During this setup, the incredible scene unfolding on the horizon had my attention. A tiny crescent moon is a great supporting element. Combine that feature with a strong, colorful pre-sunrise or post-sunset gradient in the sky and throw in some water and mountains, and images I like are easy to create.
While this scene was in my locked-down composition, even 35mm does not render the moon a substantial size in the frame. Fortunately, the Canon RF 70-200mm F2.8 L IS USM Lens and another R5 were in my MindShift Gear BackLight 26L. What was not along was my second tripod, and I did not want to lose the locked-down composition held by the first. So, I sat down on the rocks, rested arms on knees, and began shooting with the settings that would have been used if tripod-mounted. Those settings were ISO 100 for the least noise, f/8 for considerable depth of field and reduced vignetting, and the shutter speed necessary to yield a right-aligned histogram.
That shutter speed was 2.5 seconds, a very long 70mm exposure without a tripod. Amazingly, all of the dozens of images captured at this and, later, faster shutter speeds were sharp. There was no need to use a higher ISO or a wider aperture setting — or a tripod. This is impressive performance from the R5 and RF 70-200 combination.
It is often easy to create nice landscape images with telephoto focal lengths, and the Canon RF 70-200mm F2.8 L IS USM Lens is a great landscape lens.
This image is simple — minimalistic.
The dark mountain provides a base to the image, and the waterline is positioned approximately 1/3 into the frame.
The position of the 3.2% waning crescent moon and silhouetted evergreen trees work together to create an overall balance to the scene.
While many rules can be used for composition, overall balance is what I usually look for first.