungry moose, grazing on the tender shoots in our front yard orchard.  Opportunities like this are rare. You have to be quick which means knowing your equipment and choosing a camera head that will get you into position quickly.

Last week it had been raining, giving the ground a thorough and much needed soaking. Clear weather was predicted for the next morning.  I thought that there would be a good chance of finding the valleys and depressions filled with fog if I got outdoors early enough. I depend on weather. It’s one of the most essential elements for establishing mood and emotional tone in landscape photography. In hopeful anticipation of what the sunrise would bring, I got my equipment in order. Each piece of gear is chosen to cover a range of possibilities. Set up needs to be quick and the tripod and head need to provide absolute stability, regardless of camera position. I choose the Manfrotto XPRO geared head because of its ease and speed of use. The micrometric positioning is also a wonderful tool for micro-composing.

I got lucky. The next morning, humidity and temperature were just right and fog hugged the ground. There is an impression that landscape photography is a relaxing activity, like a casual round of golf. That holds true 90% of the time. However, that last 10% can be a race against the changing light, wind, and weather, balancing your rising excitement with the fear and anxiety of possibly missing the moment. This particular morning, that 10% was a sprint to the finish. A soft wind was beginning to dissipate the fog.  My photograph was disappearing in front of me. Quickly extending the legs of my Gitzo tripod, I attached a Nikon onto my Manfrotto  XPRO Geared Head. The 3-way pan/tilt action is designed for speed and accuracy of adjustment. I needed to rely on both in a hurry.  Using its levers to quickly move in all three axes, I got the camera positioned. The micrometric knobs fine-tuned the composition.  The photograph caught an ethereal projection of vapor just before the mist disappeared.

I am delighted with how well this geared head performs. It’s user-friendly design, light weight and sturdy construction were part of my morning’s success. The Manfrotto XPRO geared head is a piece of expert equipment that professionals and amateurs can depend on with confidence.