I love overcast light. The only other kind of light I enjoy just as much is backlighting. There is enormous potential in landscape photography under a cloudy sky. Overcast conditions create soft, even illumination with gentle shadows, making it easier to capture detail that might be lost in harsh direct sunlight.
I rarely include a large area of featureless grey sky in a photograph. The exception is when the clouds create a dramatic pattern or when shafts of light break through the cover.
Wait for the right light, or adapt to the scene
When faced with a grey blanket of cloud, point the camera down a little and avoid giving the sky too much space. Emphasise colour, texture and contrast. Use a suitable depth of field and include foreground interest to give the photograph a sense of depth.
When the sky does have drama and definition, include more of it. A careful contrast adjustment in post-processing can help bring out the structure in the clouds, but avoid pushing the blacks and clarity so far that the image looks artificial.
Back to where it all starts
I believe in keeping things simple. A good camera, a fast wide-angle lens and a tripod are often all I need. Like many photographers, I suffer from gear acquisition syndrome, although I do not use all my purchases nearly as often as I should.
My favourite camera at the time was the Sony Alpha A99V. It offered a strong feature set and very good dynamic range. Its biggest weakness for me was the relatively narrow spread of autofocus points across the full-frame viewfinder. That said, I rarely relied on autofocus, so it was not a major issue in my landscape work.
The lenses I used most often were an old Minolta 50mm f/1.4 and the Minolta 80–200mm APO HS f/2.8. Both were sharp and had the colour rendering I enjoyed. Foggy conditions can also lead to condensation on the front element, so remember to bring a lens cloth. I have mixed feelings about my tripod. I dislike carrying it around, but I dislike even more not having it when I need it. My old Manfrotto is not carbon fibre or particularly fancy, but it is solid and reliable.
Camera settings
To make the most of an overcast day, think about the exposure and white balance while taking the photograph, then refine the result in post-processing. The Cloudy white-balance preset can add warmth, but if you are shooting RAW you can make that decision later. Choose the setting that gives you a useful preview and a consistent starting point.
Do not underexpose automatically to increase saturation. Exposure should be based on the highlights and shadows you want to preserve. Check the histogram and use exposure compensation only when the camera’s meter is being misled by the scene.
If the cloud layer is thin, you may be able to use a relatively small aperture for greater depth of field. In darker conditions, open the aperture or raise ISO as needed to maintain a suitable shutter speed.
In post-processing, a little contrast can give the photograph more presence. Colours may look muted on an overcast day, but increase saturation carefully. A small adjustment to exposure or brightness may also help, provided you do not lose important highlight or shadow detail.
Polarising filters
A polarising filter is not just for sunny days. It can reduce reflections from wet leaves, water and other non-metallic surfaces, and it can reduce some forms of atmospheric haze. It will not create a blue sky when the sky is completely overcast, but it can still help with reflections and colour separation.
A polariser reduces the amount of light reaching the sensor, often by around one to two stops, depending on the filter and its orientation. It can also produce uneven effects across a very wide-angle sky. Check the result in the viewfinder and avoid using it automatically on every scene.
Winter trees
This photograph was taken in Riis Skov, a small, well-kept area of woodland in the middle of Aarhus. The trees were wearing their winter colours. Without the overcast sky, I would not have had the same even light. In direct sunshine, the photograph would probably have been less successful. The delicate oxidised tones of moss on the trunks stand out against the white ground, while the path curves through the scene and gives it perspective.
Autumn trees in fog
Fog is always an interesting element in a photograph. Lush greens and reddish leaves break up the muted background, while leading lines guide the eye towards the emptiness hidden in the mist.
Portraits in cloudy weather
Soft light under an overcast sky can be very flattering for portraits, but it has its downsides. A bright, featureless sky can easily become pure white or pale grey in the background. I often prefer to leave the sky out of the composition and find another even background. If that is not possible, a softly blurred background can help keep attention on the subject.
Another challenge is catchlight. It can be difficult to get enough light into the subject’s eyes. A reflector is very useful, but if you do not have one, try finding a slightly elevated position so that the subject looks upwards. This can help the eyes catch more of the available light.
I am not particularly fond of using flash on cloudy days. I prefer ambient light because it often produces softer, more natural-looking portraits. When there is not enough light, a subtle fill flash can help. Start with low power and adjust to suit the subject and conditions.
I am a fan of reflectors. Yes, they can be cumbersome, and yes, they are easier to use with an assistant, but they are excellent for bouncing light back into the subject’s face.
A glimpse of light
One of the most beautiful elements in a landscape photograph is a shaft of light breaking through the clouds. It can look as though the light is falling through the scene, creating drama as it passes through clouds, trees or fog.
These moments rarely last long, so be ready. A graduated ND filter can help balance a bright sky against a darker landscape, although exposure bracketing is another option. The apparent strength of the rays depends on the angle of the light, the atmosphere and the background against which they are visible.
In the following example, Dylan Walker describes taking “Escaping Light” at Biglees Quarry, Fairlie, North Ayrshire, Scotland. He was walking up a hill and watching the clouds when the light suddenly began to break through. He grabbed his Sony A77 II and Tamron 17–50mm lens and started shooting. He did not use filters, although he later felt that a graduated filter would have helped with the very bright sky. In Lightroom, he used a graduated adjustment to reduce the exposure and then adjusted contrast, shadows and lens correction.
Bring out colour in a cloudy landscape
Interesting cloud formations are always worth photographing. Clouds change constantly, creating shapes and textures that interact with the landscape. Seize the moment. Even an apparently uninspiring location can produce a compelling photograph when the sky is interesting.
This photograph was taken from the old castle in Brescia, Italy, known as the “Falcon of Italy” because of its position on the hill overlooking the city. In the distance, the mountain ranges dominate. Notice how each ridge recedes into the distance, becoming less saturated and more muted. A careful contrast adjustment helps bring the layers forward without making the photograph look artificial.
Lake of Menteith
Low-contrast conditions can be excellent for black-and-white photography. Instead of staying at home and complaining about poor light, look for the potential in an overcast day.
Dylan Walker tells an interesting story about his photograph from Lake of Menteith in Scotland. It was an eerie morning, with a surreal sense of quiet and stillness. He was preparing his equipment when a flock of birds suddenly rose from a nearby tree. The moment stayed with him, and the long exposure he had planned gave the scene an additional sense of movement.
The lake is also unusual because it is the only natural body of water in Scotland traditionally described as a lake rather than a loch. The popular story that the name was changed for political reasons is likely a myth. The modern name appears to have evolved from the older Loch of Monteith and the name of the surrounding area.
Cloudy hills
Low-contrast conditions can also be used to create a strong sense of depth.
Claus Møller describes this photograph as follows: it was taken early in the morning on Java, Indonesia, from the sacred volcano Gunung Bromo. The contrast between the lush green land and the bare volcanoes on the horizon caught his attention. Morning fog still covered the countryside like a thick blanket. The layers of cloud and the polarising filter helped emphasise the separation between the landscape and the distant volcanoes.
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